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COINS OF 
 ANCIENT SICILY 
 
Frontispiece 
 
 SYRACUSAN 'MEDALLIONS' 
 
COIN 
 
 ANCIENT 'Y 
 
 r 
 
 liLL, MA. 
 
 i'UOOK OF GREKK AVO ROMAN 
 
 .Uol 8q (.vdo ,nonii3) mriDBibBoab : aauDBi^S .i 
 
 .I1o18q V ,, ) u u 'i: 
 
 I 
 
 •f 
 
 _ _ • , ., , ,, "C 
 
 •UoTtQQ^". . . . I . ) ,, . .d 
 
 ilol £OI Kot\-i^\\oO 
 
FRONTISPIECE 
 
 PAGB 
 
 i'^'Syracuse : decadrachm (Cimon, obv.) 98 foil. 
 
 2. „ „ {Cimon). Paris, Btblioiheque Nationale 98 foil. 
 
 3. „ „ ( » ) 98 foil 
 
 4. „ „ (Euaenetus) 99 foil 
 
 5- ,, ,> ( » ) 99 foil 
 
 6. ,, „ ( ,, ) 99 foil. 
 
 7. „ „ (Unknown Artist). Thompson Yates 
 
 Collection 103 foil. 
 
COINS OF 
 
 ANCIENT SICILY 
 
 BY 
 
 G. F. HILL, M.A. 
 
 OF THE DEPARTMENT OF COINS, BRITISH MUSEUM 
 AUTHOR OF 'a HANDBOOK OF GREEK AND ROMAN COINS,' ETC. 
 
 WITH SIXTEEN COLLOTYPE PLATES OF COINS 
 
 EIGHTY ILLUSTRATIONS IN THE TEXT 
 
 AND A MAP 
 
 WESTMINSTER 
 ARCHIBALD CONSTABLE & CO., Ltd. 
 
 2 WHITEHALL GARDENS 
 1903 
 

 RfFSE i 
 
 OXFORD 
 
 HORACE HART, PRINTER TO THE UNIVERSITY 
 
PREFACE 
 
 It can hardly be denied that the popularization 
 of archaeological studies is not from certain points 
 of view a desirable undertaking. The disadvantages 
 which every specialist must perceive in any but 
 a rigidly scientific treatment of his subject are as 
 patent in the case of coins as elsewhere ; and I may 
 therefore be expected to apologize for adding to 
 the number of books which increase the bulk of 
 the literature of numismatics without bringing grist 
 to the mill of science. I have no apology which 
 will not appear to halt in the eyes of the profes- 
 sional numismatist; but the archaeologist who is 
 not specially trained in the study of coins will, 
 I hope, be more merciful. The technicality of the 
 study — a necessity if that study was ever to advance 
 beyond the stage of dilettantism in which it once 
 lingered — is rapidly increasing. The classification 
 and arrangement of coins are being effected with 
 extraordinary minuteness, made possible by recent 
 progress in methods of mechanical reproduction. 
 
vi PREFACE 
 
 Only those who are in daily touch with the litera- 
 ture which is being produced in growing quantities 
 can hope to keep abreast of the advance, and that 
 in the sense not of actually possessing information 
 on more than one branch of the subject, but merely 
 of knowing where to look for it. It is a conviction 
 of the high interest, to all students of antiquity and 
 lovers of art, of many things in the history of 
 Sicilian coinage which are hidden away in special, 
 highly technical publications, that has suggested 
 the compilation of this book. Even if archaeologists 
 feel that its treatment of the subject is too slight, 
 they will perhaps find the illustrations useful. As 
 regards those who are not skilled in any branch of 
 archaeology, it is fair to say that no beginner of the 
 study of Greek art can afford to neglect Sicilian 
 coins, and no traveller in Sicily who cannot appre- 
 ciate their beauty and historical value deserves the 
 privilege of visiting the island. Possibly this volume 
 may serve to whet the appetite for something more 
 substantial and worthier the subject, for the works 
 of Evans, Gardner, Head, Holm and Imhoof-Blumer 
 — to mention some of the names most intimately 
 connected with the study of Sicilian coins. Where 
 these chapters are tedious, and degenerate into a 
 mere list of types, the reader will find that the 
 matters inadequately dealt with here acquire interest 
 
PREFACE vii 
 
 when studied in greater detail under the guidance 
 of writers such as I have named. It would be 
 impertinent in me to express my obligations to their 
 works. They are the foundation on which all later 
 comers must build. So much so, that many passages 
 in this book, to those familiar with their writings, 
 must read like sheer plagiarism. But I may be 
 pardoned for not always acknowledging the source 
 of a view which, thanks to the authority of its 
 propounder, has become one of the commonplaces 
 of numismatic criticism. If, on the other hand, 
 I have ventured occasionally to differ from the ex- 
 pressed opinion of any one of them, it has been in 
 many cases with the support of another, and in all, 
 I trust, with becoming modesty. 
 
 With some hesitation I have adopted the sugges- 
 tion of a friend, and inserted in the Introduction 
 a brief sketch of Sicilian History down to the begin- 
 ning of the Imperial period. Such sketches are 
 seldom satisfactory, nor can I allege any reason 
 why the present one should not be ignored by those 
 who have by them Freeman's little volume on Sicily 
 in the ' Story of the Nations ' series, not to mention 
 the greater works of the same writer, of Holm and 
 of Pais. 
 
 I desire to express my gratitude to the Trustees 
 of the British Museum for the generous loan of 
 
viii PREFACE 
 
 many of the woodblocks originally cut for the 
 British Museum Catalogue of the Greek Coins of 
 Sicily. These have enabled me to illustrate in the 
 text a large number of coins which would else either 
 have been excluded themselves, or have ousted 
 others from the plates. The woodcuts, though they 
 cannot be expected always to do justice to the 
 originals, may yet serve as a rough indication of 
 the types. 
 
 For permission to use the woodblocks of Figs. 23, 
 24, 27, 34, and 42, my thanks are due to their owners, 
 the Council of the Numismatic Society of London, 
 and Mr. Arthur Evans, whose articles in the Numis- 
 matic Chronicle they were made to illustrate. I am 
 also deeply indebted to many who, in the case of 
 coins not well represented in our national collection, 
 have supplied information or impressions, or per- 
 mitted the use of casts already accessible to me; 
 more especially I may mention the official staff of 
 the Cabinets of Berlin and Paris, and — among private 
 collectors— Dr. F. Imhoof-Blumer, Messrs. Arthur 
 Loebbecke, S. A. Thompson Yates, John Ward, and 
 Sir Hermann Weber. The British Museum series 
 of electrotypes of rare coins has been drawn upon 
 with the object of making the illustrations as com- 
 plete as possible. Where the illustrations are not 
 taken from the British Museum collection, I have 
 
PREFACE ix 
 
 indicated in the key to the plates the collection to 
 which the specimens belong. All the coins, unless 
 otherwise described in the key, must be regarded as 
 being of silver. 
 
 Finally, I must not omit to record my debt to 
 Mr. Warwick Wroth, and especially to Mr. George 
 Macdonald, who have bestowed great pains on the 
 reading of my proofs, and made suggestions which 
 in almost every case I have been glad to adopt. 
 
 G. F. HILL. 
 
 British Museum, 
 Dec. 1902. 
 
TABLE OF CONTENTS 
 
 PAGE 
 
 Preface v 
 
 List of Plates xii 
 
 List of Illustrations in the Text . . . xiii 
 
 Introduction i 
 
 Chapter I : The Earliest Coinage ... 36 
 
 „ II : From Himera to the Assinarus . 53 
 
 „ III: The Fine Period .... 97 
 
 „ IV: The Decline 149 
 
 „ V: From Hiero II to Tiberius . . 186 
 
 Appendix: The Maltese Group and Pantellaria 227 
 
 Select Bibliography 231 
 
 Index I : Subjects 237 
 
 Index II : Greek 253 
 
LIST OF PLATES 
 
 Syracusan ' Medallions ' 
 Plate I . . , 
 
 II . . , 
 
 III . . . 
 
 IV . . , 
 V . . 
 
 VI . , . 
 VII 
 VIII 
 IX 
 X 
 XI 
 XII 
 XIII 
 XIV 
 XV . 
 Map of Sicily . 
 
 Frontispiece 
 
 face p. 
 
 48 
 
 
 58 
 
 >> 
 
 66 
 
 » 
 
 76 
 
 j> 
 
 82 
 
 
 106 
 
 M 
 
 122 
 
 >» 
 
 130 
 
 )> 
 
 142 
 
 »; 
 
 148 
 
 >j 
 
 160 
 
 >> 
 
 174 
 
 >> 
 
 196 
 
 )■) 
 
 218 
 
 >f 
 
 226 
 
 }i 
 
 256 
 
LIST OF ILLUSTRATIONS IN 
 THE TEXT 
 
 FIG. PAGE 
 
 1. Zancle : Drachm 38 
 
 2. Camarina : LiTRA 51 
 
 3. Himera: Obol 69 
 
 4. HiMERA : LiTRA . 69 
 
 5. Catana-Aetna : Litra or Obol .... 74 
 
 6. Camarina : Didrachm 80 
 
 7. Gela : Didrachm 83 
 
 8. Segesta : Didrachm 86 
 
 9. Segesta : Didrachm ....... 87 
 
 10. Eryx : Litra 89 
 
 11. Eryx: Litra 90 
 
 12. Galaria : Litra or Obol 90 
 
 13. Henna : Litra 91 
 
 14. Hipana : Litra 92 
 
 15. Stiela : Half-Drachm 92 
 
 16. Panormus : Tetradrachm 93 
 
 17. Panormus: Obol ....... 93 
 
 18. Panormus : Didrachm 93 
 
 19. Panormus : Litra 93 
 
 20. MoTYA : Tetradrachm 94 
 
 21. Motya: Didrachm 94 
 
 22. Motya : Obol 95 
 
 23. Syracuse : Decadrachm by the ' New Artist.* 
 
 A. J. Evans Collection 103 
 
 24. Syracuse : Tetradrachm 108 
 
 25. Syracuse: Gold iii 
 
XIV 
 
 LIST OF ILLUSTRATIONS 
 
 FIG. 
 26. 
 
 27. 
 
 28. 
 
 29. 
 
 32. 
 
 33- 
 34. 
 35- 
 36. 
 37- 
 38. 
 
 39. 
 40. 
 
 41. 
 42. 
 43- 
 44. 
 45- 
 46. 
 
 47. 
 48. 
 
 49. 
 50- 
 51- 
 52. 
 53- 
 54. 
 55. 
 56. 
 57. 
 58. 
 
 59. 
 60. 
 61. 
 62. 
 
 . Chron. 1891, p. 362 
 
 Syracuse : Bronze Litra 
 
 Syracuse : * Pegasus ' (Num. Chron. 1891, p. 362) 
 
 Syracuse : Electrum 
 
 Gela : Gold 
 
 Gela : Bronze 
 
 Camarina : Obol 
 
 Camarina : Litra 
 
 Camarina : Obol 
 
 Leontini : ' Pegasus * [Num 
 
 Segesta : Tetradrachm 
 
 Nacona : Bronze 
 
 Morgantina : Litra 
 
 Abacaenum : Litra 
 
 MoTYA : DiDRACHM 
 
 Solus : Bronze . 
 
 Ras Melkart : Tetradrachm . 
 
 SicuLO-PuNic Tetradrachm 
 
 Syracuse : Bronze 
 
 Syracuse : Gold of Agathocles 
 
 Syracuse : Gold of Agathocles 
 
 Syracuse : Bronze 
 
 AcRAGAs : Litra . 
 
 Acragas : Bronze Half-Litra 
 
 AcRAGAS : Bronze of Phintias 
 
 Gela : i^ Obol . 
 
 Gela : Bronze 
 
 Messana-Mamertini : Bronze 
 
 Tyndaris : Bronze 
 
 'Alliance* Bronze . 
 
 'New* Coinage: Bronze . 
 
 Hadranum : Bronze . 
 
 Hadranum : Bronze . 
 
 Agyrium : Bronze 
 
 Agyrium : Bronze 
 
 Centuripae : Bronze . 
 
 Lipara : Bronze . 
 
 Lipara : Bronze . 
 
LIST OF ILLUSTRATIONS xv 
 
 FIG. PAGE 
 
 63. Entella : Bronze 183 
 
 64. Campanians (?) : Litra 184 
 
 65. Campanians (?) : Bronze Litra .... 185 
 
 66. Syracuse: 'Pegasus' of Hiero II . . . . 187 
 
 67. Syracuse : 16 Litrae 196 
 
 68. Syracuse : 10 Litrae 196 
 
 69. AcRAGAS : 4 Litrae 19^ 
 
 70. Acragas : Bronze 199 
 
 71. LiPARA : Bronze Semis 203 
 
 72. Agrigentum : Bronze of Augustus . . . . 211 
 
 73. LiPARA : Bronze 215 
 
 74. Cephaloedium : Bronze 216 
 
 75. Solus : Bronze 219 
 
 76. Hybla Megala : Bronze 220 
 
 77. Petra : Bronze ... .... 220 
 
 78. AssoRus : Bronze 221 
 
 79. Haluntium : Bronze 222 
 
 80. Uncertain Bronze 223 
 
COINS OF ANCIENT SICILY 
 
 INTRODUCTION 
 
 Among the many students of ancient life, and the 
 many who, though they cannot be called students, 
 are yet aware that there is much in ancient life worthy 
 of their attention, there are not a few to whom 
 Greek antiquities of any kind, in the concrete sense, 
 are an unknown quantity. There are also many 
 who, familiar as they may be with other branches 
 of archaeology, are somewhat bewildered by the 
 complexity and technicality with which numismatic 
 studies are encumbered. It may therefore not be 
 out of place to devote a few introductory pages to 
 explaining such technicalities as are unavoidable even 
 in the most superficial treatment of Greek coins. 
 
 We need not here concern ourselves to find an 
 adequate definition of the thing 'coin,' or to delimit 
 the province of the study of numismatics. It is suffi- 
 cient to understand that the coins which we shall 
 meet with are pieces of metal adjusted to certain 
 weights, issued with a distinguishing mark by the 
 
 -^^ 
 
2 INTRODUCTION 
 
 authorities of various independent states, to serve 
 as a medium of exchange. The metals which will 
 concern us are in the first instance silver, in the 
 next gold, bronze, and a mixture of gold and 
 silver known as electrum. The order in which we 
 have mentioned these metals is practically the order 
 of their appearance in Sicilian coinage ; but it must 
 be remembered that, long before the invention of 
 coins, gold, and in many cases bronze, circulated by 
 weight as uncoined metal. And so we come to the 
 second point in our rough definition, and to the 
 question of weight standards. The brief excursion 
 into the thorny byways of metrology made in the first 
 chapter will probably be amply sufficient for the taste 
 of most readers. It will, however, give an indication, 
 though slight, of the fact that coin-standards often throw 
 considerable light on the commercial and political 
 relations between the different states of antiquity. 
 But it was not enough that the coins should be of 
 a certain weight; some guarantee was necessary to 
 show that the metal was good, and to save the 
 trouble of weighing each coin whenever it changed 
 hands. Such a guarantee was afforded by the mark 
 of the issuing authority. The piece of metal was 
 given a certain shape and design by one of two 
 methods. Either it was cast in a mould, which was 
 of the right size to produce a cast of the required 
 
MATTER AND FORM OF COINS 3 
 
 weight, and which imparted to it the desired form 
 
 and design ; or else a piece of metal of the right 
 
 weight (known as the flan or blank) was first cast, 
 
 and then the required designs were impressed 
 
 on it in relief by means of metal dies, in which 
 
 the designs were engraved in intaglio. The former, 
 
 or casting process, was in use in Central Italy 
 
 in the earliest period of the coinage, when the 
 
 currency consisted of large pieces of cast bronze. 
 
 The second process (called 'striking,' although that 
 
 word only describes the latter stage of it) was 
 
 almost universal throughout the Greek world. Now 
 
 this process of first casting the blank or flan, and 
 
 then striking it with dies, produces many peculiarities, 
 
 according to the different methods adopted in various 
 
 parts of the world; and these peculiarities go to 
 
 make up what the numismatist calls the ' fabric ' of 
 
 the coin. 
 
 The form given to the blank by the initial process 
 
 of casting was naturally obliterated by the pressure 
 
 of the dies; only on the edge of the struck coin 
 
 may there be preserved a relic of the original form, 
 
 in the shape of a little projection. The mould, in 
 
 most early Sicilian coins, was apparently spherical, 
 
 and made in two equal halves. The projection was 
 
 formed by the metal flowing into the joint between 
 
 the two halves of the mould ; on the faces of the 
 
 B 2 
 
4 INTRODUCTION 
 
 coin it was of course obliterated by the dies, but 
 on the edge it escaped destruction '. This feature 
 is more prominent in SiciHan coins than in those 
 of any other part of the Greek world. The Greeks, 
 indeed, took little trouble about the shape of their 
 coins, as long as the weight was right and the 
 design recognizable. They were excessively care- 
 less about the process of striking. They used no 
 collar to hold the mqtal in place and preserve 
 the circular shape of the coin ; and the pressure of 
 the dies caused the flans to spread irregularly, and 
 often to split. The blank or flan was placed — as 
 a rule, in a heated condition— on the lower die, 
 which was let into an anvil; the upper die was 
 held over it, and struck with a hammer. Very often 
 the coin moved slightly between the first and the 
 succeeding blows, and the later blows did not efface 
 all traces of the first impression, so that what are 
 called double-struck coins were produced. Some- 
 times the coin is struck to one side, so that a good 
 part of the design is ' off" the flan.' It is, in fact, 
 an exception to find the design absolutely complete. 
 
 ^ If the blank was placed on the anvil in such a position that the 
 ridge was in a horizontal plane, then the ridge would be preserved 
 all round the edge of the coin. But this would have produced a 
 thin ragged edge to the coin ; more usually, therefore, the plane of 
 the ridge was inclined, or even vertical, so that only two small 
 projections remained after striking. 
 
FABRIC 5 
 
 The dies themselves were probably made of com- 
 paratively soft metal, and broke and v^ore out easily. 
 To this fact we owe the enormous variety of repre- 
 sentations of the same type which is characteristic 
 of Greek coins. 
 
 The lower die, which was let into the anvil, pro- 
 duced what is called the obverse side of the coin. 
 The upper die produced the reverse. Down to the 
 fourth century B.C., the reverse die was made smaller 
 than the surface of the blank, so that it left an 
 incuse impression, the edges of the blank rising up 
 around it. In most parts of the Greek world the 
 upper die was at first square in shape, so that the 
 incuse impression was also rectangular. But the 
 Sicilians, almost from the first, adopted a circular 
 die, with the result that the ' incuse square ' is hardly 
 seen on Sicilian coins. One or two early coins, 
 such as the first issues of Himera, Zancle, Syracuse, 
 and Selinus, have it. In later times, the upper die was 
 made so large that it covered the whole surface of 
 the blank, and the reverse was then only differentiated 
 from the obverse by a slight concavity of surface. 
 Numismatists have become accustomed to use the 
 terms ' obverse ' and ' reverse ' without regard to their 
 technical significance. Strictly speaking, the head 
 on such a coin as the Damareteion (PI. II. 6) is on 
 the reverse^ although it is almost universally spoken 
 
6 INTRODUCTION 
 
 of as the obverse type. The reason for this laxity of 
 expression is that on most later coins the head 
 (divine or human) stands on the obverse. Since the 
 head was usually treated in higher relief than the re- 
 verse type, the strain on the die was correspondingly 
 greater, and the die with the head was therefore 
 placed where it would receive the greater support 
 from the anvil below it and around its edges. Most 
 numismatists have thus formed a habit, difficult to 
 discard, of thinking of the side of a coin which 
 bears the head as necessarily the obverse, unless 
 the incuse impression is very deep; and in 
 Sicily it is usually shallow. In this volume, the 
 technical significance of the terms obverse (anvil- 
 side) and reverse (upper-side) has been borne in 
 mind. 
 
 The dies produced on the blank what as a whole is 
 included in the term 'design.' This consisted essen- 
 tially of a 'type,' which could be accompanied by 
 symbols and by an inscription ; and the whole could 
 be enclosed in a border. The whole space enclosed 
 in the border, or, when there is no border, the surface 
 of the coin, is, so far as it is not occupied by the type, 
 regarded as the 'field'; but from the field itself 
 a subsidiary portion, the segment of the circle below 
 the type, is sometimes cut off" by a line ; this segment 
 is known as the ' exergue.' 
 
 I ■ 
 
DESIGN AND TYPE 7 
 
 As regards the type, it is unnecessary here to 
 embark on a classification, or to discuss the primary 
 reasons which inspired the selection by a particular 
 city of a particular type; to ask whether the type 
 was selected because it was the badge of the city, or 
 the emblem of the chief deity, or the representation 
 of a commodity, a certain amount of which was equal 
 in value to the coin. Different answers would have 
 to be returned in the case of different cities. The 
 one point which we have to grasp is that, even where 
 the origin of the types may have been commercial, 
 these types yet became, in the time with which we 
 are concerned, connected with the religious cults of 
 the state. To the ordinary person, who knew nothing 
 and cared less about origins, the types had then 
 nothing but a religious significance. Now, to the 
 historian, the light in which a people regard a fact 
 is of more importance, in discovering the springs of 
 action, than the scientific truth about that fact; and 
 for the student of numismatics who works from the 
 standpoint of history, art, or religion, it is more 
 essential to know that the Naxians regarded the 
 bunch of grapes as a symbol of the wine-god, than to 
 know, or assume, that the coin originally represented 
 the value of a certain quantity of wine indicated in 
 some way by the bunch of grapes. This may be" 
 admitted without in any way depreciating the value 
 
8 INTRODUCTION 
 
 of the study of the origins of primitive coin-types, as 
 apart from their significance in the period with which 
 we are concerned. 
 
 The field of the coin, and the exergue, some- 
 times contain what in the language of numismatists 
 are known as ' symbols \' These minor elements of 
 the design fulfil various purposes. They must in 
 the first place be distinguished from the adjuncts 
 which are directly related to the type, such as 
 the panther which accompanies a Dionysus, or 
 the eagle in the hand of Zeus. Such adjuncts are 
 distinguished from the true symbol, in the numism- 
 atic sense, by the fact that the person or thing of 
 which they are the attributes is represented as the 
 type in the same design ; whereas the true numism- 
 atic symbol belongs not to the main type, but to 
 something not otherwise represented. It may be the 
 sign of the monetary magistrate who issued the coin, 
 or of the ruler of the state — as I have tried to show in 
 the case of the triskeles in the coinage of Agathocles ; 
 
 ^ The word ' symbol ' will of course be found used in numismatic 
 literature in a wider sense also ; the caduceus used as a type by 
 itself, for instance, may be explained as the ^symbol' of Hermes. 
 But no mystic meaning is supposed to be inherent in such 
 'symbols.' Some of them may have been worshipped in the place 
 of the gods they represent, as the thunderbolt certainly was. But, 
 in thus describing them, the numismatist merely means that these 
 objects are figured with the aim of caUing up to the mind the 
 deity, local or other, with whom they are locally associated. 
 
SYMBOLS AND INSCRIPTIONS 9 
 
 or it may represent some historical event, as possibly 
 does the pistrix on the coins of Hiero. Sometimes, 
 however, it is so drawn into connexion with the main 
 type that it loses its separate symbolism and becomes 
 an essential part of the main design ; thus the panoply 
 on the ^ medallions ' of Syracuse gives significance to 
 the otherwise commonplace type of the victorious 
 chariot and four. 
 
 The study of coin-inscriptions is an important de- 
 partment of numismatics. The forms of the letters, 
 the use of this or the other alphabet, may be of the 
 utmost value in determining the date of a coin. 
 These are questions which we shall have, for the 
 most part, to ignore, as leading us into the obscurest 
 corners of the subject. It is necessary, however, to 
 warn the uninitiated that the alphabet and ortho- 
 graphy which they find on early coins are not those 
 made familiar by modern texts. Down to the last 
 years of the fifth century E may be used for e, h, 
 and ei, and O for 0, co and ou, although the long 
 vowel signs H and A begin to make their way into 
 the alphabet, sometimes with curious results, some 
 twenty or thirty years earlier. In the meaning of the 
 inscriptions there is great variety. They may consist 
 of the 'ethnic' adjective, used either in agreement 
 with a suppressed word for 'coin,' as FEAAION 
 (jeTpabpaxMov) i. e. ' Geloan tetradrachm ' ; or in the 
 
lo INTRODUCTION 
 
 genitive plural, to show that the coin belongs to the 
 people or the ruler who issued it, as ^YPAKO^IAN 
 'coin of the Syracusans/ or lEPANO^ 'coin of 
 Hiero/ In the period before the introduction of the 
 long vowel signs, it is often difficult to decide in which 
 of the two cases the word is meant to be understood. 
 Again, we may have the name of the city, 1<ATANE ; 
 or of the city personified, as IMEPA; or of some 
 deity closely connected with the city, as the river-god 
 TEAA^. Deities such as lEY^ EAAANIO^ 'Zeus 
 Hellanios' or Nll<A 'Victory' may be named; and 
 when, as with KOPA^ 'of the Maiden Goddess,' 
 the name is put in the genitive, the coinage is, so to 
 speak, consecrated to and regarded as the property 
 of the deity. To find an inscription giving the object 
 of issue is comparatively rare m Greek coins ; the 
 ^YMMAXIKON 'alliance coin' of the fourth century 
 is hardly an instance in point. Marks of value, such 
 as PEN for ' pentalitron ' (piece of five litrae), are also 
 not too common, denominations being generally 
 expressed by other means. 
 
 In a somewhat sketchy way I have now indicated 
 the main aspects in which an ancient coin can be con- 
 sidered; it is to be hoped that the succeeding pages 
 will make these outlines more definite. It is obvious 
 that the kind of evidence afforded by coins is extra- 
 ordinarily varied. 
 
HISTORICAL VALUE OF COINS ii 
 Not only is it true that here 
 
 In one short view, subjected to our eye, 
 Gods, emp*rors, heroes, sages, beauties lie ; 
 
 but the peculiar value of coins lies in their being 
 at once works of art and official productions of 
 the state. The Sicilians, at least, had the good 
 sense to employ the best available artists at their 
 mints, so that the collocation which sounds absurd 
 to a modern Englishman, with his experience 
 of recent issues of the Royal Mint, was to them 
 only obvious. For the historian of art the study 
 of coins is as a guide always at his elbow. These 
 objects — owing to the many aspects from which they 
 can be considered — are more easily dated than any 
 other kind of antiquities. The large series in which 
 they exist enable us to mark with great exactitude the 
 lines along which art developed. For two or three 
 imperfectly preserved works of great sculpture we 
 
 have hundreds of coins in almost perfect condition. 
 
 • 
 
 The great sculpture represents the grander summits 
 of the achievement of an age ; but the coins show the 
 general level of art, out of which these summits arose, 
 and without which they could not have arisen. And 
 then the question of authenticity ! The contempt 
 with which each connoisseur of ancient engraved 
 gems speaks of every other's power of distinguishing 
 between true and false is as disheartening as the 
 
12 INTRODUCTION 
 
 controversies which take place over pieces of gold- 
 smithery. Every one will admit that there are many 
 coins of which the authenticity is disputed, and no 
 numismatist can boast of never having been deceived; 
 but about the vast majority of coins in our great 
 collections there lingers no breath of suspicion. Here 
 then we have a vast and varied mass of authentic 
 evidence ; contemporary with the history with which 
 we have to bring it into relation ; unspoiled by the 
 redaction of historiographers or pamphleteers ; repre- 
 senting the authorities of the state which issued it, 
 and yet reflecting also the individuality of the best 
 artist whom that state could find to employ ; filling 
 the gaps in the story of the development of the greater 
 arts, where otherwise we should be reduced to 
 wondering at an odd torso, a few metopes from 
 a temple, or a Roman copy in marble of a Greek 
 bronze ; telling us what cults were most prevalent, in 
 what cities, and at what times ; and giving withal a 
 more vivid picture of the commercial relations of these 
 cities than any ancient historian could have produced, 
 had he felt the inclination to attempt such a task. 
 The coins of later ages have some of these quahties, 
 but they can be supplemented by other documents of 
 equal veracity. In Greece the coins often provide 
 more than mere footnotes to history. And of all parts 
 of the Greek world, this is most true of Sicily, where 
 
PRIMITIVE SICILY 13 
 
 the extraordinary, almost feverish individual develop- 
 ment of the independent cities is brilliantly reflected 
 in the constant changes of their currency. 
 
 The history of Sicily begins for us with the founda- 
 tion of the Greek colonies. Some of the earliest pre- 
 Hellenic burial-grounds show traces (probably not 
 all imported) of a culture which is allied to the 
 'Mycenaean/ The most primitive stratum in the 
 population of the island was probably the race repre- 
 sented in historic times by the Elymians of Segesta, 
 Eryx, Entella, and Halicyae. We need not speculate 
 on their nationality. Crowded into the western 
 corner, they preserved their ancient tongue ; but all 
 that remains of it to us is contained in the inscrip- 
 tions on their coins. Next in point of antiquity 
 come the Sicans and Sicels. The former, said Greek 
 tradition, were Iberians; but we may incline to the 
 modern conjecture that the Sicans, who occupied 
 the western half of the island, formed the vanguard 
 of the Italic immigration to which the Sicels cer- 
 tainly belonged. Their towns were of little impor- 
 tance ; the Sicel towns, on the other hand, are too 
 many to enumerate. To the east of a line drawn 
 southwards from Cephaloedium (Cefalu), all the old 
 towns where Greek colonies were not founded, 
 such as Agyrium, Centuripae, Henna (the 'navel of 
 
14 INTRODUCTION 
 
 Sicily'), kept their Sicel population down to a late 
 date. They cannot have become thoroughly Hel- 
 lenized until such time as the Hellenic name itself 
 became merged in the Roman. But foreign elements 
 were easily absorbed by Sicel civilization ; the legend 
 of the Rape of Persephone in the fields of Henna 
 cannot have been of Sicel origin ; and even the fire- 
 god Hadranus seems to have been an immigrant. 
 
 Thucydides tells us that the Greek colonists found 
 the Phoenicians already in occupation of Sicily. 
 Eastern Sicily, however, is singularly barren of 
 traces of Phoenician occupation. How is it that no 
 emporium was founded where the city of Zancle 
 afterwards arose, on the straits of Messina, command- 
 ing as it would have done the route to western Italy 
 and southern Gaul; and how is it that Phoenician 
 objects are absent from pre-Hellenic Sicel ceme- 
 teries ? Probably because the Phoenicians preceded 
 the Greeks in Sicily by very little, if at all. As the 
 Phoenicians worked round by the African coast and 
 the Maltese islands, they naturally colonized the 
 West and North- West; while the Greeks, skirting 
 the southern end of Italy, which they had reached 
 from the nearest point of Greece, seized first on the 
 eastern and north-eastern coasts. Melita (Malta) ^ 
 Gaulos {Gozd), and Cossura {Pantellarm) retained 
 the Punic character long after it had faded from the 
 
OF 
 
 THE FIRST COLONIES 15 
 
 Punic foundations on the main island : — Panormus 
 (Palermo), Solus (Solunto), and Motya, which in the 
 fourth century was superseded by Lilyhcieum (Marsala). 
 About 735 the Greek colonizing expeditions began 
 with the foundation of Naxos, the chief element in 
 which was drawn from Chalcis in Euboea, although 
 there must also have been a considerable contingent 
 from the Aegean island of Naxos. From Naxos 
 arose Leontini and Catana; while men of Chalcis 
 and other Euboean cities founded Zancle, on a spot 
 the importance of which had already been seen by 
 freebooters from Cyme on the Italian coast. Zancle 
 itself, about the middle of the seventh century, 
 founded Himera. But another great trading people, 
 the Corinthians, had followed hard on the Chal- 
 cidians. In the year after the settling of Naxos there 
 happened a much more important event : the colony 
 of Syracuse was established on the island of Ortygia. 
 Besides some outposts (Acrae, Casmenae) in the 
 interior, Syracuse founded Camarina on the southern 
 coast in the first years of the sixth century. Yet 
 again, in the last quarter of the eighth century, 
 Megara, the neighbour of Corinth, founded a city 
 in Sicily; but Hyblaean Megara was too close to 
 Syracuse to flourish. About a century after its 
 foundation it sent forth a band who occupied the 
 most western of Greek sites in the island, at Selinus 
 
i6 INTRODUCTION 
 
 {Selinunte)j ^the place of wild celery.' One more 
 Dorian city sent out a colony ; early in the seventh 
 century men from Rhodes, with some Cretans, 
 founded Gela; and from Gela, about 580, Acragas 
 (Girgenti) took its foundation. This was the last of 
 the great colonies to be set up in the island; but 
 just at this time, or a little later, a band of Rhodians 
 and Cnidians, after a vain attempt to settle where 
 Lilybaeum afterwards arose, contented themselves 
 with a home on the Lipari islands. 
 
 The records of Sicily in the sixth century, naturally 
 scanty, tell us of the tyrants of which the city-state 
 in this island, as elsewhere in the Greek world, pro- 
 duced a plentiful crop. The earliest of any impor- 
 tance was the notorious Phalaris, who ruled Acragas 
 in the first half of the century. We hear also of the 
 destruction of Camarina in a war with Syracuse 
 about 550 ; and of a fruitless attempt by the Spartan 
 prince Dorieus to establish a colony in the heart oi 
 Phoenician territory (about 510). The great period 
 of the tyrannis dates from the beginning of the fifth 
 century. Of Anaxilas the coins will tell us much. 
 Hippocrates of Gela brought under his sway not 
 only native tribes but Greek colonies ; Camarina he 
 wrested from Syracuse by a great victory on the 
 Helorus. At his death (491) his power passed to 
 one of his officers, Gelo, son of Dinomenes. This 
 
GELO OF SYRACUSE 17 
 
 shrewd captain found his opportunity in Syracuse, 
 where the disaster on the Helorus had made the 
 old landed aristocracy, the Gamori, an easy prey to 
 the popular party (about 485). Amid the ensuing 
 anarchy, Gelo established himself in Syracuse, and, 
 drawing new citizens from Gela, Camarina, Megara, 
 and the Chalcidian colony of Euboea, made Syracuse 
 once and for all the greatest of Sicilian cities. States- 
 man as well as general, he allied his house by 
 marriage with Thero, the ruler of Acragas. and 
 Himera. 
 
 Coincident with the climax of the Persian War 
 came the first serious clash between Greeks and 
 Phoenicians. It had been threatening ever since 
 Phoenicians and Etruscans had combined to oust 
 the Greeks from Alalia, their colony in Corsica. 
 Instigated by Terillus, the fugitive ruler of Himera, 
 and supported by Anaxilas of Rhegium and Zancle, 
 the Carthaginians poured a great army under 
 Hamilcar into Sicily by the port of Panormus. The 
 contest was short and sharp ; Gelo and Thero inflicted 
 an absolutely crushing defeat on the Punic general, 
 who was besieging Himera (480). Syracuse and its 
 leader were without question supreme in Sicilian 
 politics. 
 
 The best of the haiTcst sown by Gelo was reaped 
 by his brother Hiero, who succeeded him in 478. 
 
i8 INTRODUCTION 
 
 The court graced by Aeschylus, Pindar, Simonides, 
 BacchyHdes, Epicharmus, was the most brilliant in 
 the world. But Hiero was great in war also, and 
 broke the sea-power of Etruria in the battle of Cyme 
 (474). Now Syracuse counted no rival among the 
 Greek states of the West. Nevertheless the aggres- 
 sively military form of Hiero's power made his rule 
 unpopular, although its foundation lay in Hellenic 
 unity against the barbarian. The fall of the tyrannis 
 in Acragas and Himera (about 472) was a presage of 
 the revolution which broke out in Syracuse at the 
 death of Hiero (466), and ended in 465 in the fall 
 of his brother and successor Thrasybulus. This 
 again was the signal for a general revolution and 
 the setting up of democracies all over the island. 
 By 461 there was ^ liberty ' throughout Greek Sicily. 
 But at the same time there was an uprising of the 
 native Sicels. Acting at first as an ally of the Syra- 
 cusan democrats, the Sicel chief Ducetius organized 
 a national movement, took one Greek stronghold 
 after another, even set up a capital, Palice, and was 
 only checked by the Syracusans, whose victory 
 (about 450) extinguished the hopes of a Sicel king- 
 dom. Syracuse had now once more saved the Greek 
 cities. Unable to brook that loss of her supremacy 
 which had of necessity followed on the breaking 
 down of the tyranny, she fell into strife with her 
 
ATHENS AND SICILY 19 
 
 rival Acragas. A battle on the river Himeras settled 
 the question in her favour (about 446). 
 
 It is about this time that we perceive the first indi- 
 cations of serious intervention by Athens in Sicilian 
 affairs. It begins with the establishment of friendly 
 relations with the two Elymian cities of Segesta and 
 Halicyae. In 433 Leontini signed a treaty with 
 Athens. It was the importance of Corcyra for 
 Athenian relations with the West that precipitated 
 the Peloponnesian War with all its fateful conse- 
 quences. In 427 a war was raging between Syracuse 
 (supported by Gela, Selinus, Himera, Lipara, and 
 Messana) on the one side, and on the other Catana, 
 Leontini, Naxos, Camarina, aided from Italy by 
 Rhegium, and at home by the Sicels. Athens 
 dispatched a squadron to help the anti-Syracusan 
 party. But the intervention, supported though it was 
 two years later by a fresh fleet, did little but draw 
 the Siceliotes together through suspicion of Athenian 
 disinterestedness; so that peace was signed in 424. 
 But when the Athenian ally Leontini fell into the 
 power of Syracuse, and when in 416 war broke out 
 between Segesta and Selinus, Athens was bound to 
 make her hand felt. The expedition, as every one 
 knows, ended tragically for the Athenian Empire in 
 the slaughter on the Assinarus (413). Syracuse 
 
 owed it chiefly to her great citizen Hermocrates that 
 
 c 2 
 
20 INTRODUCTION 
 
 she now stood higher than ever, high enough to 
 intervene in the war in the Aegean. But the Athe- 
 nian disaster had an unexpected result. The remnant 
 of Athenian alHes, w^ho held out in Segesta and 
 Eryx, in their distress appealed to Carthage. The 
 Punic interests in western Sicily were threatened by 
 the growing power of Selinus : hence the great in- 
 vasion under Hannibal in 409. Selinus fell speedily, 
 amid horrible slaughter; Himera too was destroyed 
 for ever. A second expedition in 406 came against 
 Acragas, which a Greek army of 30,000 men failed 
 to save. 
 
 In faction-torn Syracuse, these failures against 
 the barbarians were the opportunity of Dionysius, 
 a brilliant officer of the party of Hermocrates. He 
 became sole general in 405 ; but his new-born power 
 was all but shattered by his failure to do more than 
 bring off the inhabitants of Gela and Camarina. This 
 danger suppressed, he found the Punic general, 
 whose army was decimated by sickness, ready to 
 make terms. Dionysius himself was to be ruler of 
 Syracuse ; Catana, Leontini, and other Greek cities, 
 also the Sicels, were to be independent; and the 
 Carthaginians were to retain their conquests. Hardly 
 had he made peace, when a second internal revolt 
 reduced him to extremities. His adroitness saved 
 him, and he provided against the recrudescence of 
 
DIONYSIUS THE ELDER 21 
 
 such troubles by establishing a pseudo-constitutional 
 government. Council and General Assembly had 
 the right to declare war and levy direct taxes on the 
 property of citizens ; but we cannot doubt that the 
 man who controlled the army and navy, appointed 
 the officers, and held in his hands all the threads of 
 the executive, must have controlled also the Council 
 and General Assembly. Safely established in Syra- 
 cuse, Dionysius proceeded to consolidate his power 
 in eastern Sicily, allying himself with his neighbours 
 where he could not destroy them. The whole of 
 Syracuse from the isthmus outwards was his castle ; 
 the new fortifications on Epipolae made the city one 
 of the strongest in the world. The Carthaginian 
 War, the ultimate object of such preparations, began 
 in 397. The first Greek successes were speedily 
 wiped out by Himilco, and in 396 Dionysius was shut 
 up in Syracuse. His walls, the pestilent marshes 
 of the Anapus, and the ready help afforded from 
 Greeks outside Sicily, saved him, and the war ended 
 in a fearful disaster to the Carthaginian arms. 
 Dionysius was at first free to do what he pleased 
 with all but a small part of the island ; he was the 
 'ruler of Sicily.' Nevertheless he was soon dis- 
 turbed by a Sicel rebellion, supported by Rhegium, 
 and involving the revolt of Acragas, together with 
 a renewed Carthaginian invasion. Peace was signed 
 
22 INTRODUCTION 
 
 once more in 392, and he now turned his attention 
 to the Itahot Greeks. By 387 he found himself 
 master of all that he desired in southern Italy. He 
 founded colonies to promote trade in the Adriatic, 
 and inflicted a heavy blow on the Etruscan power in 
 the Tyrrhenian Sea. But not content so long as 
 a Semite remained on Sicilian soil, he turned once 
 more against his old enemy. Again at first suc- 
 cessful on the field of Cabala, he was eventually 
 defeated at the Cronium. Both sides suffered heavily. 
 Dionysius surrendered all that he had held west of 
 the Halycus, but the Italiots who had joined Car- 
 thage were delivered into his hand. He seems to 
 have restored order in Italy to his own liking. In 
 the next few years (372-367) we find him playing 
 a great part in Greek politics, as a friend not only 
 of Sparta, but of Athens, which had the satisfaction 
 of passing a decree in his honour (368), making a 
 formal alliance with him (367), and — awarding him the 
 first prize for a tragedy ! His reign ended as it had 
 begun with an unsuccessful Carthaginian war. He 
 failed to take Lilybaeum, and was forced to make 
 peace. He had failed to dislodge his enemy from 
 Sicily, but he had made it impossible that they 
 should dislodge the Greeks. That the Greek rivals 
 of Syracuse were extinguished or absorbed in her is, 
 beside this fact, a small matter. 
 
DIONYSIUS II AND DION 23 
 
 Dionysius was succeeded (367) by his son of the 
 same name, an easy-going and incapable ruler. The 
 weakness of the young tyrant was turned to ad- 
 vantage by Dion, the son of Hipparinus. Dion's 
 sister, Aristomache, had been the second wife of 
 Dionysius the elder, and Dion himself married Arete, 
 the issue of that union. His intrigues against the 
 throne were at first checked by exile; but in his 
 retirement he enlisted the sympathies of the haters 
 of tyranny (Plato among them), and was able to raise 
 a force with which in 357 he landed at Heraclea. 
 Here, as the enemy of the Syracusan tyrant, he was 
 well received by the Punic governor. The siege 
 of Syracuse which ensued was prolonged by the 
 jealousy entertained of Dion by many of his sup- 
 porters ; and these friends of reform were justified 
 by the performances of their general when he was 
 established in Syracuse. He was murdered in 353, 
 and amid the wretched faction-struggles which foU 
 lowed Dionysius recovered his power (346). Tyrants 
 sprang up once more in all the Greek cities, now 
 independent of Syracuse; the Carthaginians swept 
 into their net the cities of the southern coast. 
 
 In Leontini, under the tyrant Hicetas, some of 
 Dion's party were sheltered, and at their request 
 Corinth again came to the rescue. Timoleon, one 
 of the noblest, most disinterested statesmen in 
 
24 INTRODUCTION 
 
 history, landed with a small force in 345. But Hicetas, 
 who had succeeded in shutting up Dionysius in 
 Ortygia, would none of him, and preferred a Cartha- 
 ginian alliance. Timoleon, however, defeated Hicetas 
 at Hadranum, and was joined by many waverers, 
 including Dionysius. He was thus enabled to occupy 
 Ortygia, which was invested by land and sea ; but 
 Greek and Carthaginian worked ill together, and 
 eventually withdrawing left Syracuse to the liberator, 
 who razed the fortress to the ground. He could 
 now face the Carthaginians as leader of the united 
 Greeks; for even Hicetas was reconciled to him. 
 He advanced to the West and defeated the enemy 
 with fearful slaughter on the Crimisus (about 340). 
 The tyrants, feeling that their own turn was to 
 come, now revolted. But Timoleon, being free from 
 fear of Carthage, who renounced all territory east 
 of the Halycus, put down one tyrant after another, 
 sparing only Andromachus of Tauromenium, who 
 had never swerved in his fidelity to the liberator's 
 cause. In Syracuse, and probably in other cities, 
 a moderate democracy was established. The 
 citizenship of Syracuse was strengthened by con- 
 tingents from Greece and from other Sicilian cities, 
 that it might be the centre of the Siceliote federation. 
 Other places, which had long lain waste, were re- 
 stored. Peace and prosperity revived the small 
 
TIMOLEON AND AGATHOCLES 25 
 
 towns in the interior. Dionysius' task of unifying 
 the Sicels and SiceHotes against the Phoenician in- 
 truder was carried one stage further, and Timoleon, 
 after eight years of unremitting labour, laid down 
 his power, to spend the rest of his days, blind but 
 honoured, as a private citizen of the state to which 
 he had given peace. 
 
 But the spirit of faction was too strong for even 
 Timoleon's work to last. The council of six hundred 
 was controlled by the oligarchic party; the opposi- 
 tion was chiefly led by the adventurer Agathocles. 
 In the exile to which his enemies condemned him, 
 he fought and intrigued against them, and at last 
 succeeded in returning to Syracuse as general, with 
 a commission to restore order. This he effected 
 by the judicial massacre of the representatives of 
 oligarchy. The grateful people elected him sole 
 general (317-316); and he now ruled all eastern 
 Sicily except Messana, Gela, and Acragas. These 
 three cities, supported by a Spartan general and by 
 Tarentum, attempted to crush him; all they gained 
 was the recognition of the autonomy of the Greek 
 cities under the hegemony of Syracuse (313). So 
 far the Carthaginian governor Hamilcar had been 
 Agathocles' good friend ; but under his successor 
 war broke out (312-311). Agathocles had just suc- 
 ceeded in subjugating Messana ; but before Acragas 
 
26 INTRODUCTION 
 
 he failed, and any successes he achieved were can- 
 celled by his defeat at Ecnomus (310). His allies fell 
 away, and he was shut up in Syracuse. It was now 
 that he conceived the audacious plan of carrying war 
 into the enemy's country. Slipping out of Syracuse, 
 he was chased all the way to Africa (310), but landed 
 safely and inflicted a defeat on the Punic generals. 
 With his head quarters at Tunis, he reduced a great 
 part of the enemy's territory, winning victory after 
 victory. But all this had little effect on his affairs 
 at home. Hamilcar, it is true, was captured in an 
 attack on Syracuse, and the land-siege was raised ; 
 but the blockade was maintained by sea. Acragas 
 organized a new and independent Siceliote league, 
 to deliver the land at once from Carthage and from 
 tyranny — plans which were wrecked by a Syracusan 
 victory in 307. Meanwhile Agathocles continued to 
 carry all before him in Africa. In 308 he had been 
 joined by Ophelas, ruler of Cyrenaica, with a great 
 army. We do no injustice to the most treacherous 
 of Syracusan tyrants in supposing that the murder 
 of Ophelas was premeditated ; Agathocles needed the 
 reinforcements, but an Ophelas as ruler of Carthage 
 would be more dangerous than Carthage as she was. 
 The increase in Agathocles' forces caused an abortive 
 attempt at revolution by the Carthaginian peace- 
 party. We are led to believe that Agathocles went 
 
AGATHOCLES 27 
 
 on conquering territory; but his extraordinary ad- 
 versary possessed an inexhaustible power of raising 
 armies, and Agathocles began to feel that he was 
 needed at home. Landing at Sehnus just after the 
 defeat of the Acragantines, he captured a few cities, 
 and raised the blockade of Syracuse. But the 
 Syracusan exiles under Dinocrates were too strong 
 for him in the field. In Africa, meanwhile, Aga- 
 thocles' son Archagathus was reduced to extremi- 
 ties; the tyrant hurried over to find him besieged 
 in Tunis, the army demoralized, the allies melted 
 away. Sacrificing his ambitions he escaped to Sicily 
 (307). His deserted army thereupon killed his sons 
 and made terms with Carthage. 
 
 In Sicily, where the exiles under Dinocrates were 
 enormously strong, Agathocles was forced to make 
 an agreement with Carthage; then, freed from his 
 fears on this side, he was able to defeat Dinocrates 
 (305). The leader of the exiles joined him ; seven 
 thousand men, who had made terms, were butchered; 
 and all Greek Sicily outside the Carthaginian border 
 recognized ^ king ' Agathocles as head of the Siceliote 
 confederation. Peace prevailed in the island until 
 the tyrant's death in 289. He was thus free to act 
 in southern Italy and in Corcyra, which he did with 
 so much success that his daughter Lanassa had 
 the island for her dowry when she was married 
 
28 INTRODUCTION 
 
 to Pyrrhus^ king of Epirus, in 295. While planning 
 once more to attack the Carthaginians, Agathocles 
 was struck down by his last illness. Strife between 
 his son and designated successor Agathocles and 
 his grandson Archagathus made his last days miser- 
 able. The son Agathocles was murdered, and the 
 father died, leaving Syracuse with Archagathus and 
 his army outside the walls. Archagathus himself 
 was murdered by a supporter, Meno of Egesta. 
 This man, the Syracusan exiles, and the Cartha- 
 ginians were now all gathered round the unhappy 
 city. The Syracusans under Hicetas were forced 
 to make terms, but were fortunate enough to get rid 
 of the Agathoclean mercenaries. Promising to leave 
 the island, these barbarians were unable to resist 
 the temptations of Messana, which thus (about 288) 
 became the city of the ^children of Mamers.' Amid 
 the general disorder, the usual crop of tyrants sprang 
 up. Notably, Phintias of Acragas rose to a position 
 to which that of Hicetas in Syracuse was secondary. 
 The Mamertines ranged over the island, plundering 
 and destroying ; even Gela and Camarina fell before 
 them. The Carthaginians too had their own way, 
 and probably about this time they occupied the 
 Liparaean islands. About 280 came a reaction 
 against this anarchy. Phintias was replaced by 
 another tyrant; Syracuse became free. There was 
 
PYRRHUS IN SICILY 29 
 
 a general agreement, even on the part of many of 
 the tyrants {279), to ask King Pyrrhus to dehver the 
 island from the Carthaginian and the Mamertine. 
 In spite of his war with Rome, in spite too of the 
 strenuous efforts of Carthaginian diplomacy, the ad- 
 venturous Epirote landed at Tauromenium in 278. 
 Recognized as leader of the Siceliotes, he inflicted 
 serious defeats on the Mamertines, and took all the 
 Carthaginian strongholds except Lilybaeum. Against 
 this rock his strength was shattered. His popularity 
 waned, his mildness turned to harsh autocracy. A 
 general revolt broke out, and the Carthaginians re- 
 gained what they had lost. Meanwhile Rome was 
 achieving no small success in Italy, and in 275, after 
 inflicting a parting blow on Carthage, Pyrrhus sailed 
 away. As he failed in Sicily against Carthage, so 
 he failed in Italy against Rome. The two powers of 
 the West were to fight out their struggle for them- 
 selves. 
 
 Pyrrhus left the Mamertines no weaker than he 
 found them, and their bitter struggle with Syracuse 
 continued. Carthage, content with the recovery of 
 her old possessions, gave little trouble. In Syracuse 
 itself, Hiero, the son of Hierocles, was set up by 
 the army as its leader (274), and by his good 
 quahties won over the citizens to his side. He 
 confined the Mamertines to the neighbourhood of 
 
30 INTRODUCTION 
 
 Messana, and finally inflicted on them a crushing- 
 defeat. Carthage intervened to save them from the 
 extreme consequences of this disaster, and placed 
 a garrison in their citadel. Hiero's success won 
 him the title of King of the Siceliotes (269). 
 
 In their desperate plight the Mamertines sought an 
 alliance with Rome, not without success (265-264). 
 The Carthaginian commandant was frightened from 
 his post, and Carthage and Hiero joined hands to 
 prevent active intervention on the part of Rome. 
 But the Roman consul landed (264) ; and his suc- 
 cesses first roused Hiero's suspicions of Punic faith, 
 and then brought him definitely over to the Roman 
 side (263). With his invaluable help the Romans 
 made good their footing in many places, even in 
 far Eryx and Halicyae ; but they had many enemies, 
 who preferred the old adversary to the new. Acragas 
 fell before the Roman arms after a seven months' 
 siege, was re-taken, and eventually destroyed. In 
 261 the Romans won the great sea-fight off" Mylae ; 
 and when in 258 they took Camarina, they already 
 possessed the greater part of the interior. Above 
 all, the fall of Panormus in 254 secured to them 
 the north coast ; Thermae and Lipara were captured 
 in 252. A long struggle continued to the end of 
 the war round Eryx and its harbour Drepanum. 
 Metellus' great victory over the elephants near 
 
THE PUNIC W^^^a_-4^ 31 
 
 Panormus (250) compelled the enemy to evacuate 
 Selinus and Heraclea Minoa. Little remained to 
 Carthage now but Lilybaeum, part of Eryx, and 
 Drepanum. The Romans, in spite of the exploits 
 of Hamilcar Barca, stood stubbornly to the siege 
 of Lilybaeum, until the war was ended by the sea- 
 fight of Aegusa. Sicily was left to the Romans 
 and Hiero (241). The head quarters of the Roman 
 government were fixed at Lilybaeum ; Messana was 
 regarded as an allied city, and exempt from the rule 
 of the praetors; Panormus, Centuripae, Halaesa, 
 Egesta, and Halicyae, all of which, save the first 
 and second, had joined Rome voluntarily, were made 
 free and immune from taxation. Tribute, in the form 
 of tithes, was paid to Rome by all the other states 
 except Syracuse, which, with its territory, remained 
 autonomous. The reward of Hiero's prudent states- 
 manship was that his realm enjoyed a comparatively 
 long period of peace, and that his coffers were filled 
 to overflowing. His taxes were heavy; but the land 
 was very rich. The latter half of his reign is the 
 happiest period in the history of ancient Sicily. 
 But the outbreak of the Second Punic War marred 
 its close. True to his alliance, Hiero assisted the 
 Romans, and kept down the rebellious tendencies 
 which showed themselves in Sicily. 
 
 Towards the end of his reign he had associated his 
 
32 INTRODUCTION 
 
 son Gelo with himself in the kingship. Unfortunately 
 Gelo died before his father, and thus in 215 the power 
 descended to Gelo's eldest son, Hieronymus, a 
 typical tyrant's child, who speedily made an out- 
 ward display of the despotism which Hiero had 
 concealed. Thanks to the most influential of his 
 advisers, Hadranodorus, the key-stone of Hiero's 
 policy, the Roman alliance, was soon displaced. 
 The Punic agents, Hippocrates and his brother 
 Epicydes, prevailed; and in 214 the Sicilian war 
 began. Hieronymus himself was murdered at the 
 outset. The vacillations of Syracusan policy during 
 the next few months were extraordinary. The 
 Hannibalian agents, however, eventually succeeded 
 in definitely committing the majority of the Syra- 
 cusans to the Punic side; and the Roman general 
 Marcellus began the siege. Its length was due to 
 the careful fortifications completed by Hiero, and 
 to the mechanical genius of Archimedes, whose 
 engines played with the enemy as with toys. The 
 Punic army and fleet were active against Marcellus ; 
 the whole of the interior was in more or less open 
 revolt. Many that had wavered were driven into 
 the arms of Carthage by the massacre of the citizens 
 of Henna, whom the Romans suspected of an in- 
 clination to desert (213). But the Roman fleet com- 
 manded the north coast, and at last the besieging 
 
FALL OF SYRACUSE 33 
 
 army established itself on Epipolae. The fort of 
 Euryalus was cut off and capitulated. On the 
 heights of Epipolae the Roman army escaped the 
 worst of the malaria which thinned the ranks of 
 Carthaginians and Siceliotes; and the Carthaginian 
 fleet failed to relieve the city. Negotiations were 
 begun, but dragged on, owing to the conflicting 
 interests within the city ; so that Marcellus welcomed 
 the treachery of an officer which admitted his troops 
 into Ortygia. To the sack which ensued the present 
 poverty of Syracuse in works of art is largely due. 
 
 The Siceliotes did not come in as soon as might 
 have been expected ; Marcellus' conditions were too 
 hard, and the Carthaginians, thanks chiefly to the 
 brilliant exploits of Myttones, offered considerable 
 resistance. Marceflus, however, won a striking 
 victory on the Himeras (211), before leaving the 
 war to be concluded by Laevinus. Myttones, whom 
 his jealous colleague Hanno treated with indignity, 
 betrayed Acragas to the Roman general, and with 
 that the war was over (210). Sicily was now finally 
 organized as a province; Syracuse, of course, be- 
 came the chief seat of government. The restoration 
 of peace brought about the revival of agriculture, 
 just when the war in Italy was raising prices in 
 Rome to famine figures. 
 
 The chief events in Sicilian history of the second 
 
 D 
 
34 INTRODUCTION 
 
 century were an outcome of the economic conditions 
 of the time. The high development of the plantation- 
 system brought about a desperate slave -revolt in 
 134. For three years the daring leaders of the 
 slaves harried the island, in spite of the best armies 
 that Rome could send against them. A second war, 
 with almost precisely similar features, broke out in 
 104 and lasted for five years. 
 
 Under Roman administration, Sicily, like other 
 provinces under the Republic, suffered from the 
 extortions of the government officials, and has fur- 
 nished us with the most notorious example of the 
 kind: -Gains Verres (propraetor from 73-70), who 
 has been immortalized by Cicero. 
 
 In the civil wars of the end of the Republic, 
 Sicily played a passive part. It was occupied with- 
 out a blow by Caesar's lieutenant, Gains Curio, Cato 
 prudently withdrawing to Africa. It was Caesar's 
 naval base during the war in Africa (47). It was 
 occupied again by Sextus Pompeius from 43 to 36; 
 and Rome felt grievously the lack of Sicilian corn. 
 Eventually, Agrippa's victory off Naulochus placed 
 the island in Octavian's hands. 
 
 Under the new regime, introduced by Juhus 
 Caesar and developed by Marcus Antonius, all the 
 Sicilian communities received either the Roman or 
 the Latin franchise. Augustus planted several colonies : 
 
THE ROMAN PROVINCE 35 - 1 
 
 Tauromenium had already received a colony, pro- ^ 
 
 bably in 36; in 21 he founded Syracuse, Catina, j 
 Tyndaris, Thermae, Panormus. But although the 
 
 land enjoyed a measure of material prosperity under \ 
 
 the Empire, it ceased to possess any importance from j 
 
 a historical point of view, until the beginning of the ] 
 
 Middle Ages. J 
 
 D 2 
 
\\ 
 
 7 
 
 CHAPTER I 
 THE EARLIEST COINAGE 
 
 BEFORE 480 B. C. 
 
 At the time of the introduction of coinage into 
 Sicily the great period of Greek colonization in the 
 western Mediterranean had all but come to a close, 
 and along the Sicilian shores the early outposts of 
 Greek trade had developed into flourishing cities. 
 Only in the extreme western corner, along the western 
 portion of the north coast, and in the rough interior, 
 did the Phoenician merchant settlers and the descen- 
 dants of the earliest inhabitants, Elymians, Sicans 
 and Sicels, hold their own. The last important Greek 
 foundation in the island was Acragas (Agrigentum), 
 settled from the neighbouring Gela about 580 b. c. 
 
 It is just possible that some of the earliest SiciHan 
 coins may belong to the closing years of the seventh 
 century; but with this reservation we must think of 
 the Siceliote Greeks before 600 b.c. as conducting 
 their trade partly with uncoined metal in the shape of 
 bars, spits, or rings, and partly, doubtless, with coins 
 
EARLIEST COINAGE. ZANCLE 37 
 
 brought from their homeland of Greece, where the 
 early coinage was now in full vigour. Athenian tetra- 
 drachms, for instance, both of the earliest and of the 
 later style, are frequently found in Sicily. Much of 
 the trade from Greece passed westward through the 
 Sicilian straits, and up the Italian coast to Cyme 
 (Cumae), a colony founded (probably in the last third c)} 
 of the eighth century) by the people ot Cyme in 
 Euboea. Trade-ships coming from Euboea would 
 find welcome at Naxos, Catana, Leontini, and 
 Zancle; and on rounding the Cape Pelorus and 
 sailing along the north coast, they would be greeted 
 by the Greeks of Himera, lonely upholders of 
 Greek civilization among barbarous Sicels and 
 Phoenicians. 
 
 Three of this important group of five cities produced 
 the first coins ever struck in Sicily. They are of 
 silver (the only metal which was coined in the island 
 until late in the fifth century), and rude enough, but 
 excessively interesting, particularly those of Zancle. 
 This port, afterwards called Messana, with its sickle- 
 shaped harbour, took its name from the native word 
 for sickle— danklon. And accordingly onjhe earliest 
 coins (PI. I. i), which are inscribed DANI<UE, 'we see 
 figured, by a kind of symbolism not uncommon on 
 Greek coins, a dolphin (emblem of the sea-god and ,« 
 the sea-waves) lying within a curved object evidently 
 
1 
 
 r 
 
 >vV^ 
 
 38 THE EARLIEST COINAGE 
 
 meant to represent the shape of the harbour. This is 
 the type of the obverse; the reverse of the earliest coins 
 shows merely the same type incuse. At first sight 
 unremarkable, this last fact attains historical import- 
 ance when we remember that the only Greek coins 
 that represent incuse on the reverse (the type which 
 is given in relief on the obverse) belong to a federal 
 coinage issued by certain cities in southern Italy, 
 under some sort of commercial agreement. It follows 
 therefore that the Chalcidian Zancle, the nearest to 
 Italy of Sicilian cities, was obliged in some degree 
 to come into line with Rhegium and the powerful 
 Achaean colonies, Croton, Metapontum, and others. 
 These incuse coins of Zancle were soon, however, 
 replaced by a more ordinary sort (Fig. i), which have 
 
 Fig. I. Zancle: Drachm. 
 
 for reverse type a small scallop-shell. On some of 
 them (PI. I. 2) the sickle-shaped object on the obverse 
 is broad, and adorned at intervals with projections. 
 That these are meant to represent towers or buildings 
 on the edge of the harbour, as Mr. Arthur Evans has 
 suggested, we may hesitate to admit; but no better 
 
ZANCLE. NAXOS. HIMERA 39 
 
 explanation has been given. The compHcated 
 arrangement of spaces on the reverse of the coins 
 is probably without special significance; the end of 
 the die with which the reverse was struck was cut up 
 in order to give it a firmer grip on the blank, and this 
 disposition of areas served the same purpose as the 
 'mill-sair incuse square, which we shall meet with 
 presently. 
 
 The earliest types of Naxos (PI. I. 3) are connected 
 with the wine-god Dionysus, whose worship, while 
 naturally important in this vine-producing district, 
 was probably in the first instance brought from 
 the Aegean island of Naxos (where coins with the 
 wine-cup type prove that it flourished). We find 
 on the coins of the Sicilian port an exceedingly 
 archaic head of Dionysus with pointed beard, 
 wreathed with the Dionysiac ivy. On the reverse 
 is the inscription N AX I ON, and a vine-twig with 
 a bunch of grapes. 
 
 Finally, Himera (PL I. 4) has a type — the cock 
 — which by a not very satisfactory conjecture is 
 usually explained as a pun on the name of the place, 
 the cock being the bird that ushers in the day 
 {hemera). Since the healing baths near Himera 
 were famous, it is perhaps more reasonable to 
 explain the cock as the bird sacred to the healing- 
 god who must have been worshipped there. The 
 
40 THE EARLIEST COINAGE 
 
 cock, we know, was sacred to Asklepios. The 
 reverse of the eariiest coins of Himera has the 
 'mill-sair incuse' impression, so-called from the 
 treatment of its four quarters so as to represent 
 the sloping sails of a windmill. Slightly later, 
 but still within our first period, are the coins on 
 which a hen appears as the reverse type (PL I. 5). 
 The earliest coins are uninscribed, or else have 
 one or two letters, which have not been adequately 
 explained, but which do not seem to represent the 
 name Himera. On the later coins with the hen 
 the town name is generally written HI ME, but this 
 is sometimes replaced by an inscription which has 
 long been a puzzle. Mr. George Macdonald has 
 recently shown that there is no substantial founda- 
 tion for the usual reading lATON, and that the 
 letters seem, in part at least, to represent 
 the legend 50TEP ('Saviour'), written backwards. 
 This word, which appears on later coins of Himera 
 (PI. IV. 5), may be an epithet of the chief deity 
 worshipped at the place, or more probably of the 
 local nymph or personification of the city — for we 
 find it written beside her on the later coins, and 
 Aeschylus and Sophocles give evidence that this 
 masculine form can be used as a name of the 
 goddess Tyche, the Fortune of the State. 
 
 The weights of the coins described above are 
 
HIMERA. COIN-STANDARDS 41 
 
 peculiar among the standards in use in Sicily, and 
 we may pause here for a moment to consider them 
 in connexion with the question of Sicilian standards 
 in general. The weights, which correspond to those 
 of the coins of Cyme and Rhegium on the Italian 
 coast, appear to belong to the system known as 
 Aeginetic, from the fact that the coins of Aegina 
 are the most important currency conforming to it. 
 The drachm of this standard weighs about 90 
 grains troy — the weight in our period of the largest 
 coins of the three Sicilian cities just mentioned ^ 
 But the silver of the other Sicilian cities belongs 
 to another system, called the Euboic-Attic, because 
 the early coins of Euboea and Athens are among 
 its chief representatives. Now the four-drachm 
 piece in this system weighed about 270 grains 
 troy, and contained 24 obols. It follows that three 
 Aeginetic drachms of 90 grains each were equiva- 
 lent to one Euboic-Attic tetradrachm of 270 grains, 
 while each Aeginetic drachm contained about 
 8 obols ol the Euboic-Attic standard, the two 
 systems thus working conveniently into each other. 
 It is true that Dr. Imhoof-Blumer regards these 
 
 ^ A curious specimen of Zancle in the Ward Collection (no. 202) 
 weighs 146-3 grains troy. As it is much worn, it may once have 
 represented an Aeginetic didrachm ; but the loss by wear (about 
 33 grains) seems excessive ; and it is best to await the discovery 
 of a better preserved specimen. 
 
42 THE EARLIEST COINAGE 
 
 apparently Aeginetic drachms as really thirds of the 
 Euboic-Attic tetradrachm, or Euboic- Attic octobols; 
 the division of the large coin into thirds instead of 
 halves and quarters being in his view suggested by 
 a similar divisional system at Corinth. But the 
 weights of certain small coins which do not fit into 
 the Euboic-Attic standard have been shown to be 
 unfavourable to this theory. Whatever be the 
 solution of the difficulty, so great was the import- 
 ance of the cities which used the Euboic-Attic 
 standard, that by the clo^e of our first period the 
 three Chalcidian cities^had abandoned their original 
 standard and fallen into line with their rivals. 
 
 But before the advent of the Greeks, Sicily had 
 possessed a standard of its own, based on the 
 pound or litra of bronze. For bronze was in Sicily, 
 as in Italy, the standard metal of native commerce. 
 The litra of bronze corresponded in value to about 
 13J grains troy of silver, and a silver coin of this 
 weight was consequently known as the silver litra. 
 Even during the ^incuse' period of the Zanclaean 
 coinage, silver litrae were issued, as the Aeginetic 
 could not be harmonized with the native system. 
 On the other hand, since this silver litra was just 
 one-twentieth of the Euboic-Attic tetradrachm of 
 270 grains, it was easy for the Greeks to bring 
 the Euboic-Attic system into harmony with that of 
 
COIN-STANDARDS. SYRACUSE 43 
 
 the Sicel natives. The union of the tv^ may be 
 conveniently expressed in the following table : — 
 
 Euhoic- Attic name. 
 
 Sicel name. 
 
 Wt. in grains troy. 
 
 Decadrachm 
 
 50-litra piece 
 
 (>is 
 
 Tetradrachm 
 
 20-litra piece 
 
 270 
 
 Didrachm 
 
 lo-litra piece 
 
 135 
 
 Drachm 
 
 5-litra piece 
 
 675 
 
 
 Litra 
 
 135 
 
 Obol 
 
 
 11-25 
 
 The three Chalcidian cities having once adopted 
 a coinage of their own, it was inevitable that their 
 friends and rivals should follow suit. Syracuse 
 above all, but also Acragas, Camarina, Catana, Gela, 
 Leontini, and Selinus were coining, most of them 
 plentifully, before the end of our first period; even 
 the half barbarous Eryx in the far West has left us 
 coins with Greek inscriptions of this early date. I 
 
 The first issue of Syracusan coins is placed by 
 Mr. Head in the time of the Gamori. Holm on 
 the other hand is inchned to think that such an 
 important innovation must have been introduced by 
 the democracy after the expulsion of the oligarchs. 
 
 Whatever its date, the Syracusan coinage begins 
 with designs (PI. I. 6), which are the prototypes of 
 the composition of the famous Syracusan 'medal- 
 lions' of later times. On the obverse is a four-horse 
 
44 THE EARLIEST COINAGE 
 
 chariot, the horses walking slowly ^ By a con- 
 vention betraying the inability of the engraver to 
 represent in so small a space all four horses, only 
 two are really delineated, their outlines being 
 doubled. The chariot is one of the racing-cars 
 with which so many Sicilians, tyrants or private 
 citizens, gained victories at the Greek games. 
 {/Above the chariot are the letters 5VPA^or IVPA- 
 [^90^ION. ' The earliest tetradrachm has on its 
 reverse merely the square mark of the die, divided 
 into four quarters. This issue is as yet represented \ 
 (^ by a unique specimen in a private collection. On 
 the reverse of the next issue is a female head 
 treated in a style a good deal more advanced than 
 that of the Naxian Dionysus, and placed in the 
 centre of an incuse square which is treated in 
 the 'mill-sair manner. Whom does the head 
 represent? Arguing from later coins we might 
 say that it is the goddess of Victory; or < the 
 nymph Arethusa, whose fresh waters rose up in the 
 island of Ortygia, on which the original Syracuse 
 was founded ; or even the goddess Persephone, 
 
 ^ In addressing Hiero in his fifth ode as evfioipe SvpaKoo-tW itttto- 
 8tv>jTo)v o-T/aaraye, Bacchylides of course refers to the Syracusan 
 devotion to horse-racing. It has been thought that the chariot- 
 group of the coins was in the poet*s mind ; but it was not until 
 after his time that the treatment of the group on the coins became 
 lively enough to justify his epithet ' whirled along by horses.' 
 
SYRACUSE 45 
 
 whose worship was so prominent in Sicily. Yet 
 another suggestion is Artemis, who from primitive 
 times had been worshipped in Ortygia. Of these 
 interpretations the second and the fourth are the 
 more probable, but none is certain. 
 
 As time goes on, and the artist's hand gains in 
 cunning, a great change is perceptible in the style of 
 the Syracusan coins (PL I. 7). The treatment of the 
 horses is less wooden ; but, what is more significant, 
 the head, which fills so modest a place on the earliest 
 coins, is increased in size, and generally attains 
 importance. It will be long indeed before it is 
 promoted to the obverse side of the coin, except on 
 the smallest denominations ; but on pieces struck 
 toward^ the end of our present period it already 
 attracts as much attention as the obverse type. The 
 head, as representing the goddess or nymph wor- 
 shipped on the island of Ortygia, is surrounded by 
 dolphins. It is also encircled by a faint line along 
 which the heads of the dolphins, and the letters of 
 the inscription are ranged. / The inscription stillX yi^ 
 preserves the archaic sign 9 (koppa), which towards 
 the end of our period is superseded by the K (kappa). 
 On the obverse the chariot is marked as victorious 
 by the addition of a figure of Victory, hovering above 
 the horses, and about to place a crown on their 
 heads. 
 
 ci^ 
 
46 THE EARLIEST COINAGE 
 
 The obverse-type of the two-drachm piece (PL I. 8) 
 represents not a four-horse chariot, but, more appro- 
 priately, two horses, one of them led by a man riding 
 the other. The drachm (PI. I. 9) has, as we should 
 expect, a single horseman. On this and on the 
 smaller coins, the litra and the obol (none of which, 
 probably, is older than about 485 b. c), the dolphins 
 are dispensed with. Further, on the litra (PI. I. 10) 
 and obol (PI. I. 11) the head is transferred to the 
 obverse, which is seldom, if ever, the case on the 
 larger coins until the end of the century. The obol 
 has for its distinguishing type the chariot-wheel; 
 while the litra has the sepia or squid. This last 
 type — having nothing to do with the chariot or 
 horses — at once marks out the coin on which it 
 occurs as belonging in reality to a different system 
 from the others. 
 
 We may now pass from Syracuse— where by this 
 time the old democracy had been replaced by the 
 brilliant rule of Gelo — to some of the other cities. 
 In 494 there was a sudden change in the affairs 
 of Zancle. Much is obscure in the history of this 
 period; but the best explanation seems to be that 
 Anaxilas, the tyrant of Rhegium across the straits, 
 induced certain Samians, who were on their way to 
 find a home in Sicily, to seize by treachery the city 
 of Zancle ; that he colonized it with a mixture of 
 
SYRACUSE. ZANCLE-MESSANA 47 j 
 
 ] 
 
 Samians and Messenians (from his old home of 
 Messene in Greece), and gave the name of Messene \ 
 
 to the new settlement. Consequently, the types of i 
 
 a lion's head facing, and of a calf's head in profile i 
 
 (PI. I. 12), both of which remind one of Samos, ^ 
 
 appear on coins struck in this city, together with 
 the inscription MESSENION, which by its form be- t> 
 
 trays the Ionian origin of the majority of the -j^ 
 
 inhabitants. But suddenly there comes a change ; j 
 
 new coins are struck, with the types of a racing- ! 
 
 car drawn by mules, and a hare (PL I. 13) ; and 
 very shortly afterwards, the second vowel in the 
 name of the people is changed from e to a, so 
 that we have the inscription MESSANION (PI. I. 14). 
 In other words the Ionian inhabitants are no 
 longer allowed to have their way and say as op- 
 posed to the Dorians. The types are the types of 
 Anaxilas, who is said by Aristotle to have intro 
 duced hares into Sicily, and, having won the mule- 
 car race at Olympia, to have placed the mule-car 
 and the hare on the coinage of Rhegium. What 
 he himself did at Rhegium he made his dependants 
 do at Messene. Then, a few years before the close 
 of our period, occurred a breach with the Samians 
 in Messene ; they were expelled, and the Doric 
 element in the new population became prepon- 
 derant, not without exerting an influence on the 
 
48 THE EARLIEST COINAGE 
 
 dialect in which the inscription on the coins was 
 written. 
 
 Of the other Chalcidian colonies, Leontini can only 
 have begun to issue coins towards the end of our 
 period. Perhaps, being an inland cit}^, it did not 
 rise to importance so early as its neighbours on the 
 coast. The obverse type of the tetradrachm (PL I. 15) 
 is a chariot, usually proceeding at a slow pace, Victory 
 flying above the horses ; on the reverse, the badge of 
 the city, a lion's head with open jaws, is surrounded 
 by four barley-corns, significant of the fertility of the 
 Leontine plains. The inscription is AEONTINON. 
 Whether the lion's head was merely suggested by 
 the name of the city, as is the case with canting types 
 in modern heraldry, or whether it was adopted 
 because the animal was sacred to Apollo, of the 
 importance of whose worship at Leontini the later 
 coins give ample evidence, is a question which 
 cannot be discussed with much profit. 
 
 The smaller coins oi Leontini are mostly of later 
 style, and fall into the next period. 
 
 The issues of Catana begin with some remarkable 
 pieces struck towards or perhaps just after the close 
 of our period. Their style (PL I. 16) is so advanced 
 that we should be tempted to date them later, did we 
 not happen to know that the Catanaeans were expelled 
 from their city in 476 B.C. by the tyrant Hiero. The 
 
^ ^ PLATE I 
 
 PAGE 
 
 1. Zancle: drachm 37 
 
 2. „ „ (obv.) 38 
 
 3. Naxos: „ 39 
 
 4. Himera : „ 39 
 
 5- » yy (""ev.) 40 
 
 6. Syracuse : tetradrachm 43? 44 
 
 7- >» » 45 
 
 8. „ didrachm (obv.) 46 
 
 9. „ drachm 4^ 
 
 10. „ litra 46 
 
 11. „ obol (rev.) 46,111 
 
 12. Zancle- M e ssana : tetradrachm 47 
 
 13. „ „ didrachm 47 
 
 14. „ „ tetradrachm. Ward Collection ... 47 
 
 15. Leontini : tetradrachm 4^ 
 
 16. Catana: „ 4^ 
 
 17. Acragas : didrachm . . 49> 5*^ 
 
•ascnp^ 
 
 was 
 
 halcid' 
 
 a only 
 oj^ our 
 
 id not 
 
 ao-h 
 
 .-^ 
 
 V6 
 
 
 8e 
 
 
 QE 
 
 
 «£ 
 
 
 Oj. 
 
 
 4^^. 
 
 :^. 
 
 24^ 
 
 
 di. 
 
 
 d^. 
 
 
 d|. 
 
 
 Ill 
 
 t'-r 
 
 
 bccausL . 
 iroportanf 
 
 8|. 
 
 (oins- giv 
 
 . (.Tdo) „ ■[' inidge of 
 
 . T.vdf) the„ fertility o| the 
 
 ;M:^o)JMisi^6ifa;^^ig^estec| by 
 he casc^#^. c:\vMng t^pes 
 
 . BiJil „ .hi 
 
 V .-• ,whe|1^|o^ was^ adoj^tod 
 
 - v.ol^.^..^u .m.i.£.Di..i3i oVitini;;the ;|ater 
 
 iBnBifiD .di 
 ftirioBibib raB^BioA .ri 
 
 /1^ 
 
 IV^ V> V. 
 
 pelled 
 
Plate I 
 
<Jtx- 
 
 LEONTINI. CATANA. ACRAGAS 49 
 
 river Amenanus, on which the city stood, is repre- 
 sented by a bull with a human head ; one knee is bent 
 to indicate that he is swimming. Of this symbolism 
 we shall meet with remarkable examples at Gela. 
 Below the bull on most specimens is a river-fish; 
 above is an aquatic bird of some kind. Thus we 
 have the river represented with the fish that inhabit 
 its depths and the birds that haunt its surface. 
 Other symbols are found on other specimens; 
 thus on some a Silenus is represented in a 
 running attitude over the bull, very much as on 
 the famous Tirynthian fresco ; while below is a sea- 
 monster, of which we shall have something to say 
 when we find it again on the coins of Syracuse. 
 On the reverse, with the inscription KATANAION, is 
 a figure of Victory, advancing with a wreath in 
 her right hand, and holding up the skirt of her 
 chiton with her left; or, on other specimens, 
 carrying in her right an untied fillet, such as those 
 with which victors in athletic contests were decorated, 
 and in her left a wreath or branch. 
 
 It is only by their great numbers that the early 
 coins of Acragas give any indication of the splendid 
 series which is to follow in later times. Some of 
 them may be as early as the middle of the sixth 
 century. The eagle here (PI. I. 17; II. i) is prob- 
 ably to be regarded as the bird of Zeus ; the crab, 
 
^' 
 
 50 THE EARLIEST COINAGE 
 
 which is generally identified as a freshwater species 
 — Tdphusa flumatth's — must have been plentiful in 
 the river Acragas ^ The inscription is AKPAC ANTO^, 
 often abbreviated to AKPA (PL I. 17). 
 
 The great city of Gela also began to issue money 
 (PL II. 4) only a few years before 480 B.C. With 
 the chariot-type we are already familiar; but the 
 forepart of the swimming bull is new and striking. 
 We shall see the monstrous river-god, the personifi- 
 cation of the savage force of the roaring stream, 
 represented with greater skill, perhaps, on some of 
 V the later pieces of this mint ; but even on these 
 early coins we find an admirable illustration of the 
 felicity of Vergil's use of epithet : 
 
 immanisque Gela fluvii cognomine dicta 
 ; Aen. in. 702. 
 
 Could he have seen some such coin as this? 
 
 The inscription CEAAC is placed on the reverse, 
 and must be taken as giving the name not of the 
 city so much as of the river. 
 
 Camarina struck some small coins (litrae) during 
 the ten years that elapsed between its restoration 
 by Hippocrates of Gela in 495, and its destruction 
 
 ^ Holm, on the other hand, regards it as a marine species : 
 Eriphia spinifrons. Prof. F. J. Bell informs me that, although 
 owing to the impossible representation of the crab's legs he cannot 
 decide definitely, he inclines to Telphusa ; the spiny front of E. 
 spinifrons is certainly not shown. 
 
 A ^ 
 
GELA. CAMARINA. ERYX 51 
 
 by Gelo in 485. The types (Fig. 2) are a quaint 
 figure of Victory flying, with a swan below her, 
 
 Fig. 2. Camarina : Litra. 
 
 the whole enclosed in a border of olive leaves, and 
 a figure of the goddess Athena, resting on her spear. 
 Athena's shield is at her feet, and she wears a large 
 crested helmet and her aegis with its snaky fringe. 
 The inscription is usually KAMAPINAION. We 
 shall have more to say of these types when we 
 
 come to the later coins. ^ 
 
 We must close our sketch of the earliest period 
 with a brief reference to the remote cities of Western 
 Sicily. Eryx at this time shows by its types of 
 eagle and crab (PI. II. 2) that it was under the 
 influence of Acragas. The inscription is EPVI<INON. 
 The eagle sometimes stands on the capital of an Ionic 
 column. In this position the bird has been explained 
 as symbolizing victory, the capital being supposed 
 to indicate the column which marked the goal in a 
 Greek race-course. It is, however, equally possible 
 that the capital is merely put, by a kind of short- 
 hand, for a temple, and that the bird is here, as 
 usual, the bird of Zeus. 
 
 Selinus took its name from the selinon plant 
 
 E 2 
 
52 THE EARLIEST COINAGE 
 
 which grew in the neighbourhood, and a golden 
 model of which the inhabitants once dedicated in 
 the temple of the Delphian Apollo. We could 
 therefore hardly hesitate to recognize in the type 
 of the earliest coins (PI. II. 3, 5) a formalized 
 representation of the plant, even if Plutarch' did 
 not tell us that the selinon was the symbol or badge 
 of the city. It is probably to be identified with 
 the wild celery — apium graveolens — which still grows 
 near Selinus. The question of its identity has 
 been fiercely disputed; those who wish to form an 
 opinion for themselves may remember that com- 
 parison of the living plant should be made with 
 many, and not merely with one, of the representa- 
 tions on coins, and also that a Greek die-engraver as 
 often as not sacrificed reahsm to a desire for an 
 effect suitable to the space which he had to fill. 
 The earliest Selinuntine coins are uninscribed, bear- 
 ing simply (PI. 11. 5) the leaf on the obverse, 
 and, on the reverse, an incuse square, variously 
 divided up by lines or bars. Later the leaf appears 
 also on the reverse, sometimes accompanied by 
 the first four letters of the town name, CEAI 
 
 (PI. 11. 3). "^ 
 
 ^ On the Oracles of the Pythta, c. 12. 
 
Jiv. 
 
 ;/aV^-^>^— ' ^^^'^-^ 
 
 CHAPTER II 
 FROM HIMERA TO THE ASSINARUS 
 
 B.C. 480-413 
 
 As the starting-point of the second chapter in 
 the history of SiciHan coinage, we choose the 
 epoch-making victory of the Greeks, led by Gelo of 
 Syracuse and Thero of Himera, over the Cartha- 
 ginian Hamilcar near the latter city. This victory 
 was the Salamis of Sicily, and Gelo was regarded, 
 and justly, as the saviour of Greek civilization in the 
 West. From this time onwards the city which he 
 ruled easily took precedence over all other Sicilian 
 cities, and its political predominance is paralleled 
 by the enormous preponderance of its coinage as 
 compared with that of the rest of the island. 
 
 The most remarkable of all Syracusan coins, it 
 may be said without much hesitation, are the large 
 ten-drachm pieces known as Damareteia^Ph II. 6). 
 The name is connected with Damareta, the wife of 
 the tyrant Gelo. One ancient authority fDiodorus)- 
 
54 FROM HIMERA TO THE ASSINARUS 
 
 says that the coins were struck out of a present 
 made to the queen by the defeated Carthaginians, for 
 whom she had obtained somewhat easier terms than 
 they could have expected. -Others -(as Pollux) sa y th a t- 
 the coins were struck out of treasure provided by 
 Damareta and the Syracusan women in aid of the 
 cause of the Greek against the barbarian. We may 
 reconcile the two statements if we suppose that after 
 the war the sacrifice was recompensed by a portion 
 of the treasure obtained by Damareta from the 
 Carthaginians; the new Damareteia, in which such 
 a compensation would be made, would thus be con- 
 nected in the memory of men not only with the gift 
 made to Damareta, but also with the sacrifice which 
 she and the women of Syracuse had shown them- 
 selves ready to offer to their country. In any case 
 it is fairly certain — although a distinguished histo- 
 rian, who is not a numismatist, takes a different view 
 — that none of the Damareteia could have been 
 struck before the battle of Him era. 
 
 The obverse type of the Damareteion is the vic- 
 torious four-horse chariot. The long robe of the 
 driver has generally caused his sex to be mis- 
 taken by those who are unacquainted with the 
 peculiarities of Greek dress; but the discovery of 
 the bronze charioteer at Delphi should go some 
 way to dispel this error. As for the horses, these 
 
SYRACUSE 55 
 
 coins without doubt represent a very great advance 
 beyond what we have seen accompHshed hitherto. 
 But still, in his attempt to attain that quality which 
 the Greeks called charis — our word 'grace' does 
 not well express it — the artist has revolted a little 
 too far from the sturdy forms of his predecessors. 
 The proportions of both charioteer and horses, for 
 instance, are too slim. In the exergue he has placed 
 a 'wild lion racing/ — emblem, as without undue fanci- 
 fulness it is interpreted, of the subdued and fleeing 
 forces of Africa. The ' reverse has a superb design. 
 The head of a goddess (probably Victory), wearing 
 a simple earring and necklace and crowned with a 
 laurel-wreath, her hair caught up behind by a plain 
 cord and hanging in a heavy loop on the neck, is 
 surrounded, first with a faint circular line ; next by 
 the letters of the inscription ^lYI^AKOCION the {koppa- 
 has now finally disappeared from the inscription)- 
 arranged in groups of two and three letters ; then 
 by four dolphins, whose ample proportions contrast 
 curiously with the reduced dolphins of the later Syra- 
 cusan issues. Finally, the rising up of the metal 
 round the edges of the die gives a kind of natural, 
 unconventional border to the whole design. When 
 we consider the detail of the head, we see that all 
 the exaggerated characters of the more archaic art 
 are softened. The eye, it is true, is not yet shown in 
 
^ 
 
 56 FROM HIMERA TO THE ASSINARUS 
 
 profile, and the ear is a little too high up ; there is 
 still a trace of what was once the 'archaic grin/ due 
 to an unskilful attempt to show the modelling of the 
 cheek and mouth. Here the attempt has resulted 
 in a smile, a little prim, perhaps, but not unpleasing. 
 The linear circle, which we have already seen on 
 a predecessor of the Damareteion, has been well 
 explained by Evans as the survival of the circular 
 margin enclosing the small head on the early 
 Syracusan tetradrachms, ' partly, no doubt, preserved 
 because it served a useful purpose in defining the 
 outlines of the head,' and, we may add, in giving 
 a line to which the letters of the inscription should 
 be ranged. It would be difficult to find any monu- 
 ment which conveys a better idea than this coin of 
 the grace and refinement, the faithful and careful 
 workmanship, the combination of formality with 
 the promise of freedom, which are characteristic of 
 the best archaic art of Greece. 
 
 Less striking than the ten-drachm piece is 
 the ordinary denomination of four drachms, of 
 exactly the same types] (PI. H. 7)^ When we re- 
 member that the various denominations were 
 usually accompanied by varying types, it seems 
 curious that some specially distinctive design was 
 not invented for the Damareteion. But the 
 novelty of the piece, the general interest its issue 
 
SYRACUSE 57 
 
 must have excited, and especially its great size, * 
 made it quite unnecessary to differentiate it in this 
 way. The same phenomenon presents ^ itself in !^ (y 
 the case of the large English gold coins of \ 
 modern times, which bear the same types as the 
 sovereign. 
 
 We pass from Gelo and the Damareteion — his- 
 torically the most interesting, and at the same time 
 one of the most fascinating, of all Sicilian coins — 
 to Hiero and the coins of his reign. Now, and 
 more especially after the fall of the tyrants, we 
 meet with an extraordinary succession of variations 
 in the standard types of female head and four-horse 
 chariot. The improvement in the art can be traced 
 by a series of fine gradations, each stage occupying 
 but a few years'! (PL II. 8 foil). ■ Life and vigour 
 gradually find their way into the delineation of the 
 horses; the charioteer's figure acquires character — 
 although as often as not he is 'off the flan,' thanks 
 to the careless striking of the coin ; and, above all, 
 the difficult task of representing the flying figure of 
 Victory is eventually solved, so far as it is possible 
 to solve it in art. On the reverse the head con- 
 tinues to increase in size, and the dolphins become 
 smaller. One of the early tetradrachms of this 
 period (PI. II. 8) shows excellently most of the 
 weaknesses of the archaic art; but it is worth 
 
/lfrl^' 
 
 58 FROM HIMERA TO THE ASSINARUS 
 
 noting that in the treatment of the eye the artist 
 has attempted, if he has not quite mastered, the 
 representation of the profile view. In the exergue 
 is a sea-monster, known as the pistrix. Its appear- 
 ance as a symbol on these coins has been explained 
 by Mr. Head as an allusion to the great sea-victory 
 won by Hiero over the Etruscans in 474. We 
 r have, it is true, already seen (p. 49) that the pistrix 
 / occurs as a symbol on coins of Catana which 
 ( cannot be later than 476. But at Catana the 
 y symbol is isolated, whereas at Syracuse it is found 
 
 T^ K on a great number of issues spreading over a series 
 of years. We are justified therefore in accepting 
 Mr. Head's explanation on the ground that at 
 Syracuse the symbol seems to have some historical 
 significance, whereas at Catana no such significance 
 can be proved. 
 
 Although introduced on the Syracusan coins by 
 Hiero, the symbol did not disappear with his death ; 
 for there is good reason to suppose that some of the 
 more advanced coins displaying it belong to the 
 period of the democracy. 
 
 The head-dress of the nymph or goddess on this 
 coin is comparatively simple — a mere diadem of 
 pearls, with the ends of the hair caught up within 
 it; and the hair itself is treated as if it were wire. 
 The engraver has realized the inadequacy of the 
 

 PLATE II 
 
 I. 
 
 2. 
 
 3- 
 4- 
 5- 
 6. 
 
 7- 
 8. 
 
 9- 
 
 lO. 
 
 II. 
 
 12. 
 
 13- 
 
 14. 
 
 15- 
 16. 
 
 17- 
 
 Acragas : didrachm .... 
 
 Eryx: drachm 
 
 Selinus : didrachm (rev.) 
 Gela: tetradrachm . . . . 
 Selinus: didrachm . . . . 
 Syracuse : decadrachm (Damareteion) 
 tetradrachm 
 
 (rev.) 
 
 (rev.) 
 
 PAGE 
 49,50 
 
 5^ 
 52 
 50 
 52 
 53 f. 
 56 
 57,58 
 59 
 59 
 59 
 59 
 59 
 59 
 59 
 59 
 59 
 
VRUS 
 
 rcr\\ n 
 
 II 3TAJ4 
 
 
 
 
 
 «a'n , 
 
 
 
 
 
 
 Qe- . 
 
 
 
 
 Ql . ^V 
 
 .roduc 
 
 
 ibol-.d 
 
 i beibib : : j 
 
 ^:.y 31^ mri^Bi bib ; gj/n^Ja^ |.^ i 
 
 - ■ ibsij3t isJbO 4 i 
 
 ' ncccptiip : 
 
 iistoricffl 
 v (.^3«)r:o sych sign\fican£f^ 
 
 u .£1 • 
 
 „ yr^fiisan coins by 
 
 eated 
 
Plate II 
 
SYRACUSE 59 
 
 old-fashioned dotted lines, but his attempt at the 
 new method is unsuccessful. 
 
 Our next coin (PI. II. 9) shows a more pleasing 
 result. Here the artist has caught the soft effect of 
 the mass of hair ; but he still has considerable diffi- 
 culty with the lips, and in attempting to give cha- 
 racter to the lower part of the face has added an 
 element of coarseness. He has also made another 
 experiment in representing the eyelashes. His model 
 may have had beautiful eyelashes, but there are 
 limits to the representation of minute features in 
 art, and most of the later engravers wisely pro- 
 nounced this experiment a failure. 
 
 We must be content merely to illustrate (PI. II. 
 10 foil, and III. 1-5), without describing in detail, 
 some of the long series of coins which bring us 
 down to about 440 b.c, when a new feature (the 
 signed coins) will attract our attention. 
 
 Most people unacquainted with Greek art, as well 
 as those to whom only its monumental side is 
 familiar, are astonished at the modernity— as it is 
 called — of these heads. As a matter of fact the 
 coins do but show that the Greek artist knew how 
 to give a life-like representation of his model when 
 he had the chance. ' Extreme simplicity, unpre- 
 tending vigour of work, which claims no admira- 
 tion either for minuteness or dexterity, and suggests 
 
6o FROM HIMERA TO THE ASSINARUS 
 
 no idea of effort at all ; refusal of extraneous orna- 
 ment, and perfectly arranged disposition of counted 
 masses in a sequent order, . . . this is all you have 
 to be pleased with ; neither will you ever find, in 
 the best Greek Art, more.' These words of Ruskin^ 
 are, in their general bearing, the most instructive of 
 commentaries on Sicilian art of the middle of the 
 fifth century. With all its faults, its lack of ideal 
 beauty, the healthy work of this period is in some 
 ways more satisfactory than even the magnificent 
 -(V achievements of the age of Cimon and Euaenetus, 
 \^^^^ because we cannot trace in it the foreboding of decay. 
 x^ The Syracusan coins of the last third of the fifth 
 century, and of the early years of the fourth century, 
 in other words of the finest period of Syracusan 
 art, are distinguished by the fact that the artists 
 employed to engrave the dies were allowed to 
 introduce their signatures. To this fact alone we 
 owe our knowledge of the names of the men who 
 produced the most beautiful series of coins in the 
 whole history of coinage. 
 
 Among the earliest to sign his name on a coin 
 was the artist Eumenes. A glance shows the im- 
 provement, as regards the treatment of the head, 
 on the work of earlier engravers. His signature 
 is sometimes placed {irv the form EVMHNOV) over 
 ^ Aratra Pentelkt, § 119. 
 
 r 
 
SYRACUSE: EUMENES; SOSION 6i 
 
 the forehead on the band which confines the hair 
 4Pl7-fflv-6). On other coins he signs in the field 
 (PHH. 7, 9) or in the exergue. In the treatment 
 of the horses he has attempted a further advance. 
 He represents them in high action instead of 
 walking or standing still; but the result is a some- 
 what primitive composition in which the parallelism 
 of the four sets of legs is anything but pleasing. 
 In fact the clumsiness of the animals contrasts 
 strikingly with the skilful handling of the flying 
 Victory and of the driver. The exergual space 
 formerly filled by the pistrix is, on Eumenes' 
 coins, sometimes left vacant, sometimes occupied 
 by opposed dolphins, a dolphin and fish, a scallop 
 shell, or his signature. — ' 
 
 We find the dies engraved by Eumenes combined 
 with those of other artists ; but before dealing with 
 the most important of these new engravers, his 
 younger contemporary Euaenetus, we may consider 
 the work of another less famous engraver. Sosion 
 (^A^IAN) is represented by some rare tetradrachms 
 (PI. III. 8). The signature^ is placed on the front- 
 let of the head, as in the case of the early head 
 by Eumenes, and the affinity between the styles 
 
 ^ Dr. Regling, who has kindly examined the coin at Berlin, 
 assures me that the name is Sosion, not Soson, as the Aberdeen 
 specimen appears to read. 
 
 p\' 
 
 ;-i 
 
 i^ 
 
^■ 
 
 62 FROM HIMERA TO THE ASSINARUS 
 
 of the two artists is striking. The chariot group 
 on the obverse of these specimens is probably by 
 Eumenes himself. 
 
 The work of Euaenetus marks a great step for- 
 ward in the treatment of the horses. As indicated 
 above, we find him working first on dies which are 
 combined with those of Eumenes. Thus we have 
 (PI. Illr-g)- a head signed EYMENOY combined with 
 a most skilfully composed chariot group from the 
 hand of the future artist of the ' medallions ' 1<^ 
 The furthest horse has broken his rein, which 
 is tangled round his foreleg. Over the whole 
 floats Victory, holding in her hands an oblong 
 tablet, on which is written the name of Euae- 
 netus (EYAINETO). The pride of the artist in his 
 work may seem to us to have conquered his good 
 taste; but the naivete of the method which he 
 adopts to record his name is fully in accordance 
 with the Greek habit of mind. In the exergue are 
 two dolphins opposed, a symbol which is common 
 at Syracuse in this period -(it already occurs on the 
 ^x:oin by Eumenes and Sosion); and is also met with 
 at Catana, where we shall subsequently have to 
 consider its significance. — 
 
 ^ The specimens of this coin are mostly ill-preserved on the 
 obverse. A better impression of the same obverse die is found on 
 the coin (PL III. lo) with the reverse also by Euaenetus. 
 
SYRACUSE: EUAENETUS 63 
 
 Another early specimen of the work of Euaenetus 
 (PI. III. 10) is a pretty head, wearing a frontlet on 
 which is a dolphin leaping over waves. The 
 artist's signature- is placed in tiny letters on the 
 belly of the dolphin before the lips of the nymph. 
 The obverse is similar to that of the coin just before 
 described. 
 
 On a slightly later obverse signed by Euaenetus 
 
 (PL III. 12) the horses are in higher action; and in 
 
 the exergue the artist has placed a chariot-wheel, 
 
 which we may suppose to have come off some 
 
 defeated chariot. The artist's signature is written 
 
 in microscopic characters along the exergual 
 
 line. Here again we have the broken rein. The 
 
 motif of the broken rein is thus a favourite fancy 
 
 of Euaenetus in his early period. It would be 
 
 hypercritical to suggest that, since such an accident 
 
 would inevitably bring about disaster, the figure of 
 
 Victory is hardly appropriate. 
 
 Another artist whose dies are combined with \ ^ ^ ^^ 
 
 £:/JTH< 
 those of Eumenes signs himself EVO. He is 
 
 inferior as an engraver to Euaenetus, and perhaps . 
 
 somewhat his elder. But on the other hand he 
 
 shows a decided taste for innovation; he has 
 
 made the driver of his chariot -(PI. III. 11) a 
 
 winged figure, apparently male, crowned by Victory, 
 
 and in the exergue he has placed a beautiful 
 
64 FROM HIMERA TO THE ASSINARUS 
 
 figure of the sea-monster Scylla, with her fish's 
 tail and the girdle of dogs around her waist. She 
 holds her trident over her left shoulder, and 
 extends her right hand towards a fish which 
 swims away from her clutches; above her tail 
 is a dolphin. The symbol has been not im- 
 probably explained as an allusion to the naval 
 success of the Syracusans and their allies over the 
 Athenians in B.C. 425. In that year the latter lost 
 ships in the engagements in the straits of Messana, 
 which the sea-monster was supposed to haunt. It 
 is easy to see the inferiority, in the composition of 
 the group of horses on this coin, to the work of the 
 great master Euaenetus. 
 
 Phrygillus ^ho signs his name 4>PYriAA or 4>PY) 
 is represented by two sets of coins. On the one 
 -{PL III. i4)j his reverse die (a head of Persephone 
 crowned with corn) is combined with an obverse 
 by the artist Euth . . ., which has been already 
 described. On the others (PL III. 13), which 
 appear to be rather later in style, and may indeed 
 date from the next period, we have the usual 
 female head, with the hair in a 'sling'; and the 
 locks which might hang down on the temples 
 are brushed back so as to break the line of the 
 band which comes "round the front of the head. 
 The chariot group (Persephone, holding a torch. 
 
SYRACUSE. ACRAGAS 65 
 
 drives the car) on the reverse of this second group 
 of coins by Phrygillus is an admirably balanced 
 composition, apparently by the artist Euarchidas. 
 
 All the signed coins which we have described 
 above, with the probable exception of the later 
 coins of Phrygillus, may be dated approximately 
 between the years 430 and 415. 
 
 We may now leave Syracuse and turn to the 
 other cities and their coinage. Throughout this 
 period the types of Acragas (eagle and crab) con- 
 tinue the same, with very slight modifications ; and 
 the coins must have been plentifully struck, for the 
 prosperity of the place was enormous, both during 
 the period succeeding the victory of Himera, while 
 Thero was still tyrant, and after the establishment 
 of a democracy in 472. Symbols, such as the rose 
 (PI. III. 15); barley-corn, dolphin, now occur in 
 the field of the reverse. The tetradrachms and 
 didrachms of this period are supplemented by a 
 number of smaller coins. The drachm (PI. III. 16), 
 a^ being also a piece of five litrae, is inscribed 
 P-EN, i. e. pentalitron. Some of the smaller denomi- 
 nations have types differing from the larger — an 
 eagle's head, a tripod, or merely five or two pellets 
 to denote the value of the coin. 
 
 Of greater interest than the coins of Acragas are 
 those of Himera, the city of which the Acragantine 
 
fk 
 
 66 FROM HIMERA TO THE ASSINARUS 
 
 Thero was in possession at the time of the defeat 
 of the Carthaginians. During his possession of the 
 city, which ended in 472, and presumably during 
 the very short time that the incompetent Thrasy- 
 daeus filled his dead father's place, coins were issued 
 which neatly illustrate the relation of dependency 
 in which Himera stood to Acragas ; for on the 
 didrachms (PI. IV. i), while the cock and the name 
 of Himera (HIMERA) stand on the obverse, the crab 
 of Acragas serves as the reverse type. On the 
 drachms with similar types the city-name is trans- 
 ferred to the reverse. 
 
 Another drachm (PL HI. 17), which belongs to the 
 same period, has as its reverse-type, in place of 
 the Acragantine crab, a knucklebone (astragalos), 
 with the inscription HIMEPAION. The knucklebone 
 and two pellets are the types of a tiny hexas or 
 two-ounce piece of the same time. The use of 
 the knucklebone in antiquity for the purpose of 
 divination or the consulting of oracles, as well 
 as for gaming, is well known; and it is possible 
 that some such custom was connected with one of 
 the Himeraean shrines. Gabrici has suggested that 
 the use of astragaloi may have been widely pre- 
 valent in Himera, since we know that one of 
 the throws was named after the poet Stesichorus, 
 a native (by most accounts) of the city. It would, 
 
PLATE III 
 
 6. 
 
 7. 
 
 8. 
 
 9- 
 10, 
 II. 
 12. 
 
 13. 
 
 14. 
 
 15- 
 16. 
 
 17. 
 
 Syracuse : tetradrachms (reverses) . 
 tetradrachm (Eumenes) . 
 
 ( „ rev.) 
 
 PAGE 
 
 59 
 61 
 61 
 
 Acragas 
 Himera 
 
 drachm 
 
 (Sosion, rev.). Aberdeen Universiiy {for- 
 merly in the Davis Collection) 
 
 (Eumenes, rev.) 
 
 (Euaenetus) . . . . .63, 
 
 (Euth . . ., Eumenes) .... 
 
 (Euaenetus, obv.) 
 
 (Phrygillus, Euarchidas) .... 
 (Phrygillus, rev.) 
 
 61 
 61 
 99 
 63 
 63 
 64 
 64 
 65 
 65 
 66 
 
ilMERA 
 
 s'ARUS 
 
 
 did/ 
 
 f r 
 
 Id 
 Id 
 
 umably during 
 Tirtont Thrasy' 
 
 . , ^ :-.^ issued 
 
 -lation of dep^rir^pncy 
 
 HI HTA.m \rr;!cr,T. - for .... Uie 
 
 d the name 
 
 (asei^v^i) ararfjBifafiiJa^i :-3a'.jo^Q .grab 
 
 
 ^ " '-^M.)' 'jA^''''^^^«^v5 «^?fe^a6k' .(,V^-*iXioi2b» k 
 
 ^)^•^he 
 
 -igririt^.. 
 
 Id. 
 Id" ' 
 
 fid 
 
 (.V31 ^g9n3mij3) „ 
 
 (e^naQiua ^ ^. . . dni3) ,_ „ 
 
 (.Vdo ,81/lOi 
 
 " .i;"plac6^ of 
 The knsfcklefebne 
 
 ,, afigBioA .gi 
 
 fnrfiB-feny^hexa^ or 
 
 . rpose of 
 
 '^ well 
 
 possible 
 
 h one of 
 
 ^^' d that 
 
 / pre- 
 
 ..c... v.-ne of 
 
 y-.^i Stesichorus, 
 
 ^< named after 
 
Plate III 
 
HIMERA 67 
 
 however, be fanciful to see in this fact an explana- 
 tion of the coin-type. 
 
 After the expulsion of the tyrants, an entirely new 
 set of types appears at Himera. First, on the 
 obverse (PL IV. 2), comes the familiar type of the 
 four-horse chariot. But on the reverse (PI. IV. 3)! 
 is a composition full of interesting local colour. 
 A female figure, probably the local nymph, clad 
 in a chiton and peplos, the folds of which are 
 rendered with characteristic formality, stands pour- 
 ing a libation from a libation-bowl over an altar; 
 her unoccupied hand is raised, as she pronounces 
 the invocation which accompanies the sacrifice. 
 Balancing the altar, on the other side of her, is 
 a pretty group of a small Silenus standing in front 
 of a fountain, from the lion's mouth of which a 
 stream of water falls on his body. He is obviously 
 enjoying himself in the warm baths near Himera 
 which were so famous in antiquity, and to the 
 neighbourhood of which the inhabitants removed 
 after the destruction of their city in 408. Hardly 
 less interesting than this coin is another tetradrachm 
 (PI. IV. 4), on which is represented Pelops (PEAOt); 
 standing in his chariot. The appearance of the 
 hero at Himera is unexplained, but we shall find 
 a later coin suggesting a connexion between the 
 Sicilian city and the Olympian festival of which 
 
 F 2 
 
V 
 
 \ 
 
 68 FROM HIMERA TO THE ASSINARUS 
 
 he was the founder. On the reverse, the nymph 
 Himera-(iM£PA^is occupied with her peplos, which 
 she is putting on over her chiton. The type 
 is probably a mere study in the draped female 
 figure. . On another coin — a didrachm (PL IV. 5) — 
 we have a horseman riding sideways on a galloping 
 horse. This represents a feat of horsemanship in 
 which the anabates^ as he was called, leapt from 
 his steed in full course, and ran beside it. The- 
 4nscription is fMEPAION; On the reverse of the same 
 ^\ coin is the nymph Himera sacrificing)?^ she 4s-here- 
 , ^called ^OTHP (instead of by the more usual feminine 
 X — ^form of the epithet). 
 
 The smaller coins have puzzling types. The half 
 drachm (PI. IV. 6) shows a nude youth riding on 
 a goat, holding a herald's wand or caduceus, and 
 blowing a conch, while on the reverse is a figure 
 of Victory (sometimes inscribed NIK A) flying, and 
 carrying an aphlaston^ the ornament which decorated 
 the stern of the ancient ship. There must be a 
 reference to some victory in this type : not im- 
 probably it alludes to the burning of the Cartha- 
 ginian ships at the battle of Himera. Very possibly, 
 toe, the pair of greaves (Kg.- 3) and helmet of the 
 obols represent spoils from the same victory. The 
 litra, again (Fig. 4), represents on one side a youth 
 riding on a he-goat ; on the other, a strange beast, 
 
HIMERA. MESSANA 69 
 
 compounded of a bearded human head with goat's 
 horns, Hon's feet, and bird's tail. It might be 
 
 Fig. 3. Himera: Obol. Fig. 4. Himera : Litra. 
 
 discreet to waive all attempt to explain this fantasy;^: 
 b«^-we shall return to the subject in a- later- 
 cbapterv 
 
 Of even greater historical value than the coinage 
 of Himera is that of Messana. That city was not 
 freed from the power of Anaxilas and his house 
 until the time of the general liberation in 461. It 
 is probably to one of the episodes in the struggles 
 with Rhegium in the second quarter of the century 
 that we have to assign a coin of the usual types 
 and legend, but with the syllable AO added on the 
 reverse, in large letters, above the hare. Mr. Evans 
 has shown that in all probability this syllable indi- 
 cates the Italian city of Locri, in which, as the 
 enemy of Rhegium, the Messanians would find 
 a cordial ally. 
 
 In the course of the democratic period a slight 
 but significant variation is made in the type of the 
 obverse. The male charioteer, who might be 
 regarded as driving the chariot of the tyrant, is 
 replaced by the personification of the city itself. 
 
70 FROM HIMERA TO THE ASSINARUS 
 
 She is, on some of the later coins (PlrHtV. 7), 
 actually named ME^^ANA. Mr. Evans has shownj- 
 f ^ 'jj hewm^^hstt me most important coin of th io peri od^ '/^ ^ 
 
 ^historically speaking, is a remarkable tetradrachm 
 fPt . IV. 0) which, if style and analogy with types 
 of other cities furnish any criteria, cannot be 
 dated much earlier than the middle of the fifth ; 
 century. There stands, on the obverse, a vigorous 
 figure of a god, with his chlamys or short cloak . 
 arranged over his shoulders and arms in the , 
 manner usual with the sea-god Poseidon, and 
 brandishing in his right hand the thunderbolt — , 
 a weapon not confined to Zeus, but sometimes 
 wielded by the earth-shaking sea-god. Before him 
 is an altar. On the reverse is a dolphin, with 
 a scallop-shell beneath it, and above is the inscription 
 DANKUAION. It is clear 'that, in this city of nicely 
 balanced factions and perpetual revolutions, a turn 
 of the wheel about that time gave the old 
 Zanklaean element once more for a moment the 
 upper hand' — hence the change in type and legend, 
 and the reappearance of the dolphin as the main : 
 type together with the sea-god of which it is but 
 the symbol. 
 
 r There exists another piece which bears out the i 
 ^ ' theory that about the middle of the fifth century 
 I Messana for a time changed its name to Zancle. 
 
MESSANA 71 
 
 This is a coin (PL IV. 9) struck at the ItaHan 
 city of Croton, bearing the type of that city (the 
 Apolhne tripod) on both sides, and the usual in- 
 scription 9^^ o^ the obverse. But beside the 
 reverse type is written DA, which, on the only 
 probable interpretation, must stand for Zancle. 
 The Zanclaean revolutionaries, therefore, sought 
 help against their opponents from Croton, as the 
 Messanians had found it in Locri. - — 
 
 Mr. Evans has sought to detect political signi- fj^ 
 ficance in the appearance at Syracuse and at 
 Messana (PI. IV. 7) of the exergual symbol of two 
 opposed dolphins, and to show that it was intro- 
 duced by way of allusion to the alliance which was 
 cemented between the two cities in 425 in face of 
 the Athenian danger. The number of coins with 
 this symbol in the exergue is so considerable 
 that, on this hypothesis, their issue must, as 
 Mr. Evans recognizes, have "continued for some 
 time after the conclusion of peace between Messana 
 and Athens in the next year — perhaps even after 
 the advent of the Athenian expedition. But to 
 judge from the comparatively stiff style of many 
 of the coins of Messana with two dolphins, it seems 
 more probable that in that city at least the symbol 
 was adopted earlier than 425. 
 
 The Chalcidian city of Naxos lost its indepen- 
 
72 FROM HIMERA TO THE ASSINARUS 
 
 dence early in the fifth century, arid while under 
 the dominion first of the Geloan Hippocrates, and 
 then of the Syracusans Gelo and Hiero, seems to * 
 have struck no coins of its own. The pieces with 
 which we have now to deal, although showing 
 distinctly archaic features, can hardly be earlier 
 than 476, when the inhabitants of Naxos were 
 transferred to Leontini. We must therefore regard 
 them as having been issued very soon after the 
 expulsion of the tyrants in B.C. 461. The types 
 continue to be connected with the worship of 
 Dionysus, and the head on the tetradrachms of 
 this period is amongst the most remarkable, although 
 not the most pleasant representations of that god 
 (PI. IV. 10). He is crowned with ivy, and his 
 features still retain an archaic cast, which is in- 
 tensified by the formal neatness of the whole 
 rendering. But in the care with which the different 
 qualities of the hair of the head, the moustache, 
 and the beard are rendered, and in the way in 
 which the border of dots is broken to allow parts 
 of the design to escape beyond it, we see the 
 marks of an original and thoughtful artist. The 
 later representations of Dionysus tone down, as 
 a rule, the sensual character of the god so well 
 expressed in this head, or modify it in the direction 
 of effeminacy. 
 
NAXOS 73 
 
 The reverse is very striking. A Silenus, one 
 of the minor creations with which Greek fancy 
 filled the train of the wine-god, is squatting on 
 the ground. -We — have already -seen his fellow^ 
 J^thing in the fountain at Himerar His snub- 
 nosed, bestial features, with his pointed ear, rough 
 hair, and equine tail, mark his position halfway 
 between beast and man. Supporting himself on 
 his left hand, he raises to his lips a two-handled 
 cantharus full of wine. But most interesting is 
 the treatment of the anatomy. The whole body 
 is a study in muscle, not entirely suitable when 
 the subject is a half-drunken Silenus in repose. 
 All the muscles of the breast and abdomen are 
 rendered in an almost exaggerated state of strain, 
 a strain which, in this position, is only justified 
 in the legs. The artist, in fact, has endeavoured 
 to display all his knowledge of the anatomy of the 
 human frame. 
 
 It is instructive to compare with this coin the 
 tetradrachm with similar types struck towards the 
 end of our period (PI. IV. ii). All the formalism 
 has disappeared from the treatment of the head of 
 Dionysus. The hair is handled freely, its curling 
 locks suggesting indeed the free use of unguents; 
 the features .reproduce admirably the effects of 
 sensuality before it destroys the beauty of the face. 
 
74 FROM HIMERA TO THE ASSINARUS 
 
 On the reverse we can see just the same advance 
 in the body of the Silenus, with its softly rounded 
 
 ^ forms. Note too the introduction of ornamental 
 
 i details in the ivy and thyrsus. 
 
 Vj The legend on the earlier issues of this period is 
 N AXIOM, while on the later the third letter has the 
 
 \ form Z. 
 
 'he coins of Catana during this period are of 
 great historical importance. A small coin struck 
 just before 476 B.C., or, possibly, just after the 
 -restoration 0^461, shows a bald head of Silenus, 
 and, on the reverse, a thunderbolt of rather unusual 
 shape, with two curled wings (PL IV. 12). The coin 
 is inscribed KATANE. Now we know from various 
 historical references that in 476 Hiero expelled the 
 inhabitants of Catana, and placed in the city a colony 
 of Syracusans on whom he could depend for support 
 in case of trouble arising in his own city. He 
 changed the name of Catana to Aetna, and this name 
 it retained until the restoration of the exiles in 461. 
 To fill this gap come some remarkable coins. First 
 there are small pieces with similar types to those just 
 
 described, but reading A I THAI >^ 
 l^^j 1 (^^g- S)'! B^^ much more ex- 
 ^^^^ traordinary is a unique tetra- 
 
 FlG. S- CaTANA-AeTNA. j 1 /t^i t\t \ ' J.-L. 
 
 ^ drachm (PI. IV. 13), now m the 
 
 collection bequeathed by Baron Hirsch to the Brussels 
 
CATANA-AETNA 75 
 
 Museum. On the obverse, which has the inscrip- 
 tion AITNAION, is a vigorous head of a bald 
 Silenus, with the usual semi-bestial features, and 
 a full beard; an ivy-wreath, treated in a manner 
 more decorative than naturalistic, Hes on his bald 
 pate. Below is a scarabaeus-beetle, of the kind 
 which an ancient commentator on Aristophanes says 
 was found of great size on Mount Aetna. On the 
 reverse is the figure of Zeus, under whose tutelage 
 the city was placed. He is seated, holding in his 
 left hand a thunderbolt of shape similar to that 
 found on the small coins just described ; his right 
 hand rests, not on an ordinary sceptre, but on 
 a natural branch, probably — as the district was so 
 rich in wine — taken from a vine. A lion's or 
 a panther's skin — the panther is an attendant of 
 the wine-god — covers his seat. Before him is his 
 sacred eagle, perched on the summit of a pine — 
 again a touch of local colour, seeing that in antiquity 
 pine-forests covered the slopes of Aetna. There are 
 few coins which so completely fit in with all that 
 history tells us of the circumstances of the period 
 when they were struck, as does this curious coin 
 of Hiero's short-lived colony. 
 
 The expelled Hieronians retired to Inessa, another 
 spot on the slopes of Aetna, to which they again 
 gave the name of the volcano. We shall meet with 
 
 \ b'" 
 
76 FROM HIMERA TO THE ASSINARUS 
 
 their coins at a later period. The restored 
 Catanaeans now produced, among other less 
 important pieces, a fine series of tetradrachms, 
 reading katanaiON or l<ATANAIO£, with the head 
 of Apollo and a four-horse chariot (PL IV. 14, V. i, 
 2). The heads on these coins, like the similar heads 
 which we shall find at Leontini, form the counter- 
 part to the female heads at Syracuse, although, the 
 number of dies being fewer, we do not meet 
 with anything like the same variety. 
 
 At Syracuse we have seen the female head as 
 treated by Euaenetus in his earliest manner; at 
 Catana, where he seems to have worked for some 
 time before the Athenian disaster, we find him 
 producing some beautiful heads of the other sex. 
 A splendid tetradrachm (PI. V. 3) represents a 
 victorious chariot passing the turning-post, which 
 stands on the right. The charioteer reins his 
 plunging horses round ; above flies the Victory with 
 a wreath in one hand, the tablet with the engraver's 
 name in the other. The tablet is less offensive to 
 the modern eye in this group than on the Syracusan 
 specimens; it is held less conspicuously, and the 
 high action of the horses draws away our attention. 
 The head on the reverse is a youthful, almost girlish 
 Apollo, with a laurel-crown ; the main type is flanked 
 by two symbols, a fillet to which is attached a bell. 
 
PLATE IV 
 
 1. Himera: didrachm 
 
 2. „ tetradrachm (obv.) 
 
 3. 
 4- 
 5. 
 6. 
 
 PAGE 
 
 66 
 
 67 
 67 
 67 
 
 40,68 
 68 
 
 70,71 
 
 (rev.) 
 
 „ Weber Collection 
 
 didrachm. Weber Collection .... 
 half-drachm . . . . . 
 
 7. Messana: tetradrachm 
 
 8. Zancle restored : tetradrachm. Bi^ssels [formerly in the 
 
 Hirsch Collection) 7° 
 
 9. Croton and Zancle : didrachm 71 
 
 10. Naxos: tetradrachm 72,73 
 
 11. „ „ 73j74 
 
 12. Catana: litra 74 
 
 13. Aetna: tetradrachm, Brussels {formerly in the Hirsch Col- 
 
 lection) 74>75 
 
 14. Catana: tetradrachm -i^jjjjat^J^ 
 
 15. „ drachm (Euaenetus). Ward Collection . ^^»^ 
 
 ti 
 
SINARUS 
 
 nVi^C 
 
 tptradrarhins 
 
 t' 
 
 8d 
 
 VI 3TAJ^i '' similar h.....^ 
 
 . the coiinter- 
 
 ;rb-1lBd „ ,d 
 
 ....... r ■ ■■ 'm^M -^^ 
 
 S% '. . . . . • . -.' ; a) *^Rr?^SBte:^ 
 
 ligraver's 
 
 uid the 
 *-"ntion. 
 
 fu^M girlish 
 r i^ f linked 
 
Plate IV 
 
L^N 
 
 . CATANA. LEONTINI 77 
 
 and a crayfish. The bell, which we know to have 
 been used in the cult of Dionysus, may perhaps 
 have a religious significance here; but it is more 
 probably the private signet of a magistrate. 
 
 Another fine head (PL IV. 15) also produced by 
 Euaenetus at Catana represents the river-god 
 Amenanus, in almost purely human form. Unlike 
 the monster of Gela, the Amenanus is represented 
 as a youth with his hair confined by a fillet; but 
 just above his forehead sprouts a little horn. 
 Around are two river-fishes and a crayfish. 
 
 Leontini, like most cities in the neighbourhood, 
 was during the time of Hiero forced under the 1 (V^ 
 power of Syracuse. One of its earliest coins, issued 
 during the period of subjection, must be considered 
 in connexion with the Damareteia. On those deca- 
 drachms, and on the corresponding tetradrachms, 
 we have seen in the exergue the running lion, 
 which is generally supposed to have reference to 
 the defeated forces of Africa. On the tetradrachm 
 of Leontini issued about the same time (PL V. 4), 
 .we have a lion repeated as symbol in the same 
 subordinate position on both sides of the coin. On 
 the obverse is a victorious quadriga^ in the exergue, 
 a lion running, very much as on the Damareteia. 
 The main type of the reverse is an archaic head 
 
 ( 
 
 
I?rf 
 
 r^ 
 
 78 FROM HIMERA TO THE ASSINARUS 
 
 of Apollo, wreathed with laurel, with stiff, formal 
 ringlets hanging over his temples, and a long lock 
 down his neck — an admirable example of the style 
 of about 480 B.C. Around are three leaves of 
 his sacred tree, and below a springing lion, in 
 a somewhat different attitude from the symbol on 
 the obverse. Now, remembering the significance 
 of the city's name, and the fact that its usual 
 type and badge on the succeeding coinage is a 
 lion's head, we must be careful how we interpret 
 these symbols. The parallelism between the obverse 
 and the Damareteion type is so striking that we 
 can hardly deny them the same significance. On 
 the other hand, the lion of the reverse may justly 
 be interpreted as the badge of the city. 
 
 Another tetradrachm (PL V. 5)]^ which shows 
 quite as strongly the influence of Syracuse, bears 
 a female head, the hair confined by a wreath, 
 and surrounded by four barley-corns. The coin is 
 almost certainly from the same hand that wrought 
 the piece we have just described, and also the 
 Damareteion. The approximation to the latter is 
 carried out even to the omission of the lion under 
 the head on the reverse, so that but for the 
 inscription AEONTINON (retrograde) we should take 
 this coin to be Syracusan. 
 
 Two specimens of the later tetradrachms of 
 
LEONTINI 79 
 
 Leontini must suffice us here. The head of Apollo 
 on the former (PI. V. 6) belongs to about the middle 
 of the century. On the reverse the lion's head 
 badge is surrounded by the usual four corn-grains. 
 On some varieties (mostly of later date), we find 
 one of the grains replaced by another symbol, 
 usually connected with Apollo : his sacred tripod, 
 his lyre, a laurel-leaf, and the like. 
 
 The second coin (PL V. 7), at present in the col- 
 lection of Mr. John Ward, is chosen because of the 
 extraordinarily fine style of the head, which re- 
 sembles the head of Apollo on the coins struck at 
 Olynthus in Macedon, rather than those on any 
 other Sicilian coin. It cannot be much earher than 
 422 B.C. (when Leontini was once more reduced by 
 Syracuse), and one is tempted to date it even later. 
 The fourth symbol on the reverse is a river-fish. 
 
 All the smaller Leontine coins of this period bear 
 on the one side a lion's head ; on the diobol and 
 obol it is represented facing. A horseman is the 
 other type of the didrachm (PI. V. 8) and of the 
 earlier drachm; the later drachm has a head of 
 Apollo I (PL V. 9); barley-corns, or else a varying 
 number of pellets indicating the value, serve for the 
 still smaller denominations. 
 
 As we have already seen, the Syracusan colony 
 of Camarina had issued a few small coins with the 
 
8o FROM HIMERA TO THE ASSINARUS 
 
 types of Athena and a flying Victory during the 
 brief period between 495 and 485 b.c. It was 
 destroyed in the latter year by Gelo, but, being 
 restored as a colony of the city of Gela in the 
 year of the liberation (461), it began to issue coins 
 on a larger scale. The earliest piece of the period 
 is a didrachm, with a helmet on a shield for its 
 
 Fig. 6. Camarina : Didrachm. 
 
 obverse type, and, on the reverse, a dwarf-palm 
 between two greaves. It can hardly be jnuch 
 later than 461. Like the somewhat similar types 
 at Himera, these types may be meant to allude 
 to the defeat of the Carthaginians. Towards the 
 close of our period were issued tetradrachms with 
 a head of Heracles, bearded, and wearing the 
 lion's skin, with the muzzle over his forehead, 
 and the forelegs tied round his neck. On the 
 obverse is a victorious four-horse chariot, driven by 
 the goddess Athena, the chief deity of Camarina. 
 The inscription is KAMAPINAION. The specimen 
 illustrated here (PI. V. 10) is curiously double-struck. 
 Whether the chariot has special reference to any 
 >i victory at Olympia or other of the Panhellenic 
 
CAMARINA. GELA 
 
 8i 
 
 ^ ^Jlii^ 
 
 festivals, it is difficult to say. It is more probable 
 
 that the type appears simply because it is the 
 
 favourite type of all Sicilian cities. An attempt 
 
 has, it is true, been made to connect it with the 
 
 victory of Psaumis of Camarina at Olympia in 452, • 
 
 celebrated in Pindar's fourth Olympian^ and in the 
 
 ode — by v^hatever author — which follows it. 
 
 At Gela, the next great city of the southern coast, \ ^^iv<jf 
 the types of the bull with human head, and the j 
 
 racing-chariot, continue in use. The tetradrachm \ \ 
 
 ^(Pl. V. 12) with the representation of one of the 1 
 
 goals behind the horses must have been issued at \ 
 
 the very beginning of our period, if not earlier. / ^ 
 Later specimens !(P1. V. 14) show a considerable 
 advance in the humanizing of the bull's head, for 
 the full development of which we shall have to 
 wait for the last decade of the city's existence 
 immediately preceding its destruction by the Car- 
 thaginians. 
 h^fl The most interesting of Geloan coins of this period 
 is perhaps the tetradrachm [(PI. V. ii)j which repre- 
 sents a female figure, Lcalled £0£inOAI£, andlevi- 
 dently meant for the City-goddess, crowning the 
 river-god. The contrast between the huge monster 
 and the youthful figure, who hardly reaches to the 
 top of the bull's head, tells its tale effectively ; the 
 city has tamed its river, has made it do its appointed 
 
 G 
 
 \\ 
 
 r 
 
82 FROM HIMERA TO THE ASSINARUS 
 
 task of fertilizing the Geloan lands, and now rewards 
 and honours it for its services. 
 
 Towards the end of pur period comes a beautiful 
 tetradrachm (PI. V. 15)^ with a new type. Victory 
 drives the victorious chariot, the horses pacing 
 slowly ; above them hangs a large wreath. On the 
 reverse is a striking head of the river-god Gelas, but 
 with all traces of the bull-nature removed, excepting 
 the small horns on his forehead '. The head, which 
 is treated in a severe style, has all the attractiveness 
 of the whole-figure representation of a river-god 
 which we shall meet with on coins of Segesta. 
 Three fine river-fishes (treated, in the original, with 
 a detail of fin and scale which is inadequately repre- 
 sented in the reproduction) make a framework for 
 this admirable head. It seems curious to modern 
 minds, but is thoroughly characteristic of the Greeks, 
 that two representations so different of the same 
 deity could figure side by side on the coinage with- 
 out suggesting to those who used them any incon- 
 gruity or confusion of thought. 
 
 The type of the Geloan didrachms (Fig. 7 is) 
 a mounted lancer, usually wearing a conical helmet. 
 This type, in an archaic form, was also employed 
 
 * In the specimen from the Hirsch Collection here illustrated a 
 slight flaw extends from the tips of the horns towards the crown 
 of the head. 
 
PLATE V 
 
 I. 
 
 2. 
 
 3. 
 
 4- 
 5- 
 6. 
 
 7. 
 8. 
 
 9. 
 10. 
 II. 
 
 12. 
 13. 
 
 14. 
 
 15- 
 
 PAGE 
 
 Catana : tetradrachm (rev.) . .^Hj||^^^^Kr 7^ 
 
 (Euaenetus) '7 '^^^K' 
 
 Leontini „ ^^^^ ' '^^ 
 
 >§ • '^^ 
 
 (rev.). Ward Collection . . .;? . 79 
 
 „ didrachm 79 
 
 „ drachm 79 
 
 Camarina: tetradrachm ^ 
 
 Qela . ^^ (rev.). Brussels {formerly in the Hirsch 
 
 Collection) . . ... • 81 
 
 81 
 
 jj " 
 
 Brussels ( formerly in the Hirsch Collec- 
 
 //o«) ...... 83 
 
 (rev.) 81 
 
 Brussels (formerly in the Hirsch Collec- 
 
 //o«) 82 
 
30AT 
 
 82 '^ ■.:^.:. 
 
 ;ng the wards 
 
 irds tb beautiful 
 
 acing 
 slov large wreath. he 
 
 iiR'^h^Jcf'A? the river-god Gelas, but 
 ;i(e bull-nature removed, excepting 
 ^ loms on his forehteWP^^rf^^^M^hf^^iB^Xrhich 
 
 dr , ..IrtenkASv '■ '■:;' . Mac'Hvehess 
 
 ^ which. Scg(^t.i 
 
 w Three- fini : > w^^>v^^ Vv^iW-t .(tv«i) ^rjal, .^ith 
 
 ^ a detail of fin and - "^^atcH' r^^n 
 
 <* scnted in the reproductioii • Hiiio^bsi}9tr:Lyffi4i\^j5>5koilor 
 ,8 ihtrl^^f^^^ curious td-Wbdtrn 
 
 '8 nund^, but is. thoroughly characteristic of the <pr<^s, 
 ^ tb^^^^^l^^lWH^ dUkrtnt of the 3»iTie 
 ^® deity 4 -je.b\<.v^t)< < p ,^1^. coinage j^th- 
 
 It s! • ; y^^v • -ctnher " - 
 
 s8 ^'Ut ^!. 
 
 is) 
 1 helmet, 
 mployed 
 
 * In !■ • the ti illustrated a 
 
 slight fla. Hie tli: - 
 
 of the head. 
 
Plate V 
 
GELA. SELINUS 83 
 
 for the drachm, which does not seem to have been 
 issued after the early years of this period. A very 
 
 Fig. 7. Gela : Didrachm. 
 
 rare tetradrachm (PL V. 13) also has the lancer type, 
 and is further distinguished from other tetradrachms 
 by the fact that the complete man-headed bull, in- 
 stead of only the forepart, is shown on the reverse. 
 The earlier litra (PI. VI. i), again, has a riderless 
 horse, with a wreath above it; on the later issues 
 (PI. VI. 2) we find a horseman carrying shield and 
 spear. The wheel, as at Syracuse, distinguishes 
 the obol. It is clear that the principle of using 
 distinguishing types for the different denominations 
 was not rigidly observed at Gela. 
 
 The city of Selinus rose to great importance in 
 the period of expansion which followed the defeat 
 of the Carthaginians. Some of the coins with the 
 simple type of the selinon leaf doubtless continued 
 to be issued after that event; but as their pros- 
 perity increased, the Selinuntines struck larger and 
 finer coins^ wfeiehr-remind one, in the fullness of 
 their leeal-^allusions, of the tetradrachm of Aetna. 
 There can be little doubt but that these coins 
 
 G 2 
 
84 FROM HIMERA TO THE ASSINARUS 
 
 allude to the deliverance of the city from a pesti- 
 lence caused by the stagnation of the waters of the 
 
 ' river. The people died, and the v^omen suffered 
 grievously in childbirth. Empedocles, the cele- 
 brated philosopher, was consulted, and by a feat 
 of engineering, which seems to have consisted in 
 connecting the channels of two rivers, and thus 
 obtaining a stronger current, swept away the cause 
 of the malaria. The tetradrachms with which we 
 have to do show on the obverse^, (PI. VI. 3) the 
 deities Apollo and Artemis proceeding slowly in 
 their chariot, Artemis driving, while her brother 
 the sun-god discharges arrows from his bow. The 
 arrows are the healing rays of the sun, which drive 
 away the malarial mists; and Artemis is beside 
 him as the goddess who eases the pains of women 
 labouring with child. LThe legend is ^EAINONTION. 
 On the reverse (PL VI. 4) is the river-god Selinus 
 
 -^:£EAINO^) himself, a youthful figure, . with small 
 horns on his head, sacrificing with a libation-bowl 
 over an altar. The altar is sacred to Asklepios, 
 the god of healing, for a cock, his sacred bird, 
 stands before it. In his left hand the river-god 
 holds a branch, used for sprinkling lustral water in 
 the ceremony of purification. Behind him stands 
 the figure of a bull on a pedestal, and above that 
 is a selinon leaf. It is difficult to explain the bull. 
 
SELINUS 85 
 
 It may be that it 'symbolizes the sacrifice which 
 was offered on the occasion ' of the cleansing. Or 
 is it, as the pedestal seems to suggest, some monu- 
 ment, erected at the time as an offering in expiation 
 of the summary method which Empedocles had 
 adopted with the cause of the pestilence? To the 
 Greeks, there must have been behind that pestilence 
 some supernatural power, who would be offended 
 by the philosopher's interference with him. And 
 what do we find on the other Selinuntine coins 
 before us (PL VI. 6) ? On the obverse, the struggle 
 between health and strength on the one hand, and 
 the power of the stagnant water and its effluvia 
 on the other, is symbolized by the battle between 
 Heracles and the Bull, On the reverse, another 
 river-god, this time the Hypsas (HYtA^) is repre- 
 sented sacrificing, with libation-bowl and lustral 
 branch, to a god around whose altar a serpent 
 twines. This altar is probably once more an altar 
 of Asklepios. Behind Hypsas the place of the bull 
 is taken by a marsh-bird, which seems to stalk 
 away in high disgust at the disappearance of its 
 favourite haunts. The selinon-leaf fills the rest of 
 the field. These two coins thus complement each 
 other, and in their curious fullness of detail form 
 a most illuminating commentary on the dry state- 
 ment of the ancient biographer of Empedocles. 
 
86 FROM HIMERA TO THE ASSINARUS 
 
 Unaffected artistic representations such as these 
 do more to show us the habit of the Greek mind 
 than many pages of poet or historian, for they 
 reveal it to us at unawares. 
 
 Further allusions to the river and to the god of 
 healing are to be found on the small silver litrae or 
 obols (PI. VI. 5\ inscribed ^EAINOE^, ^BAINO£, or 
 ^EAINONTION. On these we find a man-headed 
 d^r bull, and a female figure (the local nymph? or the 
 goddess of health ?) seated, with a snake erect before 
 
 *, her ; she grasps the snake with her right hand. 
 
 It is improbable, to judge merely from the style 
 
 ' ) of the coins of Segesta, that any of them were 
 
 issued before 480, although some must be dated 
 
 very close to that year. The types -(Rl.- VI. 7, 9 and 
 
 -Figs. 8, 9)- are made interesting by the allusion to 
 
 Fig. 8. Segesta : Didrachm. 
 
 local legend which they convey. On the obverse 
 is a hound, on the reverse a female head, the long 
 hair caught up in a loop behind. -The pec^^har 
 terminations of the inscription — i^AFE^TAilB, XEC- 
 -KTAilB, or ^ECE^TAilBEMl— represent forms of 
 
SELINUS. SEGESTA 87 
 
 the Elymian dialect, on explaining which- iTi:U€4i-4n- 
 genuity_lias_Jieen.-expended, with but -httk-su€cess. 
 -Bttt-we-ai^-ffleFe-feFtH«ate in bemg-aWe ^:o interpret 
 the typ es. Since legend said that the founder of 
 the city was the son of the river-god Crimisus, who 
 at his union with the Trojan nymph Segesta took 
 on himself the form of a hound, there can be little 
 doubt that the figures on our coin represent the 
 river Crimisus and the nymph Segesta. In the 
 later issues, these types are diversified by the 
 addition of symbols, the most important of which, 
 the barley-plant (Fig. 9), is treated picturesquely. 
 
 Fig. 9. Segesta : Didrachm. 
 and forms a background to the main type. The 
 work of these Segestan coins is often extremely 
 rude, and shows the hindrances which Greek art 11^^ 
 encountered when it came into contact with the 
 barbarian element. 
 
 The coins with the barley-plant belong to the very 
 end of our period, or are perhaps even a year or two 
 later. The same is true of a curious modification of 
 the hound-type, which represents the animal stand- 
 
88 FROM HIMERA TO THE ASSINARUS 
 
 ing on the head of a stag (PI. VI. 9). At this 
 time the influence of the Syracusan artist Euae- 
 netus made itself felt in this remote corner of 
 the island. It has been plausibly suggested that 
 the coins which show it were first issued at the 
 time when the people . were making a bold bid 
 for Athenian aid against Selinus and Syracuse in 
 416 and 415 B.C. These coins, which are tetra- 
 drachms (PL VI. 8), have on the obverse an 
 admirable composition, representing a youthful 
 figure, his conical helmet hanging at his back, 
 his chlamys on his left arm. He stands resting 
 his left foot on a rock, and holding in his left 
 hand two hunting-javelins. A couple of hounds 
 in leash accompany him, one snuffing the ground, 
 the other with head erect and ears pricked up. 
 In front of him is a small terminal statue, or 
 boundary mark. We are told that the people 
 of Segesta worshipped their river-gods in human 
 form, and since we have seen that on the earlier 
 coins the river Crimisus is represented by a hound, 
 we shall not be far out if we accept the usual 
 explanation, which makes this young heroic figure 
 the river Crimisus. But what is the meaning of 
 the boundary-mark? The idea that he is watch- 
 ing the boundary of his city's territory, to see 
 if the enemy come, seems forced; but no better 
 
SEGESTA. ERYX 89 
 
 suggestion has yet been put forward. On the 
 reverse, the head of the nymph Segesta shows 
 some resemblance to the work of Euaenetus, but 
 perhaps hardly enough to justify the theory that 
 it is from the hand of that great artist. On 
 these coins we find both forms of the city name : 
 ^ELE^TAilA (the termination being a variety of 
 the unexplained form on the earlier coins) and 
 EFE^TAION or EfE^TAIAN. Of the two, the form 
 with the initial sibilant probably represents the 
 native, the other the Hellenized form of the 
 name. 
 
 The hound is also at ' this time the type of 
 the neighbouring city of Eryx. This fact might 
 possibly be urged as evidence against the explana- 
 tion of the Segestan hound as the river Crimisus ; 
 but when we remember that Eryx was only a 
 few miles from Segesta, and that in the previous 
 period it had no special types of its own, we 
 shall be ready to admit that it may have imitated 
 the type of its more powerful neighbour. Its 
 own special type is now the 
 head of Aphrodite, which occurs ((^ 
 on the didrachm— a very rare 
 
 11 ,. ,., Fig. 10. Eryx: Litra. 
 
 com — and also on the litra 
 
 (Fig. 10). The head on the latter is remarkable 
 
 for being represented facing— not, as was the custom 
 
 i 
 
90 FROM HIMERA TO THE ASSINARUS 
 
 with many types at the end of this century, sHghtly 
 incHned to one side, but full to the front. One litra 
 of this class is eloquent of the close connexion 
 between Eryx and Segesta, for it reads EPYkINO on 
 one side and ^EFE^TAION on the other. Again, 
 on the didrachm already mentioned, the hound is 
 accompanied, just as at Segesta, by three ears of 
 barley. Another type found on the litrae (Fig. ii) 
 
 is a female figure pouring a 
 libation on an altar — and here 
 we see the influence of Himera. 
 Fig. II. Eryx : Litra. j^^ inscription on these Erycine 
 
 coins sometimes assumes the bizarre form IPVKAilB 
 — another relic of the Elymian dialect. 
 
 Some small places, mostly in the interior of the 
 island, produced in the course of the fifth century 
 a coinage which must be noticed, if only in a 
 cursory way. In the hills westward of Catana lay 
 the towns of Morgantina and Galaria. The former, 
 early in our present period, issued litrae with a 
 bearded male head and an ear of barley, inscribed 
 
 MORCANTINA (PI. VI. lo) ; 
 and of Galaria there are 
 
 early litrae or obols which 
 
 Fig. 12. Galaria: Obol? , .1 . .i • r -. 
 
 show that the wmes 01 its 
 
 district were important. One (Fig. 12) has an 
 
 archaic figure of Dionysus standing, holding a 
 
ERYX. MINOR MINTS 91 
 
 cantharus and a vine-branch with a bunch of grapes ; 
 on the obverse is a figure of Zeus the Saviour 
 (£OTER) enthroned, holding his eagle before him. 
 The town name is abbreviated to CAAA on this 
 coin ; but on another, with Dionysus and a bunch 
 of grapes as its types, it appears as CAAAPINON. 
 Abacaenum, a small place near Tripi in the 
 north-east corner of the island, has a fairly large 
 coinage of litrae with a bearded laureate head (of 
 Zeus?) and a boar. The legend is divided between 
 obverse (ABAKAI) and reverse (NINON). In the very 
 centre of the island lay Henna {Castrogwvannt), 
 a small place, but one of the most sacred in Sicily. 
 Its litrae (Fig. 13) have on the reverse a female 
 figure holding a torch over 
 an altar— a modification of 
 the sacrificial scene already 
 
 familiar to us. The torch ^^^'^3. Henna: Litra. 
 
 seems to indicate the goddess Demeter. On the 
 obverse is the same torch-bearing figure in a 
 four-horse chariot. The inscription is HENNAION. 
 Farther west, Entella {Rocca d'Entelld) has litrae, 
 again with a female figure pouring a libation, and 
 on the reverse a river-god in the shape of a human- 
 headed bull. We also find a half-litra with a head 
 of Heracles in his Hon's skin on the obverse, and, 
 on the reverse, six pellets (the litra being worth 
 
92 FROM HIMERA TO THE ASSINARUS 
 
 twelve ounces of bronze) and the name ENTEA. 
 The litrae reading AorrANAION (heads of Heracles 
 and of a young river-god) and IPANATAN (eagle 
 standing on a capital, and dolphin with shell- 
 fish, Fig. 14) belong to small 
 places, the first perhaps near 
 Mylae {Mtlazzo), the second 
 Fig. 14. Hipana: Litra. near Palermo. Finally, we 
 have charming little coins in the drachms and 
 half-drachms ot Stiela, the representative of the 
 /^^^ /Jta\ once important city of 
 
 fC^Pn V^S) Megara. The types are 
 
 ^'^--**^ V^g^ l-]-jg \Y^2id of the young 
 
 Fig. 15. Stiela: Half-drachm, rfver-god, and the fore- 
 part of a man-headed bull (PI. VI. 11 and Fig. i5)\ 
 Three Phoenician settlements claim our attention 
 at this point. First in importance is Panormus 
 (Palermo). The earliest coins of this place are to 
 all intents and purposes Greek coins; not only 
 are all the types Greek, but so also in most cases 
 is the legend. The Phoenicians in fact were entirely 
 devoid, at least at this period, of any but the most 
 mediocre artistic power ; and their artists, if indeed 
 they were not actually Greeks, certainly worked 
 under Greek influence. Further, as these coins 
 were meant for trade with Greek-speaking people, 
 
 ^ A litra also shows the god sacrificing, with a sapling in his hand. 
 
MINOR MINTS. PANORMUS 
 
 93 
 
 the Phoenicians wisely used types and inscriptions 
 which would be generally intelligible. Thus we find 
 the inscription PANOPMITIKON or PANOPMO. The 
 types of the early tetradrachms (Fig. i6) are a head 
 
 Fig. i6. Panormus: Tetradrachm. 
 
 of Apollo, and a victorious four-horse chariot. On 
 the smaller denominations we have among others 
 the type of Poseidon seated on a rock (Fig. 17) ; 
 while a hound (Fig. 18) — obviously copied from 
 
 Fig. 17. Panormus : Obol. Fig. 18. Panormus : Didrachm. 
 
 Eryx or Segesta, — the forepart of a man-headed bull 
 (Fig. 19), a head of a young river-god (Fig. 19), 
 and a youth riding on a man- 
 headed bull all seem to be 
 ways of representing the local 
 stream. An Oriental touch is 
 given by the symbols of the 
 murex-shell and the swastika on the didrachm 
 (Fig. 18). The Phoenician element shows itself also 
 
 Fig. 19. 
 Panormus: Litra. 
 
94 FROM HIMERA TO THE ASSINARUS 
 
 in the inscription which — whatever it may mean — 
 is transHterated ziz. These letters figure largely 
 on the later Siculo-Punic coinage, and seem to 
 have some connexion with Panormus, whether 
 they be the Phoenician name of that city or not. 
 
 A less important Phoenician settlement was the 
 short-lived colony of Motya, the predecessor of 
 Lilybaeum, and thus of the modern Marsala. 
 The coins are largely imitated from those of 
 neighbouring mints suph as Segesta, Himera and 
 Acragas. The name of the town is given in Phoe- 
 nician letters as hmttia, while the Greek legend is 
 
 Fig. 20. MoTYA : Tetradrachm. 
 
 MOTVAION. The tetradrachms (Fig. 20) have the 
 Acragantine types; the smaller coins are chiefly 
 
 Fig. 21. MoTYA : Didrachm. 
 
 copied from Segesta (Fig. 21). But we also find 
 didrachms (PI. VI. 13) with the Himeraean anabates 
 
MOTYA. SOLUS 95 
 
 on the obverse and a female head copied from 
 Syracuse on the reverse. Probably the earliest of 
 the Motyan coins is an obol (Fig. 22) which has 
 an eagle standing on a capital 
 with a snake in its beak, and, 
 on the reverse, a dolphin and 
 scallop-shell -the one type ^^^- ""• Motva: Obol. 
 inspired by Acragas, the other by Zancle. We 
 have already found the two combined at Hipana 
 (Fig. 14). A later obol (PL VI. 12) has a female 
 heiad in a wreath, and a female figure sacrificing 
 before an altar, with the Phoenician letters m a 
 and a shell in the field. 
 
 The third Phoenician city is Solus. Its earliest 
 issue (PI. VI. 14) is a didrachm, remarkable chiefly 
 as a foil to the didrachm of Selinus (PL VI. 6) 
 with exactly the same types (Heracles fighting 
 the bull, and a river-god sacrificing, with selinon- 
 leaf and bird in the field). One cannot help 
 feeling that the Soluntines were prompted by 
 the chance resemblance of their own inscription 
 (^OAONTINON) to that of Selinus (CEAINONTION) 
 to use the same types, and thus gain acceptance 
 for their coinage. But their artistic capacity evi- 
 dently fell short of their commercial ingenuity. 
 
 We have now brought our study of Sicilian \ ' ^^k. 
 coinage down to the end of what is called the 
 
96 FROM HIMERA TO THE ASSINARUS 
 
 period of transition from archaism to the finest art. 
 To the historian of art, the stage of development 
 which we have examined is perhaps more fascinating, 
 because of its ever-changing hfe and vigour, than 
 the full bloom which is to follow. As we have 
 already indicated, there is little or no trace, at this 
 time, of the lack of restraint which arises out of 
 too great facility in technique, and which is the 
 first sign of coming decay. 
 
CHAPTER III 
 THE FINE PERIOD 
 
 B.C. 413-346 
 
 The Athenian expedition to Sicily, melancholy 
 as were its consequences for Athens, gave a fresh 
 impetus to the activity of the city against which the 
 Athenian designs were chiefly directed. The prestige 
 acquired by the Syracusans was of far more value 
 than the spoils of war which fell into their hands. 
 The great event left its mark on the coinage in many 
 ways. First and most obvious was the reissue 
 of ten-drachm pieces, popularly called ' medallions,' 
 which, as Mr. Evans has proved, was directly 
 occasioned by the defeat of the Athenians. That 
 defeat took place at the River Assinarus, and the 
 festival which was founded to commemorate the 
 event, and which was first celebrated in the autumn 
 of 412, was known as the Assinaria. The great 
 concourse of people at the games would require 
 a fresh issue of coins ; and, in view of the import- 
 ance of the event, the memory of the Damareteia 
 
 H 
 
98 THE FINE PERIOD 
 
 struck after the defeat of the Carthaginians must 
 have suggested that this new coinage should be 
 something on a larger scale than usual. 
 
 We have seen that Euaenetus was working out- 
 side Syracuse towards the end of our last period. 
 Whether this means that he was exiled from 
 Syracuse, or merely that he was at first absent 
 for some other reason, and then, owing to the 
 Athenians having made their head quarters at 
 Catana, was unable to return thence to Syracuse, 
 until peace was concluded between the two cities 
 in 409, we cannot say. But it appears that the 
 earliest of the large Syracusan coins of this period 
 are from the hand of a rival artist, Cimon. The 
 design of our sketch does not admit of a detailed 
 study of the complex question of the exact sequence 
 of the varieties of Syracusan decadrachms. We 
 must be content to notice the chief varieties only, 
 and not to concern ourselves as to the exact order 
 in which they were issued. The types of all 
 Cimon's decadrachms (Frontispiece, 1-3) are, on 
 the obverse, a female head, which from some of 
 his tetradrachms may be identified as that of the 
 nymph Arethusa; and, on the reverse, a victorious 
 chariot, with a panoply below it in the exergue. 
 The reverse type of all other decadrachms is the 
 same, but on the obverse those which are not 
 
SYRACUSE : CIMON'S DECADRACHMS 99 
 
 from Cimon's hand (Frontispiece, 4-7) agree in 
 presenting the head of the goddess Persephone, 
 crowned with barley-leaves. A significant point, 
 in connexion with the great importance attaching 
 to these heads as works of art, is that the head 
 is always on the obverse side of the coin, and 
 the chariot on the reverse. This disposition of 
 types now becomes the general rule for all coins, 
 although there are many exceptions. The head 
 of the nymph Arethusa on one group of Cimon's 
 decadrachms (Frontispiece, i) is marked by a 
 greater restraint and severity of manner than is 
 apparent on his other works, and is also treated 
 in somewhat lower relief Its relation to the head 
 which we have already seen on a tetradrachm 
 by Euaenetus (PI. III. 10) is obvious. The nymph 
 wears her hair in a net, and her earring has 
 the form of three drops falling from a calyx. 
 The hair is treated with a certain amount of 
 exuberance at the sides of the head, but otherwise 
 the work is fairly reserved. In comparison with 
 Cimon's later types there is a lack of modelling in 
 the face; the curve of the profile taken from the 
 nose upwards and carried on over the frontlet is not 
 pleasing; and the angle made with the throat by 
 the excessively full chin — almost verging on double- 
 ness — is another point which affords excuse for 
 
 H 2 
 
loo THE FINE PERIOD 
 
 fault-finding. If this is, as it seems to be, Cimon's 
 earliest decadrachm type, some of the weak points — 
 especially the flatness of the modelling — may be 
 due to the largeness of the scale, which was 
 strange to the artist. The signature will be found 
 
 on the frontlet of the head-band in the form , .. . 
 
 IM 
 
 On the reverse, interest centres at once in the 
 curious subsidiary type of the exergue. The line 
 dividing it from the main type is treated, so to 
 speak, architectonically. It is not a mere divisional 
 line, but almost a moulding running across the 
 field ; in fact, the exercise of a little imagination 
 will enable us to think of it as representing the 
 cornice of a pedestal on which the chariot-group 
 .stands. Closer examination of the exergue shows 
 that there runs across it, dividing it horizontally, 
 a sort of shelf or step. On this step are placed 
 to the left a shield, to the right a crested helmet ; 
 between them, and leaning against the step, is 
 a cuirass between a pair of greaves. And below 
 them all, save where the carelessness of the 
 striker has prevented its appearance, is the signifi- 
 cant word AOA A— 'prizes.' This panoply then — 
 the harness of a heavy-armed Greek soldier — is 
 one of the prizes offered in the games of which 
 the victorious chariot above it is the familiar 
 symbol. When we remember the enormous quantity 
 
SYRACUSE: THE PANOPLY loi 
 
 of arms which must have been captured from the 
 seven thousand Athenian prisoners taken at the 
 Assinarus, we shall not find it hard to believe 
 that the prizes in the Assinarian games, celebrating 
 as they did a great military victory, should take 
 the form of a full suit of armour. It may be 
 that this type at the same time represents some 
 actual monument of the great victory, having a 
 trophy of arms carved on its pedestal. But there 
 can be no doubt that its main significance is 
 agonistic. 
 
 Cimon's later heads on his decadrachms (Frontis- 
 piece, 2, 3) are, technically regarded, a great 
 improvement on his first. But the comparatively 
 amiable model of his earlier type has given place 
 to a haughty beauty with a distinctly sneering ex- 
 pression. The relief is much higher, and there is 
 more modelling to be seen in the features. The 
 curve of the forehead is broken by allowing some 
 of the locks of hair to stray from under the frontlet. 
 The earring is a single drop, instead of the earlier 
 flower-like ornament. The whole design is more 
 restless, chiefly owing to the profusion of small 
 curling locks of hair; it is true that they are 
 hardly more numerous than on the earlier coins, but 
 they are so treated as to attract more attention. 
 Some of these coins are signed more than once : 
 
I02 THE FINE PERIOD 
 
 on the frontlet, on the belly of a dolphin, along 
 the exergual line, or even in the field of the 
 reverse. 
 
 The other chief variety of the Syracusan 
 'medallion,' associated with the name of Euaenetus 
 (Frontispiece, 4-6), bears, as we have seen, on the 
 obverse a head of the goddess Persephone, or, as 
 she is called when named on Syracusan coins, Kora, 
 the Maiden-Goddess. From henceforward, the head 
 of Persephone becomes the most important of all 
 Syracusan coin-types. These singularly beautiful 
 decadrachms have been felt by most who have 
 considered the subject to be the finest of all Greek 
 coins ; but of course there are differences of opinion. 
 One writer finds the head lacking in expression, 
 and the treatment of the hair intensely artificial. 
 In this latter respect, however, there can be little 
 doubt that Cimon's head of Arethusa is more sug- 
 gestive of the friseur. Again, what one critic feels 
 to be lack of expression, another will see to be 
 due to the fact that Euaenetus has begun to break 
 away from the old tradition, which did not attempt 
 to disguise the individual model in a type. In 
 fact, this head of his is the first attempt of a 
 Syracusan artist to represent a truly ideal, type 
 — I speak only of the period of art in which it is 
 possible to distinguish such characters. 
 
EUAENETUS. THE ' NEW ARTIST' 103 
 
 Closely allied to the work of Euaenetus — who is 
 represented by a large number of varieties of 
 'medaUions/ both signed and unsigned — is that of 
 an unknown master. Two specimens only of the 
 'medallion' by the 'New Artist' have come down 
 to us, one formerly in the collection of the Earl 
 of Ashburnham, now belonging to Mr. Thompson 
 Yates (Frontispiece, 7), the other (Fig. 23) in the 
 
 Fig. 23. Syracuse : Decadrachm by the 'New Artist.' 
 
 collection of Mr. Arthur Evans, who first made 
 the variety known, and established the fact that it 
 is not the work of Euaenetus. The differences, 
 it is true, are minute, especially as regards the 
 obverse; but the sum of the minute differences 
 makes a considerable impression. Whether the 
 head on the new medallion is a greater work of 
 art than the head by Euaenetus, some may be 
 inclined to doubt. That it is more striking, on first 
 impression, and that the face has a rare beauty 
 which is all its own, may be admitted; but a closer 
 
I04 THE FINE PERIOD 
 
 examination brings out a serious weakness in the 
 treatment of some of the details. The tendency 
 towards excessive profusion of small curls which 
 is evident in Cimon's work is here carried to 
 such a degree that the curve of the head from 
 forehead to back hair is entirely masked by small 
 curling tresses, and the hair lying close on the 
 top of the head, which gives great opportunities 
 for a beautiful contrast between masses of hair and 
 free locks, is completely hidden. Compare a head 
 by Euaenetus, with its careful distinction between the 
 soft hair radiating from the crown, the long tresses 
 caught up from the temples or bound up at the back 
 of the head, and the few small curls which break 
 without obscuring the contour, and it will be difficult 
 to deny that the ' New Artist ' is lacking in one of 
 the essentials of a great master, the power of self- 
 restraint. On the reverse, the team of horses is 
 keeping perfect step, their heads are level, all the 
 lines are almost perfectly parallel. In this respect 
 the artist stands apart from both Cimon and 
 Euaenetus. Little fault can be found with his 
 treatment of that difficult subject, the horses' legs ; 
 the other artists, in attempting to bring more variety 
 into the arrangement of the team, came to grief, for 
 it has rightly been complained that the position in 
 which they have placed the hind-legs of the 
 
SYRACUSE: THE ^NEW ARTIST' 105 
 
 second horse is not only ungraceful but impos- 
 sible. Let us note but one more variation from 
 the usual type : the inscription AOAA is transferred 
 from the bottom to a position on the left, under 
 the exergual line, where it escapes destruction. 
 
 Magnificent decadrachms, such as these which we 
 have described, continued to be issued down to 
 about 360 B. c. ; those of Euaenetus are certainly 
 later than those of Cimon, and the decadrachm of 
 the 'New Artist' seems to be more or less inter- 
 mediate between the two. We have agreed that 
 this intermediate type is not from the hand of 
 Euaenetus; and if we are wrong in maintaining 
 that its creator is not in all respects a greater master 
 than that artist, it is satisfactory to remember that 
 the authorities of the Syracusan mint were of the 
 same mind, since they did not continue to use it. 
 
 The issue of the decadrachms did not of course 
 do away with the necessity for the ordinary coinage ; 
 and although there is some reason to suppose that 
 soon after the beginning of the fourth century 
 tetradrachm issues became somewhat scarce, we 
 have a certain number of these pieces which must 
 belong to the closing years of the fifth and to 
 the beginning of the fourth centuries. First in 
 importance comes Cimon's masterpiece — a work 
 immeasurably superior to his decadrachms — the 
 
io6 THE FINE PERIOD 
 
 tetradrachm with the facing head of Arethusa 
 (PL VI. 15). The nymph, whose name APEOO^A is 
 inscribed outside the border, is represented with her 
 head sHghtly incHned towards the left; her long 
 flowing hair fills the field, and dolphins dart in 
 and out among the tresses. The signature of the 
 artist KIMAN is inscribed on the frontlet of the band 
 which she wears on her head. On the reverse is 
 the usual chariot; but Victory, instead of flying, 
 steps on the head of the nearest horse. Below the 
 fore-feet of the horses is a fallen goal-column, which 
 has been upset in the contest. In the exergue is 
 an ear of barley. As an example of complicated 
 and delicate design in low relief, this reverse ranks 
 higher than anything else produced even by 
 a Syracusan artist. Enthusiasm has never been 
 lacking in appreciation of the beauty of the 
 obverse. One fact may without hesitation be 
 admitted — it is the most charming of all the front- 
 face types produced not only in Sicily, but also 
 around the coasts of the Aegean, as at Amphipolis 
 and Aenus, at Clazomenae and Rhodes. But one 
 fault it has, nevertheless, in common with all such 
 types. Since the first use of a coin is, after all, to 
 circulate as a medium of exchange, no scheme should 
 be adopted for the type which makes it unsuitable 
 for that purpose. Coins inevitably become worn in 
 
PAGE 
 
 T. Geia: litra 7 '^^^^^.* ^3 
 
 ^^^^ 
 
 3. Selinus: tetradrachm (obv.) .... ^^^^^^^K* ^4 
 
 4- (rev.) ^^Bl^* ^"^ 
 
 5- » obol ' . . 86 
 
 6. „ didrachm 85 
 
 7. Segesta „ 86 
 
 8. „ tetradrachm 88 
 
 9. „ didrachm 86, 88 
 
 10. Morgantina: litra 9° 
 
 11. Stiela: drachm 92 
 
 12. Motya: obol 95 
 
 13. „ didrachm 94 
 
 14. Solus : didrachm. Berlin {formerly in the Imhoof-Blumer Col- 
 
 lection) 95 
 
 15. Syracuse : tetradrachm (Cimon) 106 
 
 16. „ „ ( „ obv.) . . - . .107 
 
 17. „ „ (Euaenetus) 108 
 
io6 r^ 
 
 tetr? Vrethusa 
 
 ., \PEOO^A is 
 
 border cnted with her 
 
 'iiKxl lo\ left; her long 
 
 the f: dolphins dart in 
 
 g the W'3TAJS7he signature of the 
 
 li inscr >ntlet of the band 
 
 ^ wears )n the^VfSv^^f^'ls 
 
 ^^ . ■ • ^ Below life 
 
 gre ; *-*h-*hf>r^e ^•' ^'ro;y^t,ilib^i^^. whi|i 
 
 MiS • In the e}^^*?^-*s 
 
 oQ relief t i i l^iiiif f j'^niJAesipAfti fc^ 
 
 r se produced , even ., fyv' 
 
 ^ ^ .Irtish. . Enthusiasm htttfoBiBB^ er„ bc<jp 
 
 ^'' ■^:•h<1tI3^ing <!ff all the fror^- 
 
 8oi t3til0n9su3) ^ ,, „ »^i 
 
 ; in Sicilv. but also 
 
 •nhipolis 
 
 •-. ^. 'jii^ 
 
 ilVsudh' 
 
 .::Li ail, to 
 
 "me should- 
 
 ^_ ,-, ,. -. -...._ .L unsuitable 
 
 for thnt ni •vit:ib]v herome worn in 
 
Plate VI 
 
SYRACUSE: CIMON^S ARETHUSA 107 
 
 rubbing against each other. By all means should 
 they be made beautiful ; but the design chosen should 
 be one of which the essential characters are not 
 immediately destroyed by wear. A profile type so 
 much depends on the mere outline for its beauty, 
 that it may retain its quality long after much of 
 the relief is worn away; but the first points of 
 a facing type to suffer are the nose, lips and 
 forehead, so that the most beautifully modelled face 
 is rapidly reduced to something like a caricature. 
 A facing head on a coin is the most difficult of all 
 types for an artist to produce, and we may be 
 grateful to the Greeks of the 'fine period' for 
 showing us what they could do in this way; never- 
 theless had they avoided the experiment, no one 
 could have accused them of undue timidity. 
 
 Cimon's head of Arethusa seems to have enjoyed 
 an extraordinary vogue, if we may judge by the fact 
 that it was imitated on coins of Larissa in Thessaly, 
 and even by the Persian Satraps who governed 
 Cilicia. Another tetradrachm by Cimon (PL VI. 16) 
 represents the head of Arethusa in profile, as on 
 those decadrachms which, according to Mr. Evans, 
 belong to his second style, and were issued about 
 410 B.C. 
 
 Among the other tetradrachms of this period is 
 one — an exceedingly rare, if not unique, coin — 
 
io8 THE FINE PERIOD 
 
 evidently from the school of Euaenetus, and possibly 
 from his own hand, although unsigned (PI. VI. 17). 
 Its style is exactly similar to that of the deca- 
 drachms of this master, and it was doubtless issued 
 at the same time as one group of those coins 
 which, like the tetradrachm, is distinguished by 
 a small pellet under the chin of the goddess 
 (Frontispiece, 6). 
 
 A third very remarkable tetradrachm of this period 
 (PI. VII. i) introduces us to a new type. A superb 
 facing head of the goddess Athena, in a richly 
 decorated helmet with triple crest, is the type of 
 the reverse. The name of the artist Eukleidas is 
 inscribed (EYKAEIAA) on the helmet. The same die 
 which was used to strike the obverse of this coin 
 was also used for another tetradrachm (Fig. 24), with 
 
 Fig. 24. Syracuse : Tetradrachm. 
 
 a beautiful head which Mr. Evans has interpreted 
 as that of Victory; the position of the earring 
 shows that the head should be regarded as leaning 
 forwards, as it would be if the figure were repre- 
 
SYRACUSE: EUKLEIDAS; PARME . . . 109 
 
 sented flying, 'the earring in fact enables us to 
 supply the wings \' 
 
 The artist who signs himself PAPME produced 
 coins (PI. VII. 2) very much inferior to those which 
 we have already described, and is probably to be 
 dated fairly late in the present period. 
 
 In addition to the signed coins, there are a 
 number which are unsigned. One of the best of 
 these (PI. VII. 3) has a fine, somewhat severe head, 
 and varies the usual arrangement of the dolphins 
 by making one of them dart out from behind the 
 neck. This must belong to quite the beginning 
 of the present period, if not to the end of the 
 preceding. 
 
 The smaller silver coinage of this time need 
 not detain us long. The reverse of the drachm 
 (PI. VII. 5) represents a hero, whose name we learn 
 from some of the specimens to be Leukaspis 
 (AEVKA^PIC)— the warrior of the 'white shield.' 
 Legend said that he was a Sicanian hero slain by 
 Heracles. He is represented nude, a crested helmet 
 on his head, fighting with spear and large shield; 
 behind him is his altar, before him a ram (evidently 
 
 ' A glance at PI. II will show that many of the earlier female 
 heads on Syracusan coins, when rightly placed, are inclined 
 forwards, though at a smaller angle than the head before us. 
 
no THE FINE PERIOD 
 
 the animal sacrificed to him) lying on its back, ready 
 for immolation. 
 
 The date of the first introduction of gold into the 
 Syracusan coinage is a matter of dispute. On one 
 view, it dates back to some time between 440 and 
 420 B.C. The more usually accepted theory post- 
 pones the introduction of gold until the period of 
 the Athenian siege, or later. We may describe 
 here the earliest issues of Syracusan gold without 
 definitely committing ourselves to either theory. 
 The larger coins — and even these are very minute, 
 weighing at the most about 19 grains troy — show 
 on the obverse (PI. VII. 6) a head of young Heracles 
 wearing the lion's skin, as we have already seen 
 him at Camarina. The reverse is curiously remi- 
 niscent of the archaic silver coinage; here again 
 we have the female head within a small circular 
 depression placed in the middle of an incuse 
 square. This reversion is a piece of conscious 
 archaism; it was evidently thought that, while the 
 execution of the first piece of gold struck by the 
 Syracusan mint should be on the level of existing 
 art, there should be something in the coin to remind 
 men of the earliest issues of the city. 
 
 A still smaller gold coin (about 11 grains troy) 
 is a little later than the one we have just de- 
 
SYRACUSE: GOLD INTRODUCED iii 
 
 scribed. Its types (PI. VII. 9) are the helmeted head 
 of Athena, and the aegis of the goddess fringed 
 with snakes, and having in 
 its centre the mask of the 
 Gorgon. A yet smaller de- 
 nomination (Fig. 25) has, Fig. 25. 
 with a similar obverse, a Syracuse : Gold. 
 
 wheel in the centre of an incuse square^again 
 an archaism. The chariot- wheel as a type was 
 already known to the Syracusans from the silver 
 obol in the earliest period of their coinage 
 (PL I. II). 
 
 The difficulty of ascertaining the date of these 
 little coins is partly due to their small size, partly 
 to the absence of connexion between their types 
 and the types of the silver. When we come to the 
 next group of gold coins, the question of date is 
 easier. These are pieces (PI. VII. 4, 7) with a female 
 head, presumably of Arethusa, and an exquisite de- 
 sign of Heracles wrestling with the Nemean lion. 
 Some of them are signed by the artists Cimon and 
 Euaenetus ; but the head on all of them approximates 
 to the type affected by Cimon on his silver deca- 
 drachms, in other words, to the head of Arethusa. 
 These little coins were worth twenty drachms or 
 a hundred litrae of silver. A gold piece equivalent 
 to the silver decadrachm was also issued at the 
 
112 THE FINE PERIOD 
 
 same time; the types (PL VII. 8) are the head of 
 a young river-god, and an unbridled prancing horse. 
 Such an emblem of liberty can hardly have first 
 been placed on the coins after the beginning of the 
 tyranny of Dionysius in 405, although if it had^ 
 already been issued, the tyrant would have good 
 reason not to discontinue it. We may therefore 
 accept the date of about 408, suggested by 
 Mr. Evans' recent investigations, for the issue of 
 these pieces ; if indeed we assume the first gold coins 
 to have been issued after the Athenian disaster, it 
 is impossible to put it earlier. Yet another smaller 
 gold coin exists \ with a female head on the 
 obverse, and the trident of Poseidon on the reverse. 
 This piece, which seems to have been worth half 
 the preceding denomination, has a square incuse 
 impression on the reverse, a feature also found on 
 some of the larger gold coins. We must not linger 
 over the types of these issues; but it is worth 
 mentioning that an engraved sard, found near 
 Catania, bears a design almost absolutely identical 
 with Euaenetus* representation of the group of 
 Heracles and the lion. If any evidence were needed 
 to prove that Euaenetus, and for that matter Cimon 
 
 * It is necessary to observe that the genuineness of two specimens 
 of this coin which have come into the market of late years has been 
 disputed. 
 
SYRACUSE: BRONZE 113 
 
 and many other Greek die-engravers, were also gem- 
 cutters, this little sard, not to mention a gem signed 
 by Phrygillus, supplies it. 
 
 Gold was not the only new metal introduced into 
 the Syracusan coinage during the present period; 
 we find also bronze coins, which are even more 
 difficult to date than the gold. The earliest may 
 indeed be earlier than the Athenian expedition. 
 They have the types of a female head, and a squid, 
 and are sometimes marked with three pellets, show- 
 ing that they are pieces of three ounces, or quarters 
 of the litra. But such bronze pieces must, as their 
 weights show, have been merely a token coinage, 
 circulating at a conventional value. The type is 
 significant; we have already seen that the squid 
 was used for the original silver litra, that denomina- 
 tion being a part of the native system with which 
 the Greek system was harmonized. It is therefore 
 entirely appropriate that the squid should be placed 
 on the first coin struck in bronze, which was pre- 
 eminently — at any rate before the Greek cities 
 became entirely dominant over all the island— the 
 native medium of exchange and the standard metal. 
 Other bronze coins of the early period have a star 
 in the centre of an incuse square, associating them 
 with the earliest issue of gold; or a wheel with 
 two dolphins between the spokes (PL VII. 10). 
 
114 
 
 THE FINE PERIOD 
 
 Later than these coins — and by some even brought 
 down to the age of Timoleon — is the large bronze 
 coin representing the htra (Fig. 26.) The obverse 
 has a head of Athena in a helmet of the kind 
 
 Fig. 26. Syracuse : Bronze Litra. 
 
 generally called Corinthian. On the reverse, 
 between two dolphins, is a star-fish (convention- 
 ally represented by an eight-pointed star of which 
 the rays are connected by a sort of webbing). 
 The fabric of these big bronze coins is very remark- 
 able, and characteristic of the period. It is difficult 
 to give an idea of it in words, but no one can fail 
 to notice the strongly sloped edges, and the marks 
 left at two diametrically opposite points of the cir- 
 cumference by the ' seam ' which once ran round 
 the whole of the almost globular mass of cast 
 metal on which the dies were impressed \ 
 
 We must leave aside the remaining bronze coins 
 of this period, only stopping to notice the preva- 
 lence of marine types on them. But we have not 
 
 ^ See Introduction, p. 4. 
 
LATER COINS OF DIONYSIUS 115 
 
 yet done with the silver coinage. To suppose that 
 Dionysius entirely ceased to issue tetradrachms is, 
 as we have seen, to take an extreme view of the 
 case; that he struck but few must be admitted, 
 because we know that he was often in pecuniary 
 straits. We may regard as one of the latest of 
 his tetradrachm-issues a coin (PL VII. 12) which 
 represents the head of the goddess Persephone 
 with long flowing hair, crowned with a wreath of 
 barley-leaves, a full ear of the plant standing out 
 over the forehead. The advanced style of this head 
 — we shall see something like it on the coins of 
 Agathocles — would suggest an even later date. It 
 is true that the earyng is of the coiled shape 
 characteristic of the tetradrachms of the period 
 preceding the decadrachms; but this can hardly in 
 itself be regarded as a proof that the coin is early. 
 The financial troubles of Dionysius seem to be 
 strikingly illustrated by a piece of bronze, struck 
 from the dies of a decadrachm of the style of 
 Euaenetus. On this piece, which has been pub- 
 lished by Mr. Evans, there still remain traces of 
 a white metal which is certainly not silver and is 
 probably, though not certainly, tin. If this is an 
 ancient forgery — and we can see no reason to doubt 
 its antiquity — we are confronted with two alterna- 
 tives. Either it was issued by the mint authorities, 
 
 I 2 
 
ii6 THE FINE PERIOD 
 
 or it was the work of an artist working on his 
 own account. The comparatively good style seems 
 to point to the former alternative; and we are 
 actually told by Aristotle that Dionysius issued 
 'tin tetradrachms/ If he issued tin tetradrachms 
 he may have issued decadrachms in the same 
 metal; and, as his needs became more pressing, 
 have contented himself and tried to content his 
 subjects with tin coins of which all but the surface- 
 plating was bronze ! The evidence for this explana- 
 tion, which is due to Mr. Evans, is, however, of 
 a somewhat unsatisfactory nature, and we may wait 
 for further specimens to be found before deciding 
 whether we have to do with an undoubted monu- 
 ment of Dionysius' ingenuity. 
 
 The general dearth of money, so far as it was 
 actually issued by the Greek cities of Sicily, must 
 have been considerable in the latter half of the 
 reign of Dionysius the Elder, and during the time 
 that his son occupied the throne. Thanks to the 
 Carthaginians and to the elder tyrant himself, 
 nearly all the important Greek states had ceased to 
 enjoy an independent existence. But the gap must 
 have been filled by the coins known as Siculo- 
 Punic, as well as by the two great currencies of 
 Corinth and of Athens. The influence of the Corin- 
 thian currency left on the Syracusan coinage a mark 
 
SYRACUSE: BASE COINAGE; DION 117 
 
 which we can still recognize. For there exist 
 certain coins (Fig. 27) struck at Syracuse, probably 
 
 Fig. 27. Syj^acuse : ' Pegasus.' 
 
 at the time of its deliverance by Dion in B.C. 357, 
 which in types and weight exactly resemble the 
 ' Pegasi ' of Corinth ; but the letter koppa which 
 marks the Corinthian coins disappears from under 
 the Pegasus of the reverse, and the legend ^YPA- 
 kO^ION (with the short 6) appears round the head 
 of Athena on the obverse. 
 
 To Dion also it is possible that we must ascribe 
 the introduction of a new metal, or rather variety 
 of metal, into the Syracusan currency. This was 
 electrum, a mixture of gold and silver. In the days 
 when coinage was first invented in Asia Minor, the 
 mixture was used as it was found native in the 
 sands of the river Pactolus and in other places, 
 and the percentage of gold varied very considerably 
 in different corns. In the money with which we 
 have now to deal, the mixture was evidently made 
 artificially, and the various coins are more homo- 
 geneous. There can be little doubt that the object 
 
ii8 THE FINE PERIOD 
 
 of issuing this unsatisfactory metal was to enable 
 the authorities to rate it rather too highly, although 
 not so highly as gold, in relation to silver. The 
 ordinary person cannot discover the exact propor- 
 tion of silver in a piece of electrum, and therefore, 
 so long as the electrum is not rated as pure gold, 
 he cannot complain that he is being cheated. 
 
 These first electrum coins of Syracuse— some of 
 which most authorities, it is true, give to the time 
 of Timoleon — are pretty pieces with types connected 
 with Apollo and Artemis. On the largest coin 
 (Fig. 28) we have simply the heads of the two 
 
 Fig. 28. Syracuse : Electrum. 
 
 deities. On a smaller denomination, the half of 
 the other, we have the head of Apollo on the 
 obverse, his sacred tripod on the reverse (PI. VII. 
 14). The head and lyre of Apollo furnish the 
 types to the quarter (PI. VII. 11), and a still smaller 
 coin has a female head and sepia (PI. VII. 13). 
 The ApoUine types of the three higher denomina- 
 tions are eminently suitable to Dion, who is also 
 represented by other coins with the head and 
 
SYRACUSE: DION. ACRAGAS 119 
 
 tripod of Apollo, struck on the island of Zacyn- 
 thus, where he prepared his expedition to Syracuse. 
 
 The space which we have devoted to Syracuse 
 in this chapter is by no means out of proportion 
 to the importance of her coinage in this, the finest 
 period of her art. We shall find beautiful coins 
 at other cities, but nothing like the same mass of 
 coinage, or the same sustained artistic effort. Indeed, 
 many cities with mints of splendid promise were 
 swallowed up by the barbarian conqueror or the 
 rapacious Syracusan tyrant; and after 404 there 
 were, if we except Syracuse, practically no Greek 
 cities of any importance issuing coins in the island. 
 
 The most important piece in all the Acragantine 
 series, and one of the most superb products of the 
 die-engraver's art, is the famous silver decadrachm 
 (PI. VII. 15), of which only three, or at the most 
 four, specimens are known to exist. The eagle, the 
 sober type of the early coins, is glorified into a pair 
 of birds, standing on the body of a hare, their prey, 
 which lies on its back on the rocks. One bird bends 
 to tear the animal, the other lifts its head and 
 shrieks. In the field is a grasshopper or locust. 
 Numismatists have always quoted, in connexion 
 with this type, the fine passage in the Agamemnon 
 of Aeschylus describing the omen sent to the Greek 
 kings : — 
 
I20 THE FINE PERIOD 
 
 How they who share the Achaean throne, the twain consorted 
 princes of Hellas* chivalry, wielding their spears of vengeance, 
 were sped unto the Teucrian land by birds of mettle, the one 
 black, the other argent behind. In station manifest they alighted 
 hard by the palace, the kingly fowl before the kings of the fleet, 
 devouring a hare's body big with her brood, on the spear hand, 
 where they foreslowed her running \ 
 
 Like the eagle with a serpent (which we find on 
 the reverse), an eagle tearing a hare was regarded 
 as an omen of victory. Whether the type of our 
 coin has reference to some particular event, as we 
 shall find is the case with a similar eagle and 
 serpent type of the time of Timoleon, it is difficult 
 to say. In any case such sights must have been 
 fairly common in a country where eagles were 
 numerous. 
 
 The reverse of the same decadrachm represents 
 a male figure nearly nude (probably the personifica- 
 tion of the river Acragas), driving a chariot; above 
 is the inscription AI<PArA£, and an eagle flying 
 away with a serpent in its claws; below is the 
 crab, the city emblem. 
 
 Although this coin bears no representation of the 
 human head, few will be found to deny that its 
 types, as compositions suited for a coin, must rank 
 with the finest work of the Syracusan engravers ^. 
 
 ^ Aesch. Agam. vv. 109 foil. ; Warr's translation. 
 ^ There exists a series of shallow drinking-cups, generally 
 coming from Italy, of which the chief ornament is a central 
 
ACRAGAS: THE DECADRACHM 121 
 
 The decadrachm is only the finest of a fine series 
 of coins. There are two main varieties of the tetra- 
 drachm. On one, the types are generally similar 
 to those of the decadrachm; but we find some of 
 them marked with the names ^TPATAN (PL VII. 
 18) or ^lAANO^ — probably the masters of the 
 mint, — and there are a variety of symbols, such as 
 the familiar crab, or a small figure of Scylla. The 
 artist who used the latter symbol signs his name 
 MYP on the line of the exergue below the horses' 
 feet. The other group of tetradrachms may perhaps 
 be dated somewhat earlier; for some of them (the 
 earliest) have the comparatively simple type of a 
 single eagle tearing a hare, and on the reverse 
 a crab with a sea-fish^ (PI. VII. 16). The link 
 
 medallion, evidently made from an impression of a Greek coin. 
 The coins thus represented are decadrachms of Euaenetus and the 
 like. These vases in clay presuppose the existence of similar 
 vases in metal, in which the medallion would probably be an actual 
 coin let into the bottom of the bowl. M. Theodore Reinach has 
 shown that it is in all probability such a bowl as this, with one of 
 the Acragantine decadrachms for its central ornament, that must 
 account for a statement by Pliny, who mentions a chaser in silver 
 of the name of Acragas : ' a hunting-scene by Acragas, chased on 
 drinking-cups, won great celebrity.* Acragas is unique as a man's 
 name; the artist is otherwise unknown; and nothing is more 
 probable than that Pliny or his authority took the name of the 
 river-god for an artist's signature. 
 
 ^ Of the perch family; a Serranus according to Mr. Lydekker, 
 Polyprion cernium (' stone-bass ') according to E. v. Martens. 
 
122 THE FINE PERIOD 
 
 between these and the later group is given by the 
 magnificent tetradrachm with the group of the two 
 eagles on its obverse, and the crab and Scylla type 
 on its reverse. The specimen formerly in the Ash- 
 burnham collection (PL VII. 17) is one of the most 
 charming of Greek coins, although the design of 
 the reverse is not a composition of the first rank. 
 The artist has made a captivating figure out of 
 Scylla, but has not had the courage to reduce 
 the emblem of the city to a suitable size; the 
 result is that neither half of the type attains its 
 full significance, and the two do not harmonize 
 into one whole. 
 
 We must omit the smaller silver coins, noting 
 only that on the drachm the artist has given the sem- 
 blance of a human face to the carapace of the crab. 
 Nor need we linger over the bronze coins, which 
 all have as types the eagle and the crab represented 
 with various modifications. The prettiest of the 
 smaller coins of this period is a gold piece (PI. VII. 
 19) with the eagle and crab and the name of the 
 magistrate Silanos (CIAANOC). 
 
 As was to be expected, the coinage of Acragas 
 seems to have come to a sudden end when the 
 city was destroyed by the Carthaginians in 406. 
 The inhabitants when they returned to their deso- 
 lated homes were content to use their old coins. 
 

 8. 
 
 9. 
 10. 
 II. 
 12. 
 
 13- 
 14. 
 
 15- 
 16. 
 
 17- 
 18. 
 19. 
 
 PLATE VII 
 
 PAGE 
 
 Syracuse : tetradrachm (Eukleidas, rev.) io8 
 
 „ „ (Parme . . ., rev.) 
 
 
 
 109 
 
 (rev.) . 
 
 
 
 109 
 
 „ gold (100 litrae) . 
 
 
 
 
 
 III 
 
 „ drachm 
 
 
 
 
 
 
 109 
 
 „ gold (20 litrae) 
 
 
 
 
 
 
 no 
 
 „ „ (100 litrae) 
 
 
 
 
 
 
 III 
 
 „ ,, (50 litrae) 
 
 
 
 
 
 
 112 
 
 „ „ (12 litrae) 
 
 
 
 
 
 
 IIT 
 
 „ bronze (rev.) 
 
 
 
 
 
 
 113 
 
 „ electrum 
 
 
 
 
 
 
 118 
 
 „ tetradrachm 
 
 
 
 
 
 
 115 
 
 „ electrum 
 
 
 
 
 
 
 118 
 
 j> )j 
 
 
 
 
 
 
 118 
 
 Acragas: decadrachm. Munich 
 
 
 
 
 119 
 
 „ tetradrachm . 
 
 
 
 
 121 
 
 „ „ Formerly m the Ashhurnham CoUeciion 
 
 122 
 
 •> }, ........ 
 
 121 
 
 gold . 
 
 
 
 . 
 
 . 
 
 
 122 
 
 ^0 
 
122 
 
 given by the 
 radrac the two 
 
 Scylta type 
 formerly in the Ash- 
 
 ':-. although the design ol 
 HO :r} of the first raiik. 
 
 '^r.. ,-^^^./t). ^g,, figun* put i»{ 
 
 5e<" .... i'5"T) ,>onmo-p Juc^' 
 
 111 . ■•'■•^^- • ^" - '^ 
 
 %' <?.; % 
 
 All ^^'^^^'^)i-^{^8 attains ift 
 
 ,iii i' ooi) „ „ . -r 
 
 lun o^o§^i harmoniz;^ 
 
 iftfc> (3fiililai) „ , .Q 
 
 ^^W' lAaJler siTvci^^miiLs, 'noting^ 
 
 c^^jy that, on .the, drachm the artist f4ii>8i^|i««n the sen?f^ 
 
 l»in( -human- face, to the cAra|W??^of th^* craff.' 
 
 sji . " tt 41 
 
 ]^9r nc: 'inq:er over j\lt{Miubi:Mia^bifife«>]i:%BswiAcij 
 
 ^ihave as ts] ^»](- and thiPl^S^'^^pre^ente^' 
 
 vqriou.^ 1 hf' prettiest q} tlxei 
 
 f thk :>fe^^(Ph VIR' 
 
 ame of the 
 
 Acr-agas 
 •hen the 
 city . cirthaginians in 406, 
 
 The inhabii urned to their deso- 
 
 lated homes wen use their old coins. 
 
Plate VII 
 
ACRAGAS. GELA 123 
 
 We shall find them issuing new money in the next 
 period. 
 
 Like its neighbour Acragas, Gela enjoyed but 
 a brief existence during this period, for it too was 
 destroyed by the barbarian in 405. Immediately 
 after the Athenian disaster there followed a few 
 years of great prosperity, resulting in an increased 
 output of coins. To this time belong a variety of 
 types, which we shall not attempt to arrange in 
 exact chronological order. 
 
 In the first place we find the old types treated 
 in a fresh and highly-developed style. A fine 
 tetradrachm (PL VIII. i) shows the horses in 
 high action; above the chariot an eagle flies 
 away holding a serpent in its talons, as on the 
 Acragantine decadrachm. A stalk of barley in 
 the exergue of the obverse bears witness to the 
 fertility of the territory of Gela, as does the grain 
 in the field of the reverse. The features of the 
 bull-god have become more humane, and the horn 
 is made small and hardly perceptible. No doubt 
 some of the savagery of aspect which is perceptible 
 in the earlier representation of this river-god is due 
 to the archaic artist's lack of skill in combining 
 the human and the animal forms; nevertheless we 
 feel that he conceived of the river-god as a dreadful 
 monster, whereas his successor (as we have already 
 
124 THE FINE PERIOD 
 
 seen from the tetradrachm with the young male 
 head struck towards the end of the last period) 
 thinks of him as a benign and fertilizing power. 
 
 The type of the horseman, which we found on 
 the earlier didrachms, is now developed into a more 
 elaborate scheme (PL VIII. 2); armed with a lance, 
 he strikes downward at a fallen hoplite over whom 
 he rides. Holm ingeniously finds in this type an 
 allusion to the part which the Geloan troopers 
 took in the contest with Athens; for we know 
 that the Geloans helped the Syracusans with 
 cavalry, whereas the force of the Athenians was 
 strongest in hoplites. 
 
 Of gold there are three denominations, the 
 weights of which are to each other as 6:4:3. The 
 two heavier both have the forepart of the river-bull 
 as one of their types. On the heaviest piece 
 (27 grains) the other type is a helmeted horseman 
 (Fig. 29); on the next denomination (PI. VIII. 4) it 
 is the head of the goddess Sosi- 
 polis, already known to us from 
 earlier tetradrachms. The smallest 
 Fig. 29. Gela : Gold. ^[^^^^ which is extremely rare, 
 has a similar head; its other type is the forepart 
 of a bridled horse. We note, in fact, that Gela 
 lays rather more stress on the horseman-type than 
 do other cities. 
 
GELA. CAMARINA 125 
 
 A type which is new to the Geloan coinage ap- 
 pears on the silver litra and on some of the small 
 bronze pieces struck at this time; it is the head of 
 Heracles, bearded on the bronze, youthful and 
 wearing the lion's skin on the silver (PL VIII. 6). 
 The river-god Gelas is also sometimes represented 
 (PI. VIII. 6) as a bearded head wearing a wreath 
 of barley-leaves. But the prettiest of the bronze 
 coins is the piece with the head of Demeter, facing 
 and crowned with barley- 
 leaves. The two types just 
 described are combined in the 
 piece illustrated in Fig. 30. ^^^- 3o. Gela : Bronze. 
 
 We have already mentioned that the early 
 chariot-types of Camarina have been supposed to 
 commemorate the victory of Psaumis. Whether 
 this be so or not, the Pindaric odes which cele- 
 brate Psaumis are interesting to the student of the 
 coins issued by Camarina in the years imme- 
 diately preceding the removal of its inhabitants to 
 Syracuse in 405. Of the two the more important 
 is the fifth Olympian, with its intimate allusions to 
 the local cult of Athena, the nymph Camarina, her 
 sacred lake, and the rivers Hipparis and Oanis. 
 The tetradrachms (some of them signed by the 
 engraver Exakestidas) have now a beardless head 
 of Heracles, and the style of the horses is more 
 
126 THE FINE PERIOD 
 
 spirited and varied than on the eariier coins (PL 
 VIII. 3). In the exergue of some specimens we see 
 two amphorae, jars for wine, or perhaps, as Athena 
 drives the chariot, for oil. They are very probably 
 prize vases. The signature of E^AKE^TIAAC is 
 written on the exergual line. The most interesting 
 pieces, however, are the didrachms with a horned 
 head of the river-god Hipparis, and a representation 
 of the nymph Camarina borne on a swan over 
 her lake, while the wind inflates her veil and the 
 fish leap around. On some specimens (probably 
 the later) the river-god's head is represented 
 facing (PI. VIII. 8); on others it is in profile, and 
 on these his name (\PPAP\Z) is sometimes given. 
 The waves of his stream are treated conventionally 
 so as to form a border, and a fish is seen on each 
 side of the head. Some of these didrachms are 
 signed by Euaenetus, others by Exakestidas. 
 
 The drachms (PI. VIII. 5), half-drachms (PI. VIII. 9), 
 and litrae represent the head of the nymph Camarina 
 (l<AMAPINA), sometimes facing, sometimes in profile, 
 
 Fig. 31. Camarina : Oeol. Fig. 32. Camarina : Litra. 
 
 in a manner evidently inspired by the art of Syracuse ; 
 a flying Victory (Figs. 31, 32, as on the earliest coins 
 
CAMARINA. HIMERA 127 
 
 of the city), a head of Athena (Fig. 32), and a swan 
 
 (Fig. 33) are also types to be found on the smaller 
 
 coins. 
 
 On the bronze, which 
 
 was issued for some few 
 
 years before the trans- 
 
 Fig. 33. Camarina : Obol. 
 
 portation, we find types 
 
 associated with the goddess Athena : — her head, the 
 head of the Gorgon, an owl holding a lizard. And 
 to Camarina also probably belongs a little gold coin 
 (PL VIII. 7), with a head of Athena on the obverse, 
 and two olive-leaves with berries and the letters l<A 
 on the reverse. The shortening of the inscription 
 leaves us in doubt whether this coin may not belong 
 to Catana ; but the types certainly favour the attribu- 
 tion to Camarina. 
 
 At Himera — to transfer ourselves to the northern 
 coast— the old type continued in use for the tetra- 
 drachms (PI. VIII. 10), subject of course to the 
 modifications caused by increased skill on the part 
 of the engraver. Himera too has its artist's signa- 
 ture; for the engraver, who introduced, doubtless 
 from Syracuse, a motive which we have already 
 described under that city, signs his name MAI . . 
 on the tablet held by the flying Victory ^ 
 
 ^ On the British Museum specimen (PI. VIII. lo) the signature 
 is obliterated ; Mr. Evans has read it on a specimen at Paris. 
 
128 THE FINE PERIOD 
 
 Of the smaller silver coins, one (PL VIII. ii) has 
 a head of young Heracles in his lion's skin, and a 
 figure of Athena standing to the front, in a fighting 
 attitude, with raised spear and shield. Another is 
 important for the head of Cronus (l<P0N02:) which 
 it bears. We have already noticed the occurrence 
 of Pelops on an earlier coin, and the combination 
 seems to confirm the suggested connexion with 
 Olympia. But we cannot say whether the Cronium 
 which we know to have existed at Himera was 
 called into being by some special relations with 
 the Cronium at Olympia, or whether it existed 
 independently, so that it was a mere coincidence 
 that suggested to the Himeraeans the type of the 
 founder of the Olympian games. 
 
 The Himeraean bronze coins are very varied in 
 type. The most interesting represents the youth 
 whom we have already seen on the earlier litra 
 riding on a he-goat, and blowing a conch-shell. The 
 inscription which accompanies the flying Victory 
 on the reverse is usually IMEPA or IMEPAIAN, but 
 also sometimes 1<IMAPA. This last form — which 
 suggests that the aspirate in the name was very 
 harsh — lends some slight colour to the notion that 
 the fearful wild fowl that formed the type of the 
 litra (above, p. 68) was a variety of the Chimaera. 
 That monster is usually depicted as a lion with a 
 
HIMERA— THERMAE 129 
 
 serpent for its tail, and a goat's head springing out 
 of its back ; but the SiciHan artist was quite equal 
 to creating a local form. But what should the 
 Chimaera be doing at Himera? Here again an 
 answer has been suggested ; the Greeks connected 
 the Chimaera with subterranean volcanic agencies, 
 and, if the type of Himera is the Chimaera, it may 
 well be related to the hot springs of Thermae. 
 
 These hot baths became the site of a new city. 
 For in 407, the year following the destruction by 
 the Carthaginians of the old city of Himera, the 
 remainder of the unfortunate inhabitants were al- 
 lowed by the conquerors to settle at the springs. 
 Coins were issued from the new mint for a few 
 years, and then it seems to have been closed until 
 the third century. The tetradrachm — the genuine- 
 ness of which has been suspected — bears a victorious 
 chariot (thus carrying on the type of Himera) and 
 the head of a nymph surrounded by dolphins. The 
 didrachm (PI. VHI. 12) has a head of the goddess 
 Hera, wearing a crown, with a dolphin in the field 
 behind ; on the reverse is a figure of the youthful 
 Heracles, seated on his lion's skin on a rock, and 
 holding his club; his bow and quiver are behind 
 him. The heads of the same two deities also 
 occur on some of the bronze coins. All the pieces 
 ahke are inscribed OEPMITAN. 
 
 K 
 
I30 THE FINE PERIOD 
 
 Messana, until its destruction by Himilco in 396, 
 continued to use tetradrachms with the types of the 
 mule-car and hare. We have already mentioned 
 (p. 71) Mr. Evans' theory that the introduction of the 
 symbol of the two dolphins in the exergue dates from 
 425, and hinted at the objection that the treatment 
 of the chariot-group on many specimens retains a 
 well-known archaic feature, the pair of mules being 
 indicated by merely doubling the outlines of one. 
 On the other hand other tetradrachms (PL VIII. 
 13, 14) show both the animals fully delineated, 
 walking slowly or stepping high. A variety of 
 pretty symbols, such as the hippocamp (PI. VIII. 
 14), the head of the nymph Pelorias, the head of 
 young Pan (PL VIII. 13), a barley-plant with three 
 ears, are introduced in connexion with the hare- 
 type. The most remarkable type, however, of this 
 period, or (judging from the early style of the 
 mules) perhaps of the end of the preceding period, 
 is found on the reverse of a unique tetradrachm of 
 the 'two-dolphins' class (PL VIII. 15). The young 
 god Pan (PAN) is resting on a rock, on which he has 
 thrown his fawn's skin. But for the horns on his 
 forehead, he is purely human in form. In his left 
 hand he holds his crooked throwing-stick, while 
 with his right he caresses a hare which stands 
 on its hind-legs before him. The artist has not 
 
PLATE VIII 
 
 1. Gela: tetradrachm '^■^^'123 
 
 2. „ didrachm. Berlin {formerly in the I mhoof- Blunter Col- 
 
 lection) 124 
 
 3. Camarina: tetradrachm (Exakestidas) 126 
 
 4. Gela: gold 124 
 
 5. Camarina: drachm (obv.) 126 
 
 6. Gela: litra 125 
 
 7. Camarina : gold 127 
 
 8. „ didrachm 126 
 
 9. J, hall-drachm 126 
 
 10. Himera : tetradrachm (Mai . . .) 127, 147 
 
 11. „ obol 128 
 
 12. Thermae: didrachm 129 
 
 13. Messana: tetradrachm 130 
 
 14. „ „ Ward Collection 130 
 
 15. „ „ (rev.). Berlin {formerly in the Imhoof- 
 
 Blumer Collection) . 130 
 
 16. „ drachm 131 
 
 17. Naxos: tetradrachm. Naples 131 
 
 18. „ half-drachm 132 
 
M 
 
 cructioi iimilco in 396, ^ 
 
 SSI 
 dsi 
 
 dsi 
 
 dsr 
 8^1 
 
 : ready mentioned 
 
 ^le introduction of the 
 
 il#^3>fAJ4^^ the exergue dates from 
 
 Uiat the treatment 
 
 ....... iiv m^mm^M'}i 
 
 \o":) ^*m«\a->poi\w5i 1^ m ^^ft««vn\3, Kt'^»^j /^.mrfa^iijnules -feeing 
 
 (jtOt\'»\ 
 
 ^ctradrac}ft^qs:/Bpp .J,rin. 
 
 .vcfo) rarfoBTib : 
 
 -"i 
 
 
 0£t 
 
 you 11 
 ears 
 
 lypc; 1 
 
 ap'(Pl. -VlIL 
 
 • • Ixirlcy-^int witlrlliree 
 
 . mdoRibib :9Bfm3rfT .st 
 
 duced .in ,contt.^^5^3ivijg;^^4ij|f ^^a: :- 
 
 e-mi/st*^^^" h type, however, oPthis 
 
 -vtteL Trorii the early style oT the 
 
 d (A tli^^?^^ccdmg jp^Hod, 
 
 hich he has 
 
 ; left 
 
 iwing-stick, while 
 
Plate VIII 
 
MESSANA. NAXOS 131 
 
 been able to bring himself to reduce the city symbol 
 to its proper size, so that it is disproportionately 
 large in relation to the figure of the god. 
 
 Other Messanian types (PI. VIII. 16) represent 
 the nymph Pelorias (PEAAPIA^:), personification of 
 the promontory which runs out to the north of the 
 city, and the hero Pheraemon (^EPAIMAN, repre- 
 sented like Leukaspis at Syracuse), a legendary ruler 
 of northern Sicily. 
 
 The mint of Messana, which closed with the 
 disaster of 396, opened again about the time of 
 Dion's expedition ; but we may leave the description 
 of the later coins to a subsequent chapter. 
 
 At Naxos, as at too many other Sicilian cities, the 
 mint enjoyed but a short span of activity in this 
 period ; for Dionysius crushed the city in 404. The 
 tetradrachm has a new development of the older 
 types, the god Dionysus being represented as 
 youthful and beardless (PI. VIII. 17). On the 
 reverse is Silenus seated beside a vine, holding 
 wine-cup, ivy-branch and wine-skin. More remark- 
 able is the didrachm, of which some specimens 
 (PI. IX. i) are signed by the artist Prokles (nPOI<AH^). 
 It has a pretty, girlish head of Apollo (a laurel-leaf 
 behind it), and a figure of the squatting Silenus. 
 Most of the specimens show the head of Silenus 
 
 in profile, but Prokles also attempted the task of 
 
 K 2 
 
132 THE FINE PERIOD ] 
 
 representing the head facing, as in the specimen > 
 
 illustrated. To do so with any success is the more \ 
 
 difficult in proportion to the smallness of the scale ; ' 
 
 and it is probably for this reason that he has made | 
 the head disproportionately large. 
 
 Of the other Naxian coins, there is but one which i 
 
 we need mention, a half-drachm (PL VIII. 18), com- , 
 
 bining the Silenus type with the head of a river- \ 
 
 god Assinus (A^SIINOs:)— either the river Acesines ^ 
 (sometimes called Asines), the Cantara of to-day, 
 
 or else the little stream S. Venera, which is even i 
 
 nearer to Naxos. The inscription on all the coins ! 
 of this period (when complete) is NAZI AN. 
 
 Two or three artists besides Euaenetus signed i 
 
 their names on the coins of Catana. Among them \ 
 
 is Prokles, whom we have already found at Naxos ; ■ 
 
 but a more remarkable artist is Herakleidas j 
 
 (HPAKAEIAA^). The profile head of Apollo (PL IX. 3) ! 
 
 with the powerful development of the cranium, and | 
 
 the singularly portrait-like features, ranks with the ; 
 most individual of Syracusan heads, and, though not 
 
 signed, probably comes from this engraver's hand, i 
 
 Both he and another artist, Choerion (XOIPIAN), also ' 
 
 represented Apollo's head facing (PL IX. 2, 4)— not, : 
 
 if we compare the similar subjects on Syracusan ; 
 
 coins, with very much success. Choerion's head of \ 
 
 Apollo (PL IX. 4) is crowned not with laurel, but i 
 
NAXOS. CATANA 133 
 
 with an oak-wreath, and flanked by his attributes, 
 the bow and the lyre. The god's name (APOAADiN) 
 is placed under the head, and the artist's own name 
 at the left side. Other types of this time are 
 the lank-haired head of the river-god Amenanus 
 (PL IX. 5), and the head of Silenus, facing, on silver 
 drachms and half-drachms — a remarkable study of 
 a bald-headed wine-bibber (PI. IX. 6). 
 
 The bronze coins of Catana (which ceased to issue 
 money in 403, when it was enslaved by Dionysius) 
 need not detain us from passing on at once to 
 Leontini. This city, as we have seen, fell from 
 its former greatness in 425. But it enjoyed a short 
 period of revival, when in 405 it was once more 
 recognized as independent, only to have its in- 
 habitants transported to Syracuse in 403. Of this 
 brief span of existence there is a little monument, 
 a unique silver half-drachm (PI. IX. 7), which had 
 long been known, but remained unappreciated until 
 Mr. Evans pointed out its significance. On the 
 obverse is the head of Apollo with the inscription 
 AEON, on the reverse l<ATANAinN, with the type 
 of a butting bull, and a fish in the exergue. The 
 butting bull (a type derived from southern Italy) 
 is also found on the contemporary silver litra of 
 Catana. This little coin was undoubtedly struck by 
 Catana and Leontini in alliance during the brief 
 
134 THE FINE PERIOD 
 
 period which preceded the overthrow of both 
 cities. 
 
 The revival of Leontini at the time of Dion's 
 expedition, when the Hberator found his chief support 
 in that city, is illustrated by a didrachm (Fig. 34) 
 exactly corresponding to the ' Pegasus ' of Syracuse 
 
 Fig. 34. Leontini : ^ Pegasus.* i 
 
 already described ; except that this reads AEONTINON 
 for the other's ^YPAKOSIION, the two pieces are quite 
 similar. The dating of these coins, it must be | 
 admitted, is no matter of certainty ; but Dion seems i 
 to have a better claim to them than Timoleon. 
 To Dion's time also probably belongs a bronze 
 coin with the head and tripod of Apollo. i 
 
 We may now turn once more to western Sicily. 
 At Seliniis the type of the river-god sacrificing still 
 appears on the tetradrachms, but the figures of 
 Apollo and Artemis in their car are superseded 
 by the four-horse chariot driven by Victory, the 1 
 horses galloping, a wreath hung above them : 
 (PL IX. 8). The didrachm does not change its \ 
 types; the half-drachm has a head of Heracles, j 
 
LEONTINI. SELINUS. SEGESTA 135 
 
 sometimes three-quarter face, sometimes in profile. 
 With the fall of Selinus in 409 the coinage ceased, 
 never again to be revived. 
 
 At Segesta we still meet with the old type of the 
 Crimisus, accompanied sometimes by only one dog 
 (PI. IX. 9 and Fig. 35); and, of course, the four- 
 
 FiG. 35. Segesta : Tetradrachm. 
 
 horse chariot is not missing. The horses are in 
 high action, as is now usual, and the charioteer 
 (possibly Persephone) holds three stalks of barley, 
 which remind us of the plant behind the hound 
 on the earlier coins. A rare tetradrachm (PI. IX. 9) 
 has, instead of the chariot-group, a figure of the 
 local nymph sacrificing at an altar, while a figure 
 of Victory flies to crown her. The form ^EfE^TAIAN 
 or EFE^TAIilN, too, now begins to supersede the 
 older form ^EFE^TAIIB or XiEFE^TAllA. The 
 hound and a female head are the types of all the 
 smaller coins, except where the reverse is occupied 
 by the inscription merely. 
 
 The Greek coinage of Segesta probably ceased 
 in 409, when the city came into the power of 
 
136 THE FINE PERIOD 
 
 Carthage; it was possibly used as a mint by the 
 Carthaginians, but we cannot with certainty ascribe 
 coins to it again until the end of the First 
 Punic War. 
 
 If it were not for the rudeness with which most 
 specimens are executed, the types of Eryx at this 
 time would be charming. On one tetradrachm 
 (PI. IX. ii) we see the goddess Aphrodite seated, 
 holding one of her sacred doves, while before her 
 stands Eros, raising his hand towards his mother, 
 as if asking for the bird to play with. As might 
 be expected, the forms of the child are those of 
 a small man, rather than of an infant ; like the 
 early Italian painters, the early Greek sculptors 
 were late in attaining the art of representing in- 
 fantile forms. The inscription on this coin is 
 IRVKAIIIB (retrograde). On another tetradrachm 
 with the same reverse type, but slightly later in 
 date, the hound is replaced by the chariot-group, 
 and the inscription takes the Greek form EPVkiNON. 
 Variations on the theme of Aphrodite and the 
 hound provide all the types for the smaller coins 
 (PL IX. ID, 12), on one of which the goddess 
 plays with a dove, and the 'swastika' symbol is 
 placed above the hound. 
 
 During the period when Eryx was in Carthaginian 
 hands, coins were issued there which we shall 
 
ERYX. THE HERACLEOTES 137 
 
 mention in connexion with the rest of the Siculo- 
 Punic issues. 
 
 A small, but much discussed group of coins (half- 
 drachms) is inscribed, in one form or another, with 
 the words HPAKAEIATAN and El< l<E4)AAOIAIOY, 
 i.e. 'coin of the Heracleotes from Cephaloedium.' 
 The types are a head of young Heracles and 
 a butting bull; the style, according to Mr. Arthur 
 Evans, shows them to be decidedly earlier than 
 Timoleon's time. Were they struck by Heracleotes 
 at Cephaloedium, or by inhabitants of some 
 other place who had come from Cephaloedium? 
 The former suggestion is hardly tenable, on gram- 
 matical grounds ^ 
 
 It is by no means a rash assumption that the 
 inhabitants of Cephaloedium were expelled by the 
 Carthaginians (who, as we shall see, seem to have 
 established a mint at this place) and that they 
 settled in some friendly spot, keeping up their 
 community and issuing coins with a legend re- 
 calling their native city. There is no occasion to 
 connect these coins with Heraclea Minoa. They 
 may be assigned to the brief period between the 
 
 ^ The preposition eK can be used (the Athenian quota-lists give 
 some striking examples) indifferently with iv, to express the people 
 'of* a place ; but Mr. Evans pertinently remarks that when so used 
 it is from the outsider's point of view ; and that is not suitable to 
 coin-dies engraved in Cephaloedium itself. 
 
138 THE FINE PERIOD 
 
 fall of Himera (409) and the recovery of Cephaloe- 
 dium by Dionysius early in the fourth century, when 
 the Greek inhabitants were probably restored. 
 
 Two or three of the minor cities in Sicily issued 
 in this period coins which are of some interest. 
 A pretty bronze coin (PI. IX. 13) of about 400, or 
 perhaps a little earlier, is the unique piece having 
 on the obverse the head of a young river-god, 
 with horn and pointed ear, and on the reverse 
 a hound killing a fawn. In front of the head are 
 six pellets, marking the coin as equivalent to six 
 ounces or half a litra; and between the pellets are 
 visible the letters I AKIN. Numismatists have supplied 
 a P in the small space before the first pellet, and 
 attributed the coin to the town Piacus, mentioned 
 by the Greek lexicographer, Stephen of Byzantium, 
 and possibly also in a corrupt passage of the historian 
 Diodorus Siculus\ Whether the attribution is right 
 or not, we must wait for a second specimen to 
 decide. The style of the head shows the influence 
 of places like Leontini and Catana, although the type 
 of the reverse, by its associations, would point rather 
 to western Sicily. The late Mr. Samuel Butler 
 has called attention to the uncertainty attaching to 
 
 ^ XII. 29. If Beloch and Pais are right in their emendation, 
 Piacus was destroyed by Syracuse in 440 ; but it may easily have 
 been revived and have struck coins before the end of the century. 
 
MINOR MINTS 139 
 
 the initial letter, and has made some use of this 
 coin in connexion with the fact that the brooch of 
 Odysseus, as described by Homer, represented a 
 hound seizing a fawn; but to examine his theory 
 here would lead us far astray from our subject. 
 
 Of the other small cities coining in this period 
 we can hardly do more than merely mention the 
 names : — Nacona (Fig. 36, head of a nymph, and 
 
 Fig. 36. Nacona : Bronze. 
 
 Silenus riding on an ass); Morgantina (Fig. 37, 
 head of Athena facing, and Victory seated); 
 
 Fig. 37. Morgantina : Litra. Fig. 38. Abacaenum : Litra. 
 
 Abacaenum (Fig. 38, head of nymph facing, and sow 
 with a pig) ; Megara (restored, and represented by a 
 single badly preserved coin) ; Haluntium ; and (about 
 the time of Dion) Agyrium. At the last-named city 
 we find a river-god Palankaios (PAAAFKAIO^) repre- 
 sented as a human-headed bull. 
 
 We now come to a series of coins which presents 
 
I40 THE FINE PERIOD 
 
 considerable difficulties to numismatists— the Siculo- 
 Punic series. They have been divided — for want 
 of a better arrangement — into three classes, ex- 
 pressing the degree of our ignorance concerning 
 them : 
 
 1. Coins with inscriptions which enable us to 
 assign them to a definite mint. 
 
 2. Coins with an inscription of which the meaning 
 is known, but which does not enable us to assign 
 them to any definite mint. 
 
 3. Coins with the inscription ziz, of which the 
 meaning is uncertain. 
 
 We cannot do better than describe them under 
 these headings. And, for once, we shall break 
 through the limits of our period, owing to the 
 great continuity of the series in point of style, and 
 describe the whole Siculo- Punic coinage down to 
 the closing years of the fourth century, when the 
 victories of Agathocles put an end to this exotic 
 currency. 
 
 Motya {Mtua) we have already found coining in the 
 fifth century. The imitation of Acragantine types 
 did not cease, even after the destruction of Acragas. 
 Thus we find the crab used as the reverse type of 
 a tetradrachm which has on the obverse an imita- 
 tion of Cimon's head of Arethusa in his second 
 manner. Smaller coins, also with the crab reverse, 
 
PUNIC: MOTYA; SOLUS 141 
 
 have obverses imitated from his facing head of 
 Arethusa (Fig. 39). A type more significant of the 
 nationahty of the men who issued the coin is the 
 
 Fig. 39. MoTYA : Didrachm. 
 
 date-palm which we find on the smaller silver pieces 
 (PL IX. 14) and on most of the bronze. 
 
 The coinage of Motya came to an end in 397, 
 when its population was massacred by Dionysius. 
 Lilybaeum, in which the remnant found a place to 
 settle, did not, so far as we know, strike any coins 
 until it became a Roman possession in the third 
 century. 
 
 Solus, which we also found striking coins in the 
 preceding period, continues to issue a somewhat 
 feeble currency (Fig. 40). The majority of these 
 
 Fig. 40. Solus : Bronze. 
 
 pieces are inscribed in Punic letters Kfra^ i. e. 
 'Village,' and that this was the Punic name for 
 Solus is proved by a few bronze coins which 
 
142 THE FINE PERIOD 
 
 also bear the inscription ^OAONTINON. Such for 
 instance is a piece with the head of Heracles 
 wearing the lion's skin, and a cray-fish with three 
 pellets — a quarter-litra, therefore. 
 
 Possibly the tetradrachms (PL IX. 15) with the 
 head of Persephone and a four-horse chariot, unin- 
 scribed but for the Punic letter K, may also belong 
 to this city. Otherwise there are no silver coins 
 above the value of an obol to which it can lay 
 claim. 
 
 Eryx — the Greek coins of which we have already 
 described — takes its place in the Punic series with 
 two coins reading V^, a pretty little obol with the 
 head of Aphrodite and a human-headed bull, and 
 a ' Pegasus ' with the head of Athena and Pegasus. 
 The latter can hardly belong to any time before 
 Dion's, and is very possibly later still. 
 
 Passing over a coin of Morgantina with the Punic 
 letter 71/, we come to the more important series of 
 tetradrachms inscribed Rsmlkrt, ' Ras Melkart,' or 
 'Cape of Heracles.' These have usually been 
 ascribed to Heraclea Minoa, near Acragas; but 
 recently it has been shown by Holm that Cephal- 
 oedium on the north coast has at least equally 
 good claims. The tetradrachms all have the gal- 
 loping chariot, but they differ in that some bear 
 the head of Persephone, surrounded by dolphins 
 
PLATE IX 
 
 1. Naxos : didrachm (Prokles). Berlin [formerly in the Imhoof- 
 
 Blimier Collection) 131 
 
 2. Catana : tetradrachm (Herakleidas) ..*... 132 
 3- ,, „ (obv.) 132 
 
 4. „ „ (Choerion). Hunter Museum, Glasgow . 132 
 
 5. ., drachm 133 
 
 6. „ „ Loebbecke Collection 133 
 
 7. Catana and Leontini : half-drachm. A . J . Evans Collection . 133 
 
 8. Selinus : tetradrachm 134 
 
 9. Segesta : tetradrachm. Paris, Bibliotheque Nationale . . 135 
 
 10. Eryx: litra 136 
 
 11. „ tetradrachm 136 
 
 12. ,j litra 136 
 
 13. Piacus ? : bronze half-litra ........ 138 
 
 14. Motya: obol 141 
 
 15. Solus?: tetradrachm 142 
 
 16. Ras Melkart : tetradrachm (obv.) 143 
 
the lion's skin, and ree 
 
 ; qterter-litra, there f* 
 
 P(>--iT>ly the tetradrachms 
 
 Persephone a^ i^Vaji 
 scribed but for the Punic > )eI6ng 
 
 alS5ve- the vain. • ^^^^^^ '^f^^^ lav . 
 
 cfem- (.vdo) ,. „ .8 
 
 d^cnbcd— take- .«ofe,tto-:).«s^4lo4'^'^,.st-«''es with^ 
 
 h^d of Ap' 'm^ 
 
 a8fePegas). .• '.adBTttt;iati0as,oi 
 
 i^b latter clxn -hafdlv -i-'^b^^ before" 
 
 Qis^-j's, aud i^ very.pc . uiMiisH 9snoid i^zisobH .£i 
 
 ^Ppssin.^ over a coin of Pv - • • >h^^fe-T^.?M(-;^' 
 
 ■ . . j; 'IdJ :?2uIo3 .JI 
 
 .^ come to the (.vdo) mdVfn: ::.s5lbM^^)5H^«^I 
 
 ^cribed Melkart/ or 
 
 'sually be 
 
 .^as; l>iu 
 
 t Cephal- 
 
 inallv 
 
 He tetradrachms 
 
 surround 
 
Plate IX 
 
PUNIC: ERYX; RAS MELKART 143 
 
 (Fig. 41); others a female head also accompanied 
 by dolphins, but without a wreath (PL X. i); 
 others again a bearded head wearing a laurel 
 
 Fig. 41. Ras M elk art : Tetradrachm. 
 
 wreath — probably Melkart, the Tyrian Heracles 
 (PL IX. 16). The coins are as a rule poor in style, 
 showing clearly the barbarian hand striving to 
 imitate Syracusan work. If the attribution to 
 Cephaloedium is correct, the coinage must have 
 come to an end when the place was betrayed to 
 Dionysius early in the fourth century; and the 
 style of the coins is consistent with this conclusion. 
 
 The silver coins of the second class fall into three 
 groups, according as they are inscribed (or have 
 the same types as those which are inscribed) with 
 the Punic letters : 
 
 Krtchdsty i.e. Kartchadsat^ for 'New City (of Car- 
 thage)'; 
 
 Ammchnt, i.e. Ammachanat, (or variant forms) for 
 ' the Camp ' ; 
 
 2CCi^Mchsbm, i.e. Mechasbim, for 'the Paymasters.' 
 
144 THE FINE PERIOD 
 
 Such are the interpretations now generally ap- 
 proved; and yet they do not carry us very far 
 towards the aim of every numismatist, which is in 
 the first place to find out where a coin was struck. 
 Closely connected with these coins are two groups, 
 one of gold coins, another of bronze, which bear no 
 inscription at all. 
 
 The types of the silver coins are interesting, partly 
 as imitations of the types of the Greek cities, some- 
 times evidently by a Punic hand, and not by that 
 of a Greek engraver working for the Carthaginian ; 
 partly also for their African allusions. The head 
 of Kora which we find on many of the ' Carthage ' 
 and ' camp ' coins (PL X. 5, 6) is obviously a copy — 
 and usually a poor one — of Syracusan work. The 
 forepart of the horse (Fig. 42; cp. PI. X. 3) on 
 
 Fig. 42. SicuLo-PuNic Tetradrachm. 
 
 another was, it is thought, suggested by a gold 
 coin of Gela. The free horse, again (PL X. 4), is of 
 Syracusan origin. A head of Heracles in the lion's 
 skin (PL X. 8) on a 'camp' coin shows clearly the 
 influence of the coins of Alexander the Great, and 
 
PUNIC: UNCERTAIN MINTS 145 
 
 the coins of this type must therefore belong to the 
 last decade or so of the Carthaginian occupation. 
 Even so, it is a strong testimony to the importance 
 which Alexander's coins at once acquired in Greek 
 trade that they should have been imitated in Sicily 
 before he had been dead ten years. The types of 
 the palm-tree, and the horse or lion with a palm- 
 tree in the background (PL X. 2) 4, 5), are on the 
 other hand inspired by Africa; and the bust of a 
 horse (PL X. 6, 8), which is often treated with much 
 spirit, reminds us of the omen which decided the 
 choice of the site of Carthage : 
 
 quo primum, iactati undis et turbine, Poeni 
 
 effodere loco signum, quod regia luno 
 
 monstrarat, caput acris equi. 
 
 Vergil, Aen. i. 442. 
 
 The fine head of a woman (PL X. 7) wearing a 
 'Phrygian' cap — i.e. the headdress of an eastern 
 ruler— with a diadem over it, is generally regarded, 
 because of the royal attire, as representing the 
 legendary foundress of Carthage. But the identi- 
 fication is purely conjectural. 
 
 The genuineness of a tetradrachm with these 
 types, but with AEONTINON replacing the Punic 
 inscriptions, is open to considerable doubt. 
 
 The gold coins which belong to this series are 
 uninscribed, and their types show nothing new. 
 The Phoenician ' sign of Baal ' which occurs on one 
 
146 THE FINE PERIOD 
 
 variety (PI. X. 9) over a free horse is also found 
 on some of the silver tetradrachms. 
 
 We now come to the large series of coins in- 
 scribed Ziz, The most important are the not un- 
 common imitations of the Syracusan coins with a 
 chariot-group (PL X. 10-12). Some of them repre- 
 sent coins which were issued at Syracuse in the 
 previous period; others are obviously taken from 
 the decadrachms of Euaenetus. 
 
 Even the best of these heads, it should be noticed, 
 fall far short of the work of the Greek coins in 
 point of execution, and we must hesitate before we 
 admit that Greek artists worked for the Cartha- 
 ginians. There is a hardness and lack of feeling 
 and spirit about the treatment of the heads which 
 we do not find even in the most careless work 
 of Syracuse at this time; one feels instinctively 
 that these designs are copied from others. 
 
 Over the remainder of the types of this coinage 
 we must not hnger; but a bare list of some of 
 them, which may be consigned to a footnote \ shows 
 
 ^ Youthful male head with dolphins, and free horse (PL X. 13); 
 female head, and hound with murex-shell (PI. X. 14) ; dolphin with 
 scallop-shell (marked with 5 pellets), and eagle with hare ; female 
 head (swastika behind), and forepart of man-headed bull ; head of 
 young river-god, and same reverse as preceding ; cock, and crab 
 head of Apollo, and Pegasus ; head of Athena, and swan on waves, 
 etc. etc. 
 
PUNIC: ^ZIZ' 147 
 
 that they have no significant relation to any one mint. 
 A complete list would present subjects which, it has 
 been shown, are reminiscent of Syracuse, Messana, 
 Gela, Catana, Himera, Acragas, Leontini, Thermae, 
 and other places. Whatever Ziz may mean — and 
 it is unnecessary here to mention the various con- 
 jectures — we may accept the view that the coins 
 were struck, chiefly in the West of Sicily, and more 
 especially at Panormus, the larger coins for general 
 circulation wherever Punic armies went, the smaller 
 with very definite local types for local use. It 
 is quite clear from their style that these coins 
 extend nearly to the end of the fourth century. 
 As to their upper limit, it has been suggested by 
 Mr. Evans that the sea-horse in the exergue of the 
 coins engraved by the artist Mai . . . (PI. VIII. 10) 
 at Himera is inferior to, and was inspired by, the 
 same symbol on the Siculo-Punic tetradrachms 
 (PI. X. 12); and that, since Himera was destroyed 
 in 409, these pieces must have been struck by the 
 Punic cities, or more especially by Panormus, just 
 before, and with a view to the great invasion. The 
 possibility of the imitation having taken place the 
 other way about must, however, be carefully con- 
 sidered before we accept this ingenious hypothesis. 
 Apart from the difficulty of estimating the com- 
 parative stylistic merits of minute symbols in the 
 
 L 2 
 
148 THE FINE PERIOD 
 
 exergue, it seems less likely that the Greek artist 
 of Himera should have been induced to adopt the 
 symbol placed on the Punic coins about a year 
 before, than that, when the Carthaginians took 
 Himera, they should have imitated on their coins 
 the last issues of that mint. 
 
5. 
 6. 
 
 7- 
 8. 
 
 9- 
 
 lO. 
 
 II. 
 
 12. 
 
 13- 
 14. 
 
 RasMelkart: tetradrachm I^^^^S ^43 
 
 Siculo-Punic ' Camp ' : tetradrachm (obv.) . ^^^H| 145 
 
 ♦New City' . ^^* . 144 
 
 „ 'New City— Camp*: tetradrachm (obv.) . 144,145 
 
 ' New City ' „ „ • i44» i45 
 
 „ tetradrachm 144, 145 
 
 „ ♦ Camp ' : tetradrachm . , . . . 145 
 
 >j J) )> ..... 144, 145 
 
 » Gold 145 
 
 ,, ' Ziz ' : tetradrachm 146 
 
 ,, „ „ ...... 146 
 
 M ?) 5> 146, 147 
 
 „ „ didrachm 146 
 
 j> J) )> ....... 146 
 
14^ 
 
 
 
 seems 
 
 le: 
 
 
 )v 
 
 artist 
 
 
 should iduced 
 
 to adopt the 
 
 
 placed oi coins about a 
 
 year 
 
 
 Carthaginians 
 
 took 
 
 h 
 
 imitated on their 
 
 coins 
 
 tlv 
 
 X 3TAJq 
 
 
 
 aoAi 
 
 
 
 
 84^1 
 
 mriDBibBiJaJ 
 
 : JiBjibM zsfl .1 
 
 e^i 
 
 (.vdo) mthBibBii9i : ' qmsD ' 
 
 oinu^-oIuoiS .s 
 
 HI . 
 
 . . , „ 'Y)DW9^> 
 
 t» 
 
 8 
 
 l\^i ,H^ 
 
 (.vdo) mdoBihsiisi I'qrnfiD— yliD waVI ' 
 
 u 
 
 4 
 
 ei^i <Hi 
 
 '^iDw9H» 
 
 It 
 
 •S 
 
 ei^i 4^1 
 
 m"HofiibBii" : 
 
 
 .d 
 
 54^^ • 
 
 
 
 
 
 l^d^B^bB^}^J : ' qmoD 
 
 ,. 
 
 •r 
 
 e*>i .-j^^i 
 
 
 
 
 
 «t (? 
 
 tt 
 
 .8 
 
 e^i • 
 
 
 
 
 
 bloO 
 
 (t 
 
 Q 
 
 d^i . 
 
 
 
 
 
 rnriDBibfiiiai : ' siX ' 
 
 ft 
 
 .OI 
 
 dfi 
 
 
 
 
 
 « M 
 
 «l 
 
 .11 
 
 V^i ,d4.i 
 
 
 
 
 
 «• tf 
 
 „ 
 
 .SI 
 
 d^t . 
 
 
 
 
 
 . mrioBibib ,^ 
 
 «< 
 
 £1 
 
 d^i . 
 
 
 
 
 
 ff <t 
 
 cc 
 
 .^1 
 
Plate X 
 
CHAPTER IV 
 
 THE DECLINE 
 B.C. 346-274 . 
 
 Our new period opens with a changed Sicily. 
 The result of the expeditions of Dion and Timoleon, 
 more especially the latter, was the sudden revival 
 of many communities that had sunk into insignifi- 
 cance, and the appearance as active, though not 
 powerful factors in Sicilian politics of many small 
 states of which practically nothing had been known 
 before. Syracuse does not exercise that blighting 
 influence over the political life of Sicily which 
 distinguished it under the tyrants, but it is still by 
 far the most important city, and with its coinage 
 we again begin the chapter. 
 
 Dion, as we have seen, issued electrum coins; 
 with Timoleon we have a return to the more satis- 
 factory metal gold (PL XI. i). The head of iEY£ 
 EAEYOEPIO£, the Zeus of Freedom, is indeed appro- 
 priate to Timoleon ; the cult of Zeus in this aspect 
 had been established in Syracuse at the time of 
 the first expulsion of the tyrants, and history 
 
I50 THE DECLINE 
 
 naturally repeated itself, in that the god found fresh 
 honour in connexion with the newly restored con- 
 stitution. The Pegasus is of course due to Corin- 
 thian influence. The coin — as the three pellets 
 show— is a piece equivalent to three silver staters 
 of the Pegasus-class. These were now issued 
 (PL XL 2) with the same types as in Dion's time, 
 but with the long o in the inscription: ^YPAKO^IAN 
 and not ^YPAKO^ION as on the earlier stater. A 
 rarer stater (PI. XI. 3) represents the head of Zeus 
 Eleutherios. Of the many smaller silver coins it 
 must suffice to mention but one, which associates 
 with the free horse (doubtless here used as an 
 emblem of liberty) a curious combination of two 
 heads, similar to the representation of the Roman 
 god Janus, except that the two heads here seem 
 to be female (PI. XL 4). Such double-headed repre- 
 sentations are not uncommon on Greek coins, and 
 are as a rule exceedingly difficult to interpret. 
 
 The bronze coins which begin with Timoleon are 
 numerous and interesting. Some of them exceed 
 an inch in diameter, and are very thick, with 
 the types in bold relief This increase in size and 
 weight shows that they were a more important 
 element in the currency than any bronze coins had 
 been before the issue of the litra described in the 
 preceding chapter (p. 114). The Pegasus in one form 
 
SYRACUSE: TIMOLEON 151 
 
 or another is the dominant type, as on the silver; 
 but we also note the appearance of a bearded male 
 head (PL XL 5), wearing a ' Corinthian ' helmet. 
 This may be merely the war-god Ares, but has 
 also been explained as Archias, the founder of 
 the city, or as the god Hadranus, whom we shall 
 meet with on coins of Hadranum. The facing 
 head of a young river-god has been called the 
 Anapus — it was from this river that Timoleon seized 
 Epipolae— and another facing head is thought to 
 be the fountain Gyane. Zeus Eleutherios is of 
 course to be found on the bronze coins (Fig. 43) 
 
 Fig. 43. Syracuse : Bronze. 
 as on other metals; but a special interest attaches 
 to some of the bronze pieces with his head. These 
 present as the type of their reverse a thunderbolt, 
 set up on end, and, in the field beside it, a small 
 eagle. Now the combination of the two most cha- 
 racteristic attributes of Zeus, where the eagle stands 
 on the thunderbolt, is without doubt one of the 
 commonest of Greek types ; but in the form which 
 it assumes here, it is unusual. It is, however, 
 
152 THE DECLINE 
 
 met with on the coins of Alexander, king of 
 Epirus, and we need not hesitate to accept the 
 suggestion that, in the expectation or hope of 
 drawing this king to Sicily when in 332 he went 
 to southern Italy, the Syracusans issued coins with 
 his types \ Another type is the head of Zeus 
 Hellanios; the barking hound which adorns the 
 reverse of this coin is probably the animal sacred 
 to Hadranus. For that god was said to have in- 
 tervened on the side of Timoleon in his first battle 
 with Hicetas; and, again, it was while sacrificing 
 to him at Hadranum that the liberator was saved 
 from assassination at the hands of the hirelings of his 
 enemy by what seemed to be divine intervention. 
 
 Such was the Syracusan coinage from the arrival 
 of Timoleon down to the accession of Agathocles. 
 The coins struck during the period of the latter's 
 tyrannis are singularly rich, even for Sicilian coins, 
 in details illustrating his career. 
 
 Agathocles was chosen general with supreme 
 powers in 317. The coins issued from this time 
 until the date of his invasion of Africa in 310 do 
 not bear his name ; but they are distinguished from 
 all earlier Syracusan issues by the appearance of 
 the three-legged symbol, popularly called trtquetra^ 
 but more correctly trtskeles. This symbol, what- 
 ^ The same combination of t3^pes also appears at Agyrium (p. 177). 
 
SYRACUSE: TIMOLEON; AGATHOCLES 153 
 
 ever may be its meaning in other parts of the 
 world, is generally supposed to be the emblem of the 
 three-cornered island, Trinacria, — very much as it 
 became in later days the emblem of the Isle of Man 
 which faces towards the three countries, England, 
 Scotland and Ireland. Yet we must hesitate some- 
 what to admit that, several years before the con- 
 quests of Agathocles gave them the right to make 
 such a claim, the Syracusans placed upon their 
 coins an emblem which implied domination over the 
 whole island. It is not impossible that the triskeles 
 was originally the private signet of Agathocles, and 
 that its adoption as the emblem of all Sicily 
 belongs to a later date. Were it otherwise, we 
 should expect to find it used prominently in the 
 time of the kings Pyrrhus and Hiero, who were 
 recognized as kings of the Siceliotes. As a matter 
 of fact, except on the coins of Agathocles, it is 
 never or rarely found in Sicily save on coins of 
 Roman date; and to the Romans therefore we 
 
 :"0>: 
 
 Fig. 44. Syracuse : Gold of Agathocles. 
 
 may perhaps attribute the extension of its signifi- 
 cance. 
 
154 THE DECLINE 
 
 The best known gold coin of Agathocles' first 
 period is the imitation (Fig. 44) of the ' PhiHppus/ 
 the gold stater issued by Philip II of Macedon in 
 enormous quantities from the output of his famous 
 gold mines at Philippi. The types are the same 
 as on the model, a laureate male head, representing 
 either Ares or Apollo, and a two-horse chariot ; but 
 the name of Philip is replaced by £YPAI<0£IAN, 
 and the symbol in the field, which indicated the 
 place of mintage, by the triskeles. The / Philippi ' 
 were an even more important element in the cur- 
 rency of the ancient world than the Corinthian 
 staters or the tetradrachms of Alexander, and we 
 have already seen how these left their mark on 
 Sicilian coinage. 
 
 These Philippean types were used by Agathocles 
 for two gold coins, one of sixty, the other of forty 
 litrae (PI. XI. 7). A still smaller gold coin of twenty 
 litrae has the head of Persephone and a bull with 
 lowered head (PL XI. 6). 
 
 When we come to the silver coinage, we find 
 the 'Pegasi' still being issued, but distinguished 
 (PL XL 8) by a more elaborate helmet (ornamented 
 with a griffin) for Athena, and by the triskeles 
 symbol on the reverse. The tetradrachms, however 
 (PL XL 9), are more characteristic of the period; 
 the head of Persephone still shows the influence 
 
SYRACUSE: AGATHOCLES 155 
 
 of Euaenetus, soon to disappear, and the falling 
 off in the composition of the reverse is patent \ 
 
 The drachm belonging to this series (PI. XL 10) 
 has a head of Ares (or Apollo) similar to that on 
 the gold coins, and a triskeles with wings attached 
 to the feet and the head of the Gorgon in its 
 centre. This elaboration of the symbol strengthens 
 our view that, at this time, it can hardly have 
 been meant merely to indicate the three-cornered 
 island. 
 
 The bronze coins {e.g. PL XL 11) belonging to this 
 series are of little importance; the time of the 
 large bronzes is past. 
 
 The second series of Agathocles' coins ranges from 
 310, when he avenged on Carthage the invasion 
 of Sicily made just a century before, to the time 
 of his assumption of the royal title, about 304 (not, 
 as is usually stated, in 307). ' The gold and silver 
 coins now bear his name; and with good reason, 
 since he must have required to strike them in 
 large quantities for his military chest. But the less 
 important bronze is still issued in the name of the 
 Syracusans. The gold coin (PL XL 12) is a stater 
 with remarkable types. On the obverse is a youth 
 
 ^ The monogram of AN, which frequently occurs on these 
 tetradrachms and on other coins of Agathocles, may possibly be 
 the signature of the tyrant's brother Antandrus. 
 
156 THE DECLINE 
 
 ful head wearing an elephant's skin, probably the 
 personification of Africa. On the reverse, which 
 bears the tyrant's name in the genitive (AFAOO- 
 l<AEO£), is a figure of Athena, winged (and evidently 
 meant for that goddess in her aspect of Victory); 
 she wears her helmet, carries her shield on her 
 left arm, and strikes forward with her spear. In 
 the field is an owl. The coin is obviously modelled 
 on one of Ptolemy I, king of Egypt, who, however, 
 does not represent Athena as winged. The com- 
 pliment paid to Ptolemy preceded, rather than 
 followed Agathocles' marriage with the king's step- 
 daughter Theoxena, which apparently took place 
 after 304. The owl is of course in place beside 
 Athena; but a further significance attaches to it in 
 view of the story that, when his army was drawn 
 up against the Carthaginians in 310, Agathocles 
 encouraged his men by letting fly a number of 
 captured owls, which settled on their helmets and 
 seemed an omen that the goddess of battles was 
 on their side. 
 
 The types of the silver tetradrachms (PI. XI. 13, 
 14) are a head of Persephone, treated in a style 
 quite different from that of Agathocles' earlier tetra- 
 drachms ; and a figure of Victory nailing a helmet 
 to a trophy stand, which is already adorned with 
 cuirass, shield and greaves. On some of these 
 
SYRACUSE: AGATHOCLES 157 
 
 coins (PI. XI. 13) we still find the inscription :CYPA- 
 KO^IAN on the obverse; more commonly, however 
 (PI. XI. 14), this is replaced by KOPA^ ('coin of 
 the Maiden-Goddess'). With the exception of a 
 few uninscribed pieces, all the reverses bear the 
 name of Agathocles, either in the genitive as on the 
 gold, or in the adjectival form AFAOOKAEIO^. The 
 naming of the Maiden-Goddess on the obverse may 
 have been merely an excuse for getting rid of the 
 name of the Syracusans; but it is more probably 
 to be connected with the fact that Agathocles, 
 when he landed in Africa, dedicated his ships to 
 Demeter and Kora before setting fire to them. 
 The sacrifice of his ships was, as it were, perma- 
 nently commemorated on these coins, which are 
 themselves sacred to the goddess Kora — for such is 
 the sense of the genitive l<OPA^. In the exergue 
 of some of the bronze coins of this period, the 
 obverse type of which is a head of Heracles, the 
 reverse a lion and a club, we find a burning torch 
 (PI. XI. 16). It is, however, somewhat rash to 
 suggest that this symbol refers to the burning of 
 the ships; were the types in any way connected 
 with Demeter and Persephone, the interpretation 
 might be accepted. The head of Artemis with the 
 epithet ^ATEIPA ('Saviour'), the head of Athena 
 with a trophy behind it, a mounted lancer, and 
 
158 THE DECLINE 
 
 a thunderbolt are other types of the bronze of 
 this period. They all bear the name of the Syra- 
 cusans, and are without the triskeles symbol. 
 
 We now come to the last period of Agathocles, 
 from about 304 to his death in 289. The gold 
 coins (Fig. 45) bear his name with the royal title : 
 AFAGOHAEO^ BA:^IAEO£. The types are the head 
 
 Fig. 45. Syracuse : Gold of Agathocles. 
 
 of Athena and a thunderbolt. The ordinary bronze 
 coin of this period has the same type and inscription 
 on the reverse^ but the head of Artemis ^ATEIPA 
 replaces that of Athena (PI. XL 15). As to the silver 
 coinage there is some dispute. Most authorities 
 agree in assigning to this time the uninscribed 
 ' Pegasi ' which have for symbol on the reverse 
 either a triskeles or a star (PL XI. 17), and are 
 of the weight of eight litrae (about 108 grains), or 
 one-tenth of the value of the gold coins of eighty 
 litrae. These coins herald the abandonment of 
 the Euboic-Attic standard of weight. Some doubt 
 attaches to the dating of certain silver pieces 
 (PI. XL 18) of fifteen litrae (head of Kora with 
 long hair, and chariot driven by winged Victory, 
 
SYRACUSE: AGATHOCLES 159 
 
 a star above it) and of bronze pieces which are 
 of strongly similar style, although the charioteer 
 is not a Victory. They have been assigned by 
 one to the time of Hicetas, by another to the 
 period of democracy following Hicetas ; while Holm 
 believes that they may possibly belong to the close 
 of Agathocles' tyrannis. The piece of fifteen litrae 
 would, on the last hypothesis, be the quarter of 
 a gold piece of sixty litrae also attributed to 
 Agathocles. It is more probable that of the two 
 pieces in question the bronze only belongs to the 
 time of Agathocles, and the silver to that of 
 Hicetas. For strong similarity of style cannot avail 
 to prevent us separating such coins by what may 
 after all be no more than two or three years. 
 But such problems as the dating of these pieces, 
 although the delight of numismatists, are of little 
 general interest when the types concerned are 
 somewhat banal. 
 
 The brief span of liberty enjoyed by the Syra- 
 cusans between the death of Agathocles and the 
 usurpation of Hicetas was marked by the issue of 
 two or three kinds of coins, — in the poorest of metals, 
 it is true, but all eloquent of the newly recovered 
 sense of freedom. One coin exactly resembles the 
 coin of Agathocles with the head of Artemis Soteira, 
 but the tyrant's name is replaced by that of Zeus 
 
i6o THE DECLINE 
 
 Eleutherios (in the genitive: A\OZ EAEYGEPIOY). 
 Another has the head of the god of freedom, 
 similarly inscribed, on the obverse, his thunderbolt 
 and ^YPAKO^IAN on the reverse. Finally, it is 
 possible that in this short period also were issued 
 the bronze coins (PL XI. 19) with a youthful laureate 
 head inscribed AIO£ EAAANIOY, recalling the Zeus 
 Hellanios of Timoleon's time. The reverse of these 
 pieces has an eagle standing on a thunderbolt — 
 a type which recalls the constant type of Ptolemaic 
 money. We have already seen another approxima- 
 tion to Egyptian types in the coinage of Agathocles. 
 
 These humble coins were, however, soon put in 
 the shade by a fresh issue of gold. The new 
 tyrant Hicetas made a pretence of deferring to the 
 feelings of the Syracusans. His gold coin (a piece 
 of sixty litrae) differs from any struck since the first 
 period of Agathocles in that it bears the name 
 ^YPAKO^IAN (PI. XII. i). It is also remarkable 
 that instead of placing his name on the coin in the 
 simple genitive, which would be equivalent to 
 assuming the sovereignty, Hicetas prefixes to it the 
 preposition used in dating a year by the name of 
 the magistrate who holds office for the time. In 
 other words, these coins are inscribed as being not 
 the coins 'of Hicetas,' but the coins struck Muring 
 the magistracy of Hicetas' (EPI IkETA). 
 
I. 
 
 2. 
 
 3- 
 4- 
 5- 
 6. 
 
 7- 
 8. 
 
 9- 
 
 lO. 
 
 II. 
 
 12. 
 
 13- 
 
 14. 
 
 15. 
 16. 
 
 17. 
 18. 
 
 19. 
 
 4 
 
 ^ PLATE XI 
 
 Jb Wr. FAGK 
 
 Syracuise : gold (30 litrae) ^49 
 
 'pegasus' ^50 
 
 Naples 150 
 
 2 litrae ^5° 
 
 „ bronze (obv.) ^5^ 
 
 „ Agathocles : gold, 20 litrae i54 
 
 „ gold, 40 litrae i54 
 
 'pegasus* 154 
 
 ,, „ tetradrachm ^54 
 
 drachm. Berlin {formerly in the Im- 
 
 hoof-Blunter Collection) . . . i55 
 
 „ „ bronze (rev.) ^55 
 
 gold, 120 litrae. Vienna . . . i55 
 
 ,^ „ tetradrachm 156, 1 57 
 
 „ Paris y Bibliotheque 
 
 " " Naiionale . . 156, i57 
 
 „ „ bronze (obv.) ^5^ 
 
 . (rev.) 157 
 
 'pegasus' 158 
 
 „ Hicetas ? : tetradrachm ^S^, 161 
 
 bronze ^^ 
 
 
 fil 
 
THl: 
 
 
 ogin..,! 1 jnscribv 
 
 *^'Helianios' 
 oei .. . . 
 i^ipjeces he 
 
 i^ei .' . .... . 
 
 «i tion to E^iT. 
 
 IX dTAdH 
 
 EAEYOEiPlOY). 
 freedom, 
 rse, his thunderboH 
 Finally. 
 
 issued 
 /outhful laureate 
 "1i°H:^Pllfi?g'%l2Zeus 
 «^<^rW] !ic„reverse^of t^ese 
 ,\'.?f^i^^thunderbt<^lt— 
 ioriifi^i of Ptolejiaic 
 ■ • ' • iwiother appro^tima- 
 mrbsibertaj^ ^^^ina^e oi AgSthocTes. 
 w?^^t^a .mdoBib -ivi^ever, soon p»k in 
 
 3K'rfri OS 
 
 a^Mlx: shade h\ . . (.vai) asaoid ^, gold. The jpew 
 
 ^' toanl Uio^^.^'^'^'^'<^^ ' of deferri^ig t^ithe 
 
 ' < 'iHV'^i^HbMia ,?,v«A Mis Hold coifJ (a piece 
 
 8pt i^nce the first 
 
 ^si r.v^-j^ It bears Hie flame 
 
 8 " t« <« ^ 
 
 _L g/^ 'f-^sBs^q' li ;s also remarkable 
 
 ' ' l-j equivalent to 
 /prefixes to it the 
 
 ,^d as bein 
 
Plate XI 
 
SYRACUSE: HICETAS; PYRRHUS 161 
 
 The silver coin of Hicetas, as we have seen, is 
 probably to be found in the pieces of fifteen Htrae 
 described above (PI. XI. 18); the driver of the 
 chariot is on these, as on the gold of Hicetas, 
 a winged Victory. For his bronze we can under- 
 stand that the cautious tyrant was quite content 
 to use the old 'freedom' types, without issuing 
 new ones. 
 
 The king of Epirus, whose romantic search for 
 adventure brought him as far as Sicily, has left his 
 impress on the coinage of the island. His gold 
 coin of 120 litrae (of the weight of the ordinary 
 gold stater) is an exceedingly pretty piece (PL XII. 
 2). We have reached a time when, so far as the 
 art of Greek coins is concerned, it is no longer 
 possible to use the epithets of highest praise. 
 To one coming from the study of modern coins, 
 the gold piece of Pyrrhus might seem beautiful 
 indeed; with the memory fresh in our minds of 
 what had been done in the fifth century, and 
 the early part of the fourth, we can see that the 
 elegant little coin before us lacks the strength 
 and originality of its predecessors of the fine 
 period. There is not much fault to find with the 
 obverse; but the reverse shows restlessness, not 
 to say affectation in the composition. The un- 
 natural way in which Victory's right wing is pushed 
 
 M 
 
162 THE DECLINE 
 
 forward betrays the desire to balance the weight 
 of the trophy which she carries on her left arm. 
 The treatment of the dress also smells somewhat 
 of the lamp ; the whole coin is in fact finicking 
 in its style. Yet, when we come to the period of 
 Roman domination, we should be grateful indeed 
 for anything remotely approaching the level of this 
 piece; and even the best of the coins of Hiero II 
 fall below it. 
 
 The half of this gold stater is represented by 
 coins with the same reverse type, but with a head 
 of Artemis instead of Athena on the obverse, her 
 quiver at her shoulder (PI. XII. 3). 
 
 The head of Persephone on the silver coin 
 (PI. XII. 4) of about 90 grains is closely related in 
 style to the head on Agathocles' coins. As to the 
 figure of Athena on the reverse, we have already 
 seen a somewhat similar representation of the 
 goddess, with wings added, on an Agathoclean 
 gold coin, and remarked that the type was inspired 
 by a coin of Ptolemy I of Egypt. Pyrrhus indeed 
 was, like Agathocles, related to Ptolemy by mar- 
 riage. The most interesting of his bronze Sicilian 
 coins represents the (doubtless idealized) portrait of 
 his mother Phthia, veiled, and inscribed ^oiASI 
 (PI. XII. 5). The reverse of this coin has a thunder- 
 bolt. Another bronze combines with a head of 
 
SYRACUSE: PYRRHUS 163 
 
 Persephone of the usual Syracusan style the figure 
 of the goddess Demeter, seated on a throne, and 
 holding a stalk of corn and a sceptre (PI. XII. 6). 
 On a third bronze a head of Athena on the obverse 
 is associated with the reverse type of a wreath of 
 oak-leaves, (from the sacred oak at Dodona in Epirus) 
 within which is an ear of barley (PL XII. 7). 
 
 All these coins (except some of the last class) are 
 inscribed with Pyrrhus' name and royal title — BA^I- 
 AEA^ PYPPOY. But the coinage of Syracuse at 
 this time was not represented by Pyrrhus' money 
 alone. We have a small group of coins which were 
 issued in the name of the Syracusans during the 
 presence of the Epirote king in Sicily. The gold 
 piece (PI. XII. 8) with a long-haired head of Per- 
 sephone, and Victory driving a two-horse chariot, 
 closely resembles the gold coins which were after- 
 wards struck by Hiero II. Of the bronze coins, 
 one has a similar head, and a torch in the 
 
 Fig. 46. Syracuse : Bronze. 
 
 Dodonaean oak-wreath, while another represents 
 a head of Heracles, beardless, wearing the lion's 
 
 M 2 
 
i64 THE DECLINE 
 
 skin, and Athena fighting, — either as we have just 
 seen her on the coins of Pyrrhus himself, with 
 a spear, or, as in Fig. 46, with a thunderbolt. 
 
 We have brought the coinage of Syracuse down 
 to the time of the accession of Hiero II. The 
 description of the coinage of the rest of Sicily 
 from the time of Timoleon to the same date will 
 make us acquainted with several new mints, the 
 coinage of which is interesting historically, although 
 commercially it cannot have been of much impor- 
 tance. The only serious rival to the Syracusan 
 coinage, that of the Carthaginians in Sicily, we 
 have already brought down to its cessation under 
 Agathocles. 
 
 The list of Hellenic cities which now concern us 
 
 is sadly short. Acragas, still suffering from the 
 
 disaster of 406, raised its head feebly in Timo- 
 
 leon's day. The largest silver coin it struck then 
 
 was an uninscribed half-drachm with a free horse, 
 
 and the old emblem of the crab (PI. XII. 9). 
 
 A head of Zeus and an eagle standing (Fig. 47) 
 
 are the types of the ij litra 
 
 and I litra, inscribed AI<PA- 
 
 rANTINAN. The head of 
 Fig. 47. Acragas : Litra. 
 
 the river-god Al<PArA^ is 
 
 the type of the best of the bronze coins (Fig. 48) ; 
 
 it is a half-litra, as is shown b}^ the reverse which, 
 
ACRAGAS 165 
 
 in addition to the eagle standing on a column, and 
 the crab in the field, is marked with six pellets. 
 
 Fig. 48. AcRAGAs : Bronze Half-Litra. 
 
 Along with a few other bronze coins, this was all 
 that the Acragantine mint produced until the death 
 of Agathocles; indeed it is probable that under 
 that tyrant the Acragantines were obliged to 
 content themselves with Syracusan coins. 
 
 Phintias, the by no means inefficient imitator of 
 Agathocles, struck coins which fall into two groups. 
 To the first (Fig. 49) belong bronzes inscribed 
 
 Fig. 49. AcRAGAs: Bronze of Phintias. 
 
 Al<PArANTO^ and 4^1; the types are a young 
 laureate head (the same head of Apollo or Ares 
 that we found on the Syracusan gold coins imitated 
 from the staters of Phihp II of Macedon) and 
 either two eagles on a hare, or a single eagle. 
 These coins must have been meant in the first 
 instance for circulation in Acragas. But, as king 
 
i66 THE DECLINE 
 
 of a considerable portion of Sicily, Phintias issued 
 bronze coins inscribed on the reverse BA^IAEO^ 
 ^ I NT I A, with the type of a boar; on the obverse 
 is either the head of the river-god Acragas crowned 
 with barley (PI. XII. lo), or a head of Artemis 
 (PL XII. ii), sometimes inscribed ^ATEIPA. These 
 coins bear no city-name. As to the boar, numis- 
 matists are no doubt right in explaining it by 
 reference to the story that Phintias learned in 
 a vision how he should be slain by a boar; but 
 whether he then adopted the coin-type with a view 
 to propitiating the deity whom he had apparently 
 offended, or whether his use of the boar as a 
 symbol was not rather the origin of the story, is 
 a nice question for the critical mythologist. 
 
 The city of Gela figures even more poorly in 
 the history of this period than does its daughter 
 Acragas. First, in the time of Timoleon, it is 
 represented by silver diobols and pieces of i| obols. 
 The river-god Gelas (FEAA^) is represented as a 
 bearded head; on the reverse of the same coin 
 
 (Fig. 50) the free horse 
 symbolizes liberty. The 
 settlement of the constitu- 
 
 FiG. 50. Gela: ij Obol. u ^' i • n j j 
 
 tion by limoleon is alluded 
 to by the head of the goddess EYNOMIA (Order, 
 the daughter of Themis), who is represented in the 
 
 ^ 
 
GELA. CAMARINA 167 
 
 guise of Demeter. On the reverse of this diobol 
 is a bull standing on an ear of barley — a reminis- 
 cence of the earlier representations of the river 
 Gelas and the fertile Geloan plain — and the old 
 inscription 'of the Geloans' (rEAAIAN). A bronze 
 
 Fig. 51. Gela : Bronze. 
 
 coin (Fig. 51) on which a youth (the founder, Anti- 
 phemus?) is sacrificing a ram can also be attributed 
 to Gela, though it bears no inscription ; for the same 
 type occurs on an inscribed coin of a later period. 
 
 The third of the once great cities of the southern 
 coast (Camarina) is represented by an even more 
 exiguous currency than the other two, A unique 
 little silver coin with Athena and a free horse, and 
 bronze coins with a similar reverse, and the head 
 of Athena in an 'Attic' helmet (PI. XII. 12), are 
 the only known issues. They belong to Timoleon's 
 time; and although the city continued to exist, it 
 never struck coins again. 
 
 One other old Hellenic city, Messana, produced 
 a few coins in the time of Timoleon and Hicetas; 
 but the metal was only bronze. In fact the money 
 
i68 THE DECLINE 
 
 of these periods is generally eloquent of the im- 
 poverishment of the whole island, caused by the 
 troublous time through which it had gone. 
 
 The types of Messana in the time of Timoleon 
 are, as before, the head of the nymph Pelorias 
 (PEAAPIA^) assimilated to that of Persephone, and 
 accompanied by dolphins, and the hero Pheraemon 
 (PL XII. 13). Somewhat later we find a galloping 
 two-horse chariot associated with the head of the 
 nymph. Just before the incursion of the Mamer- 
 tines (which took place about 288 or 287) Messana 
 was using bronze coins (PL XII. 14) with the head 
 of Poseidon (POSIEIAAN) on the obverse, and his 
 trident flanked by two dolphins on the reverse 
 (types which we shall find at Syracuse under 
 Hiero). To the same time belong other coins with 
 the head of young Heracles in the lion's skin, and 
 on the reverse a lion with the hero's club above it, 
 and sometimes a torch in the exergue (types which 
 we have already seen on Syracusan coins of the 
 time of Agathocles). 
 
 With the massacre of the Messanians, and the 
 occupation of their city by the Italian soldiers 
 of fortune who called themselves 'followers of 
 Mamers,' the war-god, the name of the Messanians 
 (ME^^ANIAN) is replaced by that of the Mamertines 
 (MAMEPTINAN). The new coinage, hke the old. 
 
MESSANA— THE MAMERTINES 169 
 
 is of bronze ; but there is no need to explain this 
 by the relation in which the Mamertines stood to 
 Rome from 264 onwards, although that relation 
 would probably not have permitted of their striking 
 silver coins had they had the opportunity. The 
 types of the bronze coins are numerous and in- 
 teresting. Among the first stands a coin almost 
 exactly copied from the bronze of Syracuse with 
 the head of Zeus Hellanios and the eagle on a 
 thunderbolt. It was struck in all probability just 
 after the Mamertines had left Syracuse. They 
 calmly appropriated the types, inscribing the young 
 laureate head with the name of the war-god Ares 
 (APEO^) as well as altering the inscription of the 
 reverse to their own name (Fig. 52). The eagle of 
 
 Fig. 52. Messana-Mamertini : Bronze. 
 
 course had no relation to Ares. Another coin 
 shows on the obverse (PI. XII. 15) a bearded, 
 helmeted head of the mysterious Oriental deity 
 Hadranus (AAPANOY), who was naturalized in 
 Sicily ; on the reverse is one of his sacred hounds. 
 The name of Messana lingers in the inscription 
 
lyo THE DECLINE 
 
 of another coin, which presents the head of a 
 youthful Zeus with long hair: AlOs: ME^ ('sacred 
 to the Messanian Zeus'). To this group also 
 belongs the coin with the head of Artemis, and 
 the omphalos (the sacred stone of Apollo at Delphi, 
 PI. XII. 20). One variety of the last coin is espe- 
 cially interesting because the inscription takes the 
 form MAMEPTINOYM, evidently a transliteration of 
 the Italic genitive plural Mamerttnum. 
 
 Many of the bronze coins we have described 
 were in circulation at Messana down to the close 
 of the third century, but the impossibility of accu- 
 rately dating them has made it necessary to deal 
 with them as one group. 
 
 The scanty coinage of the old Hellenic cities is 
 to some extent supplemented by that of two com- 
 munities, which date their existence from 396. In 
 that year certain Sicels, who were in possession of 
 the territory of old Naxos, founded, with the help 
 of the Carthaginian Himilco, a city which grew into 
 Tauromenium {Taormina). Four years later it was 
 occupied by mercenaries of the Syracusan tyrant; 
 and finally, just before the expedition of Dion, the 
 remnant of the old Naxians was established as the 
 community of Tauromenium. The head of Apollo 
 the founder of the settlement (APXAfETA^) is the 
 obverse type (PL XII. 18) of all the earliest bronze 
 
TAUROMENIUM 171 
 
 coins. The bull {tauros) is a natural type for the 
 reverse (PL XII. 19), and we find it in various 
 forms, sometimes with a human head. The name 
 of the people stands in the Doric genitive TAYPO- 
 MENITAN. 
 
 To Tauromenium also it is possible that we should 
 ascribe certain little gold coins (PI. XII. 16, 17) 
 which seem to belong to about the year 300, and 
 are distinguished by a monogram which may be 
 resolved into AP or PA. This monogram — true, 
 a very common one in all parts of the Greek world 
 — occurs on Tauromenite coins. The types are 
 a head of Athena, and her owl; or a head of 
 Apollo, and his lyre. All four types are found 
 on coins of Tauromenium such as we shall describe 
 in the next period. These gold coins have generally 
 been ascribed to Panormus during its brief occupa- 
 tion by Pyrrhus (278-276). If Holm is right in 
 his objection to this attribution, we have here the 
 earliest gold coinage of Tauromenium. 
 
 In 396, Dionysius settled, at a point on the north 
 coast some 36 miles west of Messana, a number 
 of exiles from Peloponnesian Messene and from 
 Naupactus, whom the Spartans after the end of the 
 Peloponnesian War had expelled from their homes. 
 The new city was called Tyndaris and has left its 
 name to C. Tindaro. The Messenians claimed 
 
172 THE DECLINE 
 
 Castor and Pollux, sons of Tyndareus, as their 
 national heroes ; and presumably Helen as a national 
 heroine. Thus it is that on the earliest coins 
 — some of which may have been struck just before 
 the beginning of this period— we find a female 
 head wearing a stephane and inscribed TYNAAPI£, 
 doubtless meant for Helen; on the bronze coins 
 with this type a star is put behind the head, 
 marking her association with the fratres Helenaey 
 lucida sidera (Fig. 53). On the reverse of the silver 
 
 Fig. 53. Tyndaris : Bronze. 
 
 coins (obols) is a free horse with the twin stars 
 above it; on the bronze, one of the brothers 
 on horseback, holding a palm-branch, symbol of 
 victory (Fig. 53). 
 
 To the time of Timoleon, or the years succeeding 
 his death, belongs a series of bronze coins. Tyndaris 
 appears to have conquered — doubtless during the 
 war of liberation — the Sicel city of Agathyrnon 
 (near C. d'Orlando), and accordingly one of its 
 new coins bears the figure of the Sicel warrior 
 ATAOYPNO^, eponymous hero of the subject city; 
 on the obverse is a head of Apollo and the in- 
 
TYNDARIS. ERYX 173 
 
 scription TYNAAPIAO^ ('of Tyndaris '). The other 
 coins bear the name of the people TYNAAPITAN, 
 and, in combination with the heads of Persephone 
 or Apollo, show either the Dioscuri on horseback 
 (PI. XII. 21) with the epithet ^ATHPE^ (' Saviours'), 
 or a horse's head which seems to be inspired by 
 that on the Carthaginian coins. The Dioscuri as 
 'Saviours' are usually supposed to have special 
 reference to Timoleon's expedition; but the epithet 
 often refers to these demi-gods in their character 
 of protectors of seafaring men, and is not out of 
 place on the coins of this maritime city. 
 
 We have already seen (p. 142) that the influence of 
 the Corinthian pegasus made itself felt in the remote 
 West in the days of Dion or Timoleon. To the 
 time of the latter belongs a bronze coin reading 
 [EP]YI<INnN, with the head of Zeus Eleutherios and 
 the local type of Aphrodite seated holding a dove. 
 It is one of the series, .which we shall deal with 
 later, struck upon Syracusan 'blanks.' If we did 
 not know from the historian Diodorus that a 
 number of the communities subject to the Cartha- 
 ginians joined Timoleon, this coin (with its revived 
 Greek inscription) would tell us that Eryx at least 
 was counted among his allies. The remainder of 
 the coins issued by Eryx at this time, we may pass 
 over. 
 
174 THE DECLINE 
 
 It is doubtful whether Segesta issued any coins in 
 this period. If she did, they would be bronze coins 
 with the type of a hound, and of small importance. 
 
 We have now to consider a remarkable series, 
 the most striking monument of Timoleon's influ- 
 ence on Sicilian politics. These are the bronze 
 coins issued by a large number of small Sicilian 
 communities, mostly in the rough interior of the 
 island. Some few of them may have been issued 
 just before Timoleon's arrival, but the majority of 
 them belong to his time. Nothing could be greater 
 than the contrast between the days of Dionysius 
 the Elder, when these cities lay silent in political 
 death, and the new age when they spring into 
 active^ though in some cases too brief, existence, 
 as members of a confederation under the lead of 
 Syracuse. But the confederation was poor, not 
 only in men fit to guide it — for there was none to 
 stand beside Timoleon, and he was a foreigner — 
 but also in money. So to obtain the metal for 
 their coins, which were all of bronze, they took in 
 many cases the Syracusan pieces with the head of 
 Athena on the obverse, and the sea-star or the 
 hippocamp on the reverse, and re-struck them with 
 their own dies. One series of these is distinguished 
 by the absence of any mint-name, and by the 
 presence of the inscription ^YMMAXII<ON {Symma- 
 
^^:' ■ ^- ..:■■ • ..;. ..^&';':'\'tv;. 4§f, 
 
 PLATE XII 
 
 PAGE 
 
 1. Sjrracuse, Hicetas : gold (60 litrae) 160 
 
 2. „ Pyrrhus : gold (120 litrae) 161 
 
 3. „ „ „ (60 „ obv.) .... 162 
 
 4. „ „ piece of 90 grains 162 
 
 5. „ „ bronze (obv.) 162 
 
 6. „ ,» „ (rev.) 163 
 
 7. » » » ( ,» ) 163 
 
 8. „ gold (60 litrae) 163 
 
 9. Acragas : half-drachm 164 
 
 10. „ Phintias: bronze 166 
 
 11. „ ,, » (obv.) 166 
 
 12. Camarina: bronze 167 
 
 13. Messana: „ 168 
 
 14. » ,y 168 
 
 15. Mamertini: „ (obv.) 169 
 
 16. Tauromenium ? : gold 171 
 
 17- „ »» 171 
 
 18. „ bronze (obv.) 170 
 
 19. „ V (rev.) 171 
 
 20. Mamertini : bronze (rev.) 170 
 
 21. Tjmdaris : bronze 173 
 
 22. 'Alliance': bronze. Brussels { formerly m the Htrsch Collection) 175 
 
'hether begc--. 
 he did, they wou 
 
 ind, and < ' 
 
 low to consider 
 I IX 3TAJq 
 king monunv 
 
 ronze coins 
 importance, 
 irkable series, 
 
 Odi 
 
 Idl 
 
 sdi 
 adi 
 fidi 
 
 4hef 
 edi . 
 
 ^e- Elder; 
 ^eath, and 
 ^ctke> • thov 
 
 8di . 
 
 ^^:. membe 
 irSyracu 
 
 iciiian politics. i h m... -j < the bioiize 
 
 (dBiJil od) blo^ :8J5i9DiH j9aif3M^8.,i 
 
 anisra oplo aoaiq „ #• .* 
 
 ' ', y, ^ : . :>een issucu 
 (.vdo) asfioid „ „ .g 
 
 ^VA^^ rnajprit^'idof 
 
 .. ) 
 
 {esrtiil od) bfog 
 
 Xjuhj 1 /<:•' grerfter 
 
 8 
 
 (.vdo) 
 
 ge wh 
 
 . mrfbirtb.^Ififf^2L^W^v'^'us 
 (.vdo) „ rinitiamsM .gi 
 
 
 ]Lu tit to ^ 
 
 ... ^ J. , \ ,"''^'' ^b" ^'^ "^va^ non(!^\o 
 
 071 -...., \ . \.vdo) asnoid „ .81 
 
 i^ttaud beside .Timok . (.v5i) h^ was a fqfeignQ^x-- 
 
 071 .. (.v^>a!S^i4^:,mrhafaaMi .0^^,. 
 
 £^i asnoid : ariBbn'^T .is 
 
 the he 
 
 lies. 
 
 -^yracu 
 obvers 
 
 verse, 
 One series ot th< 
 
 ea-star or 
 then) 
 'stinguished 
 
 absence of any mint-name, and hy the 
 presence of the inscription SIYMMAXIKON (Symma 
 
Plate XII 
 
TIMOLEON'S L 
 
 175 
 
 chtkoUy 'coinage of the alliance'). Their type is 
 either (PI. XII. 22) a torch between two ears of 
 barley, or a thunderbolt (Fig. 54). One of them, it 
 
 Fig. 54. 'Alliance' Bronze. 
 
 is true, adds the name of the people of Halaesa 
 (AAAI^INAN) to the 'alliance' inscription; but we 
 have no reason to conclude therefore that all the 
 others were also issued from Halaesa. The obverse 
 types of these pieces are the heads of the Zeus 
 of Freedom (IEY£ EAEYGEPIO^), of Sicily (^ll<EAIA, 
 crowned with myrtle, PI. XII. 22), and of Apollo the 
 Leader (APXAfETA^, Fig. 54), under whose guidance 
 the Greek colonies were planted in Sicily. 
 
 Closely allied to this group of coins is a mys- 
 
 FiG. 55. 'New' Coinage : Bronze. 
 
 terious piece (Fig. 55) with no inscription but KAINON 
 ('new coin'); the types are a runaway horse (with 
 loose rein) and a galloping griffin. No strong 
 
176 
 
 THE DECLINE 
 
 reasons have been adduced in favour of any one 
 place of mintage. 
 
 Of those bronze coins, struck by the members of 
 v^hat v^^e may call Timoleon's league, which can be 
 attributed to definite mints, there are a few whose 
 attribution depends merely on their types. Such 
 are the coins with a lyre on the reverse, and on 
 the obverse either the head of Apollo (inscribed 
 APOAAAN) or a female head (Fig. 56) crowned with 
 
 Fig. 56. Hadranum : Bronze. 
 
 myrtle, and probably meant for Sicily. They must 
 belong to Hadranum (A demo), as we may see from 
 coins of that city which read AAPANITAN. On 
 these later inscribed coins we find the types of the 
 head and lyre of Apollo, the head of Sicily and 
 a sea-horse, as well as the head of the river-god 
 Hadranius and a butting bull (Fig. 57). Another 
 uninscribed coin, with a youthful laureate (male?) 
 head, and a dolphin riding over waves, must be one 
 of the earliest issues of the island of Lipara. 
 
 The attribution of other coins of this group is 
 
HADRANUM. AGYRIUM 177 
 
 more obvious than that of the earliest coins of 
 Hadranum and Lipara. The pieces reading AFY 
 
 Fig. 57. Hadranum : Bronze. 
 
 or ArvPINAIAN belong to Agyrium (Agtra). We 
 find at this city the head of young Heracles 
 wearing the lion's skin (Fig. 58), or the head of 
 
 Fig. 58. Agyrium : Bronze. 
 
 Apollo, combined respectively with a leopard tearing 
 its prey, or a hound snuffing the scent; while the 
 
 Fig. 59. Agyrium : Bronze. 
 
 head of the Zeus of Freedom (iEY£ EAEYOEPIO^), 
 with his thunderbolt and eagle (Fig. 59), remind 
 
 N 
 
178 THE DECLINE 
 
 us of the similar Syracusan coin (p. 151) and 
 its connexion with Alexander of Epirus. Henna 
 {Castrogwvanni) issues at this period, as in earlier 
 days (p. 91), coins with types relating to Demeter, 
 although the legend of the rape of her daughter, 
 the Maiden-Goddess, which was of such importance 
 locally, does not yet figure on the coins. The 
 head of Demeter is inscribed AAMATHP or AAMAT; 
 the city name appears as ENNAIAN variously abbre- 
 viated. One reverse type is a goat standing before 
 the torch of Demeter, which is placed between 
 two ears of barley, symbol of the corn-goddess. 
 Another is the head of an ox arrayed with fillets 
 for sacrifice to the same deity, as is shown by 
 the barley-corn above it. A third consists simply 
 of two barley-corns with the letters EN. The coins 
 reading EPBH^CINAN (with a female head, and 
 the forepart of a human-headed bull) must belong 
 to the eastern Herbessus (Pantalical). A good 
 head of Persephone, inspired by Euaenetus, but 
 of rough work, and a leopard are the types of 
 the coins of Centuripae {Cento} bi\ which are in- 
 scribed KENTOPIPINAN (Fig. 60). Morgantina has 
 some interesting types. First comes a bronze coin 
 with the head of Sicily on the obverse, and on the 
 reverse the inscription MOPPANTINAN and an eagle 
 holding a serpent in its talons (PL XHI. i). Its 
 
HENNA. CENTURIPAE. MORGANTINA 179 
 
 occurrence at this time, while Herbessus also 
 produces the type of an eagle with closed wings 
 
 Fig. 60. Centuripae : Bronze. 
 
 standing and looking back at a serpent, is to be 
 connected with the story that before the battle on 
 the Crimisus there appeared to the army of Timoleon 
 the favourable omen of two eagles, one of which 
 held a serpent in its talons. Another coin of 
 Morgantina represents the head of Athena, with 
 a serpent beside it, and a lion devouring the head 
 of a stag, sometimes with a serpent between his feet. 
 Yet another coin has a young laureate head and 
 the tripod of Apollo (PL XIII. 3). Beside the head 
 is written AA1<0£, the sense of which is obscure. 
 Mytistratum (Marianopoli) has coins reading MYTI 
 or VM ; the obverses represent the fire-god He- 
 phaestus, wearing the conical felt cap of the smith ; 
 on the reverses are six pellets in an olive-wreath, or 
 a free horse, or three objects arranged like the spokes 
 of a wheel around a pellet. Finally, coins reading 
 ^lAEPAIAN (forepart of a bull and a warrior in the 
 
 N 2 
 
i8o THE DECLINE 
 
 attitude of attack) furnish proof of the existence of 
 an otherwise unknown place called Silerae or Silera. 
 One of the most remarkable of the coins relating 
 to Timoleon's work in Sicily is a unique silver 
 drachm (PI. XIII. 2) published by Mr. Evans. On 
 the obverse is a female head, crowned with myrtle, 
 and inscribed OMONOIA (^Concord'). On the re- 
 verse is a flaming altar adorned with laurel-branches, 
 with the inscription KIM I SIC If the peculiar ap- 
 pearance of the M in this word is not merely due 
 to a flaw, it may be explained as a monogram of 
 P and M, so that we must read the word KIPMI£^; 
 and this again must be explained as an alternative 
 form ofKPIMI^:^. In any case there can be little 
 doubt that the word is meant for the name of the 
 river Crimisus, and that Mr. Evans is right in 
 seeing in the Concord of the obverse an allusion to 
 the union between the Sicilian cities. It is no mere 
 coincidence that the head bears a strong resemblance 
 to the head of 'Sicily.' The coin was possibly 
 issued in common by some of the cities of western 
 Sicily, among them Panormus, which in later times 
 exhibits types of a similar kind. Mr. Evans is in- 
 clined to date the coin rather later than the life of 
 Timoleon, ' to the close of the twenty years' peace 
 that followed Timoleon's death in b.c. 336. But 
 the character of the types still suggests a reference 
 
'CRIMISUS/ LIPARA i8i 
 
 to the peace and concord which he had founded/ 
 Few if any of the coins of this Timoleonic group 
 can have been issued after the rise of Agathocles, 
 whose prosperity cast as severe a bhght on the 
 fortunes of the Sicihan cities as they had suffered 
 from the power of Dionysius. 
 
 The insular position of Lipara probably allowed 
 of its issuing coins with less restriction than places 
 on the main island. We have already mentioned 
 the uninscribed coins which belong to the Timo- 
 leonic period. Hardly later than these are certain 
 small bronzes, among the types of which may be 
 mentioned a bunch of grapes, and the conical cap 
 of Hephaestus. The characteristic coins (Fig. 6i) 
 
 Fig. 6i. Lipara : Bronze 
 
 reading AIPAPAION or AIPAPAIAN, with a seated 
 figure of the fire-god holding a hammer and a 
 drinking-goblet, and a dolphin or else merely pellets 
 indicating the value on the reverse, are rather 
 later and probably extend over a considerable 
 period. Towards the end of the fourth century 
 
i82 THE DECLINE 
 
 a couple of coins, reading AIPAPAION on one side 
 and TYNAAPITAN on the other, bear witness to an 
 aUiance between Lipara and Tyndaris. Later than 
 these (about 288) must be the coins (Fig. 62) with a 
 
 Fig. 62. Lipara : Bronze. 
 
 laureate head of Ares (inspired by the similar Ma- 
 mertine type) and a trident. From soon after this 
 date until 252 Lipara was in the power of Carthage. 
 Three cities, Aetna, Entella, and Nacona, remain 
 to be treated together during this period. Aetna, 
 we remember, was the name given to Inessa by the 
 Hieronians who were expelled from Catana in 461. 
 A Campanian garrison, or rather population, was 
 established in the town, early in the fourth century. 
 It was about the time of Timoleon's arrival in the 
 island, or a little earlier, that the Campanians struck 
 the coins reading AITNAIAN ('of the Aetnaeans'), 
 with the free horse on the reverse, and the head 
 either of Athena or of Persephone on the obverse. 
 That the free horse, the symbol of liberty, should be 
 used by this mercenary garrison, is not remarkable 
 when we remember how the Mamertines a little later 
 
AETNA. ENTELLA 183 
 
 adopted the Syracusan Zeus Hellanios for their own 
 purposes at Messana. The adoption of types by the 
 barbarians in Sicily (as indeed all over the world) is 
 guided chiefly not by the meaning of the type, but 
 by the credit belonging to it in international trade. 
 In 339 Timoleon put an end to the Campanians 
 in Aetna, and the result was that the city now 
 produced the orthodox coin with the head of 
 the Zeus of Freedom (lEY^ EAEYOEPIO:^) and his 
 thunderbolt. 
 
 Entella {Rocca (TEntella) was occupied by Cam- 
 panians in 404. In 342 Timoleon took the place, 
 and put to death a few of the inhabitants, ' restoring 
 their liberty to the rest.' The coins (Fig. 63) usually 
 
 Fig. 63. Entella : Bronze. 
 
 read ENTEAAAC ('of Entella') and l<AMnANnN ('of 
 the Campanians'), sometimes abbreviated. The 
 types are the head of Persephone, a bearded 
 helmeted warrior (the god Ares), or a helmet for 
 the obverse, and a Pegasus or a free horse for the 
 reverse. As almost all the coins bear the name of 
 the Campanians, we may assume that Timoleon in 
 
i84 THE DECLINE 
 
 restoring freedom to the people did not find it 
 necessary to annihilate the Italian mercenaries. 
 
 Yet another city occupied by the Campanians 
 was Nacona, the site of which is quite uncertain. 
 Bronze coins with the head of Persephone, crowned 
 with barley, read l<AMnANilN on the obverse, and 
 on the reverse NA[l<nNH]£ (with a Pegasus) or 
 N AKAMAI AN (with a free horse). 
 
 In this group too we may place a coin issued 
 by the Tyrrhenians, evidently like the Campanians 
 a community from the other side of the Straits of 
 Messina. The types are a helmeted head (Ares? 
 or Athena ?) and a standing figure of Athena, facing, 
 her left hand resting on her shield — warlike types 
 suitable to a settlement of mercenaries. The in- 
 scription is TYPPH. 
 
 Finally, a monogram which has been variously 
 resolved is found on a silver obol with free horse 
 
 and olive-wreath (Fig. 64) 
 
 and on a bronze htra 
 
 (struck on a Syracusan 
 Fig. 64. Campanians (?):L,TRA. ^^^j^^ ^.^^ ^ ^^^^.^^ 
 
 bull and a star of sixteen rays (Fig. 65). It also 
 occurs on a smaller bronze with a helmet. The 
 now prevailing view is that the monogram repre- 
 sents KAM, and that the Campanians in Sicily were 
 responsible for the coins. It is perhaps worth sug- 
 
NACONA. THE CAMPANIANS 185 
 
 gesting that a possible resolution of the monogram 
 is MAT, and that the coins may belong to a city 
 
 Fig. 65. Campanians(?): Bronze Litra. 
 
 Mataurus, which Stephen of Byzantium states to 
 have been a foundation of the Locrians and the 
 birth-place of the poet Stesichorus. The bull 
 (tauros) would then be, as at Tauromenium, a cant- 
 ing type, and would at the same time represent the 
 river which the geographer Strabo describes as 
 flowing underground near the city in question. 
 
CHAPTER V 
 FROM HIERO II TO TIBERIUS 
 
 We come now to that phase of SiciHan, and more 
 especially Syracusan, coinage, which preceded the 
 constitution of the Roman Province. The greater 
 part of the time is filled by the reign of Hiero II. 
 The chief interest of the coins of this ruler, it will 
 hardly be denied, lies in the fact that some of them 
 give portraits of himself and his family — a new feature 
 in the history of Sicilian coinage, and one that only 
 became common in the Greek world in the course of 
 the third century. 
 
 Hiero's gold coins, in accordance with the con- 
 servatism which somewhat naturally clings round 
 the treatment of the most precious of the metals, 
 do not bear any portrait : for the male laureate 
 head on a unique coin at Munich is presumably no 
 portrait, but a descendant of the head of Apollo or 
 Ares on the coins of Agathocles. This coin is 
 a i2o-litrae piece. Its half is represented by the 
 commoner coin (PI. XIII). 4 with the head of 
 
SYRACUSE: HIERO II 187 
 
 Persephone, and a two-horse chariot driven by 
 a female figure, the latter being also the reverse 
 type of the larger coin. Sometimes a winged 
 Victory replaces the wingless female charioteer. 
 All are inscribed lEPANO^ ('coin of Hiero'). 
 
 His first silver coins (Fig. 66) are also without 
 
 Fig. 66. Syracuse: 'Pegasus* of Hiero II. 
 
 portraits. They are the descendants of the earliest 
 Syracusan pegasi, through the degenerate pegasi of 
 about 108 grains issued by Agathocles, and them- 
 selves weigh no more than 90 grains — a weight 
 which we have already found under Pyrrhus. They 
 are somewhat rare, and cannot therefore have been 
 issued in any great numbers, being superseded by 
 the more interesting silver coins to which we now 
 come. The issue of the latter probably began soon 
 after the assumption of the royal title by Hiero in 
 269; for those which bear Hiero's name add to it 
 the title BA^IAEO^. As regards weight, they show 
 a definite break with the Attic tradition. We have 
 pieces of litrae 32, 20 (or 18), 16, 8, 5, 4, 2, i. Of 
 these only the 5-litrae piece and the litra are con- 
 
i88 FROM HIERO II TO TIBERIUS 
 
 formable to the old system. On the other hand, 
 since the litra weighed 13^ grains troy, the 4-Htrae 
 piece of 54 grains would be nearly the equivalent 
 of the drachm of what was known as the Phoenician 
 system, on which were issued the coins of the 
 Ptolemies and also of the Carthaginians — for this 
 people, after they ceased to strike what are known 
 as Siculo-Punic coins, began to produce a rich series 
 of gold, electrum and silver money. The last metal, 
 however, was hardly issued by the Carthaginians 
 until after the acquisition of the Spanish silver-mines 
 about the middle of the century; so that we must 
 attribute the monetary reform of Hiero chiefly to 
 his friendly relations with Egypt. The series of 
 Hieronian coins, regarded from the point of view 
 of the Phoenician standard, would be pieces of 8, 5, 
 4, 2, I, i, i drachms (if we exclude the anomalous 
 5-litrae piece, and regard that which weighs 243 
 grains as the equivalent of 20 litrae). Another 
 rapprochement may also be taken into account. In 
 268 the Romans issued their first denarii, quinarii 
 and sestertii. We can see nothing in the Hieronian 
 coins which can indicate an attempt to connect his 
 standard with that of the Roman denarius. But 
 about forty years later the Romans struck, for the 
 purposes of their foreign trade, a coin known as the 
 victoriatus (types : head of Jupiter, and Victory 
 
SYRACUSE: HIERO II 189 
 
 crowning a trophy). The normal weight of that 
 coin was about 52J grains troy, three-quarters of 
 a denarius, or 3 scruples; and with it were issued 
 its double and half. There may be some reason 
 therefore for thinking that the weight of the Roman 
 victoriatus was partly determined by the fact that, 
 while a multiple of the Roman scruple, it was 
 nearly equivalent to the Hieronian 4-litrae piece. 
 The last-mentioned coin of 54 grains was thus a 
 little heavier than the victoriatus, as it was a little 
 lighter than the Phoenician drachm. It is true 
 that the victoriatus was chiefly used for trade with 
 northern Greece, but it can hardly have been 
 limited to that direction. The Hieronian standard 
 — as befits the position of Sicily — marks a point 
 half-way between Rome and the Phoenicians of 
 Carthage. 
 
 The large pieces of 32 litrae (PI. XIII. 5) are 
 inscribed BA^IAEO^ lEPANO^, and have a fine, 
 expressive portrait of the king, his head bound with 
 the royal diadem. There is some variety in the 
 portrait, showing that we have not a mere stereo- 
 typed court-engraver's representation. Some, which 
 must belong to the earlier part of the long reign, 
 show distinctly softer features than others in which 
 aU the lines are hardened. When we look into the 
 workmanship of the coin, we find that it will not 
 
I90 FROM HIERO II TO TIBERIUS 
 
 bear comparison with the work of the great en- 
 gravers. Although this fact may not strike us while 
 we consider only the portraits, it becomes obvious 
 when we turn to the reverse. The chariot driven 
 by Victory offers no novelty, nor any distinctive 
 feature in its treatment, nor can it be said to be skil- 
 fully treated even from an academic point of view. 
 No one who is familiar with earlier representations 
 of the same subject will care to linger over this. 
 
 Hiero's Queen is known to us from the coins of 
 i6 and 5 litrae, as well as from one enigmatic piece, 
 apparently of 18 litrae, but possibly an under- 
 weighted 20-litrae piece. Her name was Philistis 
 (BA^IAI^CA^ ct^lAl^TIAO^, 'of Queen Philistis,' 
 is the legend on her coins). The larger coins 
 (PI. XIII. 7), with her portrait wearing an ample 
 veil, are numerous, and, to judge by the number of 
 specimens (frequently false) brought away from 
 Sicily by tourists, enjoy considerable popularity. 
 The appreciation of the art of Greek coins proceeds 
 by the same stages as that of any other school of 
 art : it is the later phases, with a certain show of 
 modernity, and comparatively little sincerity of treat- 
 ment, which are first admired; while the nobler 
 productions of the fine period are only understood 
 when the eye has been educated by and has tired 
 of the work of the ' decline.' The head of Philistis 
 
SYRACUSE: PHILISTIS; GELO 191 
 
 soon ceases to please, and its glaring defects — the 
 careless treatment of lips, eyes, and nose, and the 
 hard folds of the veil — become more and more 
 apparent every time the coin is examined. 
 
 The head of Philistis on the coins of 5 litrae 
 sins on a smaller scale. The reverse type of these 
 coins is a two-horse chariot driven by Victory 
 (PL XIII. 6). 
 
 A third member of Hiero's family appears on the 
 coins of 8 litrae and of 4 litrae. This is his son 
 Gelo, who is represented as associated with his 
 father in the kingship. The head on the obverse 
 of these coins (PI. XIII. 8) has, it is true, been in- 
 terpreted by some writers as an ideal representa- 
 tion of the elder Gelo, the victor of Himera and 
 first tyrant; but this view is untenable. Gelo, who 
 bears a distinct likeness to his father, but also, in 
 some of the portraits, an even greater likeness to 
 his mother, wears the royal diadem. On the 
 reverse of the 8-litrae piece is the usual two-horse 
 chariot, driven by Victory; on the reverse of the 
 smaller coin (PL XIII. 9) is the Ptolemaic eagle 
 standing on a thunderbolt. In the field of the 
 reverse (sometimes accompanied by other letters, 
 the signature of the moneyer) is BA (for BACIAEO^I). 
 This shows, like the diadem, that Gelo is regarded 
 as king with his father, and accords with inscrip- 
 
192 FROM HIERO II TO TIBERIUS : 
 
 1 
 
 tions found at Syracuse which mention the name j 
 
 I 
 of 'King Gelo son of King Hiero/ and of 'Queen ' 
 
 Nereis ' (wife of Gelo) along with ' Queen Philistis ' | 
 
 and 'King Hiero/ The inscription on the coins 
 
 is somewhat unusual: ^YPAI<O^IOI rEAANO^ — 
 
 'the Syracusans ... of Gelo.' Holm supplies 'dedi- i 
 
 cated this portrait.' But, in accordance with the j 
 
 usage of later coin-inscriptions, it would perhaps ; 
 
 be better to supply 'dedicated this coin.' The i 
 
 word 'dedicated' (dveOHKe) is constantly used when | 
 
 a prominent personage defrays the expenses of a I 
 
 coinage; it is followed by the name of the people, J 
 
 usually in the dative, but sometimes in the genitive. ; 
 
 Here we have a coin of Gelo 'dedicated' by the j 
 
 Syracusans. The point of this subtilty becomes 
 
 clear in the light of Holm's remark that Hiero j 
 
 'distributed the honours of the coinage over his ! 
 
 family and the people.' \ 
 
 Two odd little coins are the silver litrae with 
 the legends ^YPAKO^IOI XII or ^YPAKOSIIOI | 
 FEAANOC XII, and a diademed head, probably that 
 of Gelo. These inscriptions show that the silver \ 
 litra was at any rate nominally the equivalent of i 
 twelve copper litrae ; the form of the numerals also I 
 shows the increasing influence of Rome. 
 
 The bronze coins of this reign all read simply 1 
 lEPilNOC, except one small group which, having 
 
SYRACUSE: GELO. SICELIOTES 193 
 
 £YPA1<0£IAN on the obverse (head of Persephone), 
 has the king's name shortened to IE on the reverse 
 (PL XIII. 10; butting bull and club). The portrait 
 of Hiero occurs, sometimes laureate (PI. XII I. 11), 
 more often diademed. These heads with the laurel 
 wreath are perhaps the first instance of the use of 
 that form of crown for a human ruler; reserved up 
 till then almost exclusively for the gods, it was 
 perhaps not approved by Hiero's subjects, for it 
 only occurs on a few of his coins. One of the 
 commonest of all Sicilian coins is the bronze 
 bearing the head of Poseidon on the obverse, and 
 his trident on the reverse, with lEP/lNO^ across 
 the field (PL XIII. 12). Enormous quantities of 
 this coin must have been struck, to judge by the 
 numbers found in modern times. 
 
 Before we pass on to the coinage of Hieronymus, 
 we must describe a group of gold and silver coins 
 with the legend ^IKEAIilTAN— 'of the Siceliotes.' 
 They are a gold piece of 67^ grains (equivalent at 
 the rate then prevailing to 60 silver litrae) and silver 
 pieces of 8 (PL XIII. 13), 4, and 2 litrae. The type 
 of the obverse is a veiled head of Demeter, or 
 perhaps of Philistis veiled, and crowned with barley, 
 in the guise of Demeter. The reverse types are 
 a two-horse chariot and a four-horse chariot for the 
 gold and silver respectively. Finally, all have a 
 
194 FROM HIERO II TO TIBERIUS 
 
 monogram which has been resolved into the letters 
 TM, or 1^, but in neither case with much proba- 
 bility; for in the former the monogram lies on its 
 side, while in the latter no account is taken of 
 a bar joining the I to the Z. Whatever be the 
 interpretation of the monogram (and this we shall 
 not attempt to decide) there can be no doubt that 
 the coins belong to the time of Hiero, and that 
 they were issued by or for a group of the Greek 
 as opposed to the Carthaginian cities — the legend 
 tells us as much. In all probability, therefore, they 
 formed the currency of Hiero's dominions outside 
 Syracuse after the settlement at the end of the 
 first Punic War. 
 
 The unhappy successor of Hiero, his grandson 
 Hieronymus, is represented by a good number of 
 coins in all three metals. They uniformly read 
 BACIAEOC lEPANYMOY and have for reverse type 
 a winged thunderbolt. The head of Persephone, 
 with long hair, is the obverse type of the gold 
 coins. These comprise in the first place a unique 
 piece of the same weight as Hiero's gold coin 
 with a similar obverse type, and as the gold ^Sice- 
 liote' coin, and secondly, pieces (PL XIII. 14) of 
 half that weight; being thus equivalent to 60 and 
 30 silver litrae respectively. The silver coins 
 (PI. XIII. 15) represent 24, 10, 6, and 5 litrae; 
 
SYRACUSE: HIERONYMUS 195 
 
 and the obverse type of them all, as well as of the 
 bronze, is a diademed head of the young king. It 
 would be difficult to find among the portraits on 
 Greek coins one which accords more fully than this 
 with the character of Hieronymus, as it has come 
 down to us. The nobility and keenness of cha- 
 racter expressed in the head of Hiero, and to a less 
 extent in that of Gelo, are replaced by a sensuality 
 and weakness of features which fully justify a belief 
 in many of the stories told to the discredit of their 
 owner. 
 
 Coins in all three metals are ascribed to the short 
 but stormy period between the fall of Hieronymus 
 (214) and the final submission of Syracuse to Rome. 
 A gold piece of 60 litrae (67^ grains) has a female 
 head (probably of Hera) wearing a Stephanos or 
 broad metal diadem ornamented with flowers, and 
 on the reverse a four-horse chariot. In the Paris 
 example (PI. XIII. 16) the die of the reverse has 
 slipped and restruck the blank in such a way that 
 there appear to be no less than seven horses. The 
 coin of 40 litrae (45 grains) has the head of Athena, 
 and a new reverse type : — the goddess Artemis as 
 huntress, seen nearly from behind, discharging an 
 arrow from her bow (PL XIII. 18). She wears 
 hunting-boots, and a short chiton with girdle, and 
 
 her quiver hangs at her back. In silver we have a 
 
 o 2 
 
196 FROM HIERO II TO TIBERIUS 
 
 great variety of types. The i6-litrae piece (Fig. 67) 
 has a laureate head of Zeus, and Victory in a gal- 
 loping four-horse chariot. The types of the 12-litrae 
 
 Fig. 67. Syracuse : 16 Litrae. 
 
 piece are a head of Athena and a figure of the 
 huntress Artemis, as on the 40-litrae gold piece. The 
 lo-litrae piece (Fig. 68) has a head of Persephone 
 
 Fig. 68. Syracuse : 10 Litrae. 
 
 with long hair, and a standing figure of Zeus (per- 
 haps the Zeus Ourios who was specially honoured 
 in Syracuse), with his eagle flying. Then come 
 pieces of 8 litrae, with a head of Athena and winged 
 thunderbolt, or with a head of Persephone (inspired 
 by the head designed by Euaenetus, and not by 
 the type with which since the time of Agathocles 
 we have become familiar) and Victory driving a 
 galloping four-horse chariot (PI. XIII. 17). On the 
 
PLATE XIII 
 
 PAGB 
 
 1. Morgantina: bronze (rev.) 178 
 
 2. Concord— Crimisus: drachm. A. J. Evans Collection . . 180 
 
 3. Morgantina : bronze (rev.) i79 
 
 4. Syracuse, Hiero II : gold (60 litrae) 186 
 
 5. M » 32 litrae 189 
 
 6. „ Philistis: 5 „ 191 
 
 7. „ „ 16 „ 190 
 
 8. „ Gelo: 8 „ 191 
 
 9. » »» 4 » (rev.) 191 
 
 10. „ Hiero II : bronze (rev.) 193 
 
 11. „ » j> ^93 
 
 12. „ )) » ^93 
 
 13. Siceliotes : 8 litrae i93 
 
 14. Syracuse, Hieronymus : gold (30 litrae, obv.) .... 194 
 
 15. » » 24 litrae 194 
 
 16. „ gold (60 litrae). Paris, Bihliotheque Nationale . . 195 
 
 17. „ 8 litrae 196 
 
 18. „ gold (40 litrae) i95 
 
 19. „ 6 litrae (obv.) i97 
 
'ping U 
 
 ;. r.c (Fig. 67) ] 
 victory in a gal- ! 
 ■:. ; ■ ! ! i2-litrac ' 
 
 8^1 
 081 
 
 d8r 
 qBi 
 
 IQI 
 OQI 
 IQI 
 IQI 
 
 epi 
 
 ^QI 
 
 dQi 
 cQi 
 
 7QI 
 
 3TAjq 
 
 ...,■■. . . (.V9l) 0:w._.,4vj . «^i*^.ifi§10M .1 
 
 l-)YKACi .-.; : .1'; Li iiwi:. 
 
 . (.V9i) ssnoid : BnbnB^ioM .£ 
 
 H) has !P^ head of Pcrseptione 
 
 8 
 
 obO 
 
 (.V9i) asnoid iffi 
 
 \.v«Ky^9inJiI 0£) blog : aum\[noi: 
 
 .01 
 
 .11 
 
 .fii 
 
 oiZ .gi 
 
 DBTfa 41 
 
 .51 
 
 .di 
 
 tZrusTfpcr- 
 
 3BiJiIo|.) bios ,, „, ^l , 
 
 Then conic 
 
 winged 
 
 tispired 
 
 ^!uaenetus, lot by 
 
 igathocles 
 
 .)u Victory driving 
 
 ni 17). On the 
 
Plate XIII 
 
SYRACUSE: WAR WITH ROME 197 
 
 6-litrae piece the bearded head of Heracles, in Hon*s 
 skin (reverse, Victory in two-horse chariot), is a good 
 specimen of the treatment of the demi-god in this 
 period of art (PL XHI. 19); we are on the verge 
 of the brutahty of the Roman type. 
 
 The coin of 4 htrae (PL XIV. 2) has a long-haired 
 head of Apollo, and Victory carrying trophy and 
 palm. All these coins, both gold and silver, bear 
 the name of the people in the genitive, ^YPAKOCIAN; 
 and we shall find the same form on the bronze. 
 Most of the coins are also inscribed with the 
 abbreviated names of officials responsible for the 
 issue of the money. A small group of silver coins 
 is distinguished by the nominative form ^YPAKO- 
 ^101. These are, in the first place, a piece of 2^ 
 litrae : obverse, head of Apollo ; reverse (PL XIV. 3), 
 a figure, perhaps of the Fortune of the City, her 
 veil blown out by the breeze, holding a branch and 
 a roll on which an inscription is suggested by dots. 
 Next, the i^ litra (PL XIV. 5) has the head of 
 Artemis and the owl of Athena. Last comes a 
 litra with the head of Athena, and the inscription 
 CYPAKOSIIOI .-Xlll, which implies that the silver Htra 
 was now worth 13^ copper litrae, instead of 12 
 as formerly. The use of the nominative may have 
 been suggested by its use on the coins of Gelo the 
 younger, but it is difficult to see how it can be 
 
198 FROM HIERO II TO TIBERIUS 
 
 regarded, as Holm regards it, in the light of a 
 protest against the legend ^YPAI<o:e:ioi FEAANO:^. 
 
 Among the few types of the bronze of this period, 
 we need only mention the head of Poseidon, with 
 trident between dolphins — a survival from the coins 
 of Hiero; and the Dioscuri on horseback. 
 
 Before we proceed to describe the coinage of 
 Syracuse in the Roman period, we shall bring the 
 history of the other Sicilian cities down to the date 
 at which they too fell into the hands of Rome. 
 Here we have to do with but three cities in Sicily — 
 Acragas, Tauromenium, and Tyndaris — and with the 
 island of Lipara. Of these the first was pro-Cartha- 
 ginian during the greater part of the time concerned. 
 The head of Zeus, and his eagle with spread wings 
 (Fig. 69) are the types of the two larger silver coins 
 
 Fig. 69. Acragas : 4 Litrae. 
 
 (4 and 2 litrae); a third, the litra, has the head of 
 Zeus and his thunderbolt. . On a bronze which 
 reproduces the familiar two eagles on a hare, we 
 find a head of Apollo (PI. XIV. 4) combined in a 
 curious way with what appears to be a serpent 
 partly hidden beside the face. Mr. Head has drawn 
 
ACRAGAS: TAUROMENIUM 199 
 
 attention to the fact that there was in the temple of 
 Asklepios at Acragas a statue of Apollo by the 
 sculptor Myron, and thus explains the connexion 
 between Apollo and the serpent sacred to the god 
 of healing. It is possible, however, that we have 
 here a head not of Apollo, but of Asklepios himself, 
 represented, as he sometimes was in Greek art, in 
 youthful form. On another bronze of the same 
 period (Fig. 70) we have the beardless head of 
 another god, who is (as the AIO^ ^flTHPO^ and 
 
 Fig. 70. Acragas : Bronze. 
 
 eagle of the reverse suggest) Zeus the Saviour. 
 The independent coinage of Acragas ends with its 
 capture by the Romans in 261. 
 
 The earliest coins of Tauromenium in this period 
 are of bronze (PL XIV. i) and still have the head 
 of Apollo the Leader (APXAFETA^); on the reverse 
 we find a lyre, a tripod, or a bunch of grapes. 
 These are followed by a coinage in all three metals 
 (PI. XIV. 6 foil.), which, as Holm has seen, is rather 
 too plentiful to have been struck in the short period 
 between the death of Hiero and the constitution of 
 the province, and therefore points to the compara- 
 
203 FROM HIERO II TO TIBERIUS 
 
 tive independence of Tauromenium during the reign 
 of the good king of Syracuse. The head of Apollo 
 and his tripod are throughout the favourite types. 
 On one of the bronzes, the god's name APOAAANO^ 
 is written beside his tripod. Of the other types, 
 the most remarkable is perhaps the Delphic om- 
 phalos, with the sacred snake twining round it, 
 on a silver coin with a head of Apollo on the 
 obverse (PI. XIV. 7). We find also the head of 
 Athena, with a Pegasus on the reverse, both on 
 silver and on bronze. The head of a bull seen 
 from the front, and a bunch of grapes, which occur 
 on a silver litra (PI. XIV. 9), are Dionysiac types; 
 on bronzes we find a head of Dionysus, combined 
 with either a bull, or a standing figure of Dionysus 
 (or one of his attendant Maenads) with a panther. 
 A bearded head of Heracles (PI. XIV. 10) is also 
 combined with a butting bull. In all cases of the 
 appearance of a bull on these pieces, we must 
 remember that, in addition to any Dionysiac signifi- 
 cance it may possess, it is also the ' canting ' emblem 
 of the city. 
 
 A small group of coins (silver and bronze) repre- 
 senting a female head (Hera?) wearing a Stephanos, 
 with a bunch of grapes on the reverse, appears to 
 bear on the obverse the enigmatic inscription ^AP- 
 AAI. There is a general agreement among numis- 
 
TAUROMENIUM. TYNDARIS 201 
 
 matists to connect this coin, however hesitatingly, 
 with Tauromenium. But it can hardly belong to 
 the ordinary coinage of that city. One suggestion 
 is that it was struck at that mint for the Sar- 
 dinians ; in which case we may explain the obverse 
 type as the personification of their island. The 
 dative ^APAAI would then express the fact that 
 the coin was dedicated to Sardus, son of Maceris 
 or Heracles, and legendary founder of the Greek 
 colony in Sardinia. On this hypothesis, however, 
 inscription and type refer to two different persons; 
 and though such a lack of connexion is not impos- 
 sible, it is best to leave the question open. 
 
 The coinage of Tyndaris, which had doubtless 
 come to an end in the time of Agathocles, was 
 resumed during the reign of Hiero, probably after 
 the capture of Panormus by the Romans in 254. 
 The new coinage is all of bronze. A veiled female 
 head, wearing a stephane or a laurel-wreath, and 
 sometimes accompanied by a star, is without doubt 
 Helen (PI. XIV. 11). The majority of the types, 
 as in the earlier period, belong to her brothers 
 the Dioscuri : thus we have them on horseback, 
 charging; or standing, each holding a horse by 
 the bridle ; or standing, without horses ; or merely 
 their conical helmets, each surmounted by a star 
 (PI. XIV. 11). Other types belong to Zeus : we 
 
202 FROM HIERO II TO TIBERIUS 
 
 have his head, laureate; his standing figure, hold- 
 ing sceptre and thunderbolt ; his eagle on a thunder- 
 bolt; or a thunderbolt alone. A figure of the god 
 Hermes sacrificing is generally supposed to repre- 
 sent a beautiful statue of the god, which the Car- 
 thaginians carried off to Africa, and which Scipio 
 restored to its home. As it must have been carried 
 off before 254, and the restoration of these works 
 of art took place in 146, the type, if it was 
 issued at the time to which it is usually assigned, 
 may really represent only a copy of the original 
 statue made to take its place ; or it may be merely 
 a memorial of the treasure which Tyndaris had 
 once possessed. Of the other types of Tyndaris the 
 most interesting is a little winged bust of Eros. 
 This varied bronze coinage is generally supposed 
 to have come to an end in 210, when Laevinus 
 brought the war in Sicily to its conclusion, and 
 reorganized the island as a Roman province. But 
 may we not argue from the Hermes type described 
 above that the lower limit assigned to these coins 
 of Tyndaris is too high, and that some of them 
 belong to the period after the fall of Carthage? 
 We shall be confronted with a similar question at 
 Thermae. 
 
 Lipara fell into the hands of Rome in 252. The 
 coins which it now issued are more striking than 
 
TYNDARIS. LIPARA 
 
 203 
 
 artistic. In the case of the chief series, the head of 
 the fire-god Hephaestus wearing his pilos or work- 
 man's cap is the type of all the obverses. On the 
 reverse of the largest coin (Fig. 71) is the stern of 
 
 Fig. 71. LiPARA : Bronze Semis. 
 
 a galley, with the inscription AIPAPAION. The 
 value (half a litra) is expressed by six pellets. The 
 smaller coins have merely marks of value and the 
 inscription (abbreviated on the two-ounce piece to 
 A IP, on the ounce to Al). The weights of these 
 pieces, compared with those of Roman coins, show 
 that they belong to the period ending in 217. To 
 the same period belongs a coin with the head of 
 Athena in an Athenian helmet, and an owl, — 
 which should be compared with a piece struck at 
 the not far distant city of Calacte (p. 221). 
 
 We now return to the coins issued at Syracuse 
 and other cities under the Roman dominion. This 
 period begins in 241 for western Sicily, in 212 
 for Syracuse itself, and closes with the reign of 
 
204 FROM HIERO II TO TIBERIUS 
 
 Tiberius. All the local coins which we shall hence- 
 forward meet with are of bronze. There are, how- 
 ever, a certain number of coins, issued by Roman 
 officials in Sicily, which really belong to the Roman 
 series; and to these the restriction of metals does 
 not apply. 
 
 The coinage of Sicily under Roman rule does 
 not seem in any way to be affected by the political 
 classification of the cities, and we shall find it more 
 instructive to deal with the various communities in 
 the order in which the importance of their coinage 
 seems to suggest that they should be placed. 
 
 The types of the coins of this period are 
 numerous, but the badness of their style destroys 
 a great deal of their interest. For the same reason, 
 added to the poorness of their preservation, it is 
 difficult to find specimens which will repay illus- 
 tration. 
 
 At Syracuse, the appearance of the Egyptian 
 deities Sarapis and Isis is characteristic of the 
 new age. The image of Isis, holding a flaming 
 torch, stands in a chariot drawn by four horses — 
 a representation of a festival in which the image of 
 the goddess was drawn about the city. Other coins 
 show the head of Sarapis, the figure of Isis standing, 
 holding her sistrum, the head of Isis, or even her 
 headdress of disc and horns. Numerous other 
 
SYRACUSE. CATANA 205 
 
 deities are represented : the head of Zeus, and his 
 eagle on a thunderbolt; Victory in a two-horse 
 chariot, or sacrificing a bull ; the head of Athena ; 
 of Persephone ; of Demeter, veiled ; of Apollo ; of 
 the sun-god Helios, with a crown of rays ; of the 
 Roman double-faced god Janus ; of Asklepios ; of 
 Artemis. The two crossed torches are the symbol 
 of Demeter; the staff, with a serpent twining round 
 it, of Asklepios. 
 
 Next to Syracuse, the three cities of Catana, 
 Leontini, and Panormus are most important so far as 
 concerns the coinage of this time ; and an abundant 
 coinage in a province subject to Rome may be taken 
 as a fairly certain criterion of commercial activity, 
 though not necessarily of political rank. 
 
 Catana, which had all but disappeared from 
 history since its subjection to Dionysius, is repre- 
 sented under the Romans by a plentiful bronze 
 currency. Here too we see the influence of the 
 Egyptian cults, in types such as the heads of Sarapis 
 and Isis conjoined (PI. XIV. 13), a janiform head of 
 Sarapis (PI. XIV. 12), a figure of Isis, sometimes 
 accompanied by Harpocrates. But the most interest- 
 ing types of the city, and indeed of all Sicily in this 
 somewhat wearisome period, refer to the brothers 
 Amphinomus and Anapias, who were worshipped as 
 heroes at Catana. The story of how these brothers 
 
2o6 FROM HIERO II TO TIBERIUS 
 
 saved their parents when the volcano poured out its 
 lava on the devoted town, and how the burning 
 stream miraculously parted to give them passage, 
 is well known. On the coins we have the two 
 brothers carrying their parents, sudantes venerando 
 pondere (PL XIV. i6). A similar type occurs on 
 silver denarii (PI. XV. 9) issued by Sextus Pompeius 
 in Sicily, and perhaps actually struck in Catana 
 itself, during the period when the son of the great 
 Pompeius held the island (42-36 B.C.). The original 
 of these representations was doubtless the group 
 of statues which existed at Catana, and has been 
 described by Claudian. Another type, which is of 
 some interest as showing the gradual intrusion of 
 Roman ideas into the Greek life, is the figure of 
 Equity {Aequitas), holding a pair of scales and 
 a cornucopiae (PI. XIV. 14). On the obverse of 
 the same coin is a head of Zeus Ammon, the 
 oracular god of the Libyan oasis, who is repre- 
 sented with ram's horns — another trace of Egyptian 
 influence (PI. XIV. 14). 
 
 The date of the cessation of the Catanaean coinage 
 is a disputed point. Mr. Head sees no proof that 
 it lasted longer than the beginning of the first 
 century B.C.; Holm points to the type of Aequitas 
 (so common on Roman coins after about the middle 
 of the first century of our era), as a sign of late date. 
 
CATANA. LEONTINI 207 
 
 and supposes that the Catanaean coinage lasted 
 longer into the Empire than that of any other 
 Sicilian city ; just as Catana was the most important, 
 if not the only mint of Byzantine Sicily. But if 
 he is right, it is surprising that the coins of this 
 city, which received a Roman colony in the reign 
 of Augustus, show no Latin inscriptions. 
 
 Leontini, after a history very much like that of 
 Catana, reappears in the Roman period with a 
 considerable bronze coinage. Here we have chiefly 
 types relating to Demeter and the agricultural pur- 
 suits over which she presided : the goddess standing, 
 holding ears of corn and a torch ; her head veiled ; 
 a plough with a bird perched on it. But Apollo 
 is also well represented by his head, which appears 
 on numerous varieties; and the other old 'canting' 
 type, the lion, is not absent. The most remarkable 
 type, however, is a nude figure of a river-god 
 (PI. XIV. 15) seated on rocks, holding a cornu- 
 copiae and a branch, with a crab in the field. 
 On the obverse of this coin the bust of Demeter 
 is represented facing, with the leaves of the corn- 
 wreath radiating from her head, and a small plough 
 at the side (PI. XIV. 15). 
 
 From 254 onwards Panormus has a plentiful 
 though not very interesting coinage. The earlier 
 issues are inscribed PANOPMITAN. Among the 
 
2o8 FROM HIERO II TO TIBERIUS 
 
 types are the triskeles with a Gorgon's head in 
 the middle — a ' contamination ' of triskeles and aegis 
 of Agathoclean origin (see p. 155). The head of 
 Concord (OMONOIA) is combined with an altar, as 
 on the ^alliance' coin of the Crimisus issued in the 
 fourth century, or with a cornucopiae. The ram 
 which is represented sometimes alone, sometimes 
 with a head of Janus beneath it, is probably 
 the symbol of the god Hermes, who himself 
 is figured seated on a rock. Some of the coins, 
 instead of the full name of the people, have 
 simply a monogram or group of letters which must 
 be resolved into PAP, i.e. nANOP[MITAN]. The 
 names of Roman officials first appear on the coins 
 of Panormus in a highly abbreviated form : for 
 instance, M. AVR(elius), L. ME. (L. Caecilius Metellus, 
 perhaps the successor of Verres), CATC (perhaps the 
 famous M. Porcius Cato of Utica). We ma^^ call 
 these pieces coins of Panormus, but must remember 
 that in all probability they were really struck for 
 circulation throughout the whole island in one of 
 its most important places. Most of these issues 
 with names of Roman officials and the monogram 
 of PAP have as their types the head of Zeus and 
 a standing figure of the god Mars, holding a 
 libation-bowl in his left hand. A variation in the 
 monogram is the form which must be resolved into 
 
PANORMUS 209 
 
 nOR (the older form of the Latin P differed Httle 
 from the Greek). This has been explained by 
 Mommsen as the abbreviation of Por(tus)\ Holm 
 rightly recognizes that it may as well stand for 
 P(an)o}(mus). 
 
 In Panormus also Roman coins were possibly 
 issued by L. Sempronius Atratinus and M. Oppius 
 Capito, who were prefects of the fleet for Marcus 
 Antonius between 39 and 35 b.c. ; but this is 
 a matter of considerable uncertainty. Finally we 
 come to coins of the Imperial period. On a piece 
 with the Greek inscription PANOPMITAN the head 
 of Augustus is combined with the type (now 
 familiar as the emblem of Sicily) of a triskeles 
 having the Gorgon's head in the centre and ears 
 of corn between the legs. It was presumably in 
 the time of Augustus that Panormus received a 
 Roman colony with the title ' Colonia Augusta 
 Panhormitanorum.' Another coin of Augustus has 
 on the obverse his head with the Latin inscription 
 PANORMiTANORV(m), and on the reverse the head of 
 Livia with the inscription avgvs. If we interpret 
 this last word as Augusta, applying it to Livia, 
 then, since Livia did not receive that title until 
 after the death of her husband, this coin must have 
 been struck in the reign of Tiberius. But it is 
 just possible that the word contains the title of the 
 
2IO FROM HIERO II TO TIBERIUS 
 
 newly founded colony. Of coins certainly struck 
 after the death of Augustus, one represents him 
 with a radiate crown, a thunderbolt before his face; 
 on the reverse is a Capricorn (the sign of his con- 
 ception) and below it the triskeles with Gorgon's 
 head and ears of corn (PI. XIV. 17). The coin also 
 bears the names of the two chief magistrates (Duum- 
 viri) of the colony, Cneius Domitius Proculus and 
 Laetorius, in the form CN. DOM. proc. laetor iivir. 
 
 The coinage of the other Sicilian communities 
 comes far behind that which we have just dealt 
 with in quantity. At Acragas the cult of Asklepios, 
 of which we have already spoken, seems to gain in 
 importance, if we may judge from the coins. Thus 
 we now have the figure of the god standing to front, 
 his head laureate ; or he is represented by his 
 snake-encircled staff alone. Further, we have the 
 name of one of the state officials ACKAAPOC As 
 it is written against a head of Persephone, this 
 cannot be meant for the name of the god f AoKAanioq), 
 but, like CilCIOC on another specimen, must be the 
 signature of the monetary magistrate. Still the 
 occurrence of the name is some slight evidence of 
 the importance of the cult. In the time of Augustus, 
 although we still find the Greek inscription, the 
 Latin form of the city-name also occurs. Thus a 
 
AGRIGENTUM. HALAESA 211 
 
 coin with the head of Augustus is inscribed avgvs. 
 P.P. (i.e, Augustus Pater Patriae) agrigentin. On 
 the reverse is a long inscription, — SALASSO COMI- 
 
 FiG. 72. Agrigentum : Bronze of Augustus. 
 TIALE SEX. RVFO IIVIR., and L. CLODIO RVFO PRO 
 
 COS., — which is to be interpreted : in the duum- 
 virate of Salassus Comitiahs and Sextus Rufus, 
 and the proconsulship of Lucius Clodius Rufus. 
 
 Halaesa (one of the ' free and exempt ' states) 
 strikes coins with the Greek inscription AAA I C AC 
 APX. The second word is the abbreviation of 
 APXANIAEIAC, Archonides, a contemporary of 
 Dionysius I, having founded the city. The types are 
 mostly Apolline (head or figure of the god, lyre, 
 tripod). These Greek coins are succeeded by coins 
 with Latin inscriptions, reading halaesa archonida 
 in variously abbreviated forms, and bearing also the 
 names of Roman magistrates. 
 
 Lilybaeum, the successor of Motya, and the fore- 
 runner of Marsala, although founded as early as 396, 
 struck no coins that can be attributed to it earlier 
 
 than the Roman period. It then begins with Apol- 
 
 p 2 
 
212 FROM HIERO II TO TIBERIUS 
 
 line types (head of Apollo and tripod, or lyre). 
 The name of the people takes the form AIAYBAIITAN. 
 Coins with Greek inscriptions were also issued 
 here in the time of Atratinus, the officer of Marcus 
 Antonius; for one coin (PL XIV. i8) bears the in- 
 scription ATPATINO(u) nYOIAN on the reverse. 
 Pythion is the name of the magistrate or wealthy 
 citizen who defrayed the cost of the coinage, — a fact 
 expressed by the dative form AIAYBAIITAIC on the 
 obverse : Pythion ' dedicated ' the coin to the citizens 
 of Lilybaeum. The obverse type is a veiled female 
 head wearing a small mural crown— the personifi- 
 cation of the city. The head is enclosed in a 
 triangular frame, which gives the whole a curiously 
 modern appearance, as though it were a coat of 
 arms (PI. XIV. i8). The reverse design is the 
 Pythian tripod with a serpent twining round it — an 
 obvious allusion to the name of Pythion, but at the 
 same time, as an Apolline symbol, in keeping with 
 the rest of the coin-types of the city. 
 
 The latest coins of Lilybaeum belong to the time 
 of the Emperor Augustus. In addition to a coin 
 bearing his image and superscription CAESAR 
 AVGVSTVS, and a laureate head of Apollo with the 
 name of the proconsul Quintus Terentius Culleo 
 
 (Q_. TERENTIO CVLLEONE PRO COS. LILYB.), we have 
 
 coins bearing AVGV. in a laurel- wreath on the ob- 
 
LILYBAEUM. ERYX. SEGESTA 213 
 
 verse and a lyre with lilybit. on the reverse. We 
 must either (with Mommsen) expand this into 
 K\c»\{stanorum) L\LYB\T{anorum), or regard the 
 former word as the abbreviation of Augustus, 
 whose name, on his own Roman coins, is not in- 
 frequently placed in a laurel-wreath. 
 
 While we are at Lilybaeum, we may deal with 
 the two neighbouring cities of Eryx and Segesta. 
 The former is represented by coins with the head 
 of Aphrodite, and Heracles resting on his club 
 (EPYKINAN). The latter has a more varied coinage. 
 The most interesting type is Aeneas carrying his 
 father Anchises from the ruins of Troy. The 
 obverse of this coin represents the city in the usual 
 way — a veiled and turret-crowned female head. The 
 Aeneas-type occurs also on a coin with the head of 
 Augustus; Aeneas carries the Palladium as well as 
 his father; above him is a crescent moon, and 
 behind him an eagle. The type is of course in- 
 spired by the tradition which assigned the founda- 
 tion of Segesta to fugitives from Troy, and of 
 which Vergil made use in the fifth book of the 
 Aeneid. Both forms ^EFECTAinN and EFESITAinN 
 occur on coins of this period. 
 
 We know from Cicero's accusation of Verres that 
 the Demeter (Ceres) of Henna was regarded by the 
 Romans as ' the oldest Ceres ' ; that the shameless 
 
214 FROM HIERO II TO TIBERIUS 
 
 praetor brought away from this most sacred spot 
 the oldest and most precious of the statues of the 
 goddess, a bronze image holding torches; and that 
 he would also have brought away the figures of 
 Ceres and Triptolemus which stood before the 
 temple, had they not been so heavy that he had to 
 content himself with the figure of Victory which 
 Ceres held in her hand. Unfortunately, the coins 
 of Henna are as a rule ill preserved, but they show 
 a female figure holding in her left arm a small 
 figure carrying a torch, and in her right hand 
 another torch — apparently the Ceres-statue described 
 by Cicero. We find also a youthful male figure 
 holding a spear or sceptre. The reverse of this 
 last coin shows two winged snakes drawing a 
 plough. In the light of Greek vase paintings which 
 represent the inventor of the plough, sometimes 
 holding a sceptre, in a car drawn by serpents, 
 which are often winged, no one will hesitate to 
 recognize Triptolemus in the youthful figure of 
 our coin. 
 
 The later coins of Henna show that it had the 
 position of a municipium^ since the coins with Latin 
 inscriptions give the name as MVN. hennae or mvn. 
 HENNA. The duumviri of the place are M. CESTIVs 
 and L. MVN ATI vs. The most interesting type of 
 this group of coins represents Hades standing in 
 
HENNA. TYNDARIS. LIPARA 215 
 
 a chariot drawn by four galloping horses, his mantle 
 inflated by the wind, and carrying Persephone 
 in his arm. 
 
 If the current view that the Greek coinage of 
 Tyndaris came to an end in 210 is correct, the 
 place must have been without a new coinage until 
 towards the close of our period. In the time of 
 Augustus it struck coins with the name of the 
 proconsul L. Mussidius (L. MVSSIDI procos). The 
 local duumvirs sign other coins, and we also find 
 the expression EX. D. D. (ex decreto decunonum), 
 corresponding to the EX. s. C. {ex Senatus consulto) 
 of Roman coins. This shows that the coins were 
 struck by order of the city council {ordo decun'onum). 
 The types of Tyndaris in this period still refer 
 mainly to the Dioscuri. 
 
 From Tyndaris we may cross the sea to Lipara. 
 The types of the coins issued after 217 are still 
 mainly Hephaestean, but now the god is represented 
 as a youth. We find him standing, swinging his 
 
 Fig. 73. Lipara : Bronze. 
 
 hammer as he strides along (Fig. 73), or sitting; 
 sometimes we have only his head, or his cap, or 
 
2i6 FROM HIERO II TO TIBERIUS 
 
 his tongs. Next in importance to Hephaestus are 
 the maritime types : head of Poseidon (?), dolphin, 
 prow. The coins of this period read AIPAPAIAN. 
 To the last epoch of the coinage of this little island 
 belong coins issued by the duumviri of the com- 
 munity, who express themselves clumsily enough 
 in Greek: f. MAPKIOC AE. f. ACANEYC AYO ANAP. 
 i.e. Gains Marcius (son of) Lucius and Gains Aso- 
 neus(?), duumviri. 
 
 To return to the main island. 
 
 At Cephaloedium the form of the inscription, 
 when it is written in full, is the genitive singular 
 of the city-name KE^^AAOIAIOY. Holm pertinently 
 remarks that the citizens themselves were probably 
 not called ^inhabitants of Cephaloedium,' whatever 
 form the Greek ethnic adjective might take, but 
 Heracleotes, as we find them named on the earlier 
 
 Fig. 74. Cephaloedium : Bronze. 
 
 coins already described (p. 137 ^). The types are 
 nearly all connected with Heracles (e.g. Fig. 74, 
 
 ' The truth of this remark is unaffected b}' the possibihty that 
 the earlier coins may have been struck not at Cephaloedium itself, 
 but elsewhere. 
 
CEPHALOEDIUM. MAMERTINES 217 
 
 his head, and his lion's skin, club and bow and 
 quiver). The duumvir C. CANiNivs signs the only 
 coin of the town which shows a Latin inscription, 
 and even on this the name of the place is given 
 in Greek : KEcj^A. 
 
 The city of the Mamertines was one of the three 
 civitates foederatae (Neetum, of which no coins are 
 known, and Tauromenium being the others). The 
 coins of the Mamertines (all inscribed MAMEP- 
 TINAN) in the Roman period are distinguished from 
 the previous issues by (among other points) their 
 marks of value. The earliest is probably the sixth 
 of the litra, or hexas, marked by two pellets, since 
 the litra contained twelve ounces. Its types are 
 a young head of Ares (APEO^) and an armed 
 Athena. To another issue belong the five-ounce 
 pieces {pentonkta) which are marked with a P (PI. 
 XIV. 19) ; and to yet another a group of which the 
 largest coin is a half-litra, marked with six pellets. 
 Messana in the earliest period of its numismatic 
 history showed, as we have seen, a connexion with 
 the currency on the Italian side of the Straits ; and 
 this, its last coinage, belongs to the same system 
 as does that of Rhegium. 
 
 Thermae had ceased to coin early in the fourth 
 century, as a natural consequence of its proximity 
 to the great Carthaginian stronghold. Set free from 
 
2i8 FROM HIERO II TO TIBERIUS 
 
 this restraint, it produced under the Romans a 
 small but interesting coinage. After the destruction 
 of Carthage in 146 Scipio restored to Thermae 
 certain bronze statues which the Carthaginians had 
 carried off. These were a figure of the city of 
 Himera as a woman, a statue of the poet Stesichorus 
 as a bent old man reading a book, and a cleverly 
 and gracefully modelled she-goat. It is pleasant 
 to find that, on four out of five varieties of coins 
 issued by Thermae, these sculptures are represented, 
 although the bad preservation of most of the speci- 
 mens makes illustration practically useless. On 
 the reverse of coins with the head of Heracles 
 we have either three female figures, the one in 
 the centre being veiled and wearing the city-crown, 
 or else a single figure veiled and wearing the city- 
 crown, holding a libation-bowl and a cornucopiae. 
 On another we have a veiled female head, and a 
 she-goat recumbent. Finally, the veiled female 
 head, wearing the city-crown, is associated with the 
 figure of an old man leaning on a staff and reading 
 in a book. This last coin is inscribed OEPMITAN 
 IMEPAIAN, the others merely OEPMITAN. For 
 reasons which have already suggested themselves 
 in dealing with the coinage of Tyndaris (p. 202), it 
 would seem that these coins belong at the earliest 
 to the latter half of the second century before Christ. 
 
PAGE 
 
 I. Tauromenium: bronze (obv.) 199 
 
 3. Syracuse : 4 litrae , 197 
 
 3- ,, 2| „ (rev,) 197 
 
 4. Acragas : bronze (obv.) . 198 
 
 5. Syracuse : i^ litra 197 
 
 6. Tauromenium : gold (obv. and rev. from different specimens) 199 
 
 7. „ (8'75 grammes = 135 grains). Paris^ Bibliotheque 
 
 Nationale . 300 
 
 8. „ (3-29 grammes = 5C.9 grains) .... 199 
 
 9. „ litra 200 
 
 10. „ bronze (obv.) 200 
 
 11. Tyndaris; bronze 201 
 
 13. Catana : bronze (obv.). Patis^ Bibliotheque Nationale . . 205 
 
 13. » » » i^oS 
 
 14- » j» 206 
 
 15. Leontmi „ 207 
 
 j6. Catana „ (rev.) 206 
 
 17. Panormus, Augustus (posthumous) : bronze .... 210 
 
 18. Lilybaeum: bronze (obv. British Musettm, rev. Paris, Biblio- 
 
 theque Nationale) 212 
 
 19. Mamertini : bronze (5 ounces) 217 
 
 ao. Centuripae: bronze 219 
 
 21. » „ 219 
 
2tR PR TfRFRIUS 
 
 dcstructiv :> 
 Thermae 
 /[jl^iaA''; itliaginian:- 
 
 re* ■ • • (•»*«) « t« « -8 
 
 8«jind. . . /- she-gi«rt>.) asnlW iM3^iai5fint 
 
 QQi (enamiD^qe insiaiftib raoil .vai bnis .vdo) blog : muinamoiUBT .d 
 
 ooeK- ,5U\itioii praqjtlCfitBti^ : '« ^ ' - 
 
 lOK • . • • . .9snoid zahfibn^T ,ii 
 
 sofiu- i-led'and weamng the city-craWn, 
 
 or else a bin^le figure veiled and wearin^jj^j c^y- 
 
 decrown,, holding a libation-bowl fetwd a«com9^9|^' 
 Dn .aiu)thcL wc haAC^.a, va^cg^ fcnicnc ne^iU, r-'ViU . 
 
 -oAoiE jznifl .V3T ,w«^&m\IV AM\na .vdo) asnoid imooBdl^IiJ .8i 
 
 "%hL>-goat .recumbent-. -Finally, ti^^'^^'^im^^'^ female 
 ^^^Ka<!, wearing th yn, is aj^^^8H^^^i);ry\^)e 
 
 ei^ Id mi ^^ff and reading 
 
 This 1 
 
 others mer PMITAN. F( ; 
 
 clready suggested themsel\ 
 
 inage of Tyndaris (p. 202), 
 
 would ins belong at the earli' 
 
 t * the latter halt ond century before Chr; 
 
Plate XIV 
 
THERMAE. SOLUS. GELA 219 
 
 The coins of Solus in this period are compara- 
 tively varied. To this mint Imhoof-Blumer assigns 
 certain uninscribed pieces, of which we may men- 
 tion those with the type of the tunny-fish. Solunto 
 still possesses a considerable tunny-fishery. The 
 later coins, which are perhaps of the first century 
 B.C., read COAONTINCON or COAONTINAN (Fig. 75). 
 
 Fig. 75. Solus : Bronze. 
 
 Centuripae was a comparatively important place 
 in the Roman period. The types of its coins relate 
 to Zeus (PI. XIV. 21), Apollo, Artemis, Heracles, 
 and Persephone ; the head of the last is associated 
 with a plough on which sits a bird (PI. XIV. 20), as 
 at Leontini. 
 
 Gela had been destroyed by the Mamertines, and 
 the remnant of its inhabitants were sheltered by 
 the tyrant Phintias of Acragas in a new town which 
 he named after himself. The people of Phintias 
 still called themselves Geloans, and in time some 
 of them returned to their old home ; in the Roman 
 period both cities existed. Presumably the late 
 coins reading FEAAIAN, of which the only interesting 
 type is that of a youth about to sacrifice a ram 
 
220 FROM HIERO II TO TIBERIUS 
 
 (compare Fig. 51, p. 167), belong to Gela and not 
 to Phintias. 
 
 The remaining communities must be summarily 
 dismissed, for this catalogue of small things grows 
 more and more tedious. 
 
 The bull on the coins of Abacaenum (ABAKAININ) 
 is probably the river Helicon. Aetna has coins 
 with the head of the sun-god (rev., a warrior) and 
 of Persephone (rev., a cornucopiae) ; these are as 
 a rule marked with three and two pellets respec- 
 tively. At Agyrium we find a magistrate Sopatros 
 (Efll cnriATPOY) on a coin with a head of Zeus and 
 a hunter accompanied by his hound, a flying Vic- 
 
 FiG. 76. Hybla Megala : Bronze. 
 
 tory crowning him. This hunter is perhaps lolaus, 
 the friend of Heracles; for the demigod's head is 
 
 Fig. 77. Petra : Bronze. 
 
 the type of another coin, on the reverse of which 
 lolaus burns the heads of the Hydra. Acrae, Ame- 
 
MINOR MINTS 221 
 
 stratus, Apollonia, Assorus, Calacte, Hybla Megala 
 (Fig. 76), laetia, Menae, Paropus, Petra (Fig. 77) 
 issue coins in this period for the first time. Of 
 these Assorus has Latin inscriptions (Fig. 78 : 
 ASSORV with a head of Apollo, and crysas with 
 
 Fig. 78. Assorus : Bronze. 
 
 a standing figure of the river-god Chrysas, holding 
 an amphora and cornucopiae). A coin of Calacte 
 of the second half of the third century is interest- 
 ing because it mimics the types of Athens : a head 
 of Athena, and an owl standing on an oil-amphora. 
 A similar coin, but without the amphora, was, as 
 we have seen (p. 203), issued by Lipara. That 
 Hybla Megala should have a bee for one of its 
 types is only to be expected of the famous honey- 
 farming place. Menae (or Menaenum), which was 
 a fairly important town, has a goodly variety of 
 coins, but no remarkable novelties of type (PI. 
 XV. I represents Sarapis). 
 
 At Entella (ENTEAAINAN) we have a representa- 
 tion of the city-goddess with libation-bowl and 
 cornucopiae, associated with the head of Helios and 
 
222 FROM HIERO II TO TIBERIUS 
 
 the name of Atratinus (ATPATINOY) which we have 
 already found on a coin of Lilybaeum (p. 212). 
 
 Haluntium, which had issued bronze money for 
 a short time in the fourth century, makes its re- 
 appearance in the Roman period. The reverse of 
 one of the coins (Fig. 79), of which the obverse is 
 
 Fig. 79. Haluntium : Bronze. 
 
 a bearded head of Heracles, represents an eagle 
 standing on a portion of a carcase. More remark- 
 able is the piece of which the obverse (PI. XV. 2) 
 represents a young male head, in a bonnet adorned 
 with a wreath; while on the reverse (PI. XV. 3) is 
 a human-headed bull, made more than usually gro- 
 tesque by the stream of water which runs from his 
 mouth. The head is presumably that of the hero 
 Patron, an Acarnanian who led some of the fol- 
 lowers of Aeneas to found the city of Haluntium. 
 The bull is obviously a river-god, —whether a local 
 stream or, as Holm suggests, the famous Achelous, 
 which flowed between Acarnania and Aetolia, it is 
 difficult to say. 
 
 Nacona, which we have found issuing a small 
 
HALUNTIUM. NACONA 223 
 
 coinage fitfully from the fourth century onwards, 
 reappears in this period, if a number of coins, 
 chiefly with maritime types (trident, head of Posei- 
 don), and inscribed merely N or NA, can be safely 
 attributed to that city. These coins are found 
 near Solunto, so that the site of the city which 
 produced them must be looked for on the coast in 
 that neighbourhood. 
 
 The most puzzling coin of this period is perhaps 
 one reading . . . ANAs: (the beginning of the word 
 is illegible) on the obverse, and apparently OHPAIAN 
 on the reverse. The types (Fig. 80) are the head 
 
 Fig. 80. Uncertain Bronze. 
 
 of a young river-god, with horns, wearing a crown 
 of reeds, and a figure of the god Pan dancing 
 before three busts, which, to judge from the better 
 preserved specimens, rise above a kind of screen. 
 The attribution of the coin must remain quite un- 
 certain until a specimen is found on which the 
 name of the river-god can be read in its entirety. 
 
 The last series of Sicilian coins with which we 
 are concerned comprises the Roman denarii and 
 
224 FROM HIERO II TO TIBERIUS 
 
 aurei issued in the island in the latter half of the 
 first century b.c. 
 
 Lucius Cornelius Lentulus Crus and Caius Claudius 
 Marcellus were consuls together in 49 B.C., and fled 
 from Rome at the approach of Caesar. One of the 
 denarii which they issued in Sicily (PI. XV. 4) has 
 the type of the winged Gorgon's head in the middle 
 of a triskeles, between the legs of which are ears 
 of corn. On the other side is Jupiter holding 
 thunderbolt and eagle; in the field, a pruning- 
 hook, and the names LEUT{ulus) MAR{ce//us) 
 CO{n)S{ules). There is, however, no reason to sup- 
 pose that another denarius, with the names of the 
 same consuls and also bearing a figure of Jupiter 
 on the reverse, was struck in Sicily. It belongs 
 rather to the East. 
 
 Aulus Allienus, a partisan of Julius Caesar, was 
 proconsul in Sicily in e.g. 48. In this year, or in 
 the next, he issued a denarius which concerns 
 us (PL XV. 5). On the obverse are the titles 
 of Caesar—c. caesar \MP{erator) co{n)s{ul) \TER{um) 
 — and the head of Venus. As the Julian gens 
 claimed descent from lulus, the grandson of Venus 
 and Anchises, the head of Venus is an appro- 
 priate and not uncommon type on coins of Julius 
 Caesar. On the reverse we read A. allienvs 
 PRO . CO{n)S(ule). The type is a youthful figure 
 
ROMAN ISSUES 225 
 
 standing with his right foot on a prow, his left arm 
 wrapped in his mantle, and the triskeles as the 
 symbol of Sicily in his hand. The resemblance in 
 pose of this figure to the god Neptune, combined 
 with his youthful appearance and the symbol in 
 his hand, leaves no doubt that he is the hero 
 Trinacrus, son of Neptune, who was invented to 
 account for the name Trinacria which the island 
 bore. 
 
 We have already (p. 206) mentioned the fact that 
 Sextus Pompeius issued coins with types recalling 
 those of Catana. These belong to a class which 
 may be described together here. They are chiefly 
 silver denarii, and all read on the obverse mag. pivs 
 IMP. ITER, and on the reverse praef. clas. et 
 ORAE MARIT. EX s. c. That is to Say, they de- 
 scribe Sextus Pompeius by his titles of Magnus 
 Pius, Imperator for the second time, prefect of the 
 fleet and of the sea-coast, and the coins are de- 
 scribed as issued by order of the Senate. We 
 find as types : 
 
 Obv. Head of Neptune with trident; rev, naval 
 trophy, consisting of trident, helmet, cuirass, prow 
 and aplustre, anchor, and the foreparts of two marine 
 monsters (PL XV. 6). 
 
 Obv, The Lighthouse of Messana, with Neptune 
 on the top and a ship before it; rev. Scylla, with 
 
 Q 
 
226 FROM HIERO II TO TIBERIUS 
 
 double tail, wolves or dogs at her waist, and 
 brandishing an oar (PI. XV. 7). 
 
 Obv. Head of Sextus Pompeius ; rev. heads of Cn. 
 Pompeius (the Great) and his son Cn. Pompeius, 
 accompanied by the augur's staff {lituus) and a 
 tripod respectively. This is of gold (PI. XV. 8). 
 
 Obv. Head of Pompeius the Great, between augur's 
 staff (lituus) and sacrificial ewer ; rev. the Catanaean 
 brothers, with Trinacrus between them (PL XV. 9). 
 
 Another denarius of this period has on the ob- 
 verse NEPTVNi and a head of Pompeius the Great, 
 on the reverse Q_, nasidivs and a ship (PI. XV. 10). 
 Nasidius was one of Sextus' admirals. Finally, cer- 
 tain rude bronze coins which read hispanorvm were 
 struck in Sicily for the convenience of the Spanish 
 troops employed there by Sextus Pompeius. 
 
PLATE XV 
 
 1. Menae : bronze (obv.) 
 
 2. Haluntium : bronze (obv.) 
 
 3. „ „ (rev.). Imhoof- Blunter Collection 
 
 4. L. Cornelius Lentulus and C. Claudius Marcellus : denarius 
 
 5. A. Allienus : denarius . 
 
 6. Sextus Pompeius : denarius 
 
 7' » » » 
 
 8. „ „ gold 
 
 9. „ „ den< 
 10. Q. Nasidius : denarius 
 
 > 
 arius 
 
 II. Melita: bronze 
 
 
 12. ,, 
 
 
 13- 
 
 
 14- » 
 
 
 15' :> » 
 
 16. Gaulos „ 
 
 
 17. Cossura „ (obv.) 
 
 18. „ „ 
 
 
 PACK 
 221 
 
 222 
 
 222 
 
 224 
 
 224 
 
 . 225 
 
 226 
 
 226 
 
 206, 226 
 
 226 
 
 . 228 
 
 . 228 
 
 . 228 
 
 . 228 
 
 229 
 
 229 
 
 . 230 
 
 . 230 
 
22( 
 
 oar (P 
 
 Sextu^ 
 
 I ^ompeius^ 
 
 tnpod respective .^old (PK XV. 
 
 »oM^V,... [j^.,, .cat between aiigurs i 
 
 I8C .... . (.vdo) dsnoid .: ^enam .i ^ 
 
 rt^aff {liiuus) anc f.'>db)'^hoitfYmfeicrf^Ss^'' -^ 
 
 Mothers, A\«Vf'^^^^'^'^^"^^^-Vo<^»^V;.-.^^i)hL^r^ (PI. XV. 9^ | 
 
 ^,, Another. < , ; 1 .tins :^^^ ob- | 
 
 S5£ ., ^^EPTVN^ ami ■ j!i|iiB^?t? :cMh>q«ioij[reci:fe&\&.t. | 
 
 !2 «''^r' vv NASfOtvs an-la ship"(P ^-v I 
 
 dsjSi.oM.Hus wa- f .Sextus2iihittdl>}ai<. „ FinaUy, q^i^ ^ 
 
 "^^ ude bronze eoirls Which r(3j™^^;^i^^ | 
 
 8ssi Sicily for tlie .convenience oi\the §,pan^h | 
 
 oloyed there by Sextus Pompeiir « -^^ 
 
 0£2 (.vdo) ,j B1U220D ,^I 
 
 0£S ,, u -81 
 
Plate XV 
 
APPENDIX 
 
 The Maltese Group and Pantellaria 
 
 The islands of Melita {Malta\ Gaulos {Gozo\ and 
 Cossura {Pantellaria) are now generally regarded 
 by numismatists as belonging more to Africa than 
 to Sicily. The result is that in works adopting the 
 usual geographical order — from west to east along 
 the European, and from east to west along the 
 African coast of the Mediterranean — nearly the whole 
 thickness of the book intervenes between Sicily and 
 this group of islands. But the Romans attached 
 these three islands to the province of Sicily, and 
 the older numismatists followed their example. We 
 have the sanction of Holm for returning to the old 
 arrangement. 
 
 The coinage of all three islands is later than their 
 acquisition by the Romans, who took Melita, and 
 probably also Gaulos, in 218, and Cossura in the 
 next year. Cossura indeed had fallen into the hands 
 of the Romans in the first Punic war, but only to be 
 lost again. 
 
 The Phoenician element in the population of the 
 
 islands was of course predominant, and at both 
 
 Melita and Cossura the earliest coins bear Phoenician 
 
 inscriptions. The name of Melita appears to have 
 
 ' . ' 02 
 
228 APPENDIX 
 
 been 'nn (three letters to which, of course, the vowels 
 would be added if we knew what they were). The 
 more important types of these Phoenician coins are 
 a head of Heracles, with a caduceus in front of it, 
 combined with a priest's cap in a laurel wreath 
 (PI. XV. ii); and a female head, veiled, and wearing 
 a stephane, with the figures of three Egyptian deities 
 (PL XV. 12). In the middle is the mummy of Osiris 
 holding a flail and sceptre ; on either side of him is 
 a goddess, with wings lowered and crossed in front, 
 wearing the solar disc between horns. These two 
 deities are probably Isis and Nephthys. Other 
 types which are combined with the veiled female 
 head are a ram's head (PI. XV. 13) and a tripod 
 (PI. XV. 14). On the last coin the inscription is 
 repeated on each side of the tripod. 
 
 For the most part contemporary with the coins 
 just described, but also in some cases later, are the 
 Greek coins with the inscription MEAITAIAN. On 
 these we have a similar veiled female head associated 
 with a tripod ; and this coincidence (which recurs on 
 the Latin coins) prompted Albert Mayr to remove the 
 coins reading 'nn from Gaulos (their traditional attri- 
 bution) to Melita. Besides the tripod we also find 
 a lyre associated with the same head. But the con- 
 nexion of these instruments with the obverse type is 
 probably accidental; it will already have become 
 abundantly clear that the reverse type is not neces- 
 sarily always related to the obverse. And just as — 
 to take the first instance that comes to hand— at 
 Lilybaeum the tripod, which on one coin is associated 
 with a head of the city-goddess, is combined on 
 
MELITA. GAULOS 229 
 
 another with the head of Apollo, so here at Mehta 
 the lyre and tripod both occur on coins with the 
 head of the deity to whom they belong, Apollo, 
 as well as in the other connexion. The veiled head 
 is probably a Hellenized representation of the Phoe- 
 nician goddess Astarte. The most curious of these 
 Greek coins is one bearing the figure of a god with 
 four wings (PL XV. 15). The type is a Phoenician 
 'contamination' of some Egyptian deit}'' (Osiris?); 
 for he wears the Egyptian crown, and holds the 
 Egyptian symbols of sovereignty, the sceptre and 
 flail, while the four wings are a Phoenician feature. 
 The head on the obverse of this coin is that of Isis. 
 It is accompanied sometimes by an ear of barley — 
 for Isis, in one of her aspects, was a corn-deity — 
 sometimes by a symbol which appears to combine 
 the caduceus with the Egyptian ankh or sign of life. 
 
 The Latin language makes its appearance on coins 
 issued towards the end of the first century B.C. 
 Thus on the reverse of a piece with the veiled head 
 and the usual Greek inscription we find the name 
 of a Roman propraetor c. arrvntanvs balb. pro pr. 
 His type is a sella curidiSy the curule chair of office 
 used by consuls, praetors, and curule aediles. Balbus 
 was propraetor probably in the early years of Octa- 
 vian's rule, before 27. The name of Melita is given 
 in Latin (ME lit AS) on another late coin with the 
 veiled head and tripod. 
 
 Gaulos, being robbed of the coins with Phoenician 
 inscriptions formerly attributed to it, can boast of 
 only one kind of coin (PI. XV. 16). The type of the 
 obverse is a female head placed on a crescent moon 
 
230- APPENDIX 
 
 — doubtless the Phoenician moon-goddess Astarte, 
 who had a temple on the island. On the reverse 
 is a warrior with his spear accompanied by a star; 
 the legend is TAYAITAN. 
 
 Cossura has some puzzling coins. The Phoenician 
 inscription 'trnm, whatever may be its full form, 
 seems to be the equivalent of Cossura ; for we find 
 it used in just the same associations as the Latin 
 name COSSVRA. The obverse type is a female head, 
 wearing a low headdress of the kind known as 
 'modius' (PL XV. 17), sometimes with a figure of 
 Victory crowning her (PL XV. 18). Two long locks 
 of hair depend from behind the ears, and the uraeus- 
 serpent is visible projecting from the forehead; oc- 
 casionally, too, we see the solar disc with uraei and 
 plumes on the top of the 'modius.' The goddess 
 is doubtless a combination of Isis and Astarte. On 
 the reverse is the inscription within a wreath of 
 laurel ; and, in one case, there is added to the Latin 
 inscription cossvra a Phoenician sign, known as the 
 sign of Baal (PL XV. 18). We have already found 
 this sign on coins struck by the Carthaginians in 
 Sicily. The Phoenician inscription 'irnm is on one 
 coin replaced by 'z. 
 
 These varieties are all which can with any cer- 
 tainty be ascribed to the three islands, or at least 
 all of which the details are sufficiently well pre- 
 served to repay description. 
 
SELECT BIBLIOGRAPHY^ 
 
 1697. La Sicilia di Filippo Paruta descritta con Medaglie 
 e ristampata con aggiunta da L. Agostini, hora in 
 miglior ordine disposta da M. Maier. Lyons. (En- 
 gravings.) 
 
 1781-1791. Siciliae Populorum et Urbium, Regum quoque 
 et Tyrannorum Veteres Nummi Saracenorum 
 Epocham antecedentes. By Gabriel L. Castellus, 
 Prince of Torremuzza. Palermo, 1781 ; Auctarium, 
 1789; Auctarium II, 1791. (Engravings.) 
 
 1792-1798. Doctrina Numorum Veterum. By J. Eckhel. 
 Vol. I, pp. 184-271. 
 
 1808-1822. Description de Medailles antiques grecques et 
 romaines. By T. E. Mionnet. Paris. Vol. I, 
 second edition (1822), pp. 207-345; Supplement 
 Vol. I (1819), pp. 357-463. Planches (1808) : PL 61, 
 62, 66-68. (Engravings.) 
 
 1831. Les Graveurs des Monnaies grecques. By D. Raoul- 
 Rochette. Paris. (Engravings.) 
 
 1839. Poids des Medailles grecques . . . du Cabinet royal de 
 
 France. By T. E. Mionnet. Paris. 
 
 1840. Choix de Medailles grecques. By the Due de Luynes. 
 
 Paris. Plates VI-VIII. (Engravings.) 
 
 ^ In this bibliography, by ' photographic plate ' is meant a repro- 
 duction by collotype or some similar process, as distinguished 
 from half-tone blocks, zincotypes, or wood-cuts. The distinction 
 is important, since in the collotype process the personal equation 
 of the reproducer is reduced to its lowest terms. 
 
232 SELECT BIBLIOGRAPHY 
 
 1843. Numismatique de Syracuse. By the Due de Luynes. 
 
 [Revue Numismatique.] Paris. (Engravings of 
 
 legends.) 
 1852. Monografia delle Monete Consolari-Sicule. By F. 
 
 and L. Landolina-Paterno. Naples. (Engravings.) 
 1854. Numismata Hellenica. By W. M. Leake. London. 
 
 Insular Greece, pp. 48-80. See also 1859. 
 1857. Sulle Monete Punico-Sicule. By Gr. • Ugdulena. 
 
 [Accademia di Scienze e Lettere di Palermo.] 
 
 Palermo. (Engravings.) 
 1859. Numismata Hellenica. Supplement. By W.M.Leake. 
 
 London. Pp. 152-174. 
 1861. Numismatique de I'ancienne Afrique. By L. MuUer. 
 
 Copenhagen. Vol. II, pp. 65 ff. (Engravings.) 
 1865. Histoire de la Monnaie romaine. By Th. Mommsen, 
 
 translated by the Due de Blacas. Paris. Vol. I, 
 
 pp. 102-134. 
 1867. Le monete delle antiche citta di Sicilia. By A. Salinas. 
 
 Palermo. [Only completed as far as Catana, PL XIX.] 
 
 (Engravings. No text.) 
 1868-1870. Griechische Munzen aus der Sammlung Imhoof- 
 
 Blumer, 1868. By F. Imhoof-Blumer. [BerHner 
 
 Blatter fiir Munz-, Siegel-, und Wappenkunde, V.] 
 
 Berlin. (Engravings.) 
 1869. Sur quelques Monnaies grecques de Panormus. By 
 
 F. Imhoof-Blumer. [Revue Numismatique.] 
 
 Paris. 
 1871. Choix de Monnaies grecques. By F. Imhoof-Blumer. 
 
 Winterthur. PI. VIII, IX. (Engravings.) 
 
 1871. Die Kunstlerinschriften auf griechischen Munzen. By 
 
 A. von Sallet. Berlin. 
 
 1872. lUustrazioni storiche sulle Monete della Antica Sicilia. 
 
 By F. and L. Landolina-Paterno. Part I. Calta- 
 nissetta. (Engravings.) 
 1872. Die Munzen von Selinunt und ihre Typen. By F. 
 Imhoof-Blumer. Winterthur. 
 
1843-1887 233 
 
 1873- The Use of the Coins of Kamarina in Illustration of 
 the Fourth and Fifth Olympian Odes of Pindar. 
 By R. S. Poole. [Transactions of the Royal Society 
 of Literature.] London. 
 
 1874. On the Chronological Sequence of the Coins of 
 
 Syracuse. ByB.V. Head. [Numismatic Chronicle.] 
 London. (Photographic Plates.) 
 
 1875. Zu den Kiinstlerinschriften auf griechischen Munzen. 
 
 By A. von Sallet. [Zeitschrift fur Numismatik.] 
 Berhn. (Engravings.) 
 
 1876. British Museum. Catalogue of Greek Coins. Sicily; 
 
 b}^ R. S. Poole, B. V. Head, P. Gardner. London. 
 (Engravings.) 
 
 1876. Sicilian Studies. By P. Gardner. [Numismatic 
 
 Chronicle.] London. (Photographic Plates, and 
 epigraphic table.) 
 
 1877. Berhn Museum. Das Konigliche Miinzkabinet. By 
 
 J. Friedlander und A. von Sallet. Second edition. 
 Berlin. Pp. 152-175. (Engravings.) 
 1882. Le Systeme monetaire eubo'ique. By F.Imhoof-Blumer. 
 [Annuaire de la Soc. fran9aise de Numismatique ; 
 transl. from Monatsberichte der k. Akad. der 
 Wissenschaften zu Berlin, 1881.] Paris. 
 
 1882. The Types of Greek Coins. By P. Gardner. Cam- 
 
 bridge. (Photographic Plates H, VI, XI.) 
 
 1883. Monnaies grecques. By F. Imhoof Blumer. [Aca- 
 
 demic Royale Neerlandaise des Sciences.] Paris et 
 Leipzig. Pp. 14-37. (Photographic Plates.) 
 
 1884. Die Kunstlerinschriften der sicilischen Munzen. By 
 
 R. Weil. [Winckelmannsfest-Programm xliv.] 
 Berlin. (Photographic Plates.) 
 
 1886. Zur Miinzkunde Grossgriechenlands, Siciliens, &c. 
 
 By F. Imhoof-Blumer. [Numismatische Zeitschrift.] 
 (Photographic Plates.) 
 
 1887. Historia Numorum. By B. V. Head. Oxford. Pp. 
 
 xliv-lv, 98-168. (Half-tone blocks.) 
 
234 SELECT BIBLIOGRAPHY 
 
 1888. Die Sprache der sicilischen Elynier. By K. F. Kinch. 
 [Zeitschrift fur Numismatik.] 
 
 1890. Some New Artists' Signatures on Sicilian Coins. By 
 A. J. Evans. [Numismatic Chronicle.] London. 
 (Photographic Plates.) Reprinted with slight altera- 
 tions in the same author's Syracusan ' Medallions ' 
 and their Engravers, 1892. 
 
 1892. Syracusan 'Medallions' and their Engravers. By 
 A. J. Evans. [Reprinted, with additions, from the 
 Numismatic Chronicle of 1890 and 1891.] London. 
 (Photographic Plates.) 
 
 1894. Contributions to Sicilian Numismatics, I. By A. J. 
 Evans. [Numismatic Chronicle.] London. (Photo- 
 graphic Plates.) 
 
 1894. History of Sicily. By E. A. Freeman. Vol. IV, with 
 sections on Numismatics, by A. J. Evans. (Photo- 
 graphic Plate.) Oxford. 
 
 1894. Die antiken Miinzen der Inseln Malta, Gozo und 
 Pantelleria. By A. Mayr. Munich. (Photographic 
 Plates.) 
 
 1894. Topografia e Numismatica dell' antica Imera. By 
 E. Gabrici. [Rivista Italiana di Numismatica.] 
 Milan. (Photographic Plates.) 
 
 1894. Tetradrachme archaique de Syracuse. By J. A. 
 Blanchet. [Revue Numismatique.] Paris. 1894. 
 (Engraving.) 
 
 1894. Sale Catalogue of the Carfrae Collection. London. 
 Lots 40-90. (Photographic Plates.) 
 
 1894. Acragas, ou le Piree pris pour un homme. By Th. 
 
 Reinach. [Revue Archeologique. Re-issued in the 
 same author's L'Histoire par les Monnaies, 1902.] 
 Paris. 
 
 1895. British Museum. Guide to the Principal Gold and 
 
 Silver Coins of the Ancients, from circ. B.C. 700 to 
 A.D. I. By B. V. Head. Fourth edition. London. 
 (Photographic Plates 9, 16, 17, 25, 26, 35, 46, 47.) 
 
1888-1898 235 
 
 i895- S^^ 1^ Valeur relative des Metaux monetaires dans la 
 Sicile grecque. By Th. Reinach. [Revue Numis- 
 matique. Re-issued in the same author's UHistoire 
 par les Monnaies, 1902.] Paris. (Photographic 
 Plates.) 
 
 1895. Catalogue de la Collection des Medailles grecques de 
 M. le Chevalier Walcher de Molthein. Paris and 
 Vienna. Nos. 336-775. (Photographic Plates.) 
 
 1895. Sale Catalogue of the Collection of the Earl of 
 
 Ashburnham. London. Lots 29-68. (Photographic 
 Plates.) 
 
 1896. Contributions to Sicilian Numismatics, IL By A. J. 
 
 Evans. [Numismatic Chronicle.] London. (Photo- 
 graphic Plates.) 
 
 1896. Rundschau iiber ein Quinquennium der antiken 
 Numismatik. By W. Kubitschek. Pp. 16 ff. 
 Vienna. 
 
 1896. Sale Catalogue of the Montagu Collection, Part L 
 London. Lots 85-186. (Photographic Plates.) 
 
 1896. Sale Catalogue of the Collection of Sir E. Bunbury, 
 
 Part I. London. Lots 258-551. (Photographic 
 Plates.) 
 
 1897. Sale Catalogue of the Montagu Collection, Part IL 
 
 London. Lots 41-98. (Photographic Plates.) 
 
 1898. Geschichte des sicilischen Miinzwesens bis zur Zeit 
 
 des Augustus. By A. Holm. [Pp. 543-571 of 
 
 Vol. Ill of his Geschichte Siciliens im Alterthum.] 
 
 Leipzig. (Photographic Plates.) 
 1898. 'la-TopLa T&v No/uto-/xara)r. By B. V. Head, translated 
 
 (from the edition of 1887) by J. N. Svoronos. Athens. 
 
 (Photographic Plates.) 
 1898. Syracuse, ses Monnaies d'argent et d'or au point de vue 
 
 artistique. By Comte Alberic du Chastel de la 
 
 Howardries. London. (Photographic Plates.) 
 1898. The Legend I ATOM on coins of Himera. By G. Mac- 
 
 donald. [Numismatic Chronicle.] 
 
236 SELECT BIBLIOGRAPHY, 1898-1902 
 
 1898. Review of Adolf Holm, Geschichte Siciliens im 
 Alterthum, by A. J. Evans. [Numismatic Chronicle.] 
 
 1898. Sale Catalogue of the Hoffmann Collection. Paris. 
 Lots 106-208. (Photographic Plates.) 
 
 1898. Sale Catalogue of the Collection of *a Well-known 
 
 Archaeologist and Traveller.' London. Lots 
 36-115. (Photographic Plates.) 
 
 1899. Catalogue of Greek Coins in the Hunterian Collection, 
 
 University of Glasgow. By G. Macdonald. Vol. I. 
 (Italy, Sicily, &c.), pp. 153-262. Glasgow. (Photo- 
 graphic Plates.) 
 
 1900. Kvindehovedet paa de aeldre M^nter fra Syrakus. By 
 
 Chr. J^rgensen. [Festskrift til J. L. Ussing.] 
 Copenhagen. (On the female head on the Syracusan 
 coins. Photographic Plate and half-tone blocks.) 
 
 1900. Sale Catalogue of the Collection of ' a Late Collector/ 
 
 London. Lots 81- 181. (Photographic Plates.) 
 
 1901. Numismatica di Lipara. By G Tropea. Messina. 
 
 (Photographic Plates.) 
 
 1901. Numismatica Siceliota del Museo Mandralisca in 
 
 Cefalii. Part I. By G. Tropea. Messina. 
 
 1902. Descriptive Catalogue of Ancient Greek Coins belong- 
 
 ing to J. Ward. By G. F. Hill. [In ' Greek Coins 
 and their Parent Cities,' by J. Ward.] London. 
 Nos. 130-371. (Photographic Plates.) 
 
 1901, 1902. Ancient Greek Coins. Syracuse, Sicily. By 
 F. Sherman Benson. [American Journal of Numis- 
 matics, April, 1901, foil.] (Photographic Plates.) 
 
 1888-1902. Greek Coins acquired by the British Museum. 
 By W. Wroth. [Numismatic Chronicle; annual 
 articles, in progress.] (Photographic Plates.) 
 
INDEX I 
 
 SUBJECTS 
 
 *^* The Roman numerals in brackets indicate the five different 
 periods (described in chapters I to V) to which the various coinages 
 belong. Words in italics (except in cross-references) represent either 
 Roman or Punic inscriptions. 
 
 Abacaenum, coinage (ii.) 91 ; (iii.) 
 
 139; (v.) 220. 
 Acesines, R., 132. 
 Achelous, R., as bull, 222. 
 Acrae, 15 ; coinage (v.) 220. 
 Acragas (city), 16-36 ; coinage (i.) 
 
 43»49. 50; (ii-) 65; (iii.) 119-22; 
 
 (iv.) 164-6; (v.) 198, 199,210,211 ; 
 
 types imitated elsewhere, 94, 95, 
 
 140, 147. 
 Acragas, R., 50 ; as charioteer, 120; 
 
 head of, 164, 166. 
 Acragas, supposed silver-chaser, 
 
 120 ^ 
 Aeginetic weight-standard, 41 f. 
 Aegis of Athena, Syracuse, iii. 
 Aegusa, 31. 
 Aeneas carrying Anchises, Segesta, 
 
 213. 
 Aequitas, Catana, 206. 
 Aetna (Catana), coinage (ii.) 74, 75. 
 Aetna (Inessa), 75, 182; coinage (iv.) 
 
 182 ; (v.) 220. 
 Aetna, Mt., 75. 
 
 Africa, Agathocles in, 26; per- 
 sonified, 156 ; symbolized by 
 
 lion, 55. 
 African types on Punic coins, 144, 
 
 145- 
 
 Agathocles, 25-8 ; coinage, 152- 
 
 9; triskeles of, 8, 153; relations 
 
 with Ptolemy, 156 ; assumes 
 
 royal title, 155, 158. 
 Agathocles, son of Agathocles, 28. 
 Agathyrnon conquered by Tyn- 
 
 daris, 172. 
 Agathyrnos, figure of,Tyndaris, 172. 
 Agrigentum. See Acragas. 
 Agrippa, 34. 
 Agyrium, 13 ; coinage (iii.) 139 ; 
 
 (iv.) i52\ 177 ; (v.) 220. 
 Alexander of Epirus, 152. 
 Alexander the Great, influence of 
 
 his coinage, 144, 145. 
 * Alliance ' coinage, 10, 175. 
 Allienus, Aulus, 224. 
 Altar, of the Crimisus, 180 ; Panor- 
 
 mus, 208. 
 Amenanus, R., as man-headed bull, 
 
 Catana, 49 ; horned human head, 
 
 Catana, 77, 133. 
 Amestratus, coinage (v.) 220, 221. 
 Ammachanat, 143. 
 Ammon. See Zeus Amnton. 
 Amphinomus and Anapias, the 
 
 Catanaean brothers, Catana, 205, 
 
 206, 226. 
 Amphorae, prize, Camarina, 126. 
 Anabates, Himera, 68 ; Motya, 94. 
 
238 
 
 INDEX I 
 
 Anapias. See Amphinomus. 
 Anapus, R., 21 ; head of, Syracuse, 
 
 151- 
 
 Anaxilas of Rhegium and Zancle, 
 
 17, 46, 47, 69. 
 Andromachus of Tauromenium, 24. 
 Ankh and caduceus combined, 
 
 Melita, 229. 
 Antandrus, brother of Agathocles, 
 
 155- 
 
 Antiphemus, founder of Gela, 167. 
 
 Antonius (M.), 34, 209. 
 
 Aphrodite, head of, Eryx, 89, 142, 
 213 ; seated, with dove, 136, 173 ; 
 with Eros, 136. See also Venus. 
 
 Apolline types. SeeLyre^Omphalos, 
 Tripod. 
 
 Apollo, figure of, Halaesa, 211. 
 
 head of, Acragas, 165 ; Agy- 
 
 rium, 177 ; * Alliance,' 175 ; As- 
 sorus, 221 ; Catana, 76, 132, 133 ; 
 Catana and Leontini, 133 ; Cen- 
 turipae, 219; Halaesa, 211; Leon- 
 tini, 78, 79, 134, 207 ; Lilybaeum, 
 212, 229 ; Melita, 229 ; Naxos, 
 131 ; Olynthus, 79 ; Panormus, 
 93 ; Punic, 146^ ; Syracuse, 118, 
 154, i55j 186, 197, 205; Tauro. 
 menium, 170, 171, 199, 200; 
 Tyndaris, 172, 173. 
 
 head of, with serpent, Acragas, 
 
 198. 
 
 lion of, 48. 
 
 statue at Acragas, 199. 
 
 with Artemis in chariot, Seli- 
 
 nus, 84. 
 
 Apollonia, coinage (v.) 221. 
 
 Archagathus, son of Agathocles, 
 27. 
 
 Archaism, conscious, at Syracuse, 
 
 no. III. 
 
 Archias, head of, Syracuse, 151. 
 Archimedes, 32. 
 Archonides, 211. 
 
 Ares, head of, Acragas, 165 ; En- 
 tella, 183 ; Lipara, 182 ; Mamer- 
 
 tines, 169, 217 ; Syracuse, 151, 
 
 154, 155, 186; Tyrrhenians, 184. 
 
 See also Mars. 
 Arethusa, head of, Syracuse, 44, 
 
 98 f., 106, 107, in; imitated at 
 
 Motya, 140, 141 ; outside Sicily, 
 
 107. 
 Armour. See Panoply. 
 Arruntanus Balbus, 229. 
 Artemis, as birth-goddess, Selinus, 
 
 84; as huntress, Syracuse, 195, 
 
 196. 
 head of, Acragas, 166 ; Cen- 
 
 turipae, 219 ; Mamertines, 170 ; 
 
 Syracuse, 45, 118, 162, 197, 205. 
 
 Saviour, head of, Syracuse, 
 
 157-9. 
 Artists employed at mint, 11 ; 
 
 signatures of, 60-4, 76, 77, 100- 
 
 3, 106-11, 121, 125-7. 
 Asines, R., 132. 
 Asklepios, altar of, Selinus, 84, 85 ; 
 
 cock sacred to, 40; figure of, 
 
 Acragas, 210 ; head of, Acragas, 
 
 210 ; Syracuse, 205 ; young head 
 
 of, Acragas, 199. 
 Asoneus, G., 216. 
 Ass, Silenus on, Nacona, 133. 
 Assinaria, festival, 97, loi. 
 Assinarus, battle of the, 19, 97, 
 
 lOI. 
 
 Assinos, R., head of, Naxos, 132. 
 
 Assorus, coinage (v.) 221. 
 
 Astarte, head of, Gaulos, 230 ; 
 MeHta, 229. 
 
 Astarte- Isis, head of, Cossura, 230. 
 
 Astragalos, Himera, 66. 
 
 Athena, cult at Camarina, 125 ; 
 driving chariot, Camarina, 80, 
 126 ; figure of, Camarina, 51, 167 ; 
 Mamertines, 217 ; Syracuse, 162, 
 164; figure of, facing, Himera, 
 128 ; Tyrrhenians, 184. 
 
 head of, Aetna-Inessa, 182 ; 
 
 Calacte, 221 ; Camarina, 127, 
 167 ; Eryx, 142 ; Leontini, 134 ; 
 
SUBJECTS 
 
 239 
 
 Lipara, 203 ; Morgantina, 139 ; 
 Punic, 146^ ; Syracuse, 108 (fac- 
 ing), III, 114, 117, 154, 157, 158, 
 162, 163, 174, 196, 197, 205; 
 Tauromenium, 171, 200 ; Tyr- 
 rhenians, 184. 
 
 Athena, head of, with serpent, Mor- 
 gantina, 179. 
 
 winged, Syracuse, 156. 
 
 types connected with. See 
 
 Gorgon, Olive, Owl. 
 
 Athenian hopHte, 124. 
 
 Athens, coins of, circulating in 
 Sicily, 37, 116; interferes in 
 Sicily, 19, 97; naval defeat of, 
 425, 64 ; relations with Diony- 
 sius I, 22 ; with Messana, 71 ; 
 with Segesta, 88 ; types imitated, 
 221 ; weight-standard, 41, 187. 
 
 Atratinus, 209, 212, 222. 
 
 Attributes of deities, 8. 
 
 AugH., 212, 213. 
 
 Augur's staff, denarius, 226 ; 
 aureus, 226. 
 
 Angus., 209. 
 
 Augus. P. P. Agrigentin., 211. 
 
 Augustus, 34, 35; head of, Agri- 
 gentum, 211 ; Lilybaeum, 212 ; 
 Panormus, 209, 210; Segesta, 
 213. 
 
 Aurei issued in Sicily, 226. 
 
 Aurelius (M.), 208. 
 
 B. 
 Baal, sign of, Cossura, 230 ; Punic, 
 
 i45> 230. 
 Bacchylides' fifth ode, to Hiero, 44. 
 Balbus, Arruntanus, 229. 
 Barbarian imitations of types, 183. 
 Barley-corns, Acragas, 65 ; Henna, 
 
 178 ; Leontini, 48, 78, 79 ; Gela, 
 
 123. 
 Barley-ear or stalk, Gela, 123; 
 
 Melita, 229 ; Morgantina, 90 ; 
 
 Syracuse, 106, 163 ; between legs 
 
 of triskeles, Panormus, 209, 210 ; 
 
 denarius, 224. 
 Barley-ears and torch, ' Alliance,' 
 
 175 ; Henna, 178. 
 Barley-plant, Eryx, 90 ; Messana, 
 
 130 ; Segesta, 87. 
 Barley-wreath worn by river-god 
 
 Gelas, 125. 
 Bars of metal, circulation of, 37. 
 Baths near Himera, 39, 67. 
 Bee, Hybla Megala, 221. 
 Beetle, scarabaeus, Catana-Aetna, 
 
 75- 
 Bell attached to fillet, Catana, 76, 
 
 77- 
 
 Bird, aquatic, Catana, 49 ; Selinus, 
 85; Solus, 95; on plough, Cen- 
 turipae, 219 ; Leontini, 207. 
 
 Blank, 3. 
 
 Boar, Abacaenum, 91 ; Acragas, 
 166. 
 
 Border, 6 ; broken by type, 72. 
 
 Boundary-mark, 88. 
 
 Bow, Catana, 133 ; Syracuse, 118 ; 
 with quiver, lion's skin and club, 
 Cephaloedium, 216. 
 
 Bronze, importance in Sicily, 2, 
 42, 113, 150; introduced at Syra- 
 cuse, 113. 
 
 Bull, Abacaenum, 220 ; Catana and 
 Leontini, 133; Gela, 167 (on 
 barley-ear) ; Hadranum, 176 ; 
 Heracleotes, 137 ; Mataurus or 
 Campanians, 185 ; Selinus, 84 
 (on pedestal) ; Silera, 179-80 ; 
 Syracuse, 154, 193 ; Taurome- 
 nium, 171, 200. 
 
 head of, Tauromenium, 200. 
 
 Cp. Ox. 
 
 human-headed, Agyrium, 139 ; 
 
 Catana, 49 ; Entella, 91 ; Eryx, 
 142; Gela, 50, 81, 83, 123, 124; 
 Haluntium, 222 (stream issuing 
 from mouth) ; Herbessus, 178-9 ; 
 Panormus, 93 ; Selinus, 86 ; 
 Stiela, 92 ; Tauromenium, 171. 
 
240 
 
 INDEX I 
 
 Bull, human-headed, youth on, 
 
 Panormus, 93. 
 Bull, subdued by Heracles, Se- 
 
 linus, 85 ; Solus, 95. 
 Busts, three. Pan dancing before, 
 
 Uncertain, 223. 
 
 C. 
 
 Cabala, battle of, 22. 
 
 Caduceus, Melita, 228; combined 
 
 with ankh, Melita, 229. 
 Caecilius Metellus (L.), 208. 
 Caesar Augustus, 212. 
 Caesar, Julius, 34, 224. 
 Calacte, coinage (v.) 203, 221. 
 Calf's head, Messene, 47. 
 Camarina (city), 15-7, 20, 28, 30, 
 
 80, 125 ; coinage (i.) 43, 50, 51 ; 
 
 (ii.) 80, 81 ; (iii.) 125-7 ; (iv.) 167. 
 Camarina, nymph, 125, 126. 
 ' Camp,' coinage, 143 f. 
 Campanians, at Aetna, 182 ; at En- 
 
 tella,i83; at Nacona,i84 ; coinage 
 
 (iv.) 182-5. 
 Caninius (C), 217. 
 Canting and allusive types, 48, 200, 
 
 207, 212. 
 Capital, eagle on, Acragas, 165 ; 
 
 Eryx, 51; Hipana,92; Motya,95. 
 Capricorn and triskeles, Panor- 
 mus, 210, 
 Caps, of Dioscuri, Tyndaris, 201 ; 
 
 of Hephaestus, Lipara, 181, 215 ; 
 
 of priest, Melita, 228. 
 Carthage. See Phoenicians. 
 Casmenae, 15. 
 Cast coins, 2. 
 
 Castor and Pollux. See Dioscuri. 
 Catana (Catina), 15, 19, 20, 35, 37, 
 
 98, 133 {cp. Aetna) ; coinage (i.) 
 
 43, 48, 49; (ii.) 74-7; (iii.) 132; 
 
 (v.) 205-7 ; gold attributed to, 
 
 127 ; types copied on Punic coins, 
 
 147. 
 Catanaean brothers. See Amphi- 
 
 nomus. 
 
 Cato, 208. 
 
 Celery, wild, Selinus, 52. 
 
 Centuripae, 13, 31 ; coinage (iv.) 
 178 ; (v.) 219. 
 
 Cephaloedium, 13, 137 ; coinage 
 (iii.) 142, 143 ; (v.) 216, 217. 
 
 Ceres. See Demeter. 
 
 Cestius (M.), 214. 
 
 Chair, curule, Melita, 229. 
 
 Chalcidian colonies in Sicily, 15. 
 
 Chariot, of Apollo and Artemis, 
 Selinus, 84 ; of Demeter, Henna, 
 91 ; of Hades, Henna, 214 ; of 
 Isis, Syracuse, 204. 
 
 racing, four horses, Acragas, 
 
 120 ; Camarina, 80, 125, 126 ; 
 Catana, 76 ; Eryx, 136 ; Gela, 50, 
 81, 82, 123 ; Himera, 67, 127 ; 
 Leontini, 48, 77 ; Panormus, 93 ; 
 Punic, 142, 146 ; Segesta, 134 ; 
 Thermae, 129 ; Syracuse, 44, 45, 
 54, 57, 61-5, 98, 100-4, 106, 
 158, 159, 161, 190, 191, 193, 195, 
 196. 
 
 racing, four horses, driven by 
 
 Acragas, Acragas, 120; by Athena, 
 Camarina, 80, 126 ; by male 
 winged figure, Syracuse, 63 ; 
 by Pelops, Himera, 67 ; by Per- 
 sephone, Syracuse, 64, 65 ; Se- 
 gesta, 135 ; by Victory, Gela, 82 ; 
 Selinus, 134 ; Syracuse, 158, 161, 
 190, 191, 196. 
 
 racing, two horses, Messana, 
 
 168 ; Syracuse, 154, 163, 187, 191, 
 193, 197, 205. 
 
 racing, two horses, driven by 
 
 Victory, Syracuse, 163, 187, 191, 
 197, 205. 
 
 racing, two mules. See Mule- 
 car. 
 
 Chimaera (?) at Himera, 128, 129. 
 
 Choerion, engraver, Catana, 132. 
 
 Chrysas, R., Assorus, 221. 
 
 Cilicia, Cimon's Arethusa imitated 
 in, 107. 
 
SUBJECTS 
 
 241 
 
 Cimon, his decadrachms, 98 f. ; 
 
 tetradrachms, 105-7; gold, iii. 
 Circle, faint, surrounding head, 
 
 Syracuse, 45, 55, 56. 
 City-goddess, figure of, Entella, 
 
 221 ; Gela, 81 ; Himera, 40 ; 
 
 Messana, 69 ; Thermae, 218. 
 head of, Lilybaeum, 212 ; 
 
 Segesta, 213 ; Thermae, 218. 
 Civitates foederatae, 217. 
 Claudius Marcellus (C), 224. 
 Clodius Rufus (L.), 211. 
 Club, Messana, 168 ; Syracuse, 157, 
 
 193; with lion's skin, &c., Cepha- 
 
 loedium, 217. 
 Cock, Himera, 39, 66 ; Punic, 146^; 
 
 sacred to Asklepios, 84. 
 Colonies, Roman, in Sicily, 34, 35. 
 Column. See Capital. 
 Comitialis, Salassus, 211. 
 Commercial origin of types, 7. 
 Concord, head of, ' Crimisus,' 180 ; 
 
 Panormus, 208. 
 Corinthian coinage, 116; colonies 
 
 in Sicily, 15 ; divisional system, 
 
 42. Cp. Pegasi. 
 Corn. See Barley. 
 Cornelius (L.) Lentulus Crus, 224. 
 Cornucopiae, Aetna-Inessa, 220 ; 
 
 Panormus, 208. 
 Cossura, 14 ; coinage (v.) 230. 
 Crab, Acragas, 50, 65, 120-2, 164, 
 
 165 ; Eryx, 51 ; Himera, 66 ; 
 
 Leontini, 207 ; Motya, 94, 140 ; 
 
 Punic, 146 \ 
 Crayfish, Catana, 77 ; Solus, 142. 
 Crescent, head on, Gaulos, 229. 
 Crimisus, R., altar of the, 180 ; 
 
 battle of, 24 ; omen of, 179 ; per- 
 sonified as hound, Segesta, 88; 
 
 as hunter, Segesta, 87, 135. 
 Cronium, near Himera, 22, 128. 
 Cronus, head of, Himera, 128. 
 Croton, 38 ; in alliance with 
 
 Zancle, 71. 
 Crus, Cornelius Lentulus, 224. 
 
 Crysas, 221. 
 
 Culleo, Q. Terentius, 212. 
 
 Cups with impressions of coins, 
 120"^. 
 
 Cyane, head of, Syracuse, 151. 
 
 Cyme, 15, 37 ; battle of, 18; weight- 
 standard, 41. 
 
 D. 
 Damareta, wife of Gelo, 53 f. 
 Damareteion, 5, 53 f ; Leontine 
 
 coins resembling, 77, 78. 
 Danklon, 37. 
 Date-palm. See Palm. 
 Decadrachms, of Acragas, 119 f. ; of 
 
 Syracuse, 54 f., 98 f. 
 Decurions issue coins, 215. 
 Dedications on coins, 192, 212. 
 Deities, named on coins, 10 ; coins 
 
 consecrated to, 10. 
 Delphi, selinon dedicated at, 52. 
 Demeter, Agathocles dedicates his 
 
 ships to, 157. 
 figure of, Henna, 91 (holding 
 
 torch over altar), 214 ; Leontini, 
 
 207 ; enthroned, Syracuse, 163 ; 
 
 in chariot. Henna, 91. 
 head or bust of, Henna, 178 ; 
 
 Leontini, 207 ; Siceliotes, 193 ; 
 
 Syracuse, 205 ; facing, Gela, 125 ; 
 
 Leontini, 207. 
 
 ' Order ' as, Gela, 167. 
 
 Denarii issued in Sicily, 224 f. 
 Denominations, how expressed, 10, 
 
 46. 
 Design, 6. 
 
 Diadem, royal, 189, 191, 192, 195. 
 Dido, head of, Punic, 145. 
 Dies, 3-5. 
 Dinocrates, 27. 
 
 Dion, 23, 134 ; coinage, 117, 118. 
 Dionysiac types. See Bull, Grapes, 
 
 IVine-cup. 
 Dionysius I, 20-2 ; enslaves Ca- 
 tana, 133; recovers Cephaloe- 
 
 dium, 138, 143 ; his coinage and 
 
242 
 
 INDEX I 
 
 finance, 112, 115, 116 ; mas- 
 sacres Motyaeans, 141 ; crushes 
 Naxos, 131 ; founds Taurome- 
 nium, 170 ; Tyndaris, 171. 
 
 Dionysius II, 23, 24. 
 
 Dionysus, cult at Aetna-Catana, 
 75, 77 ; at Naxos, 7. 
 
 figure of, Galaria, 91 ; Hybia 
 
 Megala, 220 ; Tauromenium, 200. 
 
 head of, Naxos, 39, 72-74 ; 
 
 131 ; Tauromenium, 200. 
 
 Dioscuri, one of, on horseback, 
 Tyndaris, 173. 
 
 two, on horseback, Tyndaris, 
 
 173, 201 ; standing, with or with- 
 out horses, 201 ; their caps, 201 ; 
 types referring to, 215. 
 
 Disc and horns of Isis, Syracuse, 
 204. 
 
 Dolphin, Lipara, 176, 181, 216 ; 
 Zancle, 37 ; as symbol, Acragas, 
 65 ; Thermae, 129. 
 
 with fish, Syracuse, 61. 
 
 with shell, Hipana,92 ; Motya, 
 
 95 ; Punic, 146^ ; Zancle, 70. 
 
 Dolphins, between spokes of 
 wheel, Syracuse, 113 ; surround- 
 ing head, Messana, 168 ; Punic, 
 142, 143, 146 ; Syracuse, 45, 55, 
 106 (in Arethusa's hair), 109 ; 
 Thermae, 129. 
 
 two opposed, Messana, 71, 130 ; 
 
 Syracuse, 61, 62, 71. 
 
 two, with star-fish, Syracuse, 
 
 114 ; with trident, Messana, 168 ; 
 Syracuse, 198. 
 
 Domitius Proculus (Cn.), 210. 
 Dorieus, 16. 
 
 Double-headed god. Seejaniform. 
 Double-headed goddess, Syracuse, 
 
 150. 
 Double-struck coins, 4, 80, 195. 
 Drachm, 41-3. 
 Drepanum, 30, 31. 
 Ducetius, 18. 
 Duumviri, 210 f. 
 
 E. 
 Eagle, Acragas, 49, 65, 122, 164, 165, 
 
 198, 199 ; Agyrium, 177-8 ; Eryx, 
 
 51 ; Motya, 94 ; Segesta, 213 ; 
 
 Syracuse, 151, 196. 
 
 on capital. See Capital. 
 
 on carcase, Haluntium, 222. 
 
 on hare, Acragas, 121 ; Punic^ 
 
 146^ 
 on pine-tree, Catana-Aetna, 
 
 75- 
 on thunderbolt, Mamertines, 
 
 169; Syracuse, 160, 191, 205; 
 
 Tyndaris, 202. 
 with serpent, Acragas, 120 ; 
 
 Gela, 123; Herbessus, 179; Hi- 
 
 pana, 92 ; Morgantina, 178 ; 
 
 Motya, 95. 
 Eagle's head, Acragas, 65. 
 Eagles, two, on hare, Acragas, 119, 
 
 122, 165, 198. 
 Earring on Syracusan coins, 99, 
 
 loi, 108, 115. 
 Ecnomus, 26. 
 Edges of coins, projections on, 3, 4, 
 
 114. 
 Egesta. See Segesta. 
 Egyptian cults, 204, 205; deities, 
 
 Mehta, 228; types, 191. See also 
 
 Ptolemy. 
 Egypto-Phoenician types, at Melita, 
 
 229 ; at Cossura, 230. 
 Electrum coins, 2, 117. 
 Elephant's skin, head wearing, 
 
 Syracuse, 156. 
 Elymians, 13, 36, 86-90. 
 Empedocles at Selinus, 84. 
 Entella, 13, 183; coinage (ii.) 91, 
 
 92 ; (iv.) 183 ; (v.) 221, 222. 
 Epicydes, 32. 
 Epipolae, 21, 33. 
 Equity, Catana, 206. 
 Eros, bust of, Tyndaris, 202 ; with 
 
 Aphrodite, Eryx, 136. 
 Eryx, 13, 20, 30, 31 ; coinage (i.) 43, 
 
 51; (ii.) 89, 90; (iii.) 136, 142; 
 
SUBJECTS 
 
 243 
 
 (iv.) 173 ; (v.) 213 ; types copied 
 at Panormus, 93. 
 
 Euaenetus, engraver, at Camarina, 
 126; at Catana, 76, 77, 132; at 
 Syracuse, 62, 63, 98, 99, 102, 104, 
 107, 108, III, 115; his Heracles 
 and lion on a gem, 112, 113; im- 
 pressions of his coins in cups, 
 120^; his influence on other ar- 
 tists, 88, 99, 146, 155, 178, 196. 
 
 Euboea, colonies from, in Sicily, 15. 
 
 Euboea, Sicilian city, 17. 
 
 Euboic-Attic weight-standard, 41 f , 
 
 Eukleidas, engraver, Syracuse, 108. 
 Eumenes, engraver, Syracuse, 
 
 60-2. 
 Euryalus, 33. 
 Euth . . ., engraver, Syracuse, 63, 
 
 64. 
 Ewer, sacrificial, denarius, 226. 
 Exakestidas, engraver, Camarina, 
 
 125. 
 Ex D. D., 215. 
 Exergue, 6. 
 Ex S. C, 225. 
 Eye, treatment of, 55-8. 
 Eyelashes represented, 59. 
 
 Fabric, 3. 
 
 Face, human, on carapace of crab, 
 
 Acragas, 122. 
 Facing types, disadvantages of, 
 
 106. 
 Fawn, hound killing, Piacus (?), 
 
 138. 
 Field, 6. 
 Figure, female, Petra, 220 ; holding 
 
 roll, Syracuse, 197; holding 
 
 torch, see Demeter ; veiled, with 
 
 city-crown, see City-goddess. 
 male, reading book. Thermae, 
 
 218. 
 Figures, three female. Thermae, 
 
 218. 
 
 Fillet with bell, Catana, 76. 
 
 Fire-god. See Hadmnus, Hephae- 
 stus. 
 
 Fish, Acragas, 121 (sea-perch) ; 
 Camarina, 126 ; Catana, 49, 77 ; 
 Catana and Leontini, 133 ; Gela, 
 82; Leontini, 79; Solus, 219; 
 with dolphin, Syracuse, 61. 
 
 Flan, 3. 
 
 Fortune, holding roll, Syracuse, 
 197. See also Tyche. 
 
 Fountain-nymph. See Are'husa, 
 Cyane. 
 
 G. 
 
 Galaria, coinage (ii.) 90, 91. 
 
 Galley. See Ship. 
 
 Gamori of Syracuse, 17, 43. 
 
 Gaulos, 14; coinage (v.) 229, 230; 
 coins formerly attributed to, 228. 
 
 Gela, 16-20, 25, 28, 36; coinage (i.) 
 43» 49> 50; (ii-) 81; (iii.) 123-5; 
 (iv.) 166, 167; (v.) 219; type 
 copied on Punic coins, 144, 147. 
 
 Gelas, R., personified, 10 ; as bull, 
 human-headed, 50, 81, 83 ; as 
 bull standing on barley-ear, 167 ; 
 head of, bearded, 125, 166 ; head 
 of, youthful, 82. 
 
 Gelo of Syracuse, 16, 17, 45, 46, 51, 
 53-7, 72 ; supposed portrait^ of, 
 191. 
 
 Gelo, son of Hiero II, 32 ; portrait, 
 191, 192. 
 
 Goal-column, 51, 76, 81, 106. 
 
 Goat, Thermae, 218 ; with torch 
 and barley-ears. Henna, 178; 
 youth riding on, Himera, 68,182. 
 
 Gold, as uncoined medium of ex- 
 change, 2 ; introduced into Sici- 
 lian coinage, no, 122, 124, 127. 
 
 Gorgon-head, Camarina, 127 ; in 
 centre of triskeles, Panormus, 
 209, 210 ; Roman denarius, 224 ; 
 Syracuse, 155 ; on aegis, Syra- 
 cuse, III. 
 
 R 2 
 
244 
 
 INDEX I 
 
 Gozo. See Gaulos. 
 
 Grapes, Galaria, 91 ; Lipara, 181 ; 
 
 Naxos, 7, 39; Tauromenium, 
 
 199, 200. 
 Grasshopper, Acragas, 119. 
 Greaves, Himera, 68; with palm, 
 
 Camarina, 80. 
 Griffin, ' New' coinage, 176. 
 
 H. 
 
 Hades carrying off Persephone.. 
 
 Henna, 214, 215. 
 Hadranius, R., head of, Hadranum, 
 
 176. 
 Hadranodorus, 32. 
 Hadranum, battle of, 24; coinage 
 
 (iv.) 176, 177 ; Timoleon at, 152. 
 Hadranus, 14 ; head of, Mamer- 
 
 tines, 169; Syracuse, 151 ; hound 
 
 of, Syracuse, 152. 
 Hair, treatment of, 58, 59, 72, 73, 
 
 99, loi, 102, 104. 
 Halaesa, 31 ; coinage (iv.) 175 ; (v.) 
 
 211. 
 Halicyae, 13, 19, 30, 31. 
 Haluntium, coinage (iii.) 139; (v.) 
 
 222. 
 Halycus, R., 22, 24. 
 Hamilcar Barca, 31. 
 Hamilcar, friend of Agathocles, 25. 
 Hamilcar, son of Gisco, 26. 
 Hamilcar, son of Hanno, defeated 
 
 at Himera, 17, 53. 
 Hannibal, son of Gisco, 20,. 
 Hanno, 33. 
 
 Harbour of Zancle, 37, 38. 
 Hare, Messene-Messana, 47, 69, 
 
 130. See also Eagle, Eagles. 
 Harpocrates and Isis, Catana, 205. 
 Head, its position and importance 
 
 on coins, 6, 46, 57, 99. 
 female, Abacaenum, 139 ; Na- 
 
 cona, 139 ; Syracuse, 151 ; on 
 
 crescent, Gaulos, 229 ; wearing 
 elephant's skin, Syracuse, 156; 
 
 wearing modius, Cossura, 230 ; 
 
 wearing myrtle crown, see Sicily ; 
 wearing Stephanos, Syracuse, 
 195 ; Tauromenium, 200 ; wear- 
 ing veil, Hybla Megala, 220; 
 Melita, 228, 229; Thermae, 218 
 (see also Helen) ; wearing veil 
 and mural crown, see City-god- 
 dess. 
 
 Head, male, bearded, Abacaenum, 
 91 ; Morgantina, 90. 
 
 male, helmeted, Haluntium, 
 
 222 ; Himera, 69 ; Syracuse, 151. 
 See also Ares, Hadranus. 
 
 male, young, Lipara, 176 ; 
 
 Morgantina, 179 ; Punic, 146^ ; 
 Syracuse, 154. See also Apollo y 
 Ares. 
 
 Healing-god of Himera, 39. 
 
 Health-goddess with serpent, Seli- 
 nus, 86. 
 
 Helen, head of, Tyndaris, 172, 201. 
 
 Helicon, R., as bull, Abacaenum, 
 220. 
 
 Helios (sun-god), head of, Aetna- 
 Inessa, 220; Entella, 221 ; Syra- 
 cuse, 205. 
 
 Helmet, Entella, 183; Himera, 68; 
 Mataurus (?), 184 ; as shield de- 
 vice, Camarina, 80. 
 
 Helmets of Dioscuri. Set Caps. 
 
 Helorus, battle of the, 16. 
 
 Hen, Himera, 40. 
 
 Henna, 13, 32 ; coinage (ii.) 91 ; 
 (iv.) 178; (v.) 213-5. 
 
 Hephaestus, cap of, Lipara, 181, 
 215 ; figure of, 181, 215 ; head of, 
 Lipara, 205, 215; Mytistratum, 
 179 ; tongs of, Lipara, 216. 
 
 Hera, head of, Syracuse, 195; 
 Tauromenium, 200, 201 ; Ther- 
 mae, 129. 
 
 Heraclea, Minoa, 137, 142. 
 
 Heracleotes from Cephaloedium, 
 
 137- 
 Heracles, figure of, fighting bull, 
 Selinus, 85; Solus, 95; resting 
 
SUBJECTS 
 
 245 
 
 on club, Eryx, 213 ; seated, Ther- 
 mae, 129; wrestling with lion, 
 Syracuse, iii. 
 
 Heracles, head of, Agyrium, 177, 
 220 ; Camarina, 80, 125 ; Centuri- 
 pae,2i9; Cephaloedium,2i6,2i7; 
 Entella, 91 ; Gela, 125 ; Halun- 
 tium, 222 ; Heracleotes, 137 ; 
 Himera, 128 ; Longane, 92 ; Me- 
 lita, 228 ; Messana, 168 ; Petra, 
 220 ; Punic, 144 ; Selinus, 134 ; 
 Solus, 142; Syracuse, no, 157, 
 163, 197 ; Tauromenium, 200 ; 
 Thermae, 129, 218. 
 
 Tyrian, head of, Ras Melkart, 
 
 143. 
 
 Herakleidas, engraver, Catana, 132. 
 
 Herbessus, coinage (iv.) 178, 179. 
 
 Hermes, sacrificing, Tyndaris, 202 ; 
 seated, Panormus, 208. 
 
 Hermocrates, 19. 
 
 Hicetas of Leontini, 23, 24, 152. 
 
 Hicetas of Syracuse, 28 ; coinage, 
 159-61. 
 
 Hiero I, coinage, 57 f. ; reign, 17, 
 18 ; relations with Catana, 48, 74 ; 
 with Leontini, 77 ; with Naxos, 
 72 ; victory over Etruscans, 58. 
 
 Hiero H, 29-31 ; coinage, 186-92. 
 
 Hieronymus, 32 ; coinage, 194, 195. 
 
 Himera, 18-20, 37, 52 ; battle of, 17, 
 68, 80 ; coinage (i.) 5, 39, 40 ; (ii.) 
 65-9 (see Thermae) ; types copied 
 on Punic coins, 147. 
 
 Himera personified, 68, 218. 
 
 Himeras, R., 19, 33. 
 
 Himilco, 21, 170. 
 
 Hipana, coinage (ii.) 95. 
 
 Hipparis, R., 125 ; head, Camarina, 
 126. 
 
 Hippocamp (sea-horse), Hadra- 
 num, 176 ; Himera, 147 ; Mes- 
 sana, 130 ; Punic, 147 ; Syracuse, 
 174. 
 
 Hippocrates of Gela, 14, 50, 72. 
 
 Hippocrates, Punic agent, 32. 
 
 Hispanorum, 226. 
 
 hmtua, Punic inscr., 94. 
 
 Hoplite, lancer killing, Gela, 124. 
 
 Horse, Gela, 83 ; free, Acragas, 
 164 ; Aetna-Inessa, 182 ; Cama- 
 rina, 167 ; JEntella, 183 ; Gela, 
 166, 167; Mataurus (?), 184; 
 Mytistratum, 179 ; Nacona, 184 ; 
 Punic, 144-6 ; Syracuse, 112, 
 150; Tyndaris, 172; led by 
 horseman, Syracuse, 46 ; with 
 broken rein, ' New ' coinage, 
 175, 176 ; with palm-tree, Punic, 
 
 145- 
 
 forepart of, Gela, 124 ; Punic, 
 
 144. 
 
 head or bust of, Punic, 145 ; 
 
 Tyndaris, 173. 
 
 Horseman, Gela, 82, 83, 124 ; Leon- 
 tini, 79; Syracuse, 46, 157, PI. 
 XIII, II ; leading second horse, 
 Syracuse, 46 ; riding sideways, 
 Himera, 68 ; spearing hoplite, 
 Gela, 124. 
 
 Hound, Agyrium, 177 ; Eryx, 89, 
 136; Mamertines, 169; Panor- 
 mus, 93 ; Punic, 146^ ; Segesta, 
 87, 88, 135 ; kiUing fawn, Piacus, 
 138 ; standing on stag's head, 
 Segesta, 88. 
 
 Hunter, crowned by Victory, Agy- 
 rium, 220. See also Crimisus. 
 
 Hybla Megala, coinage (v.) 221. 
 
 Hydra, lolaus burning, Agyrium, 
 220. 
 
 Hypsas, R., figure of, Sehnus, 85. 
 
 I 
 
 laetia, coinage (v.) 221. 
 
 Inclined position of heads on Syra- 
 cusan coins, 108, 109. 
 
 Incuse impression, 5 ; square, Hi- 
 mera, 40; Selinus, 52; Syracuse, 
 44, 1 10-3; types, Zancle, 38. 
 
 Inessa. See Aetna. 
 
 Inscriptions on coins, 9. 
 
246 
 
 INDEX I 
 
 lolaus, Agyrium, 220. 
 
 Hrnm, Phoenician name of Cos- 
 sura, 230. 
 
 Isis, figure of, Catana, 205 ; Syra- 
 cuse, 204. 
 
 figure of, in chariot, Syracuse, 
 
 204. 
 
 head of, Melita, 229 ; Syra- 
 cuse, 204. 
 
 headdress of, Syracuse, 204. 
 
 with Harpocrates, Catana, 205; 
 
 with Nephthys and Osiris, Mehta, 
 228. See also Sarapis. 
 
 Isis-Astarte, head of, Cossura, 230. 
 
 Italy, southern, relations with Sicily, 
 38; under Agathocles, 27; under 
 Dionysius I, 22. 
 
 J. 
 
 Janiform head, female, Syracuse, 
 
 150; of Janus, Panormus, 208; 
 
 Syracuse, 205; of Sarapis, Catana, 
 
 205. 
 Janus, head of, Panormus, 208; 
 
 Syracuse, 205. 
 Julius Caesar. See Caesar. 
 Jupiter, figure of, denarius, 224 ; 
 
 head of, victoriatus, 188. See also 
 
 Zeus. 
 
 K. 
 
 K, Punic initial of Kfra ?, 142. 
 
 Kartchadsat, 143. 
 
 Kfra, Punic for Solus, 141. 
 
 King, title assumed by Agathocles, 
 
 155; by Gelo II, 191 ; by Hiero 
 
 II, 187. 
 Knucklebone, Himera, 66. 
 Koppa, 44, 45, 55. 
 Kora. See Persephone. 
 Krtchdst, Kartchadsat, 143. 
 
 Laetorius, 210. 
 Laevinus, 33. 
 Lanassa, 27. 
 
 Lancer, mounted. See Horseman. 
 
 Larissa (Thessaly), imitates Ci- 
 mon's Arethusa, 107. 
 
 Laurel-leaf, Leontini, 78, 79. 
 
 Laurel - wreath, Cossura, 230 ; 
 Lilybaeum, 212 ; Melita, 228 ; 
 worn by Hiero II, 193. 
 
 Leaf. See Laurel, Selinon-plant. 
 
 Lent. Mar. Cos., 224. 
 
 Lentulus Crus, 224. 
 
 Leontini, 15, 19, 20, 23, 37, 72 ; coin- 
 age (i.) 43, 48; (ii.) 77-9; (iii.) 
 133 (with Catana), 134, 145; (v.) 
 207 ; types copied on Punic 
 coins, 147. 
 
 Leopard, Agyrium, 177 ; Centuri- 
 pae, 178. 
 
 Leukaspis, Syracuse, 109. 
 
 Libation-scene, Entella, 91 ; Eryx, 
 90 ; Himera, 67, 68 ; Motya, 95 ; 
 Selinus, 84 ; Solus, 95 ; Stiela, 
 92'. See also Sacrifice. 
 
 Liberty, types of. See Horse (free), 
 Zeus Eleutherios. 
 
 Life, sign of, 229. 
 
 Lighthouse, denarius, 225. 
 
 Lilybaeum, 15, 22, 29, 31, 141; 
 coinage (v.) 211-3, 228. 
 
 Lilybit., 213. 
 
 Lion, Leontini, 77-9, 207 ; Mes- 
 sana, 168 ; Syracuse, 55, 157 ; 
 devouring stag's head, Morgan- 
 tina, 179 ; Heracles strangling, 
 Syracuse, iii ; with palm-tree, 
 Punic, 145. 
 
 head of, Leontini, 48, 79 ; Mes- 
 
 sene, 47. 
 
 skin of, Cephaloedium, 217. 
 
 Lipara, 16, 19, 28, 30; allied with 
 Tyndaris, 181 ; coinage (iv.) 181, 
 182 ; (v.) 202, 203, 215, 216. 
 
 Litra, 42. 
 
 Lituus, 226. 
 
 Livia, head of, Panormus, 209. 
 
 Locri, Messana alHed with, 69. 
 
 Locust, Acragas, 119. 
 
SUBJECTS 
 
 247 
 
 Longane, coinage (ii.) 92. 
 
 Lyre of Apollo, Catana, 133 ; 
 Hadranum, 176; Halaesa, 211 ; 
 Leontini, 79 ; Lilybaeum, 212, 
 213 ; Melita, 228, 229 ; Syracuse, 
 118; Tauromenium, 171, 199. 
 
 M. 
 
 M, Punic initial of Morgantina, 142. 
 
 Ma, 95. 
 
 Maenad with panther, Taurome- 
 nium, 200. 
 
 Mag. Pius Imp. Iter., 225. 
 
 Mai . . ., engraver, Himera, 127, 
 147. 
 
 Maiden-Goddess. See Persephone. 
 
 Malta. See Melita. 
 
 Mamertines, 28-30; coinage at 
 Messana (iv.) 168-70 ; (v.) 217 ; 
 types copied at Lipara, 182. 
 
 Marcellus besieges Syracuse, 32, 
 
 33- 
 Marcellus, C. Claudius, 224. 
 Marcius (G.), 216. 
 Mars sacrificing, Panormus, 208. 
 
 See also Ares. 
 Marsala. See Lilybaeum. 
 Mataurus, coins attributed to, 185. 
 Mechasbim, 143. 
 
 ' Medallions.' See Decadrachms. 
 Megara, 15, 17, 92; coinage (iii.) 
 
 139- 
 
 Melita, 14 ; coinage (v.) 227-9. 
 Melkart, head of, Ras Melkart, 
 
 143- 
 
 Menae (Menaenum), coinage (v.) 
 221. 
 
 Meno of Egesta, 28. 
 
 Mercenaries in Sicily, 28 foil. 
 
 Messana (Zancle, Messene), 19, 25, 
 29, 3i» 37 ; coinage (i.) 47 ; (ii.) 
 69-71; (iii.) 130, 131; (iv.) 167, 
 168 (see also Mamertines) ; light- 
 house of, 225; relations with 
 Athens, 71 ; with Croton, 71 ; 
 with Locri, 69; with Rhegium, 
 
 46, 47, 217 ; with Syracuse, 71 ; 
 
 types copied by Phoenicians, 
 
 147. 
 Messene. See Messana. 
 Metals used for coins, 2. 
 Metapontum, 38. 
 Metellus, L. Caecilius, victor of 
 
 Panormus, 30, 31. 
 Metellus, L. Caecilius, governor of 
 
 Sicily, 208. 
 Mill-sail incuse square, 39, 40, 44. 
 Monograms, Aj/, 155; Att or Ha, 
 
 171 ; Ka/i or Mar, 184, 185 ; Uap, 
 
 208 ; Por, 2fy^ ; T/x or lo-, 194. 
 Monster, horned human head, hen's 
 
 feet, &c., Himera, 69. 
 Moon-goddess, Gaulos, 230, 
 Morgantina, coinage (ii.) 90; (iii.) 
 
 139. 142 ; (iv.) 178, 179. 
 Motya, 15; coinage (ii.) 94, 95; 
 
 (iii.) 140, 141. 
 Mtua, Punic for Motya, 140, 
 Mule-car, Messene-Messana, 47, 
 
 69, 70, 130. 
 Mummy of Osiris, Melita, 228. 
 Munatius (L.), 214. 
 Mun. Hennae, 2.1^. 
 Murex-shell, Panormus, 93; Punic, 
 
 146'. 
 Mussidius (L.), 215. 
 Mycenaean culture in Sicily, 13. 
 Mylae, 30. 
 
 Myr . . . , engraver, 121. 
 Myron, his Apollo at Acragas, 
 
 199. 
 Mytistratum, coinage (iv.) 179. 
 Myttones, 33. 
 
 N. 
 
 Nacona, coinage (iii.) 139 ; (iv.) 
 184 ; (v.) 222, 223. 
 
 Nasidius, Q., 226. 
 
 Naulochus, 34. 
 
 Naxos (Aegean), coins with wine- 
 cup, 39. 
 
 Naxos (Sicilian), 7, 15, 19, 37, 170 ; 
 
248 
 
 INDEX I 
 
 coinage (i.) 39, 44; (ii.) 72-4; 
 
 (iii.) 131, 132. 
 Neetum, 217. 
 Nephthys, Isis and Osiris, Melita, 
 
 228. 
 Neptune, head of) denarius, 225. 
 
 See also Poseidon. 
 Neptuni, 226. 
 Nereis, Queen, 192. 
 * New Artist' of Syracuse, his 
 
 decadrachm, 103-5. 
 ' New City of Carthage,' coinage, 143. 
 ' New ' coinage, 175. 
 Nike. See Victory, 
 ^nn, Phoenician name of Malta, 228. 
 
 O. 
 
 Oak-wreath, Dodonaean, Syra- 
 cuse, 163 ; worn by Apollo, 133. 
 
 Oanis, R. at Camarina, 125. 
 
 Obol, 41-3. 
 
 Obverse and reverse, 5, 228. 
 
 Octavian, 34. See Augustus. 
 
 Octobol, 42. 
 
 Odysseus, brooch of, 139. 
 
 Olive-leaves, Camarina, 127. 
 
 Olive-wreath, Camarina, 51 ; Ma- 
 taurus (?), 184 ; Mytistratum, 179. 
 
 Olympia, Anaxilas victorious at, 
 47 ; Himera and, 67, 128. 
 
 Omphalos, Mamertines, 170 ; 
 Tauromenium, 200. 
 
 Ophelas of Cyrenaica, 26. 
 
 Oppius (M.) Capito, 209. 
 
 Order personified, Gela, 166. 
 
 Ortygia, 15, 24, 33, 44, 45. 
 
 Osiris, mummy of, with Nephthys 
 and Isis, Melita, 228; with four 
 wings, 229. 
 
 Outlines, doubling of, on early 
 coins, 44, 130. 
 
 Owl, Lipara, 203 ; Syracuse, 156, 
 197 ; Tauromenium, 171 ; hold- 
 ing lizard, Camarina, 127; stand- 
 ing on amphora, Calacte, 221. 
 
 Ox, head of. Henna, 178. Cp. Bull. 
 
 P. 
 
 Palankaios, R., Agyrium, 139. 
 
 Palermo. See Panormus. 
 
 Palice, 18. 
 
 Palm (dwarf) and greaves, Cama- 
 rina, 80. 
 
 Palm-tree, Motya, 141 ; Punic, 145, 
 with lion or horse, ib:d. 
 
 Pan dancing before busts. Uncer- 
 tain, 223; seated, Messana, 130. 
 
 head of, Messana, 130. 
 
 Panoply in exergue of Syracusan 
 decadrachms, 98, 100. 
 
 Panormus, 15, 30, 31, 35, 209; 
 coinage (ii.) 92-4; (iii.) 147; 
 (iv.) 180 ; (v.) 207-10 ; gold coins 
 attributed to, 171. 
 
 Pantellaria. See Cossura. 
 
 Parme . . ., engraver, Syracuse, 
 109. 
 
 Paropus, coinage (v.) 221. 
 
 Patron, head of, Haluntium, 222. 
 
 * Paymasters ' coinage, 143 f. 
 
 Pedestal, bull on, Selinus, 84 ; 
 chariot-group on, Syracuse, 100. 
 
 ' Pegasi,' of Corinth, 142, 173 ; 
 Leontini, 134; Syracuse, 117, 
 
 150, 154, 1585 187. 
 
 Pegasus, Entella, 183 ; Eryx, 142 ; 
 Nacona, 184; Punic, 146^ ; Tauro- 
 menium, 200. See also Pegasi. 
 
 Pellet distinguishing issue, Syra- 
 cuse, 108. 
 
 Pelops in chariot, Himera, 67, 128. 
 
 Pelorus, Cape, 37; personified, 
 Messana, 130 131, 168. 
 
 Pentalitron, 65. 
 
 Pentonkion, 217. 
 
 Persephone, coins consecrated to, 
 157 ; driving chariot, Segesta, 
 135 ; Syracuse, 64. 
 
 head of, Acragas, 210 ; Aetna- 
 
 Inessa, 182, 220; Centuripae, 
 178, 219; Entella, 183; Nacona, 
 184 ; Punic, 142, 144, 146 ; Syra- 
 cuse, 44, 64, 99, 102, 103, 104, 115, 
 
SUBJECTS 
 
 249 
 
 154, 156, 158, 187, 193, 194, 196, 
 
 205 ; Tyndaris, 173. 
 
 Persephone, Pelorias assimilated 
 to, 168. 
 
 rape of, 178, 214, 215. 
 
 Petra, coinage (v.) 221. 
 
 Phalaris, 16. 
 
 Pheraemon, Messana, 131, 168. 
 
 Philip II of Macedon, influence of 
 his coinage, 154. 
 
 Philistis, portrait of, Syracuse, 190, 
 191 ; as Demeter, 193. 
 
 Phintias (city), 219. 
 
 Phintias, tyrant of Acragas, 28, 165, 
 166, 219. 
 
 Phoenicians, coinage in Sicily (ii.) 
 92-5; (iii.) 116, 140-8; in Spain, 
 »S:c., 188; colonies, 14, 36; in- 
 fluence in Maltese group and 
 Cossura, 227 f.; wars in Sicily, 
 17, 20 f., 30 f., 53 f. ; weakness in 
 art, 92 ; weight-standard, 188. 
 
 Phrygillus, engraver, Syracuse, 64, 
 
 65, 113- 
 Phthia, head of, Syracuse, 162. 
 Piacus, coinage, 138. 
 Pindaric Odes to Psaumis, 81, 125. 
 Pine-trees of Aetna, 75. 
 Pistrix. See Sea-monster. 
 Plated decadrachm of Syracuse, 115. 
 Plough, Leontini, 207 ; bird perched 
 
 on, Centuripae, 219; Leontini, 
 
 207 ; drawn by winged snakes, 
 
 Henna, 214. 
 Pompeius (Cn.) the Great, head of, 
 
 226. 
 Pompeius (Cn.) the Younger, head 
 
 of, 226. 
 Pompeius, Sextus, 34, 206, 225, 
 
 226; head of, 226. 
 Por, monogram, 209. 
 Porcius (M.) Cato, 208. 
 Portraiture, 186, 189, 191, 193, 195. 
 Poseidon, figure of, seated, Panor- 
 
 mus, 93; wielding thunderbolt, 
 
 Zancle, 70. 
 
 Poseidon, head of, Lipara, 216 ; Mes- 
 sana, 168 ; Nacona, 223 ; Solus, 
 219; Syracuse, 193, 198. See 
 also Neptune. 
 
 Praef. Clas. et Orae Marit, ; ex S. C, 
 225. 
 
 Priest's cap, Melita, 228. 
 
 Prize arms. See Panoply. 
 
 vases, Camarina, 126. 
 
 Proculus. See Domitius. 
 
 Prokles, engraver, Naxos, 131 ; 
 Catana, 132. 
 
 Prow. See Ship. 
 
 Pruning-hook, denarius, 224. 
 
 Psaumis of Camarina, 8t, 125. 
 
 Ptolemy I, influence of coinage of, 
 156, 160, 162. 
 
 Pyrrhus, king of Epirus, 28, 29 ; 
 coinage in Sicily, 161-3. 
 
 Pythion of Lilybaeum, 212. 
 
 Ram, Panormus, 208 ; sacrificed, 
 Gela, 167, 219; Syracuse, 109, 
 no. 
 
 Ram's head, Melita, 228. 
 
 Ram's horns, head with. See Zeus 
 Amnion. 
 
 Ras Melkart, coinage (iii.) 142, 143. 
 
 Rein, broken, motif of Euaenetus, 
 62, 63. 
 
 Religious significance of types, 7. 
 
 Re-struck coins, 173, 174 f. 
 
 Reverse, 5. 
 
 Rhegium, 19, 21, 38, 41, 46, 47, 69, 
 217. 
 
 Rhodian colonies in Sicily, 16. 
 
 Rings, circulation of, 37. 
 
 River-god, represented by bull, 
 Selinus, 84, 85; by bull with 
 human head, Entella, 91 ; Se- 
 linus, 86; Stiela, 92 (see also 
 Bull}\ by hound, see Crtmisus; 
 by human figure, Acragas, 120 ; 
 Leontini, 207 ; Segesta (see Cri- 
 misus) ; Selinus, 134 ; Solus, 95 ; 
 
250 
 
 INDEX I 
 
 Stiela, 92 ^ ; by human head, 
 Piacus, 138 ; Punic, 146 ^ ; Syra- 
 cuse, III, 151 ; Uncertain, 223. 
 See also Acragas, Amenanus, 
 Assinus, Crimisus, Gelas^ Hy- 
 psas, Mataurus, Selinus. 
 
 ^rk, Punic for Eryx, 142. 
 
 Romans, in Sicily, 30-3 ; influence 
 of their coinage, 188, 192, 203, 
 206 ; issue coins in Sicily, 223-6 ; 
 relations with Mamertines, 169. 
 
 Rose, Acragas, 65. 
 
 Rsmlkrf, Ras Melkart, 142. 
 
 Rufus, L. Clodius, 211. 
 
 Rufus, Sextus, 211. 
 
 Sacrifice, scene of, Gela, 167, 219 ; 
 
 Segesta, 135; Selinus, 134; 
 
 Thermae, 218 ; Tyndaris, 202. 
 
 See also Libation- scene. 
 Salassus Comitialis, 211. 
 Samians in Zancle, 46, 47. 
 Sarapis, head of, Menae, 221 ; 
 
 Syracuse, 204; conjoined with 
 
 head of Isis, Catana, 205 ; jani- 
 
 form, ibid. 
 Sardinians, coin struck for, 201. 
 Sardus, 201. 
 Saviours, Dioscuri as, 173. See also 
 
 Scallop-shell, Motya, 95; Syra- 
 cuse, 61 ; Zancle, 38 ; with dol- 
 phin, Hipana, 92; Motya, 95; 
 Punic, 146^; Zancle, 70. 
 
 Scipio restores statues to Thermae, 
 218 ; to Tyndaris, 202. 
 
 Scylla, Acragas, 121, 122; dena- 
 rius, 225, 226 ; Syracuse, 64. 
 
 Sea-god. See Poseidon. 
 
 Sea-monster (pistrix), Catana, 49, 
 58 ; Syracuse, 58. 
 
 Sea-star. See Star-Jish. 
 
 Segesta (city), 13, 19, 20, 31, 86-9, 
 213 ; coinage (ii.) 86-90 ; (iii.) 
 
 135; (iv.)i74; (v.) 213; relations 
 with Athens, 88 ; with Erj^x, 90 ; 
 types imitated at Motya, 94 ; at 
 Panormus, 93. 
 
 Segesta (nymph), head of, 87, 89. 
 
 Selinon-plant, Selinus, 51, 52, 83-5 ; 
 Solus, 95. 
 
 Selinus (city), 15, 19, 20, 31, 84, 88 ; 
 coinage (i.) 5, 43, 51, 52 ; (ii.) 83- 
 6; (iii.) 134; types imitated at 
 Solus, 95. 
 
 Selinus, R., 84. 
 
 Sella curulis, Melita, 229. 
 
 Sempronius. See Atratinus. 
 
 Senate, coins issued by order of, 
 225. 
 
 Sepia (squid), Syracuse,46, 113, 118. 
 
 Serpent, beside head of Apollo or 
 Asklepios, Acragas, 198 ; beside 
 head of Athena, Morgantina, 179 ; 
 between feet of lion, ibid. ; caress- 
 ed by female figure, Selinus, 86 ; 
 encircling altar, Selinus, 85 ; en- 
 circling omphalos, Taurome- 
 nium, 200 ; encircling staff", 
 Acragas, 210; Syracuse, 205; 
 encircling tripod, Lilybaeum, 
 212. See also Eagle. 
 
 Serpents, winged, drawing plough, 
 Henna, 214. 
 
 Shell-fish. See Murex, Scallop- 
 shell. 
 
 Shield, with helmet device, Cama- 
 rina, 80. 
 
 Ship, denarius, 226 ; prow of, Li- 
 para, 216 ; stern of, Lipara, 203. 
 
 Sicans, 13, 36. 
 
 Siceliotes, coinage of (v.) 193 ; 
 federation of, 24, 26, 29, 30. 
 
 Sicels, 13, 18, 19, 21, 36. 
 
 Sicily, indicated by female head, 
 ' Alliance,' 175 ; Hadranum, 176 ; 
 Morgantina, 178. See also Con- 
 cord, Triskeles. 
 
 Sickle-shaped harbour of Zancle, 
 37- 
 
SUBJECTS 
 
 251 
 
 Siculo- Punic coinage. See Phoe- 
 nicians. 
 
 Silanos, 121, 122. 
 
 Silenus, figure of, bathing, Himera, 
 67 ; drinking, Naxos, 73, 74, 131, 
 132 ; riding on ass, Nacona, 133 ; 
 with river-bull, Catana, 49. 
 
 head of, Aetna, 74 ; Catana, 
 
 74,133. 
 
 Silera, cpinage (iv.) 179-80. 
 
 Slave-revolts in Sicily, 34. 
 
 Solus, 15; coinage (ii.) 95; (iii.) 
 141, 142 ; (v.) 219. 
 
 Sopatros, 220. 
 
 Sosion, engraver, Syracuse, 61. 
 
 Sosipolis, head of, Gela, 81, 124. 
 
 Sow with pig, Abacaenum, 139. 
 
 Spanish troops in Sicily, 226. 
 
 Spartan relations with Sicily, 22, 25. 
 
 Spearman, mounted. See Horse- 
 man. 
 
 Spits of metal, circulation of, 37. 
 
 Spokes of wheel (?), three, Myti- 
 stratum, 179. 
 
 Square incuse, 5. 
 
 Squid. See Sepia. 
 
 Staft" entwined by serpent, Acra- 
 gas, 210 ; Syracuse, 205. 
 
 Stag's head, hound on, Segesta, 88. 
 
 Standards. See Weight-standards. 
 
 Star, Gaulos, 230; Mataurus(?), 184; 
 Syracuse, 113, 158, 159; Tyn- 
 daris, 172, 201 ; surmounting cap, 
 Tyndaris, 201 ; two stars, Tyn- 
 daris, 172. 
 
 Star-fish, Syracuse, 114, 174. 
 
 Stesichorus, 66, 185 ; figure of, 
 Thermae, 218. 
 
 Stiela, coinage (ii.) 92. 
 
 Straton, 121. 
 
 Struck coins, 3. 
 
 Sun-god. See Apollo, Helios. 
 
 Swan, Camarina, 51, 127; Punic, 
 146 ^ 
 
 Swastika, Eryx, 136; Panormus, 
 93; Punic, 146 ^ 
 
 Symbols, 6. 
 
 Syracuse, 15-35 ; coinage (i.) 5, 43- 
 
 6; (ii.) 53-65; (iii.) 97-ii9 ; (iv.) 
 149-64 ; (v.) 186-98, 203-5 ; coins 
 re-struck by other cities, 174, 184 ; 
 types copied by Mamertines, 169; 
 on Punic coins, 94, 95, 140-7. 
 
 Tablet carried by Victor}'^, 62, 76, 
 127. 
 
 Tauromenium, 24, 29, 35, 170 ; 
 coinage (iv.) 170, 171 ; (v.) 199. 
 
 Terentius Culleo (Q.), 212. 
 
 Terillus, 17. 
 
 Terminal statue, 88. 
 
 Tetradrachm, 41-3. 
 
 Theoxena, wife of Agathocles, 156. 
 
 Thera (?), coinage (v.) 223. 
 
 Thermae, 30, 35, 129 ; coinage (iii.) 
 129 ; (v.) 217, 218 ; types copied 
 on Punic coins, 147. 
 
 Thero of Acragas, 17, 53, 65, 66. 
 
 Thrasybulus, 18. 
 
 Thrasydaeus, son of Thero, 66. 
 
 Three-legged symbol. See Tris- 
 keles. 
 
 Thunderbolt, Acragas, 198 ; Aetna- 
 Catana, 74, 75 ; Aetna-Inessa, 
 183; Agyrium, 177; 'Alliance,' 
 175 ; Catana, 74, 75 ; Centuripae, 
 PI. XIV. 21; Panormus, 210; 
 Syracuse, 151, 158, 160, 194, 196 ; 
 Tyndaris, 202 ; wielded by Posei- 
 don, Zancle, 70. See also Eagle. 
 
 Thyrsus, Naxos, 74. 
 
 Timoleon, 23-5, 151, 152, 182, 183 ; 
 effect on coinage, 149 f, 174; 
 electrum attributed to, 118. 
 
 Tin-plated (?) decadrachms of Syra- 
 cuse, 115. 
 
 Tintetradrachms of Dionysius, 116. 
 
 Tongs, Lipara, 216. 
 
 Torch, Messana, 168 ; Syracuse, 
 157; and ears of barley, 'AUi- 
 
252 
 
 INDEX I 
 
 ance,' 175 ; and goat, Henna, 178; 
 in oak- wreath, Syracuse, 163. 
 
 Torches, two, crossed, Syracuse, 
 205. 
 
 Trident, Lipara, 182 ; Nacona, 223 ; 
 Roman denarius, 225 ; Syracuse, 
 112, 193; with dolphins, Mes- 
 sana, 168; Syracuse, 198. 
 
 Trinacrus, figure of, denarius, 225, 
 226. 
 
 Tripod, Acragas, 65 ; Croton, 71 ; 
 Halaesa, 211 ; Leontini, 79, 134 ; 
 Lilybaeum, 212, 228 ; Melita, 228, 
 229; Morgantina, 179; Roman 
 aureus, 226; Syracuse, 118; 
 Tauromenium, 199, 200 ; Zancle, 
 71 ; encircled by serpent, Lily- 
 baeum, 212. 
 
 Triptolemus, Henna, 214. 
 
 Triquetra. See Triskeles. 
 
 Triskeles, Syracuse, 152-8; Gor- 
 gon's head in centre of, Panor- 
 mus, 208-10 ; Roman denarius, 
 224; Syracuse, 155; held by 
 figure. See Trinacrus. 
 
 Trophy, Syracuse, 157 ; naval, Ro- 
 man denarius, 225 ; Victory 
 crowning, victoriatus, 188, 189 ; 
 Victory erecting, Syracuse, 156. 
 
 Tunny-fish, Solus, 219. 
 
 Tyche (ToiTrjp, 40, See also Fortune. 
 
 Tyndaris (city), 35, 171 ; allied with 
 Lipara, i8t ; coinage (iv.) 172, 
 173 ; (v.) 201, 202, 215. 
 
 Tyndaris (Helen), head of, 172, 
 
 Types of coins, 6. 
 
 Tyrrhenians, coinage (iv.) 184. 
 
 Veiled female head. See City- 
 goddess, Demeter, Philistis. 
 
 Venus, head of, denarius, 224. 
 See also Aphrodite. 
 
 Verres in Sicily, 34, 213, 214. 
 
 Victoriatus, Roman, 188, 189. 
 
 Victory, figure of, Camarina, 51, 
 
 126; Catana, 49; Himera, 128; 
 above chariot, see Chariot {rac- 
 ing) ; carryingaphlaston, Himera, 
 68; carrying tablet, Himera, 127 ; 
 Syracuse, 62, 76; carrying tro- 
 phy, Syracuse, 162, 163, 197 ; 
 crowning goddess, Cossura, 230 ; 
 crowning trophy, victoriatus, 
 188, 189; driving chariot, Syra- 
 cuse, 161, 163, 187, 191, 196, 197, 
 205 ; erecting trophy, Syracuse, 
 156 ; seated, Morgantina, 139. 
 
 Victory, head of, Syracuse, 44, 55, 
 108. 
 
 Vine-branch sceptre, Aetna, 75. 
 
 Vine-twig with grapes, Naxos, 39. 
 
 W. 
 
 Warrior, Aetna-Inessa, 220 ; 
 Gaulos, 230 ; Mamertines, PI. 
 XIV. 19 ; Silera, 179 ; Solus, 219. 
 Cp. Leukaspis, Pheraemon. 
 
 Waves, conventionally represent- 
 ed, 126. 
 
 Weight-standards, 2, 41, 158, 187-9. 
 
 Wheel, Gela, 83 ; Syracuse, 46, 63, 
 III, 113. See also Spokes. 
 
 Wine-god. See Dionysus. 
 
 Winged figure, charioteer, Syra- 
 cuse, 63 ; Egypto-Phoenician 
 deity, Melita, 228, 229. See also 
 Athena, Victory. 
 
 Wreath, above chariot, Gela, 82 ; 
 Selinus, 134 ; above horse, Gela, 
 83 ; head in, Motya, 95 ; of oak- 
 leaves, Syracuse, 163. See also 
 Laurel-wreath, Olive-wreath. 
 
 Z. 
 
 '^, Phoenician inscription, Cossura, 
 230. 
 
 Zacynthus, Dion's coinage at, 118, 
 119. 
 
 Zancle, 14, 15, 37 ; coinage (i.) 5, 
 37-9, 46 ; (ii.) 70, 71 ; types imi- 
 tated at Hipana and Motya, 95. 
 See Messana. 
 
SUBJECTS 
 
 253 
 
 Zeus, figure of, Catana- Aetna, 75 ; 
 Galaria, 91; Syracuse, 196; Tyn- 
 daris, 202. 
 
 head of, bearded, Abacaenum, 
 
 91 ; Acragas, 164, 198 ; Aetna- 
 Inessa, 183 ; Agyrium, 177, 220 ; 
 ' Alliance,' 175 ; Centuripae, 219 ; 
 Eryx, 173; Panormus, 208; Syra- 
 cuse, 149-51, 160, 196, 205; Tyn- 
 daris, 201, 202. See also Jupiter. 
 
 head of, bearded, with ram's 
 
 horns, Catana, 206. 
 
 Zeus, head of, young, Mamertines, 
 
 169, 170 ; Syracuse, 152, 160. 
 
 Ammon, 206. 
 
 Eleutherios (of Freedom), 
 
 149-51, 160, 173, 175, 177, 183. 
 
 Hellanios, 152, 160, 169, 170. 
 
 Ourios, 196. 
 
 Saviour, 91, 199. 
 
 , symbols of. See Eagle, 
 
 Thunderbolt. 
 Ziz, Punic inscription, 94, 140, 
 
 146-8. 
 
 INDEX II 
 
 GREEK 
 
 *:^* As the words in this index 
 they are printed without accents or 
 breathing is only inserted when it 
 the coin. 
 
 A^aKaiviVy 220. 
 A^aKai-vivoVj 91, 
 AyaOoKXeios, 157. 
 AyadoKXeos, 156. 
 AyadoKXfos ^aaiXfos, 158. 
 AyaOypvos, 172. 
 Ayv, 177. 
 Ayvpivaicov, 177. 
 AdpaviTdVj 176. 
 Adpavov, 169. 
 
 aOXo, 100, 105. 
 AiTPai, 74. 
 AiTvaiov, 75. 
 AiTvaKov, 182. 
 AKpa, 50. 
 
 AKpayavTivoiv, 164. 
 AKpayavTos , 50, 1 65. 
 A/cpayar, I20, 164. 
 
 represent inscriptions on the coins, 
 the smooth breathing, and the rough 
 is represented by an actual sign on 
 
 AXaicras Apx-, 21 1. 
 
 AXai(riva>v, 175. 
 
 AX/cof, 179. 
 
 AN, monogram, 155. 
 
 AIT, monogram, 171. 
 
 AttoXXcov, 133, 176. 
 
 ArroXXcovof, 200. 
 
 Apedoaa, 106. 
 
 Apeoy, 169, 217. 
 
 ApxayfTac, 170, 1 75, 199. 
 
 Apx{(t>vid(ias)y AXotaas, 211. 
 
 AtrxXaTToy, 2IO, 
 
 AaaLvoSf 132. 
 
 Aaa>P€vs, 216. 
 
 ArpaTiiov, 212, 222. 
 
 Bo, 191. 
 
 BaaiXcos AyaBoKXfos, J 58. 
 
254 
 
 INDEX II 
 
 BamXeoy UpcovoSy 187, 189. 
 Baa-iXeos l€pa}vvfxov, 194. 
 BacriXeos' <E>ivrta, 166. 
 BacriXecos Ilvppov, 163. 
 Baa-LXia-aas ^iXioriSoy, 190. 
 
 TaXa, 91. 
 TaXapivoVy 9I. 
 FavXiTCdUy 230. 
 r^Xas, 10, 50, 166. 
 TfXaiov, 9. 
 TeXcoicoVy 167, 219. 
 TeXwioy, 192, I98. 
 r. MapKios Ae. T. Aaravevs Avo 
 216. 
 
 Aa, 71. 
 
 Aapar, Aaparrjp, 178, 
 
 AavKXaiov, 70. 
 
 Aajz/cXf, 37. 
 
 Aios- EXeu^fptou, 160. 
 
 Aios EXXnuiov, 160. 
 
 Aios Meo", 167. 
 
 Aios 2(OTi]pos, 199. 
 
 Auo Av8p, 216. 
 
 E for f, r,, u, 9. 
 
 E-yeo-raioj/, 89. 
 
 Eyeoraio)!/, 89, 135, 213. 
 
 Ek Ke0aXotStou, I37. 
 
 EXeu^epiof, Zeuy, 149, 175, 177, 183. 
 
 EXevOepLOVy Aios, 160. 
 
 EXXaviov, Aios", 160. 
 
 Ej/, 178. 
 
 'Evpaiovy 91. 
 
 Efvaiuji', 178. 
 
 EvreX, 92. 
 
 EvreXXaf, 183. 
 
 Ei/reXXtfcoi;, 221. 
 
 E^a/ceoTiSa?, I26. 
 
 Etti Ikctu, 160. 
 
 Em ^coirarpov, 220. 
 
 Ep^rjaaivcovy 178. 
 
 Epi;fctyo, 90. 
 
 Epu/ctroi', 51, 136. 
 
 EpvKivcoVj 173, 213. 
 
 Evatvero, 62. 
 Ev^...,63. 
 
 EuxXeiSa, 108. 
 Eu/xfj'ov, 62. 
 Evfxrjvov, 61. 
 Evvo/jiia, 166. 
 
 Z6i;s EXeu^epioy, I49, 175, 177, 183. 
 
 H, first appearance of, 9. 
 
 HpaicXeiSay, 132. 
 
 Hpa/cXftcoraf 6k KecjiaXoidiov, 137. 
 
 Qeppirau, 129, 2l8. 
 Qeppirau Ipepnidiv, 2l8. 
 QrjpaKov, 223. 
 
 laKtj/, 138. 
 laroi/, 40. 
 
 If, 193- 
 
 lepa'i-oy, 187, 189, I92, 193. 
 lepcovvfiov, jSacriXfOf, 194. 
 iKfra, eTTi, 160. 
 'l/ue, 40. 
 Ipfpa, 66. 
 I/if pa, 10, 68, 128. 
 'lp.€pniop, 66. 
 Ipepaiov, 68. 
 IpepaioiJ'j 128, 218. 
 iTrai/nrai', 92. 
 Imrapis, 1 26. 
 IpvKa^i^, 90. 
 IpvKci^u^, 136. 
 12, monogram, 194. 
 
 Ka, 127. 
 
 Kan'ov, 175' 
 
 KAM, monogram, 184. 
 
 Kafxapiun, 126. 
 KapapivaioVf 5I, 83. 
 Ka/XTTavcoj/, 183, 184. 
 Karavatoi', 49, 76. 
 Karai/ator, 76. 
 KaraJ/aicoj/, 133. 
 Karnve, ID, 74. 
 Kei'ToptTrtva)!', 178. 
 
GREEK 
 
 255 
 
 Kf0a, 217. 
 
 K€(f)a\oi8iov, 137, 216. 
 Ki/i, 100. 
 KifjLapa, 128. 
 Kifiia-a, 180. 
 Kifxcop, 106. 
 Kopas, 10, 157. 
 KpifjLiaa, 180. 
 Kpoj/cs-, 128. 
 
 Aeo//, 133. 
 
 AeotTii/oi/, 48, 78, 134, 145. 
 
 AevKoaKis, 109. 
 
 At, 203. 
 
 AiXv^auraLs, 2T2. 
 
 AiXvlBauTnv, 212. 
 
 AiTT, 203. 
 
 Aiirapaiov, 181, 182, 203. 
 
 AinapaKov, 181, 2l6. 
 
 Ao, 69. 
 
 Aoyyavaiov, 92. 
 
 Mat . . . , 127. 
 MaufpTLVOv/JL, 170. 
 Ma^fprtvcoy, 168, 217. 
 MapKtoff, r., 216. 
 MAT, monogram, 185. 
 MfXiraicov , 228. 
 Mea, Aio9, 167. 
 Me(ro"ni/a, 70. 
 MecraavLov, 47. 
 Mco-o-awwf, 168. 
 Mea-a-fvioVi 47. 
 MopyafTti/o, 90. 
 Mopyaj/rti/coi/, I78. 
 MoTvaiov, 94. 
 Mu, 179. 
 MuTt, 179. 
 
 N, 223. 
 Na, 223. 
 
 "SaKOiucKov, 184. 
 
 No/CQ)J^7;y, 184. 
 
 TSiaiiov, 39, 74. 
 
 Na|i<ui/, 132. 
 
 NtKttj 19, 68. 
 
 -vij/or. See A^aKai-VLvov. 
 
 O for 0, o), ou, 9. 
 Ofxnvoia, 180, 208. 
 
 n, 217. 
 
 IIA, monogram, 171. 
 
 UaXayKaios, 139. 
 nay, 130. 
 
 UavopfjLLTav, 207-9. 
 Ilarop/xtriAcoJ', 93. 
 Uavoppo, 93. 
 
 DAP, monogram, 208. 
 
 llapfxe . . ., 109. 
 neXo\//', 67. 
 IleXcopiaf, 131, 168. 
 
 mv, 10, 65. 
 
 [n]ia/aj/, 138. 
 Uoa-eidav, 168. 
 npoKXr/f, 131. 
 TIvSicov, 212. 
 Ilup/jou, jSao-tXecof, 1 63. 
 
 (fpo, 71. 
 
 Sa-yeo-ra^tS, 86. 
 2ap8a)t, 200, 201. 
 SeyearaCia, 89, 1 35. 
 Seyfo-n.Ci^, 86, 135. 
 Se-yeora^t^f/ut, 86. 
 Seyfo-raioi/, 90. 
 Sf-yecrraicoi/, 135, 213. 
 2fXi, 52. 
 "SeXivoes, 86. 
 SeXtvoi/rtoj/, 84, 86, 95. 
 SeXtj/of, 84, 86. 
 SiKeXta, 175. 
 StKeXtcoTOJ/, 193. 
 SiXafOff, 121, 122. 
 ^ikepaicov, I79. 
 SoXoiTtyot', 95, 142. 
 2o\ovTiV(t)V, 219. 
 SocriTroXty, 81. 
 2oT(p, 40, 91. 
 
 '2oTT]p, 68. 
 
 Srparo)!^, 121. 
 '2vppaxiK0Vj 10, 174. 
 Supa, 44. 
 2vpaKO(rioi, 197. 
 
256 
 
 INDEX II 
 
 2vpaKO(Tioi TeXcavos, I92, I98. 
 
 SupaKoaiot XII, 192. 
 
 2vpaKO(Tioi:' XIII, 197. 
 
 ^vpaKoaiov, 55, 1 17, 134, 150. 
 
 ^vpaKoai(ov, 150, I54, 157, 160, 193,197. 
 
 2vpaqo(nov, 44. 
 
 ScoTrarpou, em, 220. 
 
 2a)(nos, 210. 
 
 2(C(TL(i}v, 61. 
 
 ScoreipH, 157, 158, 166. 
 
 2a)rJ7pe$-, 173. 
 
 ScoTT^poy, Aios, 199. 
 
 TavpopepiraVf 171. 
 TM, monogram, 194. 
 TwSaptSof, 173. 
 Tui'Sapiy, 172. 
 
 Tvv8apiTaUy 1 73, 1 82. 
 Ti'ppj;, 184. 
 
 Y/x = Mv, 179. 
 'Yx|.a9, 85. 
 
 ^epaificiv 131. 
 
 $t, 165. 
 
 $i\to-TiSo9, l3a(ri\i(raasy T90 
 
 ^tj^rta, ^aaikecs, 1 66 
 
 ^pu, 64. 
 
 Opi;yiXA, 64. 
 
 Xotpttor, 132. 
 
 Q, first appearance of, 9. 
 . . . coj/af, 223. 
 
 THE END 
 
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