Money in Antiquity, vol. III: History of Mints and Monetary Circulation — 1879

(i) Lecointre-Dapont, Essay on the coins of PoiloUj p. i8 et seq., A. de Barthélémy, Rev. num. 1848, p. 178.

THE LAW IN ANCIENT COINS 251

Ephesians” (t). It is thanks to this frequent meeting of two professions in the same hands, as well as their close and fundamental affinity, that the goldsmiths and the Money trees are sometimes indicated as forming a single trade (2). An inscription from Smyrna emanates from the corporation of coin makers and goldsmiths, 2uvep- yacta Tôv âpyupoxoTCwv xai j^pucojj^owv (3). We even came to be applied improperly, in the sense of the Latin /“ô^r argen- tarius^ the Greek word âpyupoxoTco^ (4), whose composition etymological nevertheless implied in a formal way the one who cuts money into currency (xotctei).

Where they were organized, as in Smyrna, in cor- poration with the goldsmiths, the coiners ceased to understand completely to have the character of public officers, to be pure industrialists like those with whom they were associated. It therefore seems that, in a certain number of Greek cities However, there were no permanent monetary offices or established in an official manner for a fixed time of a more or less long duration, that the manufacture of the currency has been entirely handed over to private industry, a goldsmith bidding under the conditions determined by public authorities all or part of the supply ture of a monetary issue, when it had been decided by a vote of the Senate and the people. This is even what should generally arrive in towns of little im- lift, which only appeared from here and there, for

(1) Aet. Apoit. XIX. 24-41.

(2) Plutarch. Of life. aer. alien. p. 830.

(3) Corp. insert, grc. No. 3154*

(4) Jud. XVII, 4; Jerem. VI, 29; Plutarch. Db placU. philosopher. p. 876; Hierocl. Philog. 263, ed. Drink; Justin. Mart” p. 495,

252 CURRENCY IN ANTIQUITY

special needs and exceptional occasions* 'In these towns, there was no need to have apYupoxoTretbv of the Republic nor even official money permanently nence; consequently, when the opportunity presented itself, it was necessary to milk well use the resources of private industry for the manufacture of species, unless we decide cidât to temporarily bring in the public money from a neighboring and larger town. Simple common sense is enough to make us guess that in such a case, when the manufacturer tion of the currency took place by company of the industry private, we had to take special precautions, impose on the bidder, under the sanction of penalties very severe, obligations analogous to those of the laws of Solon had established in Athens for the engravers of stamps. It was absolutely forbidden to dactylioglyphs to keep the imprints of the seals and stamps at home that they had force-fed (1), so as to prevent anyone from being able to then falsify these stamps by copying them exactly, this which, in ancient habits, would have corresponded to a signature forgery. For good reason, the goldsmith who had undertaken the business of issuing devsdt currencies be required, once manufacturing is completed, to hand over to the public displays the corners and hallmarks that he had grave for this object; that's the only way we could be assured that it would stay exactly within the limits to him set by the public decision which had ordered the creation of currencies, and that he would not continue fraudulently ly manufacturing for his personal profit.

(1) Diog. LaërUl,57.

J

THE LAW IN ANCIENT COINS 253

3. The presence of signatures of the artists who engraved the coins, on some Greek coins of the most beautiful era, is a fact today perfectly established. His: observation was one of the happiest discoveries and the most fruitful that have been made in numismatics since the time of Eckhel.

That the engravers of Hellenic coins were true artists, living in honorable conditions freedom, considered enough even to have been in certain some times and in certain cities allowed to sign their works, this is what attests in a way impossible to con- test the pieces of Cydonîa of Crete where we read NEYANTOl EPOEI (1) and those of Clazomène which bear ©EOAOTOl EPOEI (2), thus placing after the name of the engraver the verb iizoeif (n fait » , which constitutes the usual complement of artist registration forms. In the presence of two such formal examples, numismatists must have wondered ask if, on the monuments which are the subject of their studies, there were no other signatures of the same kind, with a less complete formula, without addition of the verb, but nevertheless possible to determine, and if there were rules which allow us to distinguish with some certainty these names of artists from those of the magistrates responsible responsible, responsible for the manufacture of coins and giving their personal guarantee by affixing their signature. The result of this research was to re- know with certainty the inscriptions of artists in a

(1) Eckhel, DN, t. H, p. 309; Mionnqt, t. U, p. 271, no. 112; ZeUgehr. /. Numism, t. H, pi, i, n** 8.

(2) R. Rochette, Letter to M, Schom, title vignette; Catalog Dupréy pi. II, n^" 288; Friedlander, Zeitêchr. f, Num. t. 1, p. 294; Yoo Sallet, same collection, t. n, p. 9, pi.j, n«9. . .

234 CURRENCY IN ANTIQUITY

certain number of names which appear on the mon- naies, traced in extremely small characters, half-disappeared simulated in general, in an exceptional position^ in an accessory of the type, a headband of the hairstyle, a fold of clothing, in much less visible places than those where the names of the magistrates are shown, who are also always written in larger letters. We have could, in fact, note that between the different pieces which offer the same name under these exceptional conditions^ there always exists, in the execution of types, a relationship of style, of workmanship, of hand, which does not allow one to misunderstand create the works of the same artist.

The first to open the way to these ingenious and brilliant research, was the Duke of Luynes (1). After him, Eaoul Rochette has definitively established the fact of the tures of monetary engravers on a notable quantity of Greek plays (2), and formulated in a very happy manner the rules that allow them to be discerned. But, unfortunately- However, he was not always faithful enough to the rules he had asked himself, and he allowed himself to be led to gain weight disproportionately the list of artists of this class, including registering names which had no right to appear there. A new work which takes up the question with rigorous criticism, surely dismisses the examples alleged to be false, and in the others made allowance for the certain and doubtful, remained to be done after that of Kochette” Science has been waiting for a long time, but it has finally been carried out.

(1) Ann. of Vînst. Arch. t. II, p. 85 et seq.

(2] Letter to M, the Duke of Luyneg on the engravers of Greek coins. Paris, 1831, in'4°; and in his Letter to Mr. Schom, where a chapter is stupid. sacred to monetary engravers. —Yoy. also H. Bruno, Geschiehte der griechischen Kiinsller, t. H, p. 415-438.

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masterfully cut by Mr. Von Sallet (1), who knew deploy the eminent qualities by which one distinguishes oneself still haunt his numismatic works.

It is mainly on the currencies of the Great Greece and Sicily which meet the signatures of ar- tists. Here is the list of those that can be kept there for insured: -

Italy.

Heraclea of ​​Lucania: API2T0IEN02, APIITOZEvoç (2);

EYOPOvtoç (3). Metaponto: APIITOIevoç (4).

Velia: KAEYAnPOY (5), KAEY^ûipou (6);

OIAIITinNOl (7), Pandosia: MAAY2 (8);

(1) Die Ktinsilerinsehriften wif grieehischen Mûnzen, Berlin, 1871; Zu den Kunstlerinsehriften auf griechischen MUnxen, dans la Zeitschr, f, Nu- mism. t. U, p. 1-9.

(2) Iiûhoof-BIumer, Berliner Blatter fur Munzkunde, t. Y, pi. yes, n? 2; Von Sallet, p. 14 and 44.

(3) Imhooî'Blumer, Choice of medals y ip\, y m, n^ 254; Von Sallet» p. 24 and 44; Zeitschr. f. Num. t. II, p. 1.

(4) R. Rochette, pi. iv, no. 32; Von Sallet, p. 14 and 44.

(5) R. Rochette, pi. m, n"* 21.

(6) Von Sallet, p. 30 and 46.

(7) R. Rochette, pi. m, l? 20; D. de Luynes, Choice of medals Greeks, pi. m, n^ 17; Von Sallet, p. 37 and 46.

Perhaps it is necessary to add, according to coins from the same city, HPA: D. De Luynes, Choice of Med, pi. m, n® 16; Von Sallet, p. 25 and 46.

(8) CataU of gr. coins in the Brit. Mus.y ilaly, p. 370, no.2; Zeitschr. f. Num. t. U, p. 2.

256 CURRENCY IN ANTIQUITY

NI KO (1), name that we do not dare complete, as this beginning can be in different ways. Khégiùm: EYatvsTou (2);

KPATHlirrO (3),

We must also probably recognize signatures engravers on some Thurium silver coins; but they are still doubtful and above all very difficult to distinguish from inscriptions of names of magistrates.

Sicily,

Camarina: EZAKE2TEIAA2 (4); ÉZAKEaTet^aç, retro- grade (5); EYAIvEToç (6);

Catania: ETAINeios (7), ETAIvetos (8); .

(1) Salinas, Std tipo dei tetradrammi di SegestOt p, 28; Zeitschr, /. Num. t. II, p. 2.

(2) Zeitichr, f. Num. t. II, p. 2. — It is an analogy of style with that corners engraved in Syracuse by Evenetus, which thus leads to completing this name, reduced in abbreviation to its first syllable.

(3) CataL Th. Thomas, nos. 166 and 167; Friediander, Arc^œo^ Zeit. 1847, p. 119, pi. Yiii, n» 6; Pinder, Die antiken Munzen^ p. 21, n"* 111; Von Sallet, p. 26 and 47; ZeUschr. f. Num. t. U, p. 3.

(4) R. Rochette, pi. H, uM8; Caial. of gr. coins in ihe Brit. Mus., Sic»7y.p. 35, nM4.

(o)iRev. Num. 1864, pi. xv, n» 6; Von Sallet, p. 16 and 48.

(6) Caial. of Bril. Mus. , Sicily, p. 36, n^ 16; ZeUschr. f. Num. t, U, •p. 3.

(7) R. Rochette, pi. i, n°8; Calai, of Brit. Mus. , Skily, p. 48, no. 35.

(8) R. Rochette. ft. i, n«9; Calai. ofBrU. Mus., Sicily, p. 48, no. 37; Von Sallet, p. 20 and 49.

(

THE LAW IN ANCIENT COINS 257

HPAKAEIAAI (1); nP0KAHI(2); XOlPIflN (3);

Messana: KIMflN (4);

Naxos: nPOKAHI (5);

Syracuse: EYAINETO, EYAINEtou, EYAIvetou (6);

EY0 (7), name that cannot be completed with certainty;

ETKAEIAA, EYKAEI^a (8);

EYMENOT (9), EYMHNOY (10), and the abbreviation-

(1) Catal, ofBr. Mus, Sicily, p. 46 et seq., nos. 31, 32 and 39; Von Sallet, p. 26 and 49.

(2) R. Rochette, Letter to M. Schorn, preface vignette: Von Sallet, p. 34 and 49.

(3) Fox, Greek coins, pi. m, n» 30; Catal. of the Brit. Mus., Sicily, p. 47 et seq., nos. 34 and 42; Von Sallet, p. 41 and 49; Zeitschr. f, Num. t. U, p. 3, ft. I, No. 7.

(4) CataL of Brit, Mus., Sicily, p. 105, n^ 56. The reading is still somewhat doubtful.

(5) Torremuzza, Sicily vet. num., Âuctar. He, pi. iv, no. 3; Millingen. Ancient coins, pi. ii, n" 15; R. Rochette, pi. ii, n* 19; D. de Luynes. Choice of medicine ft. seen, n® 7; von Sallet; p. 3i and 50; Zeitschr. /. Num. t. II, p. 3.

(6) R. Rochette, pi. r, n»* 6 and 7; Von Sallet, p. 17 et seq.; Calai, of the Brit. Mus., Sicily, p. 166, no. 148; p. 171 et seq., nos. 173-190; Zeitschr. f. Num. t. II, pl. I, n°2.

(7) R. Rochette, pi. ii, no. 16; Catal. Gréau, pi. i, no. 876; Von Sallet, p. 21; Caîal. ofBrit. Mus., Sicily, p. 167, n^ 152.

(8) R. Rochette, pi. i, nos. 2-5; Catal. Gréau, pi. i, no. 878; Von Sallet, p. 21; CataL of Brit. Mus., Sicily, p. 173 et seq., n*» 190-199; Zeitschr. f. Num. t. n, pi. I, nt^'S and 6.

(9) Catal. ofBHt. Mus., Sicily, p. 166 et seq., nos. 148-150, 152 and 162.

(10) R. Rochette, pi. i, n » 2; it, n*» U, 12 and J5; Catal. of. Brit. Mus., Sieily, p. 164 et seq., n°140-144.

III 17

258 CURRENCY IN ANTIQUITY

tions likely to be related indifferently to these two forms (1), which exchange gent in the signature of the same artist (2);

KIMHN, KIMa)v, KI[X(ov (3);

rAPMEvi'wv or rAPMEvWyj; (4);

iniIflN (5);

oprriAAOi, 0prn}ioç, 0pryaioç (6).

The signature of Phrygîllos is the only one that appears on a bronze coin (7); the other engravers that we have just listed have only registered their names on money, and Cimon perhaps on Tor.

(i) R. Rochette, pi. n, n'»» 12, 15 and 16; Catal. of BriL Mus., Sicily, p. 165 et seq., n°8 146, 147, 151, 153. — On all the signatures d*Eumenos: Von Sallet, p. 22 et seq.

(2) The name of Eumelos, admitted by some in the list of great Syracusan worshipers, must be cut off from it. M. Salinas (Rev, Num. 1864, p. 351-362) established that the pieces where this name was read are con- fraudulent and almost barbaric forgery of those engraved by Eumenos, and that ETMHAOT is a fault of the forger for EYMHNOT.

(3) R. Rochette, pi. i, n<> 1 ; Mus. Sanclem. num. t. I, pi. xi, no. 120; Von Sallet, p. 29; Catal. ofBrit. Mus., Sicily, p. 170, n* 168, p. 175 et seq., n”« 200-209; Zeiischr. f. Num. t. U, p. 4, ft. i, n' - 3 and 4.

(4) R. Rochette, pi. ii.n^ 17; Von Sallet, p. 33; Catal. ofBrit. Mus., Sicily, p. 177 et seq., n°* 210-213.

(5) Von Sallet, p. 36; Catal. of Brit. Mus., Skily, p. 167, n*» 154; Zeitschr. f. Num. t. H, p. 4, ft. i, n**» 1.

(6) R. Rochette, Letter to if. Schom, title vignette; Catal. Gréau, ft. I, n*» 876; Von Sallet, p. 38; Catal. ofBrit. Mus., Sicily, p. 168 et seq., n^- 156-161.

(7) R. Rochette, Letter to M. Schom, vignette in 6n of the preface; Von Sallet, p. 39; Catal. of. Brit. Mus., Sicily, p, 182, n*» 211.

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There is a serious probability that you will have to recon- artists' names arise in those which, traced with a singular finesse, are arranged so as to form the light wisp of the cheek of the juvenile head of the right, on a few obols from Massalia (1). These mon- naies massaliètes, ATPI..., MA..., PAP..., and another of still doubtful reading, seem to me to have to be grouped with those of Italy, because I believe I can establish, in a special work of which I bring together the elements, according to very remarkable and very characteristic analogies of style, that it is from Vélia, another Phocaean colony, that Massalie brought in artists on several occasions to raise the engraving of its monetary coins, when it threatened to fall into barbarism.

While the numismatics of southern Italy and from Sicily has provided us with a list of a certain extent, of names where we can recognize with certainty signs tures of artists, in Greece proper and in Asia Minor, there are no certain examples of similar signatures that the NEYANTOI EPOEI of Cydonia of Crete and the 0EOAOTOI EPOEI of Clazomène. However, at because of their exceptional position, a monogram letters MYP on another currency of Cydonia (2) and PYGIArV on a silver coin from Aptera (3), also in the island of Crete -, the letters AM, AE and KPA on some

(1) La Saussaye, Numism. beyond Gaul Narbonnaise, pi. i, nos. 31-33; Von Sallet, p. 42.

(2) Zeitschr. f. Num. t. H, p. 6.

(3) Mionnet, t. H.p. 261, n? 27; SuppL, t. IV, pi. viii, no 3 (he read PYGOAD; Leake, NumUm. hellen., Ins. No. 3 (he read PYGAD; Von Sallet, p. 35 and 52.

260 CURRENCY IN ANTIQUITY

coins of the Chalcidian League (1) (on this coinage, above, in this book, chap. i", g 2, 3); THMI or TEMi in Pharsalus of Thessaly (2); Kl on the side of seat of the throne of Zeus in a copy of the tetradrachm d* Alexandre registered by M. L. Millier under n'^SO?, copy kept in the Berlin Cabinet (3); maybe finally, but with much more doubt, IllAwpoç, registered always your little letters in Tare de l'Apollo, on the reverse of a tetradrachm of Seleucus IV, king of Syria (4), would have some serious chances of being able to be ranked among artist inscriptions (5). But for none of these examples we cannot be as affirmative as for the signatures of engravers of Great Greece and the Sicily. The practice of letting artists write their names on the coins whose coins they executed, was therefore not well established only in these two countries. Everywhere else does it only presented itself quite exceptionally.

Sometimes two artists were associated to engrave in common the same currency, one executing the right and the other the reverse. So we have parts of Syracuse which, by the signatures they present on both sides, as well as by the style stamp per- sonnel of types, reveal themselves as the products of the

(1) Zeitschr. f Num. t. He, p. 5.

(S) Imhoof-Blumer, Choice of Med. ft. ix, no. 27, Zeitschr. /. Num^ t. II, p. 6.

(3) Friedl'ander, in Brunn, Geseh. d, griech. Kunstkr, t. II» p. 433; VonSallet, p. 28 and 51.

(4) R. Rochette, Letter to M, Schorn, vignette on p. 1; Von Sallet, p. 27 and 52.

(5) All other names given so far, by R. Rochette, H. Brann or by others, such as those of engravers, must be removed from the list and are surely the names of magistrates.

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collaboration of Eumenes and Evenetus (1), of Eumenes and of Euth... (2), of Phrygillos and of Eutli..., (3), of Euclid and of Eumenes (4) and of Euclid and Evenetus (5). Similar associations were common among Greek artists, sur- everything among statuaries (6). Pausanias (7) and Pliny (8) cite a number of famous statues such as the product of the collaboration of two sculptors. The examples ples of the same kind are abundant in monuments come down to us from Greek typography; let's limit us to recall those who attest, in the Attic school, the usual collaboration of Critioset Nésiotès (9), of Euchir and Eubulides (lO).

When a coin engraver had acquired a certain tain reputation for skill and talent, the sphere of his artistic activity was not restricted to the city he inhabited was, and many cities vied for the advantage of

(1) Von Sallet, p. 19; Barclay Head, Coinage of Syracuse, pi. m, d” 13; Cotai. ofBrU. Mus., Sicily, p. 166, n-148-151.

(2) R. Rochette, pi. ii, n* 16; Von Sallet, p. 21; Catal. ofhrit. Mus., Sicily, p. 167, nos. 152 and 153.

(3) Catal. Gréau, pi. i, n*» 876; Von Ballet, p. 21; Catal. ofBrit. Mus., Sicily, p. 168, nos. 156 and 157.

(4) R. Rochette, pi. i, n'» 2; Von Sallet, p. 22; Catal. ofBrit. Mus.. Sicily, p. 173, no. 191-193.

(5) Catal. of BrU. Mus., Sicily, p. 173, no. 190.

(6) Boeckh, Corp. register graec. p. 21; R. Rochette, Letter to Mr. the Duke of Luynes, p. 25.

(7) IX, 11.2; X, 10.2.

(8) HN, XXXVI. 5, 4.

(9) Corp. register aUic. 1. 1, no. 374-376.

(10) Corp. register graec. No. 666; Ross, The Monument of Euhulidèt, Athè- born, 1837; Beulé, V Acropolis of: Athens, t. He, p. 345, no. 22; The Bottom, Mem. from VAcad. Registrations new ser. t. XXUI, 2* part. p. 146-150.

262 CURRENCY IN ANTIQUITY

see him engrave the corners intended for the striking of their metal parts. This is how the numis- matics make us see, as we have already been able to discern in the list we have given, Evenetus working for Phegium, Camarina and Gatune at the same time as for Syracuse, Procles for Catania and Naxos, Aristoxenus for Heraclea of Lucania and Metaponto, Cimon for Syracuse and Messana. This conclusion does not result only ment of the identity of the names in the signatures, which would be an insufficient reason, because there could be purely accidental homonym between different artists rents; but the work of the same hand, the imprint of style specific to the same artist, are indisputable in the currencies of different cities that we bring together thus (1).

Regarding the restricted peak time period in which are placed all the known signatures of lovers of Greek currencies, we could not do better than to report here the judicious observations of Mr. Von Sallet (2).

a In Rhegium, the destruction of the city in 387 BC. AD (by Denys TAncien) provides a certain date for the cessation of silver coinage. The Cratesipos engraver is obviously a little older, since it uses again the spelling PHTINON in the legend of sesmon- naies. (See book IV, chap. ii, 1 2; book V, chap. i, g 2.)

“For Sicily, the time of the destruction of Naxos and from Catania by Dionysius, in 403 BC. AD, offers an element safe for dating a large number of coins. Procles a

(1) See. for example, in pi. i by R. Rochette, n°> 6-9, the ~ chement of the types engraved by Evenetus for Syracuse and Catania.

(2) Zeitschr, f. Num. t. U, p. 7 et seq.

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worked for Naxos and Catania, Choerion and Heraclidas for Catania, all three obviously very shortly before 403. Evenetus engraved both for Catania and for Syra- use in its first manner, in a still harsh style, also in the last ten years of the fifth century. The currencies which belong to the complete development of his talent, to the perfection of his manner (and the piece that he engraved for Camarina is among the number), must be attributed with certainty to the years after 400, as well as the coins engraved by Cimon, his contemporary rain. At the same time are placed Euclid, Phrygil- los, etc. Eumenes started earlier, and Sosion must be also ranked among the artists who still participate in the old style.

t In a word, all the Sicilian monetary engravers belong to the same period, that of the highest degree of development of Sicily, and in particular of Syracuse, after the Athenian War and under Dionysius P. in whose time I would bring back the masterpieces of Eve- net and Cimon.

r

This In Greece, the inscriptions of artists' names are so still poorly determined and present so sporadic- However, it is difficult to talk about it with precision. The beautiful coins of the Chalcidian League belong to nent in the time of Philip of Macedon, until 348 BC (1). Clazomene parts with 0EOAOTO2 EPOlEi must have been minted in the time of the king Mausole of Caria, died in 353 (2). We have already noticed-

(1) I thought it necessary to adopt an era thirty years earlier and ending in 379 (above, in this book, chap. i*' § 2, 3).

(2) I would rather believe that they belong to the years

£64 CURRENCY IN ANTIQUITY

quéTanalogy of style which exists between the head of the law of these coins and that which is seen on the currencies of the carian narque, but with much greater beauty in work of the Clazomène engraver.

a Therefore, with the exception of a few examples very doubtful provided by certain royal mints (of Alexander and Seleucus IV) and perhaps of some others belonging to southern Italy, we can determine undermine the middle of the 4th century BCE as era when the names of engravers absolutely disappear currencies, while we cannot cite any fact certain of registering a name of this kind before the ten last years of the fifth century.

Let us now record, on the special subject of Worshipers of Syracuse, the remarks of Mr. Barclay Head (1), who knew how to hold closer and more successfully than any other phases of the history of art in this great cited, and who made such happy use of it for the determination nation of the chronological series of its currencies.

From the lifting of the siege by the Athenians to your advent of Benys ï Elder (412-406 BC): “It is to this moment that special attention begins to be devoted to the manufacture of coins, of which beauty is now seen as an object of interest public rest. For the first time, the corner engravers are allowed to sign their work, and we therefore see

subsequent years, during which construction and decoration were carried out at Halicar- nasses the tomb of Mausolus.

(1) Oa the chronological sequence of the coins of Syracuse^ London and Paris, 1874, extract from t. XIV of the new series of Numismatic Chro- niele.

THE LAW IN ANCIENT COINS 265

frequently load two different artists from the runtime tion of two sides of the same coin. Eumenes, Sosion and Phrygillos are the engravers mainly employed at The execution of the heads of the law of the parts that I classify before 406, Eumenes, Evenetes and Euth.... those to whom You entrust rather the corners of the reverses in the same years (1). »

Time of Denysei of his successors (k06'^li5): a The silver coins from the reigns of Dionysius and his successors Theirs are the most splendid specimens that exist of Monetary Tart, speaks luxury of style and delicacy of work. But they do not, on the other hand, present the purity and the simplicity that characterize Fart of the best era as in Hellas and in Lonia (2). The names of engravers who are then most frequently encountered on the rights of pieces are those of Evenetus, Euclid, Cimon and Parmenion or Parmenides. The first two are often found with reverses signed by Eumenes. Euclid and Cimon excelled in the representation of heads from the front; that of Pallas by Euclid (3) and that of Arethusa by Cimon (4), are just- ment famous; we prefer the latter, but the former was then so favorite that it was adopted, to the exclusion of any other^ for drachmas and hemidrachmas...

“There are many decadrachms during this period. All, without exception, appear to have been the works of the two artists Evénète and Cimon, although not all of them are not signed

(1)P. 19.

(2) R. S. Poole, On greek coins as illustrating greek art, in the Num, chron. new sev. t. IV, p. 236.

(3) PI. IV, n<» 10 of the publication of Mr. Barclay Head.

(4) PI. IV, u» 9.

266 CURRENCY IN ANTIQUITY

a The parts which seem positively to belong hold at the end of the period no longer bear any sign tures of artists It is probable, moreover, that the

The latter date from the end of the reign of Dionysius II and the time of Dion (356-353). The nine years that followed Fassfissinat of the last were only a long convulsion disorder and anarchy, where it is not likely that many coins were produced (1). »

It follows from these facts that we do not find signatures some of monetary engravers only for a period history of around sixty years, which cor- responds, moreover, to the most perfect development of this art; then that the permission granted to those who executed the corners of the coins to write their names on them was, even during this period, in pro-Greece previously said and Asia Minor, that an extremely rare, exceptional; until it has passed into the state of habitual use tual only in Sicily and Greater Greece. This seems clearly show that if these engravers were free men and real* artists, in general we did not classify them at a very high rank, on the same line as the masters sculpture and painting; that we put them away more early in what we would call industrial artists, as opposed to those who cultivate great art. This conclusion is confirmed by the absolute silence that all the writers of Greek antiquity on the subject of the monetary worms. The literati disdained to conserve see the name of any of them, while they celebrate the glory of certain engravers on fine stones, even that of cise- their goldsmith's work.

(1) P. 20 and 8.

THE LAW IN ANCIENT COINS 267

A certain relationship of technical processes between the two arts made some of the modern eridites suppose last (1) that the engravers of monetary coins had to to be taken among the engravers of intaglios and cameos. 11 is not It is not impossible that this could sometimes have happened. However, it seems more likely to me that these engravers coins usually belonged to the class of toreutes, or metal carvers, and that they had to at the same time executing pieces of goldsmithing, likewise that we have just seen the minting entrepreneurs, «pyiifoxoTToi, to be confused with the goldsmiths, ip^jaoyooi. There is same likelihood that, in many cases, the same character, while practicing the profession of goldsmith, was able to be both monetized, as an industrial entrepreneur, and corner engraver (2). It is the same way that the most of the great engravers of medals and coins of Italy in the 15th and 16th centuries, and those of France of the 16th* (3), were at the same time goldsmiths, and that several several of them are known to have bid the undertaking of one or more currency issues (4).

(1) Jacobs, Munchner DenkschrifL pari, v, p. 9; Meyer, Geschichte dtr hild. Kunste, t. I, p. 141; Welcker, Kunstblatl, 1827, no. 84, p. 334.

(2) I would be quite willing to believe that it is only in this last last condition that we will have allowed an engraver to place his name sar money, no longer in a hidden way, but in a more important and with the verb lizoti. The registration would thus be both a artist signature and a responsible monnoyer signature.

(3) See. the dissertation of Mr. Albert Barre: General engravers and by» holders of the coins of France; General controllers of effigies; Names of some medal engravers of the French Renaissance (extract from Directory of the French Numismatic Society). Paris, 1867. And J.-J. Guiffrey, in Mixtures of Numismatics, 1877, p. 430 et seq.

(4) See, among others, the example of Emiliano Orsini, of Foligno, under

268 CURRENCY IN ANTIQUITY

We have seen that one of the principal and most skillful monetary engravers of Syracuse, at the time of Dionysius, was called Cimon. However, among the most famous carvers of gold and silver vases, in the great era of plastics Greek, is precisely also a Cimon, as Athenaeus (1) mentions with great praise, but without indicating its homeland. The connection is at least remarkable, what- that it would be imprudent to assert in an absolute manner read the identity of the two characters.

In any case, the nature of Tart that they practiced, and which was not considered higher than that of the goldsmith and the engraver, who was likewise ranked among the trades rather than among the arts strictly speaking, has caused the ancient people held the coin engravers in rather distrust diocre esteems for not having preserved for us any of their names. And yet for us moderns, who have not not the same prejudices, there are at least three of those whose the signatures could be read on their works, which we let us not hesitate to place among the greatest artists of antiquity, and which deserve in our eyes at least one page in the general history of art: they are Evénète and Cimon of Syracuse, and Theodotus of Clazomene (2). . Evenète and Cimon were contemporaries, although the first started working a little earlier than the second. As I have already shown, the time of their

Popes Pius II and Paul II, recently reported by Mr. Eugène Muntz, Gazette des Beaux-Arts, July 1878, p. 100 et seq.

(1) XI, p. 781.

(2) See. the study that I devoted to them in the Gazette den BeauZ' Arts, vol. XV, p. 380 et seq., accompanied by an admirable plate by Mr. Jules Jacquemart. We have never done it better than in this board the style specific to each of the three great masters of monetary art.

THE LAW IN ANCIENT COINS 269

great brilliance corresponds to the tyranny of the two Dionysius Syracuse. That’s when they were charged. to execute the enormous silver coins, weighing ten drachmas, attracted ques, which was called pentecontalitra (see book VI, chap. IX, to the word Pentecontalitron; book VII, chap. i, § 1): All those of these parts which are so far con- naked, belonging to the indicated period, come out of the hands of one or the other, and these are their most wonderful masterpieces. Only part is signed. But, on the pentecontalitra of the same time which do not carry artist name, it is easy to recognize the doing of one of the two rivals, without having yet met one who bears the imprint of a third hand.

For a long time now, the unanimous judgment of all birthers proclaimed these pentecontalitra of Syracuse, gr- ves by Evenète and Cimon, even before we knew discern the names of their authors, the ultimate in monetary art. Of the two engravers, Cimon should not be ranked than the second, and yet his works surpass by .much of the most remarkable thing that has been done in the same art at the birth. His style is far from being without defects; he seeks a little too much for feats of strength and graceful side of types, at the expense of a more beautiful ideal and more sublime. His figures, too overloaded with details and ornaments, lack simplicity, and therefore suite lose something on the side of purity and grandiose. At the same time he always in execution a certain harshness, which sometimes reaches almost to the harshness and contrasts singularly with the search for thanks to which he always seems preoccupied.

Cimon is just a great artist; Evenete is the most great of all in the branch he cultivated. He is like

270 CURRENCY IN ANTIQUITY

the Phidias of coin engraving. Watch while some time a piece engraved by him, and soon you forget the cramped dimensions of the object you are holding by hand; you will believe that you have before your eyes some frag- ment detached from the friezes of the Parthenon; because it is the characteristic of Tart having reached its perfection, to give so much of grandeur to the smallest than to the most immense objects, and gather on a monetary blank of six or seven hundred diameter timers as much beauty and power than in a colossal statue.

Like many great masters, Evenète pro- constantly progressed in the course of his career and modified his way in a sensitive way. At its beginnings, in the last years of the 5th century, its style and its many of those of Eumenes, with whom he begins by being associated and who seems to have been his master. It's Eaphael in his first manner, still under the influence of Perugino. Eventes has already, more than Eumenes, this I do not know what is divine in which the artist of the first order feels; but it borrows from it a last remnant of stiffness and the harshness of the old style. Little by little his style softens and improves himself, he gains gentleness and freedom, but always keeping an accent of simple grandeur and of severity even in grace, which reaches the sublime. As precision and science of modeling, it is incomparable; its heads of divinities breathe a truly ideal breath; he knows how to be rich without falling into this excess of ornaments and details that ultimately diminish a work of art. Sound execution achieves a finesse equal to that of engraving intaglios or cameos on gems; this incomparable finesse of work is even its pitfall, because in the figures of pe- small dimension of the backs of the tetradrachms he pushes it

THE LAW IN ANCIENT COINS 271

almost to the point of drought. It is at this moment the most complete development of his talent that he engraves corners of the pentecontaltra and which he sees standing in front of him, like his emulator and rival, Cimon, who appears to have survived him and to have continued to engrave after him, same as Euclid.

Besides, it is not at the Atlian school of Phidias that the Syracuse engravers are linked to, but & the school Dorian by Polycleitos. The little that remains of the original works nales of the sculptors of the school of Argos, who disputed a moment the palm to that of Athens, the fragments of the Heroeon of Argos (1), where Polycletus himself worked, a still unpublished head in bas-relief, discovered at Monas- mother of Loukou, and of which I brought back in 1863 a cast at our School of Fine Arts, present as art the closer relationship with the beautiful Syracuse coins. It is the same way of feeling and rendering nature, same conception of the ideal, the search for the same lines.

On the other hand, Theodotus, the engraver of Clazomenes, that he must be put on the same line as the two great Syra- cusains, connects itself through its style in a clear way with almost romantic teachings (so similar expression can be used when talking about Greek sculptors) artists who worked on decorating the tomb de Mausole, and made it one of the wonders of the world. It's another master of the first order, who for the nobility style and the science of modeling can rival Evénète himself. But he didn't understand the conditions as well special features of the composition of monetary types. In em- folding, instead of a profile, to decorate the right of its

(1) F. Lenormant, Rev, ArchéoL nouv. ser. t. XVI, p. 116-122.

272 CURRENCY IN ANTIQUITY

coins, a three-quarter head modeled flat, it let himself go too complacently — as also made, moreover, in Syracuse, Cimon and Euclid towards the end of their career — a passing fashion of its time (see book IV, chap. i, § 1 and 9). And if he found the opportunity sion to prove, in very great difficulties, all the resources of his talent, he demonstrated less than taste and intelligence by not discerning the disadvantages neents which were to prevent the definitive establishment of the fashion to which he gave in, while Evenetus never sacrificed.

END OF VOLUME III

ANALYTICAL TABLE

MATERIALS

FROM VOLUME III

LiYBE m. — The law in ancient coins.

Chapter II. — A look at monetary doctrine and its practical consequences in antiquity.

§ 1. — The Greeks.

Pages.

1. The Greeks never misunderstood the true nature of

currency 1

The theory of money in Aristotle Jbid.

At Plato 2

At Xenophon 3

2. Excellence of Greek currency from the point of view of cor- correspondence between the intrinsic imaterial value and the value nominal circulation 4

Rareness of exceptions to this general rule 6

The Cyzicenian moutetary operation in the 7th and 4th centuries BC.

AD 7

The operation of the Union des[hectés d^electrum and its lack of success

on the markets 8

Furred coins were never among the Greeks other than

species of necessity, Jbid.

The theory of sign money was never established among the

Greeks at the time of their independence 9

18

274 ANALYTICAL TABLE OF CONTENTS

Pages.

3. Guarantees which opposed systemic alteration among the Greeks species tematics. The municipal character of coinage. dO

Political freedom and the spirit of control there

We do not find in the Hellenic world any alteration of currencies that under tyrants iî

Numerous alterations of species in the despotic empire of Persians; the contrast it offers, in this respect, with Greece. 13

Achaemenid claim to the establishment of the double standard and the legal fixation of an invariable relationship between gold and silver gent; consequences of this economic error 14

In the absence of the notion of the representative system, the development ment of municipal autonomy in monarchical states

' ques was the only counterweight to the omnipotence of the sovereign; it is the barrier which prevented the alteration of currencies in part of the Greek royalty after Alexander 17

§2. — The Romans.

1. The sound monetary doctrine is transmitted from the Greeks to the Ro- hands 18

We still find vestiges of it among jurisconsults, but less clearly formulated and leaving the door open to serious ves abuse 19

What is missing from Paul Ibid's definition of money.

2. The first reductions of the ace in Rome do not imply the claim of the State to give cash a suitable value functional and artificial 21

The first attempt of this kind is observed in the Flaminia law, but it was then only an expedient of necessity resulting so much of the distress of the Republic 23

3. This law becomes a disastrous precedent, which is authorized by the theoretician rie of sign money, adopted by the aristocratic party to the advent of nobilitas 25

Deep disruptions in currencies resulting from the adoption tion of this false theory in the midst of political disorders

of the decadence of the Republic 26

Attempt at reform by Marins Gratidianus 27

Triumph of the doctrine of sign money with Sylla Ibid.

FROM VOLUME m 275

Pages.

4. The skillful policy of Caesar and Augustus produces good coins at the beginning of the Empire 28

But the development of imperial despotism, authorizing itself to the doctrine of sign money, soon brings great changes species rations 29

Progress of these alterations from Nero 30

The monetary crisis of the 2nd century 31

The doctrine now universally adopted delivering the mon- born to the arbitrariness of the sovereign, all attempts post- most reforms have only a temporary effect, and the alteration of species always resumes its course after a short time time' Ibid.

5. The Roman Empire bequeaths its economic error to the Middle Ages on the nature of money; consequences of this disastrous heir tage *. 32

The great monetary crisis of the 14th century 33

St Thomas Aquinas himself recognizes the sovereign's right to al- teration of currencies 34

Alone, in the Middle Ages. Nicolas Oresme protests against this

theory and formulates the true economic principles Ibid.

Late triumph of these among modern peoples 35

Chapter IIL — Monetary magistrates in; antiquity.

§ 1. — Monetary magistrates among the Greeks.

1. Obscurity of the subject 37

Various methods of signature of the responsible magistrates on the

coined species of the Greeks. Ibid.

Almost constant absence of mention of the title of these magis-

. trats, 38

The two main systems adopted among the Greeks in the same way subject at the time of their full independence: coinage entrusted to the main political magistrate^ or handed over to officials special and independent companies, of lower order " 39

2. The three names of magistrates inscribed on the tetradrachms Athenians of the second series Ibid,

276 ANALYTICAL TABLE OF CONTENTS

Pages. The first two are annual; the third is renewed every time that prytany * 40

Importance of the character who holds first rank 41

Conjectures made about its title 42

This character represents the supreme direction of coinage. . Ihid, The second signature is that of the individual specifically charged

of manufacturing 43

It is to him that the little accessory type placed in the

field of the reverse of the coin Ibid.

Exceptions to this rule 45

Possible explanation for these exceptions 47

The third name registered, which changes with each prytany 49

The magistrate who put this third signature on the currency

should have a monitoring and control office 50

Coinage was therefore entrusted, among the Athenians, to three ma- special gistrats, having cleverly shared roles and of^ public frontier all the guarantees of control and accountability sandability 51

3. Cities where, without such a skillful mechanism, we find again the coinage handed over to a special magistrate 52

The coining in the agreement between Mitylene and Phocaea for the manufacture of hectés of electrum Ibid.

In the Cyzicene series and in that of the cities of the Union of hected, the distinction of the emissions of each successive coin if is made by change of the main type, the city being n^ indicated only by an accessory symbol 53

Modifications having the same object, in the details of the types main, on the coins of Taranto 54

The personal symbol of the monetary magistrate becoming the type on the reverse in a portion of the numismatics of Abdère 55

Contemporary Athenian bronzes of the tetradrachms of the second series IbiéL

The magistrate who places his signature and symbol in small type accessory, in the field, on the reverse of silver coins of Rhodes after Alexander Ihid,

He is not the priest of Helios, eponym of city 56

The connection with the copper coins struck by Rhodes under the Roman Empire establishes that this magistrate is the Ta[iiaç or public treasurer 58

4. Cities where it is the first political magistrate who signs the currency as responsible 60

FROM VOLUME m 217

Pages.

The prytanes in Smyrna lîfid.

The first prytane in Pergamum 61

The archon at Taba of Caria 62

This system seems to have been general in the Greek cities of

Asia Minor • ; Ibid,

The signature of the eponymous prytane on the coins of Gorcyra. 63

That of the priest of Apollon Action in Lefkada Ibid.

That of the markdown in Naples Ibid.

Meeting of the signatures of the first archon and the special mon- cial on the species of Olbiopolis. . . . , 64

5. This system of the double signature of the political magistrate and

of the coin tree, adopted in a large number of localities. . . 65

The two names of the silver coins of Dyrrhachion and Apol-

lonia of Illyria Ibid.

Mention of the political eponym on the coins of Cherrbonésos

from Tauris 69

On those of Cyrenaica after the extinction of the dynasty of

Battiades Ibid,

Subject of the mention of the eponymous magistrate on monetary species silence ^ 70

The eponym thus mentioned, when he joins the inscription of his name the symbol of his personal stamp, constitutes himself responsible sand species 71

6. The magistrates mentioned on the federal coins of the Greek leagues .72

Strategists of the Phocians Ibid,

From the Chalcidians of Thrace 73

From the Acarnanian League Ibid,

Boeotarchs, Ibid,

Strategists of the Epirotes 74

The two names inscribed on the coins of the Tbessalian League

formed after the battle of Cynoscephales Ibid,

Signature of the specially monetary magistrates of each of the

cities on the species of the Achaean League 75

Mechanism of resulting liability 76

The responsibility of cities and their magistrates according to the mpi)-

swimming of the Lycian League 77

7. Mint and mint marks on coins Greek royals from Philip and Alexander 78

Work on this subject 79

Only one of these marks indicates workshop 81

278 ANALYTICAL TABLE OF CONTENTS

Pages.

The others are those of civil servants or miners 82

Usual division of mints into several offices. 83 Marks which sometimes appear to belong to a civil servant superior in charge simultaneously at several hotels in the world naies 84

8. Exceptional inscription of the name of a character, traced all

at length on royal coins; meaning of this fact 85

Municipal magistrates of cities and chiefs of peoples

barbarians on imitation species, which are only royal in

appearance, 86

More positive examples of the fact that we study about currencies

of Alexander the Great, of Alexander his son and of Philip Arrhidaea 87

The generals of Lysimachus 89

Minister Sosibios on the coins of Ptolemy Philopator... 90

The ennuque Eulaeos on those of the minority of Ptolemy Ëvergetes. 91

Tryphon on those of Antiochus VI Ibid,

Inscription of the name of a Philippe on a drachma of Démé-

trius I" of Syria ^ . . . 92

9. Mention of local magistrates on the coins of the towns of

the senatorial province of Asia, under the emperors^ 93

Most of these mentions are simply epony- mic, intended to date the coin 94

Vague nature of the expression âpxcov in the legends of this like 96

Mention of two archonies or of the entire college of magistrates in eponymous monetary legends 99

The first ephor on the species of Sparta 100

Eponymy of bularchog in Mastaura by Lydie Ibid.

The cities where the eponymous magistrate, mentioned as such on the currencies, was the public secretary 101

Case where the monetary inscription of the name of this public secretary binds must indicate that he actually had the direction of the manufacturing tion of species ' 102

The omission of the title of the eponymous magistrate is as frequent as his inscription next to his name, in the legends of the mon- naies’ . 103

Sometimes, instead of the political title which earned him the role of epo- nyme, this magistrate records following his name a title priestly, with which he was at the same time invested 104

Mentions of priests which must thus be explained 106

Mentions of Asiarques having the same character 107

FROM VOLUME Iir 279

Pages.

Cities where the eponym was not a political magistrate but a functionary of the priestly order IJ 1

Monetary dates by the double mention of a practicing priest and political eponym 112

read. Mentions of magistrates as eponymous dates, on the currencies of Greek cities at the time of the Roman Empire, learn nothing about the nature of the magistrates who in these cities had the direction of coinage 113

Legends of another nature, relating to real officials- ly responsible for the manufacture of species 115

The quaestors or treasurers 116

The accounting officer at Cidyessos of Phrygia 117

Numismatic mentions of special commissioners delegated by cities monitoring a monetary issue Ibid.

Special expressions indicating, in some localities, that the coin was struck by the care of a character 119

Study of the priestly or agonistic magistrates who had the direction of monetary issues of Apamea of Phrygia, linked to the great solemn games of this city 120

Other mentions of characters responsible for the direction of the games, on circulating cash and non-monetary medallions. . 125

Development of sacred coins in numismatics cities of the province of Asia under the Emperors.... 126

The direction of the coinage of Ephesus entrusted at this time, and previously, from the time of full autonomy, to the great priest of Artemis 127

Epirote coin signed by a priest, probably that of Dodona. 130

The coins minted in Smyrna and Philadelphia of Lydia with the name of the same character, the priest Hermippos 131

Other similar examples, appearing to relate to people generous swimmers who have rewarded the cities with monetary emissions paid at their own expense 132

11. This sort of municipal liberality is entirely in the spirit took customs from the time of the Empire Ibid,

Manufacture of coins at the expense of those who supplied the games spending 134

Numismatic legends with dedication formula Ibid,

Legends of this kind on non-monetary coins 135

Dedications of monetary or non-monetary coins by one of the first officials of the city 137

Dedications of the same nature without expression of the title of donor. 139

280 ANALYTICAL TABLE OF CONTENTS

Pages, Monetary issues dedicated to different cities by P. Clan-

dius Attalus, son of the sophist Polemon 140

Cities in Asia Minor where the dedication formula is constant over

currencies ^ 143

§ 2. — The monetary magistrates among the Romans.

1. Previous work on this subject 145

The direction of urban money before the institution of special features for this object i46

The monetary triumvirates and their title 147

Their attributions 148

2. The monetary triumvirates responsible for coinage issues ordinary 149

Other magistrates exceptionally responsible for extra- ordinary 15C

The coins signed by the Curule aediles were struck at their

fees, for the expenses of the games that they gave to the people. . 151

Republican funds marked ex argento puhlico.. . 152

Extreme rarity of copper coins produced by mon- extraordinary swimmings 154

3. The origins of the judiciary of the monetary triumvirates 155

Colleges of triumvirs mentioned in full on ro-species maines before Sylla 158

More numerous monetary commissions, exceptionally for- born at the same time 160

The monetary triumvirate becomes a regular magistracy after

the Social War 160

Obscurities that still present its organization 161

He was included in the minor magistracies 162

The signing of the monetary triumvirates on urban cash. . 163

Rarity of the inscription of their title after their name 164

The Pompeian triumvirs taking refuge in the East 166

4. Increase in the number of minor magistrates by Caesar. . Ibid,

Substitution of quartet for monetary triumvirs 167

The first college of quartet (from 44 BC) and its viciss- situdes Ibid,

The manufacture of gold coinage still handed over to a commission

extraordinary in 44' 169

FROM VOLUME m Î81

Pages.

Discount Next tan to ordinary quatnorvirs 170

The Tan Quartet 43 BC AD 170

Those of Tan 42 172

From the following year 173

5. Interruption of any mention of the monetary magistrates ur- regular baths on species after 41 BC. J. -G 176

Restoration of the ancient magistracy of the triumvirs of the born, in 727 from Rome 177

Coins of Augustus in silver and gold that they signed in the years born from 20 to 15 BC. (734 to 739 from Rome) Ibid,

Removal of any mention of these magistrates on species of the two noble metals^ from 14 BC. J.^C 180

The triumvirs continued for another ten years to write their names on the copper coins Ibid.

Definitive disappearance of the mention of these magistrates, even on the senatorial copper coinage. ^. . 181

The first coins of this metal minted in the news

data 182

Summary of dates in the history of the Senate monetary magistrates rials under Augustus, and precise time of sharing of the right of minting money between the Emperor and the Senate 183

6. Although no longer registering the names of its members on the species, the monetary triumvirate continues for two centuries and a half, under the Empire, to be part of the framework of magistrates regular 185

Survey of mentions of the triumvirs in the Latin inscriptions of the imperial period Ibid.

7. While showing the permanence of the office of the triumvirs mo- netaires under the Empire, the inscriptions do not provide information on

the nature of their real attributions at that time 196

System of M. 0. Hirschfeld and its refutation 197

The monetary triumvirs, in the imperial era, could not have

authority over the manufacture of the copper coinage of the Senate. 198 As long as it continued to be hit, its administration been distinct from that of the gold or silver currency of the Em- father, even after the reorganization of the monetary service

by Trajan 199

Date of the last epigraphic mentions of mone- triumvirs silences under the emperors • 200

Elimination of debt and magistracy under Aurélien, at the same time that the senatorial coinage of copper ends 201

282 ANALYTICAL TABLE OF CONTENTS

Pages.

8. Fixation by Mr. 0. Hirschfeld of the essential lines of This-

tory of the administration of gold and silver coinage

FEmperor 202

Its constitution as a fiscal service of the imperial house Ibid.

The direction of the coinage of Rome handed over in the 1st century to the intendant has rationihus, that of the provincial workshops

provincial tax attorneys 203

Trajan establishes the office of procurator monetae Jbid»

Epigraphic mentions of characters bearing this title 204

Their accounting employees, the dispensatores 205

The procurator monetae continuing to depend on the rationalis 206

Fraud committed by tax agents attached to the administration ministration of currencies, and their legal definition Ibid.

Manufacture of cast coins instead of minted coins 207

9. Institution, from the reign of Aurelian, of procurators specials for the various monetary hotels, now beautiful suddenly more multiplied in the provinces, instead of a proxy unique tor coin 208

These officials under the regime established by Diocletian 2il

At the time of the Late Empire^ they were placed under the dependence of the

Horns sacrarum largitionum Ibid,

Monetary authority of the Domesticus or Major domus palatii at the

court of barbarian kings 213

10. Model of the central government of the motherland in the institutions of the Roman colonies Ibid,

The council of decurions has, on the local currency, the same au-, authority as the Senate of the Republic over the state currency. 214

Mention of the deliberation of the decurions on the colorful species niales \. Ibid,

Use of the formula ex senaius consuJto as an equivalent of decurionum decreio 215

Frequent omission of this last formula, precisely because the prior deliberation of the decurions was a absolutely necessary condition for any currency issue local, 217

The care of presiding over monetary manufacturing, in the colonies, is, according to the usual rule, handed over to the duumvirs 218

List of cities which, on their coins, mention these magis- trats with their title Ibid.

Monetary inscription of the name of both duumvirs at the same time or of a single 219

FROM VOLUME III 283

Pages.

Ordinary duumvirs and quinquennial duumvirs in Tepigraphy

numismatics 220

The princes vested with an honorary duumvirate and their praefecti, 223

Honorary duumvirate of foreign kings. 225

Of two Caesars at the same time Ibid.

Praefecti of ordinary duumvirs prevented by force majeure from

fulfill their functions 226

The praetores duumvirs of Gelsa under the second Triumvirate 227

Inscription of the name of the duumvirs on the species of the colonies,

since the time of the Republic. 229

Cities which mention quartets on their currencies 231

Variety of magistrates who appear as responsible for the mon- swimming on Carteia species from Baetica 232

Coins of the colonies signed by city councilors 233

Mentions of magistrates by the simple inscription of their title,

without names 235

The faciendum curavU and curavit formulas 236

Chapter IV. — The organization of monetary workshops, engravers

and workers in antiquity.

§ I. — Among the Greeks,

1. Largyrokopeion of Athens 237

This mint was annexed to the sanctuary of the hero.

Stéphanéphore 238

The workers were taken from among the public slaves 239

Its division into several workshops Ibid.

Marks of these different workshops on coins 240

Some appear to have been permanent, others temporary. 241

Conjectures about the names of these workshops 242

Guarantee which resulted from the inscription on the coins of the

mark of the special workshops of Vargyrokopeion 244

2. Vestiges of the use of marks of the same nature on the mon- born from other free cities and Greek monarchies 245

We only find them from the time of Philip of Macedonia and of Alexandre làid.

The cities which had a constant and considerable coinage, had generally, like Athens, had to have an argyrokopeion official 246

284 ANALYTICAL TABLE OF CONTENTS

Pages.

It must have been the same in the minting places of the principalities. main monarchies 247

Different system at Antioch, revealed by a story by Polybius. .... Ibid,

The miners' pharmacies appear there as private workshops. ves, similar to those of goldsmiths 248

System of entrusted monetary manufacturing, under certain conditions ranties, to private industry 249

This system appears to have been the one adopted at Dyrrhachion and to Apollonia of Illyria 250

The coiner at the same time goldsmith Ibid.

Meeting of the two professions in the same corporation, as in Smyrna 25!

Mechanism of the Torfèvre entrepreneur system, and its adoption by towns which did not have a fairly regular coinage nor constant enough to take care of the costs of an argyrokopeion official Ibid.

Legal guarantees which were to prevent the disadvantages of this system 252

3. The signatures of the engravers on Greek coins 253

Main works of modern numismatists on this subject 254

List of names of engravers inscribed on city currencies Greeks of Southern Italy 255

Of those from beyond Sicily 256

Engravers of the coins of Massalie 259

Cities beyond Crete... Ibid.

Marks that I can still consider as signatures of engravers on the coins of other Greek countries 260

Pieces bearing the signature of two engravers who worked in collaboration; Ibid.

Engravers who worked for several different cities 26!

Mr. Von Sallet's observations on time limits in the what are the signatures of the engravers found on the coins Greek 262

Observations of Mr. (Barclay Head on the dates of the different monetary engravers of Syracuse 264

The signatures of the engravers are not found on the coins only for a period of about sixty years, and con- still constitute an exceptional fact outside of Italy and Sicily 266

Monetary engravers had to be engravers at the same time and goldsmiths 267

FROM VOLUME III 285

Pages.

Silence of ancient writers towards them 268

The three great engravers who deserve a place in history

by Tart Ibid.

Comparison between the two Syracusans Gimon and Evenetus 269

They are linked to the Dorian school of Polycleitos 271

Theodore of Glazomen and the relationships between his style and that of the

sculptors of the Tomb of Mausolus Ibid,

END OF THE TABLE OF CONTENTS OF VOLUME III

Paris. — Imp. Gauthier-Villars, 55, quai des Grands-Aiigiistins.

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