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ENGRAVERS OP TERINA AND SIGNATURE OF EVAENETOS. 23drapery with the reliefs of the balustrade of the Templeof Nike Apteros, which also stand in such a near relationto a type of the contemporary Terinaean engraver n.The appreciations of these fine judges of Greek arthave, doubtless, a permanent value, but it seems to methat such a design as that seen in PI. III. 4, with theNymph on the urn, issuggestive rather of the painter'sthan the sculptor's methods. Here it is the instantaneouselement that first strikes the The eye. Nymph, literallypoised on the overturned hydria, her drapery drawn backby the breeze and fluttering behind, the littlebird justperched on the back of her hand with its wings half spreadnever surely was a more pictorial composition introducedinto the field of a coin !Indeed, mutatis mutandis,the figure with its clinging drapery and legs drawn back,balanced as it were on the round boss of the urn, evokespoints of sympathetic comparison with that most poeticalcreation of the modern painters' craft, Watts's " Hope."This exquisite design, moreover, leads us to another,almost equally pictorialin character, on a coin [PL III. 5], 5the obverse type of which is also the signed workof . The whole background of this is occupied witha wall, its large isodomic blocks clearly marked, which,from the lion's head with its spouting water seen onone side, is clearly a reservoir (^a/mevrf). In frontof this the local Nymph, seated on the square base,receives the water in her hydriasecuring her equipoise,the while, by throwing out behind her the left arm,in which she holds a herald's staff. Between her andthe reservoir wall isa square basin on which a swan isswimming. In the narrow space above the wall appears5Regling, op. cit., No. 34 (S. -ft).