Why is there the head of a Silenus on the Aitna tetradrachm?, ΚΕΡΜΑΤΙΑ ΦΙΛΙΑΣ. Αφιέρωμα στον Ιωάννη more

F000AA_Selides titlouNEO 14/10/2009 04:21 µµ Page 1 F000AA_Selides titlouNEO 14/10/2009 04:21 µµ Page 2 F000AA_Selides titlouNEO 14/10/2009 04:21 µµ Page 3 KEPMATIA ºI§IA™ F000AA_Selides titlouNEO 14/10/2009 04:21 µµ Page 4 | Y ¶ O Y P ° E I O ¶ O § I T I ™ M O Y | NOMI™MATIKO MOY™EIO | | HELLENIC MINISTRY OF CULTURE | N U M I S M A T I C M U S E U M | ÂΉfiÛÂȘÛËÌ· ™À¡Δ∞∫Δπ∫∏ ∂¶πΔƒ√¶∏ EDITORIAL COMMITTEE ™Ù¤ÏÏ· ¢ÚÔ‡ÁÔ˘ K·ıËÁ‹ÙÚÈ· AÚ¯·ÈÔÏÔÁ›·˜, AÚÈÛÙÔÙ¤ÏÂÈÔ ¶·ÓÂÈÛÙ‹ÌÈÔ £ÂÛÛ·ÏÔӛ΢. Stella Drougou, Professor of Archaeology, Aristotelian University of Thessalonike. ¢¤ÛÔÈÓ· E˘ÁÂÓ›‰Ô˘ ¢È¢ı‡ÓÙÚÈ· NÔÌÈÛÌ·ÙÈÎÔ‡ MÔ˘Û›Ԣ. Despoina Evgenidou Director of the Numismatic Museum, Athens. X·Ú¿Ï·ÌÔ˜ KÚÈÙ˙¿˜ AÚ¯·ÈÔÏfiÁÔ˜, E›ÙÈÌÔ˜ ¢È¢ı˘ÓÙ‹˜ EÈÁÚ·ÊÈÎÔ‡ MÔ˘Û›Ԣ. Charalampos Kritzas Archaeologist, Honorary Director of the Epigraphical Museum, Athens. NÈÎfiÏ·Ô˜ K·ÏÙÛ¿˜ ¢È¢ı˘ÓÙ‹˜ EıÓÈÎÔ‡ AÚ¯·ÈÔÏÔÁÈÎÔ‡ MÔ˘Û›Ԣ. Nikolaos Kaltsas Director of the National Archaeological Museum, Athens. B¿Ûˆ ¶¤ÓÓ· E›ÎÔ˘ÚÔ˜ K·ıËÁ‹ÙÚÈ· B˘˙·ÓÙÈÓ‹˜ IÛÙÔÚ›·˜ Î·È NÔÌÈÛÌ·ÙÈ΋˜, ¶·ÓÂÈÛÙ‹ÌÈÔ ¶ÂÏÔÔÓÓ‹ÛÔ˘. Vasso Penna Assistant Professor of Byzantine History and Numismatics, University of Peloponnese. HÒ˜ TÛÔ‡ÚÙË NÔÌÈÛÌ·ÙÔÏfiÁÔ˜. Eos Tsourti Numismatist. Mina Galani-Krikou Numismatist. M›Ó· °·Ï¿ÓË-KÚ›ÎÔ˘ NÔÌÈÛÌ·ÙÔÏfiÁÔ˜. E˘Ù¤ÚË P¿ÏÏË NÔÌÈÛÌ·ÙÔÏfiÁÔ˜, NÔÌÈÛÌ·ÙÈÎfi MÔ˘Û›Ô. Efterpi Ralli Numismatist, Numismatic Museum, Athens. ∏ÏÂÎÙÚÔÓÈ΋ ˘ÔÛÙ‹ÚÈÍË: ¡›ÎÔ˜ ™Ô˘ÁϤ˜ Electronic processing: Nikos Sougles Ã√ƒ∏°O™ | Sponsor © NÔÌÈÛÌ·ÙÈÎfi MÔ˘Û›Ô, ÂΉfiÛÂȘÛËÌ· Û ™XE¢IA™MO™ | ∂¶πME§EIA | ¶APA°ø°H: ÂΉfiÛÂȘÛËÌ· ISBN 978-960-98451-4-4 ISBN 978-960-89506-6-5 978-960-98451-2-0 978-960-98451-3-7 978-960-89506-7-2 978-960-89506-8-9 F000AA_Selides titlouNEO 14/10/2009 04:21 µµ Page 5 KEPMATIA ºI§IA™ ÙÈÌËÙÈÎfi˜ ÙfiÌÔ˜ ÁÈ· ÙÔÓ Iˆ¿ÓÓË TÔ˘Ú¿ÙÛÔÁÏÔ˘ A NOMI™MATIKH-™ºPA°I™TIKH | Y ¶ O Y P ° E I O ¶ O § I T I ™ M O Y | NOMI™MATIKO MOY™EIO | Aı ‹ Ó · 2 0 0 9 | | HELLENIC MINISTRY OF CULTURE | N U M I S M A T I C M U S E U M | Athens 2009 | F000AA_Selides titlouNEO 14/10/2009 04:21 µµ Page 6 K·ÙÂÚ›Ó· °∂øƒ°∞∫∞∫∏ FperiexomenaTelikoA 19/10/2009 05:29 πμ Page 605 ¶EPIEXOMENA A ¶ÚfiÏÔÁÔ˜ EÚÁÔÁÚ·Ê›· I-IX EÈÛ·ÁˆÁ‹ X·Ú¿Ï·ÌÔ˜ M¶AKIPTZH™ IøANNH™ TOYPAT™O°§OY, ï àÚ¯·ÈÔÏfiÁÔ˜ ............................................................................................................................................................................... 1-5 NOMI™MATIKH ........................................................................................................................................................................................................................................................................................................................................................................................................................ 7-602 9-23 X·Ú¿Ï·ÌÔ˜ B. KPITZA™ Andrew MEADOWS Olivier PICARD °. A. ¶I∫OÀ§∞™ Mȯ¿Ï˘ TIBEPIO™ O‚ÔÏÔ› AÚÁÔÏÈÎÔ› ................................................................................................................................................................................................................................................................................................... Money in an ideal world: Plato’s Laws and the dual nature of Coinage EÓ· ÓfiÌÈÛÌ· Î·È Î¿ÔȘ ÈÛÙÔڛ˜ ............................................................................................................ 25-31 33-43 45-53 55-67 69-79 81-95 Le décret amphictionique sur le tétradrachme stéphanéphore et les technites AÙÙÈο «ÂڷωÈο» Î·È «Ó¤·˜ Ù¯ÓÔÙÚÔ›·˜» ÓÔÌ›ÛÌ·Ù· Î·È ÔÈ Û¯¤ÛÂȘ ÙÔ˘˜ Ì ÙÔ˘˜ ·Ó·ıËÓ·˚ÎÔ‡˜ ·ÌÊÔÚ›˜ «£ËÛ·˘Úfi˜» ÓÔÌÈÛÌ¿ÙˆÓ Û ÎÏÂÈÛÙfi Ù·ÊÈÎfi Û‡ÓÔÏÔ ·fi ÙÔ ‚ÔÚÂÈÔ-·Ó·ÙÔÏÈÎfi ÓÂÎÚÔÙ·ÊÂ›Ô Ù˘ £‹‚·˜ ™Î¿ÚÊË, fiÏȘ §ÔÎÚ›‰Ô˜ ......................................................................................... ........................................................................................................................................................................................................................ ......................................................................................................................................... ŒÏÂÓ· B§AXO°IANNH E˘·ÁÁÂÏ›· °EøP°IOY Maria CACCAMO CALTABIANO ¨ F. DE CALLATAY and R. KAN Wolfgang FISCHER-BOSSERT Nina FROLOVA Christos GATZOLIS Selene PSOMA Dominique GÉRIN Giovanni GORINI ™Ù¤ÏÏ· KATAKOYTA ....................................................................................................................................................... ...................................................................................................................................................................................................................................................................... Why is there the head of a Silenus on the Aitna tetradrachm? ........................................................................................................................................ 97-107 A new silver denomination of Lysimachus: a unique hemidrachm (from Mytilene?) with Athena Parthenos on the reverse .......................................................................................................................................... 109-115 117-125 127-133 135-143 Goldene Charonsgroschen Caucasian imitations of Alexander and Lysimachus’ Golden Stater More on the Bottiaeans of Thrace ............................................................................................................................................................................................................................................................ ................................................................................................ ................................................................................................................................................................................................................................. Sphinges perdues et retrouvées : cinq monnaies de Samothrace dans la Collection Chandon de Briailles A parcel of a 4th century Athenian Tetradrachms Hoard ............................................................................................................................................................................................................ 145-151 153-157 159-175 ......................................................................................................................................... «£ËÛ·˘Úfi˜» ·ÚÁ˘ÚÒÓ ÓÔÌÈÛÌ¿ÙˆÓ ·fi ÙËÓ ·Ú¯·›· º¿ÚÛ·ÏÔ ................................................................................... FperiexomenaTelikoA 19/10/2009 05:29 πμ Page 606 K·ÙÂÚ›Ó· °∂øƒ°∞∫∞∫∏ NOMI™MATIKH Koray KONUK £Âfi‰ˆÚÔ˜ KOYPEM¶ANA™ Kasolaba, A new mint in Karia? ...................................................................................................................................................................................................... 177-183 A‰ËÌÔÛ›Â˘Ù˜ ÂÈÎÔ¤˜ ÛÙ· ÂÏÏËÓÈÛÙÈο ÓÔÌ›ÛÌ·Ù· £ÂÛÛ·ÏÔӛ΢, AÌÊ›ÔÏ˘ Î·È ¶¤ÏÏ·˜ The Tauropolos tetradrachms of the first Macedonian Meris: Provenance, Iconography and dating An addition to the Eleusinian Triptolemos/piglet coinage H ÙÂÏÂ˘Ù·›· EÚÌÈÔÓÈ΋ ÊÚÔ˘Ú¿ ÛÙË Ó‹ÛÔ Y‰Ú¤· ............................................................................................................................................................................................................................... 185-190 Sophia KREMYDI-SICILIANOU ..................................................................................................................................................................................... 191-201 203-205 207-217 John H. KROLL Õ‰ˆÓȘ ∫. ∫Àƒ√À Metodi MANOV B·Û›Ï˘ ¶OY§IO™ E˘Ù¤ÚË PA§§H Ilya PROKOPOV , .......................................................................................................... ............................................................................................................... Relationships between two Scythian kings in Dobroudja and some macedonian hellenistic kings evidenced by epigraphical and numismatic data «£ËÛ·˘Úfi˜» ·ÚÁ˘ÚÒÓ ÓÔÌÈÛÌ¿ÙˆÓ AÌÊ›ÔÏ˘ Î·È £¿ÛÔ˘ ·fi ÙÔ ÓÂÎÚÔÙ·ÊÂ›Ô Ù˘ ·Ú¯·›·˜ °·˙ÒÚÔ˘ (CH IX, 18) ............................................................................. 219-225 227-233 235-245 .............................................................................................. £ËÛ·˘Úfi˜ ÌÔχ‚‰ÈÓˆÓ Û˘Ì‚fiÏˆÓ ·fi ÙÔ KÔÚˆ› AÙÙÈ΋˜ ........................................................................ Basic coin types in Thrace recorded quantities and their participation in the coin circulation during the 2nd-1st centuries BC Samische Phylen .............................................................................................................. 247-253 255-261 263-269 271-283 Hans-Dietrich SCHULTZ Kenneth SHEEDY Vassiliki E. STEF ANAKI Stavri TOPALOV, .............................................................................................................................................................................................................................................................. Ios and Syros. Studies in the hellenistic coinages of the Cyclades .............................................................................. Le monnayage de bronze de Viannos et de Malla en Crète orientale A bronze coin of the type of Alexander III re-minted with stamps of the coin type of Philip II ....................................................................... .............................................................................................................................................................................................................................. 285-291 293-297 299-319 321-329 331-341 343-359 361-365 367-375 ¢‹ÌËÙÚ· T™A°KAPH-™TEºANH HÒ˜ T™OYPTH Panagiotis TSELEKAS Chrysanthos VALASSIADIS Bernhard WEISSER, Karsten DAHMEN Michel AMANDRY ˇ Ä Slobodan DUSANIC Wolfgang LESCHHORN ŒÓ· ÌÔÓ·‰ÈÎfi ÙÂÙÚ¿‰Ú·¯ÌÔ Ù˘ AÈÙˆÏÈ΋˜ ™˘ÌÔÏÈÙ›·˜ H Û˘ÏÏÔÁ‹ £ÂÔ‰ÒÚ·˜ A˘Á¤ÚË ........................................................................ .............................................................................................................................................................................................. On the “Skione 1990/1” hoard [CH VIII (1994), 63; CH IX (2002), 4] Zur Zirkulation der Münzen Kassanders Goldene Alexander zum Geschenk ............................................................ .................................................................................................................................................................... ............................................................................................................................................................................................. Le monnayage de Géta Auguste au nom du Koinon Kupriôn Domitian and the coins of the Dardanian mines ..................................................................................... ............................................................................................................................................. Der Kaiser als Gründer. Der titel KTI™TH™ auf griechischen Münzen der Römischen Kaiserzeit Ein Schatzfund von Prägungen Neros der Prägestätte Thessaloniki im Bereich Serres (Ostmakedonien, 2003) Monnaies de Naxos (Cyclades) d’époque impériale romaine .............................................................................................................................................................................................................................. 377-383 Katerini LIAMPI ................................................................................................................................................................ 385-393 395-405 Hélène NICOLET -PIERRE IÓÒ Nπ∫O§AOÀ, ................................................................................................ NÔÌ›ÛÌ·Ù· ÙÔ˘ ·˘ÙÔÎÚ¿ÙÔÚ· BÂÛ·ÛÈ·ÓÔ‡ Ô˘ ÎfiËÎ·Ó ÁÈ· ÙËÓ K‡ÚÔ, ÛÙÔ NÔÌÈÛÌ·ÙÈÎfi MÔ˘ÛÂ›Ô AıËÓÒÓ 407-411 ........................................................................................................................................................................... Cleopatra PAPAEVANGELOU-GENAKOS The metrology of the coinage of Amphipolis in imperial times ......................................................................................... 413-427 FperiexomenaTelikoA 19/10/2009 05:29 πμ Page 607 NOMI™MATIKH ÷ڛÎÏÂÈ· ¶A¶A°EøP°IA¢OY-M¶ANH °È¿ÓÓ˘ ™TO°IA™ NÔÌ›ÛÌ·Ù· Ù˘ Û˘ÏÏÔÁ‹˜ TÚÈ·ÓÙ·Ê˘ÏÏ›‰Ë ÛÙÔ NÔÌÈÛÌ·ÙÈÎfi MÔ˘ÛÂ›Ô ™¿ÓÈ· „¢‰Ô·˘ÙfiÓÔÌË ÎÔ‹ ·˘ÙÔÎÚ·ÙÔÚÈÎÒÓ ¯ÚfiÓˆÓ ÙÔ˘ ∫ÔÈÓÔ‡ ÙˆÓ £ÂÛÛ·ÏÒÓ Further considerations on the numismatics of Catalan Greece, in the light of the Athens Roman Agora (Lytsika) 1891 hoards ............................ 429-445 .................................................................................................................................................................................................................. 447-455 Julian BAKER, Mina GALANI-KRIKOU ................................................................................... 457-473 475-481 483-489 Luigi BESCHI Orestes H. ZERVOS Ernest OBERLÄNDER-TÂRNOVEANU Giovanni VIII Paleologo di Pisanello nel museo numismatico di Atene ........................................................... A new variant of the copper tetarteron with “jeweled cross” of Alexius I Comnenus The imitative gold coinage of Byzantine type from the late 12th and the early 13th century ................ ............................................................................................................................................................................................................................. 491-505 507-515 517-539 B¿Ûˆ ¶E¡¡A ∞ÈηÙ. T™ANANA, ∫Ï¿Óı˘ ¢OYKA™ ¶·Ó·ÁÈÒÙ˘ KOKKA™ «£ËÛ·˘Úfi˜» ¶¿ÚÔ˘/1999Ø Â·ÓÂͤٷÛË ÙˆÓ «ÈÛÙÒÓ ·ÔÌÈÌ‹Ûˆӻ B˘˙·ÓÙÈÓ¿ ÓÔÌ›ÛÌ·Ù· ·fi ÙË BÚ‡· Ù˘ X·ÏÎȉÈ΋˜ O ıËÛ·˘Úfi˜ OıˆÌ·ÓÈÎÒÓ ¿ÛÚˆÓ «M·ÓÙ¤Ì §¿ÎÎÔ˜ ™ÙÚ·ÙˆÓ›Ô˘ X·ÏÎȉÈ΋˜ 1938» O ıËÛ·˘Úfi˜ ·fi ÙÔ P¿˚ÎÔ˜ KÔ˘ÚÂÓÙ›ˆÓ H›ÚÔ˘ ¢˘Ô ÌÂÙ·ÏÏÈο ·ÂÏÏ· ÙÔ˘ Iˆ¿ÓÓË AÚÈÛÙ¿Ú¯Ë ................... ................................................................................................... ............................................................................................................ 541-553 555-567 569-577 AÓ‰Ú¤·˜ ª∞∑∞ƒ∞∫∏™ ¢¤ÛÔÈÓ· EY°ENI¢OY ................................................................................................................. ...................................................................................................................... ™ºPA°I™TIKH .......................................................................................................................................................................................................................................................................................................................................................................................................................... 579-603 581-591 πˆ¿ÓÓ· ∫√§Δ™π¢∞-ª∞∫ƒ∏ °ÈfiÚη Nπ∫√§∞√À MÔÏ˘‚‰fi‚Ô˘ÏÏ· ™˘ÏÏÔÁ‹˜ N·Ô‡Ì .............................................................................................................................................................................. «TÔ ı·‡Ì· ÙˆÓ ‚·ÛÈϤˆÓ Î·È Ë ‰›ÎË ÙÔ˘ ™ÂÎÚ¤ÙÔ˘», ÌÈ· ÌÔÓ·‰È΋ ·˘ÙÔÎÚ·ÙÔÚÈ΋ ‚Ô‡ÏÏ· ·fi ÙȘ Û˘ÏÏÔÁ¤˜ ÙÔ˘ NÔÌÈÛÌ·ÙÈÎÔ‡ MÔ˘Û›Ԣ ................... 593-603 ¶EPIEXOMENA 605-610 FperiexomenaTelikoA 19/10/2009 05:29 πμ Page 608 B E¶I°PAºIKH ......................................................................................................................................................................................................................................................................................................................................................................................................................................... 1-165 °ÈÒÚÁÔ˜ ¢E™¶INH™ O ‰›ÛÎÔ˜ ÙÔ˘ ÂıÓÈÎÔ‡ ÌÔ˘Û›Ԣ ·ÚÈı. 93Ø «ÌӤ̷ Ùfi‰’ ·åÓbÔ ÛÔÊ›·˜ å·ÙÚe ôÚÈÛÙÔ» ............................................................................................................................................................. 3-11 ÃÚ˘ÛԇϷ ™∞∞Δ™√°§√À-¶∞§π∞¢∂§∏ M·Ú›· §I§IM¶AKH-AKAMATH ∂ÌÌ·ÓÔ˘‹Ï BOYTYPA™ M. B. HATZOPOULOS EÓÂ›ÁÚ·ÊÔ ·fiÙÌËÌ· ·fi ÙËÓ ÂÚÈÔ¯‹ ÙÔ˘ ı¿ÙÚÔ˘ ÙˆÓ AÈÁÒÓ EıÓÈÎa ÔÓfiÌ·Ù· Û ÂÈÁڷʤ˜ Ù˘ ¶¤ÏÏ·˜ ............................................ 13-21 23-31 33-45 ............................................................................................................................................. ¶·Ú·ÙËÚ‹ÛÂȘ Û ‰‡Ô ÂÈÁÚ¿ÌÌ·Ù· ·fi ÙË B¤ÚÔÈ· Some new documents from the Macedonian chancery Problems of form and content ...................................................................................................... ............................................................................................................................................................................................................................. 47-55 57-69 71-79 81-89 B¿Û· K√¡Δ√ƒπ¡∏ §›Ó· °. MEN¢øNH Constantinos LAGOS KˆÓÛÙ·ÓÙ›ÓÔ˜ T™AKO™ Denis KNOEPFLER HÏ›·˜ ™BEPKO™ AÌ·Ï›· KAPA¶A™XA§I¢OY °. A. ™OYPH™ ÕÁÓˆÛÙ· «Ê·ÓÙ¿ÛÌ·Ù·» Û ÁÓˆÛÙ¤˜ ÂÈÁڷʤ˜ ·fi ÙË Pfi‰Ô TÈÌËÙÈÎfi „‹ÊÈÛÌ· ·fi ÙËÓ K·Úı·›· ............................................................... ............................................................................................................................................................................. Athena Itonia at Amorgos. A new interpretation of the Evidence H º›Ï· Î·È Ë ™¿ÌÔ˜: ÚÔ‚ÏËÌ·ÙÈÛÌÔ› Á‡Úˆ ·fi ¤Ó· ‚ˆÌfi ............................................................................... ............................................................................... 91-105 Sur le nom d’ un citoyen d’Akanthos enlevé par les pirates (Polyen VI 54) MÈ· ÂÈÙ¿ÊÈ· ÂÓÂ›ÁÚ·ÊË ÛÙ‹ÏË ·fi ÙËÓ OÚÂÛÙ›‰· ....................................... 107-111 113-119 121-123 ..................................................................................................... §›ıÈÓË ÂÓÂ›ÁÚ·ÊË ÛÙ‹ÏË ·fi ÙË X·ÏΛ‰·-¶Â‰›Ô ‚ÔÏ‹˜ EÈÎÏ‹ÛÂȘ ÛÙËÓ T‡¯Ë ÙˆÓ ·˘ÙÔÎÚ·ÙfiÚˆÓ Û ÂÈÁڷʤ˜ ·fi ÙË M·Î‰ÔÓ›· .................................................................................... ................................................................................................................................................................................. 125-131 133-141 143-149 °ÈÒÚÁÔ˜ BE§ENH™ AÁÁÂÏÈ΋ ™TPATH H ÂÈÁÚ·Ê‹ ÙÔ˘ £‡ÚÛÔ˘ ÛÙËÓ TÂÁ¤· ...................................................................................................................................................................... H ÂÈه̂ȷ ÂÈÁÚ·Ê‹ ÙÔ˘ Aı·Ó·Û›Ô˘ M·ÛÁ›‰· ÛÙË ÌÔÓ‹ TÈÌ›Ô˘ ¶ÚÔ‰ÚfiÌÔ˘ ™ÂÚÚÒÓ. ™¯fiÏÈ· Î·È ·Ú·ÙËÚ‹ÛÂȘ .............................................. ¶·ÓÙÂÏ‹˜ M. NI°¢∂§∏™ O N¤ÛÙˆÚ, Ô §˘·›Ô˜ Î·È Ù· ¶‡ıÈ·. O ‚›Ô˜ ÙÔ˘ AÁ›Ô˘ ¢ËÌËÙÚ›Ô˘ ˘fi ÙÔ Êˆ˜ Ó¤ˆÓ ÂÈÁÚ·ÊÈÎÒÓ Â˘ÚËÌ¿ÙˆÓ AӤΉÔÙ˜ ÂÈÁڷʤ˜ Î·È ¯·Ú¿ÁÌ·Ù· ·fi Ó·Ô‡˜ Î·È ÌÔÓ¤˜ ÙÔ˘ ÓÔÌÔ‡ HÚ·ÎÏ›Ԣ KÚ‹Ù˘ ......................................................................................................................................... 151-159 Iˆ¿ÓÓ˘ BO§ANAKH™ ................................................................................................................................................................................................ 161-165 APXAIO§O°IA ...................................................................................................................................................................................................................................................................................................................................................................................................................... 167-603 169-189 I™TOPIA-APXAIO§O°IA ™Ù¤ÏÏ· ¢ƒ√À°√À K. ™OYEPEº EÈÎfiÓ˜ Î·È Û‡Ì‚ÔÏ· ÂÚ› ÙˆÓ AÈÁÒÓ H ÂÔ¯‹ ÙˆÓ AÓÙÈ·ÙÚȉÒÓ Î·È ÔÈ «M·Î‰ÔÓÈÎÔ› T¿ÊÔÈ» Ù˘ £ÂÛÛ·ÏÔÓ›ÎÂÈ·˜ Î·È K·ÛÛ·Ó‰ÚÂȈÙÈ΋˜ ¯ÒÚ·˜ ............................................................................................................................................................ 171-179 181-189 .................................................................................................... FperiexomenaTelikoA 19/10/2009 05:29 πμ Page 609 ANA™KAºIKA Iˆ¿ÓÓ˘ M. AKAMATH™ AÁÁÂÏÈ΋ KOTTAPI¢H §È¿Ó· ¶AP§AMA ™Ù¤ÊË KOPTH-KONTH ª·Ú›· Δ™IM¶I¢OY-∞Y§øNITH AÓ·ÛÙ·Û›· XPY™O™TOMOY ¢¤ÛÔÈÓ· ∑EPNIøTH 191-287 ¶ÚÔ˚ÛÙÔÚÈ΋ ¶¤ÏÏ·. NÂÎÚÔÙ·ÊÂ›Ô ÂÔ¯‹˜ X·ÏÎÔ‡ ..................................................................................................... 193-213 215-225 227-241 243-249 251-269 271-277 279-287 H ÔÚÂÈÓ‹ HÌ·ı›· ÛÙËÓ ÚÒÈÌË ÂÔ¯‹ ÙÔ˘ ™È‰‹ÚÔ˘ (11Ô˜ - 7Ô˜ ·È .Ã.) ¶·Ï·Ì¿ÚÈ ™Î‡ÚÔ˘, Ë ·Ó·Ûηʋ Ù˘ Ô¯‡ÚˆÛ˘, 2000-2007 IˆÓÈÎa Â˘Ú‹Ì·Ù· ÛÙfiÓ ·Ú¯·˚Îfi £ÂÚÌ·˚Îfi .................. ..................................................................... ............................................................................................................................................ ºÔ›ÓÈη˜ 2005. H Ì·ÚÙ˘Ú›· ÙÔ˘ ÎÈ‚ˆÙÈfiÛ¯ËÌÔ˘ Ù·ÊÔ˘ 4 ............................................................................... T·ÊÈÎfi Û‡ÓÔÏÔ ·fi ÙÔ ¢˘ÙÈÎfi NÂÎÚÔÙ·ÊÂ›Ô ÙÔ˘ AÚ¯ÔÓÙÈÎÔ‡ ¶¤ÏÏ·˜ T·ÊÈÎfi Û˘ÁÎÚfiÙËÌ· ·fi ÙË ÚˆÌ·˚΋ fiÏË Ù˘ K·ÛÛÈfi˘ .......................... .................................................................. APXITEKTONIKH-TO¶O°PAºIA Emanuele GRECO Paolo VITTI Antonio CORSO Massimo VITTI 289-333 Nota sul santuario di Apollo Pizio ad Atene ...................................................................................................................................................... 291-297 299-311 313-319 H ·Ú¯ÈÙÂÎÙÔÓÈ΋ ÙÔ˘ º¿ÚÔ˘ Ù˘ AÏÂÍ¿Ó‰ÚÂÈ·˜ .................................................................................................................... A few thoughts on the Tower of the Winds in Athens ................................................................................................................. 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E›ÙÚÔÔÈ ÙˆÓ ·Ó·ÛηÊÒÓ OÏ˘Ì›·˜ ...................................................................................................... ...................... ........................................................................................................................................................... 619-631 ¶EPIEXOMENA 633-638 F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 97 WHY IS THERE THE HEAD OF A SILENUS ON THE AITNA TETRADRACHM? Maria CACCAMO CALTABIANO SUMMARY The Aitna tetradrachm with the head of Silenus and Zeus seated on a throne is the master work of one of the finest die-engravers of the ancient world. The iconography of Silenus, or of the Sileni viewed as a group, documents a complex stratified reality, diachronically and diatopically diversified, within which the coin of Aitna holds a position of absolute prestige and authority. Hieron of Syracuse had founded - in around 476/475 BC – the city of Aitna, apponting his son Dinomenes as its basileus when still a child. The choice of the Silenus in Aitna was inspired by Chromius, the epitropos of Aitna and probable coregent of the child king Dinomenes. Towards Dinomenes Chromius would have performed the same role played by the old Silenus for the young Dionysus, adviser and tutor and perhaps also an ‘initiatory' function if we give a symbolic value to the attribute of the scarab represented beside the Silenus' head. The tetradrachm of the Silenus would reflect the particular historical moment linked to the crisis of the powerful Dinomenedes dynasty in 467/66 BC, and the extreme attempt of the lords of Aitna to save a highly unsteady power. 97 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 98 K·ÙÂÚ›Ó· °∂øƒ°∞∫∞∫∏ Maria CACCAMO CALTABIANO The friendship and mutual academic esteem between Ioannis Toouratsoglou and myself dates back to our collaboration in the realisation of the DRACMA Project (Diffusion and Research on Ancient Coinage of the Mediterranean Area), approved and co-funded by the European Commission in 1997, aimed at exploiting the Numismatic Cultural Assets of European Museums. It is with great pleasure that today I would like to offer a homage to this scholar of great culture and methodological precision, and at the same time to thank him as a director who has always been open to collaboration and has constantly showed willingness to welcome my students at the Numismatic Museum in Athens. In the spring of 2004, the Israel Museum of Jerusalem dedicated an Exhibition to “ The Coin of Coins”, the tetradrachm from the ancient city of Aitna (located at the foot of Mt. Etna in Sicily), with the head of Silenus on the obverse and Zeus seated on a throne on the reverse. The Aitna tetradrachm, which became part of the Collection of the Bibliothèque royale de Belgique in 1899, a gift from the mother of Lucien de Hirsh, is not only unique – as no other coin of this mintage has come down to us – but surely the masterwork of one of the finest die-engravers of the ancient world, the “Master of Aitna”. In the catalogue François de Callatay and Haim Gitler proposed a chronology of 465-460 BC for this tetradrachm1, after the death of Hieron and the refoundation of Aitna in Inessa, highlighting that we cannot know the exact circumstances in which the tetradrachm was minted. The city of Aitna had been founded in place of the ancient Chalcidean colony by Hieron – a member of the dynasty of the Dinomenides –, the tyrant who had assumed power in Syracuse upon the death of his brother Gelon, victor over the Carthaginians at Himera in 480 BC. Before the victory over the Etruscans in the famous naval battle of Cumae in 474 BC, Hieron had founded – in around 476/475 BC2 – the city of Aitna, appointing his son Dinomenes as its basileus when still a child3. Hieron died in 467 BC, and as oikistes (founder) was buried in the city that he himself had founded. After the death of the tyrant, the original inhabitants of Catana reoccupied their city and the inhabitants of Aitna moved to Inessa. In two different periods – as can be seen from the iconographic and stylistic coherence which connotes them –, Aitna issued two distinct coin series: the first is composed of three denominations – tetradrachm, drachma and litra; the second contains only of the Silenus tetradrachm and an issue of litras4. The coins bear the following iconographies: ¨ 1. F. DE CALLATAY, H. GITLER, The Coin of Coins, The Israel Museum Jerusalem, Cat. n. 491, 2004, 25. C. BOEHRINGER, “Hieron’s Aitna und das Hieroneion”, JNG 18 (1968), p. 76-79 suggested «vor ~ 463». 2. Diod. 11, 49, 1; Strab. 6, 2, 3. Schol. Pind. Nem. IX, 1a Drachmann. A. LURAGHI, Tirannidi arcaiche in Sicilia e Magna Grecia, Firenze 1994, p. 336-337. 3. 4. Pind., Pyth. 1, 60. Cfr. BOEHRINGER, loc. cit. (supra, no 1), p. 76-79; LURAGHI, op. cit. (supra, no 2), p. 344-345. 98 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 99 1. a. Tetradr.: Obv./ walking quadriga driven by Athena, R/ Zeus seated on throne; (pl. I, 1) WHY IS THERE THE HEAD OF A SILENUS ON THE AITNA TETRADRACHM? b. drachma: Obv./ walking ‘child’ knight, R/ Zeus seated on throne; (pl. I, 2) c. litra: Obv./ prawn, R/ wheel. 2. a. Tetradr.: Obv./ head of Silenus, R/ Zeus seated on throne; (pl. I, 3) c. litra: Obv./ head of Silenus, R/ lightning bolt. As is evident, despite the adoption of different types on the obverse and the strong Syracusan influence – recognisable in the adoption of types such as the quadriga and the knight in the 1st series –, the image of Zeus present on the reverses of the higher denominations links the two groups, like a common thread which holds together the coin issues of Aitna over time5. The analysis of the iconic elements allows us, however, to note interesting differences. THE THREE TYPOLOGIES OF ZEUS If we compare the Zeus of the tetradrachm with that of the drachma from the 1st series, the two types seem entirely identical: the god wears a long chiton poderes which leaves his right shoulder uncovered; the head is in profile, the bust face-on, the right arm – bent at an angle – clutches the lightning bolt, while the left hand holds a sceptre on which is perched an eagle with folded wings. In both cases, there is a stool under the feet of the god, who is wearing shoes. The only element missing, on the drachma with the very young knight, is the lion skin which, with a clearly visible head depicted face-on, covers the seat of Zeus on the tetradrachm. A larger number of iconic differences can be seen in the Zeus of the Silenus. His attitude is more dynamic, and the god wears a transparent himation which entirely covers his shoulder and left arm, falling down with wide folds behind the right shoulder; his left leg is pushed forward, the right one is flexed and barefoot, clearly visible beneath the throne. In his right hand, with the forearm bent upwards in an attractive ‘open’ pattern, he clasps a vine branch, and in his left a winged thunderbolt. On the seat of the throne, which has no back or cushion, there is a panther hide, curiously represented from the back, with the long tail clearly visible. The eagle is not an integral part of the representation of the god, but rests on the top of a small tree, identified as the Nebrodi pine6, placed near the throne of Zeus. 5. The Zeus Aitnaios’ cult is not testified before the beginning of the 5th cent. BC. The god is quoted by Pindar in the odes dedicated to Hieron and his circle, Nem. 1, 7; Ol. 6, 162; Pyth. I, 56-57. See also Ol. 4, 10 for Psaumis of Camarina, after the fall of Dinomenid tyrannis. ¨ 6 . BOEHRINGER, loc. cit. (supra, no 1), p. 76; DE CALLATAY, GITLER, op. cit. (supra, no 1), p. 23-24. 99 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 100 Maria CACCAMO CALTABIANO The precision of the representation and the many iconic variants adopted by the engraver of the Zeus of the Silenus compared to that of older series, lead us to suppose that the differences are not accidental but part of a communicative code which leaves nothing to chance. The phenomenon appears even more intriguing if we consider that some of the iconic specificities now found are totally without comparisons. The wild animal hide – whether of a lion or a panther – present on the throne of Zeus is, for example, an attribute that does not seem to recur on other documents: the throne of the father of the gods is generally depicted without any covering. Also in Sicily, in Galaria, litras contemporary to the issue of Aitna, show a Zeus extremely similar to that of the 1st series, seated on a throne with a back and holding in his right hand the sceptre on which is perched a large eagle with its wings closed; the seat of his throne is without any ornament7. The lion’s hide, as is known, is one of the attributes of Heracles; the hero wears the leonté or sits on the lion’s skin spread over a natural element, such as a rock, rather than a manmade object, such as a throne. The panther’ hide, meanwhile, is shown on some vase paintings as s an ornament of the throne of Dionysus, nearly always with the forequarters shown, and the face-on head fully visible8, or more rarely in a complete vision with head and tail (pl. I, 4). In a few cases the wild animal hide is worn directly by the god9 or hangs from his left arm when he expels the Giants from Olympus10, and may be found depicted either on the head or tail end (pl. I, 4-6; pl. II, 7). THE ROLE OF THE ATTRIBUTES WHICH CONNOTE THE TYPE, AND THE RELATIONSHIP BETWEEN OBVERSE AND REVERSE OF THE COIN s In addition to being an attribute of Dionysus11, the panther’ hide is shown worn, in various ways, by the members of his retinue, Sileni and Maenads. The Sileni who are adorned with it wear it on their shoulders, with the front paws tied together at the front: the hide hangs like a wide cloak covering three-quarters of the figure, with the long tail visible between the Silenus’ legs12. On a cup found in Tarquinia, from the late 6th century BC, a kneeling warrior seen from behind carries a round shield which has a large face-on head of Silenus as an episemon: from the shield hangs a panther’ hide of which only the hind paws and the tail are s depicted13 (pl. II, 8). This extremely unusual image gives the impression that the artist 7 .G.K. JENKINS, “ The Coinage of Henna, Galaria…”, AIIN Suppl. 20 (1975), p. 83-87; G.E. RIZZO, Monete greche della Sicilia, Roma 1946, p. 266, pl. 59, 19. 8. C. GASPARRI, in LIMC, III, Zürich-München 1986, s.v. ‘Dionysos’, p. 438, nn. 141a, 146; p. 454, n. 333; p. 4 6 6 n. 499. 9. C. GASPARRI, loc. cit., p. 440, n. 151; p. 451, n. 285 (Dionysos?); p. 475, n. 628. 10. C. GASPARRI, loc. cit., p. 475, nn. 615, 621. 11. See already S. MIRONE, “Le monete dell’antica Catana”, RIN 30 (1917), p. 126. 12. E. SIMON, in LIMC, VIII, Zürich-Düsseldorf 1998, s.v. ‘ Silenoi’, pl. 753 n. 40; pl. 762 n. 103; GASPARRI, loc. cit., pl. 354, n. 465. 13. E. SIMON, loc. cit., p. 1127, n. 189; pl. 774 n. 189. 100 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 101 wanted to epitomise in it a complete representation of the Silenus: the face-on head forms a single image with the shield, and the shield – similar to a body – seems to ‘wear’ the animal hide, simulating a Silenus “seen from behind”. Given the connection of the panther ’s hide both with Dionysus and with the Silenus, there is no doubt that its use on the seat of the throne of Zeus gives the scene an intentional ‘Dionysian’ flavour, recalled also by the presence of the vine branch held by the god. This characterisation is consequently coherent with the subject of the obverse, the head of Silenus, an essential member of Dionysus’ retinue and his authoritative master in infancy. The same criterion of “representative coherence”, and thus of conceptual coupling between the obverse and reverse of the coin, also seems to be at the basis of the differences which connote the iconographies of Zeus on the denomination of the 1st series. In recent studies on the type of the knight and on the hierarchical representation of political power14, I proposed identifying the figure of the very young knight found on the obverse of the drachmas from Aitna, with Dinomenes, the ‘child’ king, recognisable from the small limbs and long hair arranged in two plaits which part and fall at the sides of the face. While on the tetradrachms of Syracuse the figure of the Leader is evoked symbolically as the victorious auriga of the quadriga race, and that of his lieutenant by the amphippos knight present on the didrachms, the young knight – represented in Syracuse as in Aitna on the same lower denomination, the drachma –, identifies the heir to the throne. Since – as has been said – Hieron was only the oikistes of Aitna15, and the young Dinomenes his basileus16, while waiting for him to come of age, the city had an epitropos in the person of Chromius17, brother-in-law of Hiero and uncle of Dinomenes, who would presumably have performed the role of tutor and coregent18. It is thus the different legal situation of Aitna, ‘kingdom’ of a child king, compared to that of Syracuse governed directly by Hieron, that explains the presence of Athena driving the quadriga on the most ancient tetradrachm from the city, in the place of the male auriga of the Syracusan model. Since in Syracuse the male auriga evoked the figure of the Leader, and in Aitna the young Dinomenes was not yet of an age to govern, in place of the male auriga there was depicted the warlike goddess who traditionally came to the aid of the heroes and was their protectress, “holding the reins” of the quadriga of the State. If our interpretation is correct, the sceptre with the eagle held by Zeus on the denominations of the 1st series is also the expression of a sovereignty dispensed by the god and ‘dosed’ by him in function of the recipient. In the tetradrachm with Athena, the goddess has received ‘full’ royalty, as is implied by both the lion skin adorning the throne of the Father Zeus, and WHY IS THERE THE HEAD OF A SILENUS ON THE AITNA TETRADRACHM? 14. M. CACCAMO CALTABIANO, «La moneta e la rappresentazione gerarchica del potere», in C. ALFARO, C.M. Y PALOMA OTERO (eds), XIII Congreso Internacional de Numismática, Madrid 15-19 Septiembre 2003, Actas in Memoriam Carmen Alfaro Asins, Madrid 2005, p. 535-543; ead., “La mistica e il ruolo politico. L ’ideologia del cavaliere nell’età delle tirannidi siceliote”, in R. PERA, (ed.), L’immaginario potere. Studi di iconografia monetale, Roma 2005, p. 1-32. 15. On Hieron, founder of Aitna see I. MALKIN, Religion and Colonisation in Ancient Greece, Leiden 1987, p. 96-97, 239; LURAGHI, op. cit. (supra no 2), p. 328, 337. 16. Pind., Pyth. 1, 116. LURAGHI, op. cit. (supra, no 2), p. 328, 333-334, 338-342, 347-348, 358-360. 17. Schol. Pind. Nem. 9, Inscr.; LURAGHI, op. cit. (supra, no 2), p. 333-334 and no. 252; p. 338-340; p. 348-349. 18. This hypothesis is suggested by Pindar’s mention in Pyth. 1, 132 of two basileis, according to the model of the Spartan diarchy. 101 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 102 Maria CACCAMO CALTABIANO the eagle sceptre he holds. Smaller is the basileia of the very young knight Dinomenes, a ‘king’ as seems to be indicated by the eagle sceptre held by Zeus, but bestowed with a power which had not been acquired following a trial of courage (areté). The throne of Zeus is in fact without the lion skin, the talking image of a struggle already fought (similar to that of Heracles victorious over the Nemean lion) and of amply proven heroism. Dinomenes, the child king, still has to prove his worth before assuming full royal powers when he comes of age. Now, since the Zeus coupled with the Silenus is without a sceptre and shown only with a light stick obtained from a vine branch, we deduce that – in this case – the supreme god does not dispense any ‘royalty’: his eagle is depicted as distinct from him, resting on a small tree, an image of “life that grows”19, which receives the royalty dispensed by Zeus. ROLE OF THE SILENUS OF AITNA The role given in Aitna to the Silenus, present on the obverse of its higher denomination, the tetradrachm, is comparable20 with that of the Dionysus of Naxos21, probably the work of the same master engraver: the size of the heads is similar, as are the crown of ivy and the motif of the flowing beard which interrupts the beaded circle in the lower section. The role of the Silenus of Aitna as protagonist, rather than mere component of the Dionysian retinue, is confirmed, in the archaic and classical age, only on some coins from the east22, these also significantly possessing high purchasing power, being minted in precious metal. In addition to various denominations in electrum from Phocaea and Mytilene, which present its head in profile in the same way as the Siceliot city, the face-on head of Silenus is present on an electrum from Cyzicum and on a gold stater from Lampsachus23. However, also observing as a whole the representations of the Sileni in vase painting, on reliefs or in statuary, it can be noted that there exists a clear hierarchy, indicated by the presence or absence of attributes, or by the quality of the actions they perform. Even if in the majority of cases the Sileni are represented naked, with ears and animal tail clearly visible, some have bodies covered with a fine hair, or wear a panther’ hide, or – in rare cases – wear s a chiton and himation24. Also the crown of ivy of the Silenus from Aitna is not a frequent attribute; the fact that we can compare it with that worn by Dionysus on the coin from Naxos 19. On the symbolism of the tree of life, see J. CHEVALIER, A. GHEERBRANT, Dizionario dei simboli, Milano 1986, I, s.v. ‘ lbero’, 21-35. A ¨ 20. DE CALLATAY, GITLER, op.cit. (supra no 1), p. 14: “ This unusual, almost dignified portrait of Silenos recalls the images of deities on contemporary coinage”. 21. H.A. CAHN, Die Münzen der sizilischen Stadt Naxos, Basel 1944, p. 42-49, p. 114-117 n. 54. 22. Also Catana adopted the Silenus’ head as a monetary type, but only on the litras (420 BC) and drachmas (410 BC), RIZZO, op. cit. (supra, no1), tav. 14, 17-22; P .R. FRANKE, M. HIRMER, Die griechische Münze, München 1964, pl. 15, 45-46; SIMON, loc. cit, 1127, nn. 173, 180. 23. SIMON, loc. cit. (supra, no 12), p. 1127, nn. 171-184. 24. SIMON, loc. cit. (supra, no 12), p. 1115. nn. 39-45; pl. 753, nn. 41a.b.d.; pl. 754. nn. 43a, 44. 102 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 103 makes it an attribute of distinction and elevated status. Moreover, in the majority of the scenes in which they appear, the Sileni perform humble actions (stable boy leading the mount of Dionysus, servant carrying the god’ wineskin or throne on his shoulders), are s working on the grape harvest or merely dancing. But Silenus also plays the role of ‘companion’ and ‘support’ to the drunken Dionysus, is ‘cupbearer’ of his wine, and his ‘attendant’ when the god dresses for battle, even his ‘companion’ in the fight against the Giants. He becomes almost his equal and guide when he precedes him playing the diaulos or the cithara25. In these cases Silenus displays a majestic attitude, his dimensions are comparable with those of Dionysus, and he may even be depicted laid down alongside the god who holds in his hand the skyphos, as his companion in the symposium, apparently equal to him in dignity, in the act of playing the double flute26. Silenus, lastly, may also assume an identity and role which do not require the Dionysus at all (pl. II, 9), when – perhaps with an apotropaic value – he is represented as an episemon of shields27, or when, no longer naked, but entirely covered by a long chiton and an ample himation28 (pl. II, 10), he clutches in his outstretched right hand a short vine branch that forks into a Y-shape, symbolising the ‘crossroads’ at which heroes have to choose between doing good or evil. The iconography of Silenus, or rather of the Sileni viewed as a group, thus documents a complex stratified reality, diachronically and diatopically diversified, within which the coin of Aitna holds a position of absolute prestige and authority, characteristics confirmed by contemporary litras which – as we have seen – associate the head of the Silenus to the thunderbolt, an attribute particularly, but evidently not exclusively, associated with Zeus29. WHY IS THERE THE HEAD OF A SILENUS ON THE AITNA TETRADRACHM? CHROMIUS AND DINOMENES AS SILENUS AND DIONYSUS? It ’s our opinion that the choice of the Silenus in Aitna was inspired by a character that we know of exclusively from the Nemeas I and IX of Pindar and from the notes of his commentators: the already mentioned Chromius30, the epitropos of Aitna and probable coregent of the child king Dinomenes. Since the very young sovereign of Aitna was born of the Syracusan wife of Hieron, whom he married little before the daughter of Anaxilas of Rhegion31 (a marriage celebrated after the victory at Himera), Dinomenes could not have been born 25. SIMON, loc. cit. (supra, no 12), p. 1119-1120, nn. 92-105. The knowledge of music and its performance during the symposium was typical of the aristocratic classes, E. ROSSI, “La dottrina dell’ ‘éthos’ musicale e il simposio”, in B.GENTILI, R. PRETAGOSTINI (eds), La musica in Grecia, Roma-Bari 1988, p. 238 ff.; A. PAGLIARA, «Paragoni musicali nell’Economico di Senofonte», Mediterraneo Antico VII, 2 (2004), p. 479. 26. SIMON, loc. cit. (supra, no 12), p. 456, n. 366; pl. 338, n. 366. 27. Ibidem, p. 1127, nn. 187-189; GASPARRI, loc. cit. (supra, no 8), p. 474, n. 610; pl. 369 n. 610. 28. SIMON, loc. cit. (supra, no 12), p. 1115, n. 43a; pl. 754. n. 43a. 29. For the thunderbolt as also a symbol of freedom R.R. HOLLOWAY, “Eagle and fulmen on the coins of Syracuse”, RBN 108 (1962), p. 5-27. 30. Supra, and no 16. 31. See Filistos JACOBY, FgrHist, 556 F 50 and Timaios JACOBY, FgrHist, 566 F 97 apd. Schol. Pind. Pyth. 1, 112 Drachmann. 103 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 104 Maria CACCAMO CALTABIANO before 480 BC. On the death of his father, in 467 BC, Dinomenes had thus not yet come of age. It is thus probable that next to him there was still, as coregent, his uncle Chromius, a courageous soldier sent in 477 by Hieron to Anaxilas to make him stop attacking Locri32. The difficult situation created in Syracuse in the last year of the tyranny, by now strongly weakened, would have required the consolidation in Aitna both of the position of Dinomenes and of that of his tutor. The tetradrachm of the Silenus, in its iconographic and economic extraordinariness – this is in fact an impromptu issue, like the first series which had been minted on the occasion of the city’ foundation with mainly propagandistic intentions –, s would reflect the particular historical moment linked to the crisis of the powerful Dinomenedes dynasty and the extreme attempt of the lords of Aitna to save and consolidate a highly unsteady power. The “Dionysian flavour”, already highlighted as a peculiar component of the tetradrachm with Silenus, leads us to consider the possibility that, similarly to what we know of the tyrant Dionysius I, who would have been assimilated to Dionysus33, and also later of very young sovereigns of the Hellenistic age known as “Dionysos Epiphanes”34 or “Neos Dionysos”, there was an attempt to legitimate the basileia of the ‘ child king of Aitna by boasting its divine ’ origin, the same origin as Dionysos, the “Son of God”. Towards Dinomenes “son of God”, Chromius would have performed the same role played by the old Silenus for the young Dionysus: adviser and tutor35, and perhaps also had an ‘initiatory’ function if we give a symbolic value to the attribute that accompanies the head of the Silenus on the coin, the scarab. Considered so far merely as a “local trademark”36, typical of the Etna territory, its meaning is suggested by the presence, together with the type of the Griffon, of a scarab which carries a ball with its hind legs on the tetradrachms of Abdera minted in the same years (early May Period 4, 473/470-449/448 BC)37. The scarab of the Thracian city is inserted in a context in which there are numerous symbols typical of Dionysus: the kantharos38, the bunch of grapes39, the dancing satyr40, male genitals41. In May Periods 5, 6 and 7 (439/437-375 BC) the same Dionysus is represented in Abdera42, and in Period 7 also the Silenus, bending on his left knee and holding a kantharos43. 32. Iust. 21, 3, 2 e Schol. Pind. Pyh 1, 99a; 2, 36c; 38. 33. Dio Chrys. 37, 21. M. CACCAMO CALTABIANO, “La monetazione di Dionisio I fra economia e propaganda”, in N. BONACASA, L. BRACCESI, E. DE MIRO, (eds), La Sicilia dei due Dionisi, Atti della settimana di studio (Agrigento 2428.2.1999), Roma 2002, p. 33-45. 34. See the coinage of Antiochus VI Dionysos Epiphanes (FRANKE, HIRMER, op.cit., (supra no 22), tav. 206, n. 752) king of Syria of seven years old. Tryphon, a general of his father, was his tutor (A. HOUGHTON, “ The revolt of Tryphon and the accession of Antiochus VI at Apamea”, RSN 7 1 (1992), p. 119-147). 35. The period of Dinomenes’ tutelage by Chromius has been considered till now to 470 B.C., as Pindar, Pyth. 1, 116 under this date calls the boy basileus. Cf. LURAGHI, op.cit. (supra no 1), p. 339. 36. DE CALLATAY, GIETLER, op. cit. (supra, no 1), p.19. 37. J.M.F. MAY, The Coinage of Abdera, eds. C.M. KRAAY, G.K. JENKINS, London 1966, 122-123, nn. 126-128. 38. Ibidem, nn. 11-12, 134-138, 161-163; 187 (principal type). 39. Ibidem, nn. 37-38, 42-43. 40. Ibidem, nn. 108-111, see also 171-172. 41. Ibidem, nn. 152-155. 42. Ibidem, nn. 287-292; 415-419. 43. Ibidem, n. 420. 104 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 105 Cyclical symbol of the Sun, in its dual life of day and night, in Egyptian painting the scarab carries the enormous ball of the Sun between its legs. Worn as an amulet the insect embodied the principle of the eternal return44, a symbolism which explained its presence in funerary contexts, in a perspective of rebirth and regeneration adopted also in Sicily, shown by finds of scarabs in necropolises on the island together with statuettes of ushebti already in the archaic age45. The connection of the scarab with the Silenus of Aitna could have originated from the assimilation – so far highlighted above all for the Hellenistic age46 – between the Silenus and the Egyptian god Bes, a dwarf god with a threatening and grotesque face, known to the Greeks since the 8th-7th century BC in the form of faïence amulets or scarabs47. In Egypt, this god performed, significantly, the role of protector of the birth of the Sun god Horus, in addition to having markedly military characteristics, which were particularly emphasised in the Imperial Roman age. Some studies have already highlighted not only the iconic similarity of the masks of Bes to those of Silenus in Cypriot environments48, but have also justified the relationship in virtue of the primordial initiatory functions common to the two deities49. In particular, the benevolent and ‘pensive’ nature which has been recognised in the many masks of Silenus found in Sicilian Naxos50, a city gravitating geographically and culturally towards the area of Etna, would be in line with all the characteristics of absolute distinction, pre-eminence and superiority also of an intellectual nature, which we are in the process of reconstructing for the Silenus of Aitna through the analysis of coins and archaeological documents. In any case, that of the cultural relationship between the east and the west of the Mediterranean, in an age in which the Sicilian tyrannies were inspired by those of Pharaonic Egypt and of the centuries-old oriental kingdoms, it seems to us the best way to explain both the iconic peculiarities of the tetradrachm of the Silenus and its far-reaching historical, ideological and religious implications. WHY IS THERE THE HEAD OF A SILENUS ON THE AITNA TETRADRACHM? 44. CHEVALIER, GHEERBRANT, op. cit. (supra, no 19) s.v. ‘ Scarabeo’, 335-336. 45. G. SFAMENI GASPARRO, I Culti orientali in Sicilia, EPRO 31, Leiden 1973, 183 nn. 49-52; 185-188 nn. 59 a-o, 60, 62 a-d, 63 a-b, 64; 195-196 nn. 96a-c, 97; 199 n. 110; 200 n. 116; 201 n. 119; 202-203 nn. 121.1-12; 218 n. 175; 219 n. 179; 226 n. 197; 229 n. 201; 230 n. 204bis; 231 n. 209; 232 n. 210a-b; 233 n. 213; 237-243 nn. 231- 240 (numerous numbers inside!); 244 n. 2 4 2; 254 nn. 280-281; 255-256 n. 285a-h, 286; 258 nn. 290-291; 261-262 nn. 300a-b, 301. 46. F. JESI, Bes e Sileno, Aegyptus, XLII, 1962, 257-275. Many statues of Bes have been found in Sicily SFAMENI GASPARRO, op. cit., p. 181-182 nn. 47abc, 48.1-5; 183-184 n. 54ab; 194 n. 92; 195 n. 94 Bes?; 198 n. 105 Bes?; 214 n. 162; 218 n. 173 Bes?; 219 n. 178 (inscription with the name of Bes); 236 n. 227; 248-249 nn. 260-265. 47. Vd. TRAM TAN TIN , in LIMC, III, Zürich – München 1986, s.v. ‘Bes’, 107. 48. A. HERMARY, in LIMC, III, s.v. ‘Bes’ (Cypri et in Phoenicia), p. 111 nn. 35-37. TRAM TAN TIN, op. cit., p. 107. 49. F. JESI, “Bès initiateur”, Aegyptus 38 (1958), p. 171-183; id., “Bès e Sileno”, Aegyptus XLII (1962), p. 257-275. 50. P. PELAGATTI, “Antefisse sileniche siceliote”, CronArchStArte IV (1965), p. 79-85, p. 88-98; ead., “Sacelli e nuovi materiali architettonici da Naxos, Monte San Mauro e Camarina”, CronArchStArte 16 (1977 [1985]), p. 43-65; M.C. LENTINI, “Il culto di Dioniso a Naxos: due antefisse dipinte con figure sileniche”, BdArte 92 (1995), p. 49-56. 105 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 106 Maria CACCAMO CALTABIANO Pl. I. | 1 | | 2 | | 3 | 4 5 106 NOMI™MATIKH 6 F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 107 Pl. II. WHY IS THERE THE HEAD OF A SILENUS ON THE AITNA TETRADRACHM? 7 8 9 107 10 NOMI™MATIKH F009_003_CALTABIANOteliko 14/10/2009 01:42 πμ Page 108