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32 NUMISMATIC CHKONICLE.Since the time of Mr. Poole's essay on " The AthenianCoin Engravers in Italy," it has been generally admittedthat the last-mentioned type reflects the strong influenceof the kindred subjects on the balustrade of the Templeof Nike Apteros,"though not necessarily of a particularwork," 18 The criticism that has been recently urged,19that the scheme itself, as seen in the sandal-binder,occurs already in mature archaic art as in the case ofthe Orestes of a Melian terracotta relief and of the figurein the inner field of a red figure Jcylix by Duris seemsto me to be beside the mark. What we have to dealwith here isthe sympathy of stylenot merely the coincidence of scheme, butand treatment, the modelling ofthe figure beneath the drapery, the curving forward of thewing, the suggestion of rhythmic motion. That the schemeitself under one or other form was fashionable about thisperiod can be gathered, inter alia, from other coin-types,such as the young river-god of Segesta or the Hermes ofSybrita in Crete. But the correspondence with Atticmodels visible in the subject as presented by P at Terinagoes far beyond mere generalities. Apart too from the morepurely pictorial and instantaneous elements, the sameinfluence is unmistakable in 'scompositions, and notablyin his consummate art of indicating the limbs beneaththe drapery. We have further to remember, as a linkof connexion with the cult of Nike Apteros, that thoughthe winged civic deity seen on the reverse of the great18Num. Chron., 1883, p. 276. Begling (op. cit., p. 45) points out thatthe influence of the balustrade on the coin-types of Terina fits in withthe approximate date of that work, whether we accept Kekule's view(Reliefs, p. 26) that it was executed soon after 432, or Furtwangler's(Meistenverke, pp. 211-220), assigning it to the period 425-423 B.C.1UH. von Fritze u. H. Gaebler, Nomisma, 1907, p. 21.