Calabria, Taras. 300 BC. Silver Drachm Owl. Ancient Greek. NGC VF

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Location: Reading, Pennsylvania
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Item: 164185661686

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Historical Period:Greek (450 BC-100 AD)
Composition:Silver
Year:3 BC
Era:Ancient
Certification:NGC

Calabria, Taras. 300 BC. Silver Drachm Owl. Ancient Greek. NGC VF. Shipped with USPS First Class Package.Founded by Spartans in the 8th century BC during the period ofGreek colonisation, Taranto was among the most important inMagna Graecia, becoming a cultural, economic and military power that gave birth to philosophers, strategists, writers and athletes such asArchytas,Aristoxenus,Livius Andronicus,Heracleides,Iccus,Cleinias,Leonidas,LysisandSosibius. By 500 BC, the city was among the largest in the world, with a population estimated up to 300,000 people.The seven-year rule ofArchytasmarked the apex of its development and recognition of itshegemonyover otherGreek coloniesof southern Italy.Taranto’s pre-history dates back to 706 BC when it was founded as aGreekcolony, established by theSpartans. The ancient city was situated on apeninsula; the modern city has been built over the ancient Greek city of which only a few ruins remain, including part of the city wall, two temple columns dating to the 6th century BC, and tombs. TheGreekcolonists fromSpartacalled the cityTaras(;GENTarantos) after the mythical heroTaras, while theRomans, who connected the city to Rome with an extension of theAppian way, called itTarentum.Like many Greek city states, Taras issued its own coins in the 5th and 4th centuries BC. The denomination was a Nomos, a die-cast silver coin whose weight, size and purity were controlled by the state. The highly artistic coins presented the symbol of the city, Taras being saved by a dolphin, with the reverse side showing the likeness of ahippocamp, a horse-fish amalgam which is depicted in mythology as the beast that drew Poseidon’s chariot. Taras was also the centre of a thriving decoratedGreek potteryindustry during the 4th century BC. Most of theSouth ItalianGreek vessels known asBasilicanware were made in different workshops in the city. Unfortunately, none of the names of the artists have survived, so modern scholars have been obliged to give the recognizable artistic hands and workshops nicknames based on the subject matter of their works, museums which possess the works, or individuals who have distinguished the works from others. Some of the most famous of the Apulian vase painters at Taras are now called: theIliupersis Painter, theLycurgus Painter, theGioia del Colle Painter, theDarius Painter, theUnderworld Painter, and theWhite Sakkos Painter, among others. The wares produced by these workshops were usually large elaborate vessels intended for mortuary use. The forms produced includedvolute kraters,loutrophoroi,paterai,oinochoai,lekythoi,fish plates, etc. The decoration of these vessels wasred figure(with figures reserved in red clay fabric, while the background was covered in a black gloss), with overpainting (sovradipinto) in white, pink, yellow, and maroon slips. Often the style of the drawings is florid and frilly, as was already the fashion in 4th-century Athens. Distinctive South Italian features also begin to appear. Many figures are shown seated on rocks. Floral motifs become very ornate, including spiraling vines and leaves,roses,lilies,poppies, sprays oflaurel,acanthus leaves. Often the subject matter consists of naiskos scenes (scenes showing the statue of a deceased person in a naos, a miniature temple or shrine). Most often the naiskos scene occupies one side of the vase, while a mythological scene occupies the other. Images depicting many of the Greek myths are only known from South Italian vases, since Athenian ones seem to have had more limited repertoires of depiction.

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