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ENGRAVERS OF TERINA AND SIGNATURE OF EVAENETOS. 29butting bull on the later didrachms by of course, aat Thourioi is,symptom of a tendency that becomes verygeneral on the dies both in Magna G-raecia and Sicilyduring the last years of the fifth century. That thiswas a characteristic of Zeuxis' method may be inferredfrom the fact thathe seems to have carried chiaroscuro^so indispensable for such representations, to a higher pitchthan had yet been attained even by his master Apollodoros.When we remember that Kimon, who broughtthis process to such perfection for the Syracusan Mint,apparently began his career on the Italian side, 14 itseems highly probable that this fashion in numismatic artwent hand in hand with the dominant school of paintingof which Kroton supplies the richest illustration.The exquisite didrachm of Pandosia [PI. Ill, 6] has aspecial bearing on our present subject, since the seenin the field of the reverse, showing the seated Pan, maywith some probability be identified with the artistwhose signatureisfound on the above-mentioned coinsof Terina. The style of the pieceis slightly later,and the head of Pan turned three quarters round, insympathy with that of the Goddess on the obverse, isitself a more advanced characteristic. The whole group,with the dog at the foot of rock, on which the young Godrests, lookingback with a sudden alertness inthe samedirection in which his master gazes, isextremelypicturesque. In the case of a third stater, in whichthis type is varied [PI. III.7],the instantaneous element13Quintilian, xii. 10 :"Luminum umbrarumque invenisse rationemZeuxis traditur."14In my Syracusan Medallions, pp. 75, 76, I have shown that thefacing heads on the coins of Neapolis are the prototypes of Kimon's" Arethusa."