Numismatica Ars Classica
Auction 134 21 Nov 2022
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Greek Coins. Metapontum.
Nomos circa 400-340, AR 7.92 g. Facing head of Demeter, slightly r., wearing barley wreath and necklace with pendants; above, [ΣΩTHEPIA]. Rev. MET[A] Ear of barley with leaf r. Jameson 326 (these dies). McClean 937. de Luynes 505 (these dies). Gillet 155 (this coin). Johnston-Noe 449. Historia Numorum Italy 1523 (these dies).
Very rare. Struck on a broad flan and unusually well-centred for the issue. Wonderful
old cabinet tone, a minor metal flaw on reverse, otherwise good very fine
From the Charles Gillet collection and an Exceptional Collection assembled between the early 70s and late 90s.
Considering the heavy reliance of Metapontum on the grain trade for its wealth, it is not surprising that Demeter, the Greek goddess of the harvest, was worshipped at the city and made frequent appearances, along with her daughter Persephone, on Metapontine coinage. According to Greek mythology, Demeter created the seasons after Persephone was abducted by Hades, who wished her to be his queen in the Underworld. The sorrowful Demeter searched everywhere for her daughter, during which time she ignored her usual duties, making it impossible for plants to grow. At last she discovered Persephone in the Underworld, but just as she was about to bring her daughter home, it was revealed that she had eaten a pomegranate seed while she was with Hades. This bound her to the Underworld and Demeter was forced to accept that her daughter could be with her for only part of each year while she would have to spend the other part in the Underworld with Hades. While Persephone was with her, Demeter was happy and the plants could grow, as in the spring and summer, but when her daughter was with Hades, she mourned and the cycle of growing was interrupted, as in autumn and winter. The facing head of Demeter on this nomos is especially well executed and wonderfully preserved. It reflects the influence of the high classical artistry that was sparked by the signing engravers at Syracuse at the close of the fifth century BC and spread to Sicily, Magna Graecia and then the wider Greek world. The facing head is ultimately inspired by the innovative facing head of Arethusa pioneered by the artist Cimon at Syracuse.
Nomos circa 400-340, AR 7.92 g. Facing head of Demeter, slightly r., wearing barley wreath and necklace with pendants; above, [ΣΩTHEPIA]. Rev. MET[A] Ear of barley with leaf r. Jameson 326 (these dies). McClean 937. de Luynes 505 (these dies). Gillet 155 (this coin). Johnston-Noe 449. Historia Numorum Italy 1523 (these dies).
Very rare. Struck on a broad flan and unusually well-centred for the issue. Wonderful
old cabinet tone, a minor metal flaw on reverse, otherwise good very fine
From the Charles Gillet collection and an Exceptional Collection assembled between the early 70s and late 90s.
Considering the heavy reliance of Metapontum on the grain trade for its wealth, it is not surprising that Demeter, the Greek goddess of the harvest, was worshipped at the city and made frequent appearances, along with her daughter Persephone, on Metapontine coinage. According to Greek mythology, Demeter created the seasons after Persephone was abducted by Hades, who wished her to be his queen in the Underworld. The sorrowful Demeter searched everywhere for her daughter, during which time she ignored her usual duties, making it impossible for plants to grow. At last she discovered Persephone in the Underworld, but just as she was about to bring her daughter home, it was revealed that she had eaten a pomegranate seed while she was with Hades. This bound her to the Underworld and Demeter was forced to accept that her daughter could be with her for only part of each year while she would have to spend the other part in the Underworld with Hades. While Persephone was with her, Demeter was happy and the plants could grow, as in the spring and summer, but when her daughter was with Hades, she mourned and the cycle of growing was interrupted, as in autumn and winter. The facing head of Demeter on this nomos is especially well executed and wonderfully preserved. It reflects the influence of the high classical artistry that was sparked by the signing engravers at Syracuse at the close of the fifth century BC and spread to Sicily, Magna Graecia and then the wider Greek world. The facing head is ultimately inspired by the innovative facing head of Arethusa pioneered by the artist Cimon at Syracuse.