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ENGRAVERS OF TERINA AND SIGNATURE OF EVAENETOS. 43later types of n's second and third manner, 43 showing asimilar baggy sphendone, though without the stars.But the whole style and expression are widely different.The elaborate treatment of the hair as well as thestarred bag of the sphendone suggest Syracusan comparisonsa suggestion which gains in force when weregard the face of Nike Terina herself as here portrayed.The proud profile with which these luxuriantdetails are associated can hardly fail to call up thefeatures of the Goddess of the Syracusan" medallions"in Kimon's third manner. 44 This is well brought out inthe enlarged phototype on PI. V. 1. To me at least thehead of this Terinaean type conveys the strong impressionthat, if not from the actual hand of Kimon, itwas executed in his atelier, and under his immediateinspiration.The two reverse types with which this " Kimonian "obverse are associated, 45 stand less apart in style fromthe ordinary Terinaean series, though one of themIn thispresents a new aspect of the seated Nymph.case she isrepresented without wings, holding up apatera, while a small Victory flies behind, holding outan olive -wreath to crown her head [PI. IV. 16].To understand the genesis of the other and somewhat43Regling, op. cit., Taf. I., AA, BB, SS, HH.44See my "Syracusan Medallions and their Engravers" (Num.Chron., 1891, PI. II. Fig. 8). No tetradrachms in Kimon's " thirdOnmanner " are known, with which to compare the Terinaean type.his gold staters (loc. cit., Figs. 3, 4a, 46) the Goddess wears a starredsphendone. Dr. Eegling, op. cit., p. 54, already noted with regard tothis" type, Die Haartracht, namentlich die von der Ampyx an undan der sternbesetzten, gegen friiher verbreiterten Sphendone entlangimmer dichter werdende Lockenfiille erinnert ein wenig an diesyracusanischen Dekadrachmen des Kimon." He was not theninclined to believe, however, in a direct or conscious connexion.45Regling, op. cit., Taf. III., w/j., vvv.