DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45277#0064
lx
INTRODUCTION.
The main chronological divisions or periods into which the coins of the
ancients fall according to their style are the following :—
Period of I. b. c. 700-480. The Period of Archaic Art, which extends from the in-
Arehaic vention of coining down to the time of the Persian wars. Within these two
centuries there is a gradual development from extreme rudeness of work
to more clearly defined forms, which, however, are always characterized by
stiffness and angularity of style, the distinguishing mark of archaic Greek
art. As a rule the coin-types in this period consist of animal forms or
heads of animals. The human face is of rare occurrence, and, even when
in profile, is drawn with both corners of the eye visible, as if seen from
the front (Fig. 85). The hair is generally represented by minute dots, and
the mouth wears a fixed and formal smile, but withal there is in the best
archaic coin-work, especially about the close of the period, a strength and
a delicacy of touch which are often wanting in the fully developed art of
a later age. The reverse sides of the coins in the archaic period do not
at first bear any type, but merely the impress in the form of an incuse
square (often divided into four quarters (Fig. 118) or into eight or more
triangular compartments (Fig. 195), some deeply indented) of the punch used
foi' driving the ingot of metal down into the slightly concave die in which
the type was engraved, and for holding it fast while it was struck by the
hammer.
In Magna Graecia, Sicily, and in some parts of European Greece the coins
are from the very first provided with a type on both sides. For examples
see B. M. Guide, Plates I-IX.
Period of
Transi-
tional Art.
II. b. c. 480-415. The Period of Transitional Art from the Persian wars to
the siege of Syracuse by the Athenians. In this period of about 65 years
an enormous advance is noticeable in the technical skill with which the
dies of the coins are prepared. The rude incuse square is generally
superseded by a more regularly formed incuse square often containing a
device or a kind of ornamental quartering (Fig. 124) together with, in many
cases, the name of the city or of the magistrate (in an abbreviated form)
under whose jurisdiction the coin was issued. In Asia Minor the incuse
square is for the most part retained down to a much later period than
in European Greece. The devices on the coinage of this period are cha-
racterized by an increased delicacy in the rendering of details, and by
a truer understanding of the anatomical structure of the human body
(Fig. 86) and, towards the close of the 5th century, by greater freedom of
movement. Some of the most delicately wrought and powerfully conceived
Sicilian coin-types belong to the close of this transitional period; cf. the
two eagles devouring a hare on the well-known coins of Agrigentum
(Fig. 68).
Period of III. b. c. 415-336. The Period of Finest Art, from the siege of Syracuse to
Finest Art. yie accession of Alexander. During this period the art of engraving coins
reached the highest point of excellence which it has ever attained, either in
ancient or modern times. The types are characterized by intensity of action,
perfect symmetry of proportion, elegance of composition, finish of execution,
and richness of ornamentation. The head of the divinity on the obverse
INTRODUCTION.
The main chronological divisions or periods into which the coins of the
ancients fall according to their style are the following :—
Period of I. b. c. 700-480. The Period of Archaic Art, which extends from the in-
Arehaic vention of coining down to the time of the Persian wars. Within these two
centuries there is a gradual development from extreme rudeness of work
to more clearly defined forms, which, however, are always characterized by
stiffness and angularity of style, the distinguishing mark of archaic Greek
art. As a rule the coin-types in this period consist of animal forms or
heads of animals. The human face is of rare occurrence, and, even when
in profile, is drawn with both corners of the eye visible, as if seen from
the front (Fig. 85). The hair is generally represented by minute dots, and
the mouth wears a fixed and formal smile, but withal there is in the best
archaic coin-work, especially about the close of the period, a strength and
a delicacy of touch which are often wanting in the fully developed art of
a later age. The reverse sides of the coins in the archaic period do not
at first bear any type, but merely the impress in the form of an incuse
square (often divided into four quarters (Fig. 118) or into eight or more
triangular compartments (Fig. 195), some deeply indented) of the punch used
foi' driving the ingot of metal down into the slightly concave die in which
the type was engraved, and for holding it fast while it was struck by the
hammer.
In Magna Graecia, Sicily, and in some parts of European Greece the coins
are from the very first provided with a type on both sides. For examples
see B. M. Guide, Plates I-IX.
Period of
Transi-
tional Art.
II. b. c. 480-415. The Period of Transitional Art from the Persian wars to
the siege of Syracuse by the Athenians. In this period of about 65 years
an enormous advance is noticeable in the technical skill with which the
dies of the coins are prepared. The rude incuse square is generally
superseded by a more regularly formed incuse square often containing a
device or a kind of ornamental quartering (Fig. 124) together with, in many
cases, the name of the city or of the magistrate (in an abbreviated form)
under whose jurisdiction the coin was issued. In Asia Minor the incuse
square is for the most part retained down to a much later period than
in European Greece. The devices on the coinage of this period are cha-
racterized by an increased delicacy in the rendering of details, and by
a truer understanding of the anatomical structure of the human body
(Fig. 86) and, towards the close of the 5th century, by greater freedom of
movement. Some of the most delicately wrought and powerfully conceived
Sicilian coin-types belong to the close of this transitional period; cf. the
two eagles devouring a hare on the well-known coins of Agrigentum
(Fig. 68).
Period of III. b. c. 415-336. The Period of Finest Art, from the siege of Syracuse to
Finest Art. yie accession of Alexander. During this period the art of engraving coins
reached the highest point of excellence which it has ever attained, either in
ancient or modern times. The types are characterized by intensity of action,
perfect symmetry of proportion, elegance of composition, finish of execution,
and richness of ornamentation. The head of the divinity on the obverse