Ancients: BRUTTIUM. Caulonia. Late 6th century BC. AR stater or nomos (30mm, 8.29 gm, 12h). NGC Choice AU★ 5/5 - 5/5....

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Naville VI, 1924 - Noe Plate Coin

BRUTTIUM. Caulonia. Late 6th century BC. AR stater or nomos (30mm, 8.29 gm, 12h). NGC Choice AU★ 5/5 - 5/5. Ca. 520 BC. KAVΛ, full-length figure of Apollo, nude, advancing right, torso turned facing, olive branch in raised right hand, left hand outstretched, pursuing Daphne running right, head reverted, transforming into laurel tree with branches as arms; stag standing right on platform in right field, head reverted, guilloche border / Incuse and reverse of obverse, save for Daphne, stag's antlers, and Apollo's palm in relief; striated border on incuse band. Noe 2k (this coin). SNG ANS 141. Expertly struck on massive flan. Deep cabinet toning and incredible eye appeal.

Ex LHS Numismatik, Auction 100 (23 April 2007), lot 133; R. Maly Collection; Johns Hopkins University, J. W. Garrett Collection (Bank Leu/Numismatic Fine Arts, 16 October 1984), lot 109; C.S. Bement Collection (Naville VI, 28 January 1924), lot 265

Caulonia was founded in the 7th century BC by Achaean Greeks, either emigres from the homeland or from the nearby city of Croton. The location, on the underside of Italy's "toe" on a headland jutting out into the sea, has in the centuries since disappeared beneath the waves. Underwater archaeology has located more than 100 fluted columns and two spectacular mosaics, both depicting dragons, in the ruins dating to the 5th-4th centuries BC. The columns were likely for a large shrine to Apollo, the deity depicted on the city's beautiful and intriguing coinage.

On this magnificent piece, Apollo's entire nude body is shown in a refined Archaic form, striding to the right, and with what has traditionally been described as a small winged daemon on his left arm; to his right stands a stag, sacred to both Apollo and his sister Artemis. However, the tradition of claiming the small figure as a winged daemon does not seem to be grounded in any evidence connected to either the city, or the mythology and iconography of Apollo. Most likely the iconography depicts the myth of Apollo's hopeless pursuit of Daphne. Apollo, upon seeing Daphne for the first time, had a moment of either love at first sight, or with some intervention of a certain god of love Eros, fell madly in love with Daphne. He began chasing her, and in order to protect herself, as she had vowed to be a maiden, she plead to her father, Peneus, for assistance. In response, Peneus transformed Daphne into a laurel tree, thereby thwarting Apollo's pursuit. Still loving Daphne, Apollo vowed to honor her for all time, thus the laurel tree, which is Daphne in Greek (ΔΆΦΝΗ), became Apollo's main attribute, with the laurel wreath he wore upon his head and the laurel staff he often carried. The laurel wreath thus became used as a prize for victors, as well as, symbol for the power of leadership. Therefore, the small figure on the coin that is running away from Apollo with branches in hands, or as arms, is most likely that of Daphne mid-metamorphosis. The artist that designed this coin type with the three figures placed in perspective, gave each a separate ground line and size to show a depth of field. Apollo is the largest and most prominent figure, and he is placed in the foreground. The deer is smaller and has its own ground line, placing it further back in the scene, in the midground. Lastly, there is the small figure of Daphne with her ground line behind Apollo's arm. She is the smallest figure because she is the furthest away. She looks back as she runs away mid-transformation. This was a very creative way to show the full story of the myth, stuck forever in a pregnant pause.

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