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Numismata hellenica: a catalogue of Greek coins; with notes, a map ...

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S4<br />

Metal<br />

M Size<br />

6<br />

M 4-<br />

M 2i<br />

Weight<br />

172-3<br />

N 2-n 29-6<br />

INSULAR GREECE.<br />

Neptune, naked, adv., standing before horse to r. ; in right hand, trident ; left<br />

holding bridle. R. jf joixa "^ ^^'^ ^'°^^ ' between, head <strong>of</strong> trident ; all in quad.<br />

incus.<br />

Note.—A specimen <strong>of</strong> this coin from the Devonshire Collection, published by ChishuU (Ant. As.<br />

p. 14C), has the same legend PATKIOIN. It was a Cretan form <strong>of</strong> the genitive plural, as appears from<br />

a coin <strong>of</strong> Cnossus (v. supra).<br />

Horse's head to r. ; round it, PAYK[I]QN, in dotted circle, li. Trident ; dolphin ;<br />

gh quad, incus, as countermark.<br />

RHITHYMNA Cretse.<br />

Note.— Rhithymna is now 'Pidvitvoc, which the Italians have converted into Retime ; it is one <strong>of</strong><br />

the chief fortresses <strong>of</strong> Crete, and <strong>of</strong> more importance than it appears to have been anciently.<br />

Head <strong>of</strong> Pallas to r. IJ. [P]ieY. between two dolphins, in circle <strong>of</strong> dots.<br />

RHODUS.<br />

Note.—In the time <strong>of</strong> Homer, three cities divided the island <strong>of</strong> Rhodus between them ; namely,<br />

and Cameirus :<br />

Lindus, lalysus,<br />

Oi 'Poiow afujiciiiiiovTo iid rpix" icoir/ii/Olvrtc,<br />

Aivlov, 'ItiXvaaov ri, xai dpyiv6tvTa ILdfjitipov.-<br />

-II. B. 655.<br />

Tpix9a ^i ifKijOtv KaTa(t>v\aS6v.—Ih. 668.<br />

These cities flourished during several centuries, but at length coalesced in founding a new city,<br />

which they called the city <strong>of</strong> the Rbodii, at the northern extremity <strong>of</strong> the island, one <strong>of</strong> the most<br />

favoi"able positions in the Mediterranean for commerce and naval influence. Strabo informs us, that<br />

the event occurred Kara rd JliXovovvriaiaKd, but it must have been forty or fifty years earlier, if<br />

what he adds is true, that the same architect ( Hippodamus <strong>of</strong> Miletus), who was employed in the<br />

construction <strong>of</strong> Rhodus, built the Peirasus <strong>of</strong> Athens, — for this event occurred about 475 B.C. The<br />

extant <strong>coins</strong> <strong>of</strong> this island are perfectly conformable to its history. According to Strabo, the three<br />

ancient cities ceased to be autonomous after the foundation <strong>of</strong> Rhodus, irporcpot> Ka9' airoic iiro-<br />

XiTeiiovTO .... iiird ravra avvip\.9ov iiiravTfg ilg ti)v 'Polov (p. 654). Coius accordingly <strong>of</strong> the<br />

three cities are <strong>of</strong> archaic fabric and <strong>of</strong> extreme rai-ity ; while none <strong>of</strong> those <strong>of</strong> Rhodus have the<br />

appearance <strong>of</strong> being earlier than the fifth century b. c.<br />

Radiate head <strong>of</strong> Apollo to r.<br />

all in circle <strong>of</strong> dots.<br />

R. Flower; above, [AA]M0KPATH2; below, PO;<br />

Note.—Whether this flower was meant for the rose, or for the flower <strong>of</strong> the pomegranate, in <strong>Greek</strong><br />

paXavsTtov, has been much disputed ; the latter seems the more likely— 1. Because poiov is derived<br />

apparently from pod, which in the diminutive form potSwv, is still the <strong>Greek</strong> word for pomegranate.<br />

2. Because the pomegranate was a sacred fruit, as appears from many ancient <strong>coins</strong> ; that the<br />

flower partook <strong>of</strong> this sanctity, we may presume from the blossom having had a name separately<br />

from the fruit. In all probability poSov was applied in common parlance to any beautiful flower<br />

until, in process <strong>of</strong> time, cultivation had produced roses <strong>with</strong> sixty petals, and remarkable for<br />

their fragrance. Herodotus, who describes them (8, 138), seems clearly to have alluded to ouP<br />

garden-rose. It has been remarked, that the Rhodian type bears no very faithful resemblance to<br />

either flower ; admitting this, we may easily conceive that on the <strong>coins</strong> a design, originatmg m a<br />

time <strong>of</strong> imperfect art, was followed <strong>with</strong>out any change, except that <strong>of</strong> an improved execution, and<br />

became conventional, like the ideal heads <strong>of</strong> the deities, and <strong>of</strong> many natural objects which on <strong>coins</strong><br />

are more elegant and expressive than rigidly truthful.

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