A guide to the principal gold and silver coins of the ancients ...
A guide to the principal gold and silver coins of the ancients ... A guide to the principal gold and silver coins of the ancients ...
70 PERIOD V. PEEIOD v.—CIRCA B.C. 280-190. During the third century b.c, the age of the Epigoni, the coinage throughout Asia is almost exclusively regal some even of those cities which preserved their autonomy issued their coins in the name of Alexander, and with the types of his money. In European Greece, the tetradrachms of the kings of Macedon are the most important ; but, towards the close of the period, after the power of Philip V. had been restricted by the Romans, Athens once more became the principal place of mintage in Greece ; the new Athenian tetradrachms soon obtaining a world-wide circulation. At Eome, silver was first coined in b.c. 268, and at the same time the silver coinage of the parts of Italy subject to Eome ceases. Tarentum continued to coin money until B.C. 209. In Sicily, Hiero II. struck coins both in his own name and in that of Queen Philistis ; but in 212, on the capture of Syracuse by Marcellus, the right of coining in Sicily was monopolised by Eome. Carthage meanwhile continued to coin largely both in gold and silver; her dodecadrachms, with the head of Persephone on one side, and the horse on the other, being the largest silver coins ever issued in ancient times. The coins of this century are especially remarkable as presenting a series of portraits of the kings of Egypt, Syria, Bactria, Pontus, Bithynia, Pergamus, Macedon, and Sicily, of inestimable historical value. Although it cannot be affirmed that in any great degree the coins of this period reflect the best contemporary art, it is yet instructive to compare some of the reverse types with the remaining sculptures of the time. The plastic art of Periods V., VI., and VII., which it is best to group together, is characterised (i.) By realism, striking effects, dramatic compositions. The chief artists were—at Pergamus, Isigonus ; at Ehodes, Agesandros, Athanodorus, and Polydorus; at Tralles, ApoUonius and Tauriscus. — ;
PERIOD V. 71 The chief extant works are—of the School of PergamuSy the Pergamene Sculptures, combat of gods and giants, Berlin ; the Dying Gaul, in the Capitol ; Wounded Gauls and Amazons, Naples, Venice, and other Museums ; and the group called " Pastus and Arria," in the Villa Ludovisi; of the School of Bhodes, the Laocoon, in the Vatican ; and of the School of Tralles, the " Farnese Bull," at Naples. (ii.) By ideal mythological conceptions ; by personifications of abstract ideas ; and finally by reproductions of older works. The chief artists were—of the New Attic School, Apollonius, son of Nestor, Cleomenes, son of Apollodorus, Glycon, and others ; and of the School of Italy^ Pasiteles, Menelaus, and Stephanus. The chief extant works are—The Venus of Melos, the Farnese Hercules, and the group of Orestes and Electra, at Naples ; the Belvedere Torso by ApoUonius the son of Nestor, and the Borghese Gladiator by Agasias of Ephesus.
- Page 31 and 32: PERIOD n. 19 ing of details and a t
- Page 33 and 34: B.C. 480-400. 21 20. Sinope. JR. 06
- Page 35 and 36: B.C. 480-400. 23 35. Samos. JR. Obv
- Page 37 and 38: B.C. 480-400. 25 II. B. Plates 12-1
- Page 39 and 40: B.C. 480-400. 27 (16) 0EB. Herakles
- Page 41 and 42: B.C. 480-400. 29 II. C. Plates 15-1
- Page 43 and 44: B.C. 480-400. 31 been first coined
- Page 45 and 46: B.C. 480-400. 33 Plate 17. 29. Piia
- Page 47 and 48: PERIOD ill. 35 PERIOD III.—CIRCA
- Page 49 and 50: B.C. 400-336. 37 III. A. Plates 18-
- Page 51 and 52: B.C. 400-336. 39*. 28. Samos. M. Ob
- Page 53 and 54: B.C. 400-336. 41 45. Sidon. JR. Obv
- Page 55 and 56: B.C. 400-336. 4S 9. Chalcidice. AF.
- Page 57 and 58: B.C. 400-336. 45. phictyonic Counci
- Page 59 and 60: B.C. 400-336. 47 "by the wolf is th
- Page 61 and 62: B.C. 400-336. 49 9. Tarentum. ^. Ob
- Page 63 and 64: B.C. 400-336. 61 25. Sicily. Catana
- Page 65 and 66: B.C. 400-336. 63 41. Carthage. JR.
- Page 67 and 68: PERIOD IV. 56 As time goes on, the
- Page 69 and 70: B.C. 336-280. 57 8. Alexander the G
- Page 71 and 72: B.C. 336-280. 69 Ptolemseus adopted
- Page 73 and 74: B.C. 336-280. 61 These splendid coi
- Page 75 and 76: B.C. 336-280. 63 13, 14. Alexander
- Page 77 and 78: B.C. 336-280. 65 IV. C. Plates 33-3
- Page 79 and 80: B.C. 336-280. 67 17. Metapontum. JR
- Page 81: B.C. 336-280. 69 38. Carthage. ^. O
- Page 85 and 86: B.C. 280-190. 73 9. Pergamns. Eumen
- Page 87 and 88: B.C. 280-190. 75 V. B. Plates 41-43
- Page 89 and 90: B.C. 280-190. 77 12. xLipiruS. JR.
- Page 91 and 92: B.C. 280-190. • 79 Plate 43. 23.
- Page 93 and 94: B.C. 280-190. 81 V. c. Plates 44-47
- Page 95 and 96: B.C. 280-190. -88 The elephant on t
- Page 97 and 98: • scription B.C. 280-190. 86 32.
- Page 99 and 100: B.C. 190-100. 91 13. Tenedos. M. TE
- Page 101 and 102: B.C. 190-100. 93 130-125. Rev. Zeus
- Page 103 and 104: B.C. 190-100. ' 95 VI. B. Plates 53
- Page 105 and 106: B.C. 190-100. 97 Plate 55. 16, 17.
- Page 107 and 108: B.C. 190-100. 9& 34. Priansus. M. C
- Page 109 and 110: B.C. 190-100. 101 11. Rome. JR. (?&
- Page 111 and 112: B.C. 190-100. 103 2Q. Italy. JR. Ob
- Page 113 and 114: 'ERIOD VII. 105 PEKIOD VII.—B.C.
- Page 115 and 116: B.C. 100-]. 107 VII. A. Plates 60-6
- Page 117 and 118: B.C. 100-1. 109 14. Antioch (?). Cl
- Page 119 and 120: B.C. 100-1. Ill province of Asia, o
- Page 121 and 122: B.C. 100-1. 113 13. ApoUonia. M. Ob
- Page 123 and 124: B.C. 100-1. 115 VII. c. Plates 67-7
- Page 125 and 126: B.C. 100-1. 117 capital Corfinium,
- Page 127 and 128: B.C. 100-1. 119 "who, in command of
- Page 129 and 130: ,; TABLE OF WEIGHTS. 121
- Page 131 and 132: Corinth, i. b. 30, 31; ii. b. 25; I
PERIOD V. 71<br />
The chief extant works are—<strong>of</strong> <strong>the</strong> School <strong>of</strong> PergamuSy<br />
<strong>the</strong> Pergamene Sculptures, combat <strong>of</strong> gods <strong>and</strong> giants,<br />
Berlin ; <strong>the</strong> Dying Gaul, in <strong>the</strong> Capi<strong>to</strong>l ; Wounded Gauls<br />
<strong>and</strong> Amazons, Naples, Venice, <strong>and</strong> o<strong>the</strong>r Museums ; <strong>and</strong><br />
<strong>the</strong> group called " Pastus <strong>and</strong> Arria," in <strong>the</strong> Villa<br />
Ludovisi; <strong>of</strong> <strong>the</strong> School <strong>of</strong> Bhodes, <strong>the</strong> Laocoon, in <strong>the</strong><br />
Vatican ; <strong>and</strong> <strong>of</strong> <strong>the</strong> School <strong>of</strong> Tralles, <strong>the</strong> " Farnese Bull,"<br />
at Naples.<br />
(ii.) By ideal mythological conceptions ; by personifications<br />
<strong>of</strong> abstract ideas ; <strong>and</strong> finally by reproductions<br />
<strong>of</strong> older works.<br />
The chief artists were—<strong>of</strong> <strong>the</strong> New Attic School, Apollonius,<br />
son <strong>of</strong> Nes<strong>to</strong>r, Cleomenes, son <strong>of</strong> Apollodorus,<br />
Glycon, <strong>and</strong> o<strong>the</strong>rs ; <strong>and</strong> <strong>of</strong> <strong>the</strong> School <strong>of</strong> Italy^ Pasiteles,<br />
Menelaus, <strong>and</strong> Stephanus.<br />
The chief extant works are—The Venus <strong>of</strong> Melos, <strong>the</strong><br />
Farnese Hercules, <strong>and</strong> <strong>the</strong> group <strong>of</strong> Orestes <strong>and</strong> Electra,<br />
at Naples ; <strong>the</strong> Belvedere Torso by ApoUonius <strong>the</strong> son <strong>of</strong><br />
Nes<strong>to</strong>r, <strong>and</strong> <strong>the</strong> Borghese Gladia<strong>to</strong>r by Agasias <strong>of</strong> Ephesus.
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