DOI Page / Citation link:
https://doi.org/10.11588/diglit.49262#0178
GREEK AND ROMAN COINS
[bk. II
158
§ 5. The. Composition of the Type.
Regarded from the point of view of a design, the types of
Greek and Roman coins went through a regular development.
At first the type was usually impressed on the metal, without
any particular regard for its decorative properties. Even in
the earliest period, however, we may note cases in which some
attempt was made to adapt the type to the field. Such a simple
expedient as reverting the head of an animal (Pl. I. 7,12), in order
to make the whole design more suitable to the circular field, is
the most obvious instance of this attempt. A similar motive
inspires the ‘ heraldic ’ arrangement, by which a type is repre-
sented doubled, so as to produce a symmetrical arrangement
(Pl. I. 6). The so-called kneeling (really running) figures, so
common in early Greek art, were for a similar reason also
suitable for coin-types (Pl. I. 5). An advance on this stage
was made when the figure was represented in its natural
attitude, and the circular field filled up by adjuncts, either
purely ornamental or taking the shape of legends or symbols
expressing the authority under which the coin was issued.
The addition of a border enhanced the artistic appearance of
the coin. In the case of the reverse, the type was sufficiently
enclosed by the incuse square \ although in some places a
border was added on the reverse long before the obverse was
thus decorated. In Greek Italy a border was usual from the
first on both sides of the coin, although in Sicily it was as
a rule dispensed with where the incuse circle was employed.
These borders most frequently take the shape of a row of dots ;
occasionally we find a plain line, a cable pattern (Pl. III. 2),
a radiate border, a row of dots between two lines, or two lines
with the interval between them filled with parallel cross-
strokes. These are the chief forms of the purely decorative
border; but there are also instances of the adaptation to the
purposes of a border of something organic to the type. The
best instance of this is the use of the wreath (Terina, Pl. VI. 8) ;
we also find a conventional wave-pattern enclosing the head
1 The early coins of Calymna (Pl. 1. 14) are interesting for the way
in which the shape of the incuse is adapted to the shape of the type—
a chelys.
[bk. II
158
§ 5. The. Composition of the Type.
Regarded from the point of view of a design, the types of
Greek and Roman coins went through a regular development.
At first the type was usually impressed on the metal, without
any particular regard for its decorative properties. Even in
the earliest period, however, we may note cases in which some
attempt was made to adapt the type to the field. Such a simple
expedient as reverting the head of an animal (Pl. I. 7,12), in order
to make the whole design more suitable to the circular field, is
the most obvious instance of this attempt. A similar motive
inspires the ‘ heraldic ’ arrangement, by which a type is repre-
sented doubled, so as to produce a symmetrical arrangement
(Pl. I. 6). The so-called kneeling (really running) figures, so
common in early Greek art, were for a similar reason also
suitable for coin-types (Pl. I. 5). An advance on this stage
was made when the figure was represented in its natural
attitude, and the circular field filled up by adjuncts, either
purely ornamental or taking the shape of legends or symbols
expressing the authority under which the coin was issued.
The addition of a border enhanced the artistic appearance of
the coin. In the case of the reverse, the type was sufficiently
enclosed by the incuse square \ although in some places a
border was added on the reverse long before the obverse was
thus decorated. In Greek Italy a border was usual from the
first on both sides of the coin, although in Sicily it was as
a rule dispensed with where the incuse circle was employed.
These borders most frequently take the shape of a row of dots ;
occasionally we find a plain line, a cable pattern (Pl. III. 2),
a radiate border, a row of dots between two lines, or two lines
with the interval between them filled with parallel cross-
strokes. These are the chief forms of the purely decorative
border; but there are also instances of the adaptation to the
purposes of a border of something organic to the type. The
best instance of this is the use of the wreath (Terina, Pl. VI. 8) ;
we also find a conventional wave-pattern enclosing the head
1 The early coins of Calymna (Pl. 1. 14) are interesting for the way
in which the shape of the incuse is adapted to the shape of the type—
a chelys.