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The numismatic chronicle and journal of the Royal ... - IndianCoins.org

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ENGRAVERS OF TERINA AND SIGNATURE OF EVAENETOS. 39<strong>and</strong>, though, as will be seen below, his practice varies,<strong>the</strong> signature is <strong>of</strong>ten extremely inconspicuous. On <strong>the</strong>reverse types, where it is found more <strong>of</strong>ten than in <strong>the</strong>case <strong>of</strong> , it is placed not only in <strong>the</strong> field, but on<strong>the</strong> cippus upon which <strong>the</strong> Nymph is seated, <strong>and</strong> in onecase, very minutely, on <strong>the</strong> rock upon which she rests herfoot [PI.III. II].36example <strong>of</strong> a signature en artiste.It would be impossible to cite a clearerIt is evident that some <strong>of</strong> <strong>the</strong> heads in P's " latermanner " are not upto <strong>the</strong> artistic level <strong>of</strong> those on hisearlier dies, which very closely reflect <strong>the</strong> style <strong>of</strong> hisassociate <strong>and</strong> probable master, . It is quite possiblethat in this <strong>and</strong> in o<strong>the</strong>r cases where we have to dealwith signatures on coins, <strong>the</strong> initial <strong>of</strong> a more well-known<strong>and</strong> artistic engraver may, under certain circumstances,have been attached to <strong>the</strong> work <strong>of</strong> subordinate die-sinkersin <strong>the</strong> same atelier, perhaps as a kind <strong>of</strong> <strong>of</strong>ficial passport.<strong>The</strong> tendency to adopt such a procedure would begreatest in <strong>the</strong> later years <strong>of</strong> an engraver.But where <strong>the</strong> signature was <strong>of</strong> this <strong>of</strong>ficial class, itmay very well have covered <strong>the</strong> actual h<strong>and</strong>iwork <strong>of</strong> asubordinate. 37 It is noteworthy, moreover, in this connexion,that <strong>the</strong> obverse type <strong>of</strong> this series which presents56Regling, op. cit., No. 74 (\\-KKK). <strong>The</strong> example given in PI. III. 11is from <strong>the</strong> British Museum.37<strong>The</strong> above remarks answer <strong>the</strong> objections recently raised by Messrs.H. von Fritze <strong>and</strong> H. Gaebler (Nomisma, i. (1907), pp. 16 seqq.) regarding<strong>the</strong> <strong>and</strong> P as artists' signatures. <strong>The</strong> criticisms put forwardin <strong>the</strong> above publication are in any case much exaggerated. <strong>The</strong>re isno sufficient reason for supposing that P covers <strong>the</strong> work <strong>of</strong> " three oreven sjx different engravers," though it is clear that some <strong>of</strong> <strong>the</strong> laterobverse types with this signature show a falling <strong>of</strong>i in style. <strong>The</strong> earlierwork with which it is connected was no doubt executed under <strong>the</strong> stronginfluence <strong>of</strong> (p, who appears to have been P's master, <strong>and</strong> this accountsfor <strong>the</strong> strong resemblance presented by certain dies.

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