1

Tom VII
MUZEUM NARODOWE W KRAKOWIE
SEKCJA NUMIZMATYCZNA
KOMISJI ARCHEOLOGICZNEJ PAN
ODDZIA W KRAKOWIE
Krakw 2012
VII
2
3
MUZEUM NARODOWE W KRAKOWIE
SEKCJA NUMIZMATYCZNA
KOMISJI ARCHEOLOGICZNEJ PAN
ODDZIA W KRAKOWIE
Krakw 2012
Tom VII
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Komitet redakcyjny / Editorial Commitee:
Peter van Alfen, Aleksander Bursche, Georges Depeyrot, Zoia Goubiew,
Bogumia Haczewska, Wiesaw Kaczanowicz, Elbieta Korczyska, Adam Makiewicz,
Mariusz Mielczarek, Ji Militk, Janusz A. Ostrowski, Maciej Salamon
Redakcja / Editorial Board:
Redaktor / Editor in Chief Jarosaw Bodzek
Zastpca redaktora / Associate Editor Mateusz Woniak
Sekretarze / Secretaries Kamilla Twardowska, Elbieta Korczyska, Kamil Kopij
Redaktor tematyczny / Theme Editor:
Peter van Alfen
Redaktor jzykowy / Linguistic Editor:
Peter van Alfen, Raymond Shindler
Recenzenci / Reviewers:
Bartosz Awianowicz, Mateusz Bogucki, Wolfgang Fischer-Bossert, Barbara Butent-Stefaniak,
Witold Garbaczewski, Robert Wilson Hoge, Agata A. Kluczek, Vlastimil Novak,
Micha Parczewski, Borys Paszkiewicz, Zenon Piech, Nicholas K. Rutter,
Sawomir Sprawski, Vladimir Stolba, Eliza Walczak, Marcin Wooszyn
Redaktor prowadzcy / Leading Editor:
Anna Kowalczyk
Adjustacja i korekta tekstu / Editing and Proofreading:
Agnieszka Grzesiak-Kozina
Tumaczenia / Translations:
Jarosaw Bodzek, Marcin Fijak, Piotr Gierowski
Opracowanie graiczne / Graphic Design:
Luiza Berdak
Adres redakcji / Address of the Editorial Ofice:
Muzeum Narodowe w Krakowie
ul. Jzefa Pisudskiego 12
31-109 Krakw
tel. (+48) 12 422 68 80
e-mail: notae@muzeum.krakow.pl
www.muzeum.krakow.pl
Wyczn odpowiedzialno za przestrzeganie praw autorskich dotyczcych materiau ilustracyjnego ponosz autorzy tekstw.
Authors of the texts bear the sole responsibility for observing the copyright illustrations.
Muzeum Narodowe w Krakowie i Autorzy, 2012
ISSN 1426-5435
5
SPIS TRECI / CONTENTS
9 Nota od redakcji / Note from the Editors
ARTYKUY / ARTICLES
PETER VAN ALFEN
13 Problems in the Political Economy of Archaic Greek Coinage
31 Problemy ekonomii politycznej archaicznego mennictwa greckiego
DOROTA GORZELANY
37 Arethusa Cups in the Collection of the Princes Czartoryski Museum in Krakow.
The Coin as a Decorative Element in Pottery
44 Czarki Aretuzy z kolekcji Muzeum Ksit Czartoryskich w Krakowie. Moneta jako element
dekoracyjny ceramiki
WILLIAM M. STANCOMB
49 Some Rare or Unpublished Coins from the North Black Sea
53 Kilka rzadkich i niepublikowanych monet z regionu pnocnych wybrzey Morza Czarnego
KIRILL MYZGIN, GEORGIY BEIDIN
57 Finds of Bosporan Coins in the Territory of the East-European Barbaricum
77 Znaleziska monet bosporaskich na obszarze wschodnioeuropejskiego Barbaricum
ARKADIUSZ DYMOWSKI
93 A Roman Antoninianus of Egnatia Mariniana Found in the Kujavian Region.
The Third Century Silver Coinage in the Territory of the Przeworsk Culture
101 Rzymski antoninian Egnatii Mariniany znaleziony na Kujawach. Trzeciowieczne monety srebrne
na terenie kultury przeworskiej
ANNA BOCHNAK, DOROTA MALARCZYK
105 The Early-Medieval Silver Hoard of Coins and Ornaments Found
at Babiskie Lasy in the Collection of the National Museum in Krakow
121 Wczesnoredniowieczny skarb monet i ozdb srebrnych z Babiskich Lasw w zbiorach
Muzeum Narodowego w Krakowie
DAGMAR GROSSMANNOV
129 Morawskie denary Przemysa Ottokara II (124712531278)
146 Moravian Denarii of Pemysl Otakar II (124712531278)
6
RADOSAW GAZISKI, GENOWEFA HOROSZKO
153 The Ducal Grifin in the Coinage of West Pomerania
176 Gryf ksicy na monetach zachodniopomorskich
MATERIAY / MATERIALS
JAROSAW BODZEK, AGATA SZTYBER
187 Znalezisko denara legionowego Marka Antoniusza w okolicach wsi Dzielna,
gm. Opoczno
192 A Find of a Legionary Mark Anthony Denarius in the Vicinity of Dzielna, gm. Opoczno
VALANTIN NAUMOVI RIABCEVI
197 Znaleziska brakteatw, imitujcych kuickie dirhamy, z terytorium wspczesnej
Biaorusi
205 The Finds of Bracteats, Imitations of Cuic Dirhams, from the Territory of Belarus
AGATA SZTYBER, MATEUSZ WONIAK
211 Monety z cmentarzyska wczesnoredniowiecznego w Modlnicy,
stan. 5, gm. Wielka Wie, pow. krakowski
219 Coins from the Early-Medieval Burial Ground at Modlnica, Site no. 5, gm.Wielka Wie, Cracow County
VARIA
MICHA WOJENKA
227 Zapomniane naczynie. Kilka uwag o pojemniku na skarb srebrny z jaskini
Okopy Wielkiej, Dolnej w Ojcowie
235 A Forgotten Vessel. A Few Notes on the Silver Hoard Container Found in the Cave Jaskinia Okopy
Wielka, Dolna at Ojcw
RECENZJE / REVIEWS
WILLIAM M. STANCOMB
243 Sylloge Nummorum Graecorum Poland. Volume III. The National Museum in
Cracow. Part 4. Sarmatia Bosporus, Editor, Jaroslaw Bodzek (Krakw 2006)
PAWE ZAWORA
245 Ian A. Carradice, Theodore V. Buttrey, The Roman Imperial Coinage,
volume II Part 1, second fully revised edition. From AD 69-96, Vespasian
to Domitian. Spink, Londyn 2007
Bernhard Woytek, Die Reichsprgung des Kaisers Traianus (98117),
Moneta Imperii Romani, vol. 14. Austrian Academy of Sciences, Wien 2010
7
WOJCIECH BORUCH
250 Agata Aleksandra Kluczek, VNDIQVE VICTORES. Wizja rzymskiego wadztwa
nad wiatem w mennictwie zotego wieku Antoninw i doby kryzysu
III wieku studium porwnawcze, Katowice 2009
Constantina Katsari, The Roman Monetary System: the Eastern Provinces from
the First to the Third Century AD, Cambridge New York Melbourne 2011
HELLE W. HORSNS
257 Renata Cioek, Die Fundmnzen der rmischen Zeit in Polen. Schlesien,
Collection Moneta 83, Wetteren 2008
Andrzej Romanowski, Die Fundmnzen der rmischen Zeit in Polen.
Rechtsufriges Masowien und Podlachien, Collection Moneta 84, Wetteren 2008
ANDRZEJ ROMANOWSKI
260 Arkadiusz Dymowski, Znaleziska monet rzymskich z terenu Polski rejestrowane
w pierwszych latach XXI wieku. Aspekty rdoznawcze, Eternum, Zielona
Gra 2011
KRONIKA / CHRONICLE
ELBIETA KORCZYSKA, PAULINA TARADAJ
267 Kronika Gabinetu Numizmatycznego Muzeum Narodowego w Krakowie
(20092011)
272 The National Museum in Krakow Coin Room Chronicle (20092011)
PAULINA TARADAJ
279 Wystawa Rarytasy numizmatyczne ze zbiorw Muzeum Narodowego w Krakowie
283 The Exhibition Numismatic Rarities from the Collection of the National Museum
in Krakow
NEKROLOGI / OBITUARIES
TOMASZ BYLICKI
289 Dr Aleksandra Krzyanowska (19282012). Wspomnienie pomiertne
297 Dr Aleksandra Krzyanowska (19282012). In Memory
JAROSAW BODZEK
305 Wspomnienie o prof. dr. Peterze Berghausie (19192012)
309 In Memory of Prof. Dr Peter Berghaus (19192012)
8
9
Szanowni Pastwo,
oddajemy w rce Czytelnikw kolejny, sidmy tom Notae Numismaticae Za-
piskw Numizmatycznych. Zgodnie z przyjtym zwyczajem teksty o tematyce
midzynarodowej publikujemy w jzykach kongresowych z polskimi streszcze-
niami, za teksty odnoszce si w wikszym stopniu do zainteresowa czytelnika
polskiego w jzyku polskim z angielskimi streszczeniami. Wszelkie informacje
dla autorw oraz archiwalne tomy naszego czasopisma s dostpne na stronie
www.muzeum.krakow.pl.
W zwizku z rezygnacj prof. dr. hab. Macieja Salamona z funkcji Redaktora
pragniemy gorco podzikowa Panu Profesorowi za wieloletni prac. Bez jego
wkadu i ogromnej numizmatycznej wiedzy nasze czasopismo nie osignoby
obecnego poziomu. Profesor Maciej Salamon nadal bdzie wspiera Redakcj
jako czonek Komitetu Redakcyjnego.
Redakcja
Dear Readers,
We are pleased to present to you this seventh volume of Notae Numismaticae Za-
piski Numizmatyczne. In accordance with our customary practice, all the texts con-
cerned with subjects of international interest or signiicance have been published
in the conference languages with their abstracts in Polish, while those of more
relevance to Polish readers in Polish, with abstracts in English. Information for
prospective authors as well as previously published volumes of our journal can be
found at www.muzeum.krakow.pl.
In view of Prof. dr hab. Maciej Salamons resignation, the Editors would like to
extend heartfelt thanks to Professor Salamon for his involvement throughout the
years, as our journal could not have attained its current editorial and academic
level without his valuable contribution and extensive knowledge. Professor Sal-
amon will continue to aid and support the Editors of the journal as a member of the
editorial committee.
The Editors
10
11
ARTYKUY / ARTICLES
12
37
P Tom VII
Krakw 2012
DOROTA GORZELANY
The National Museum in Krakow
Arethusa Cups in the Collection of the Princes
Czartoryski Museum in Krakow.
The Coin as a Decorative Element in Pottery
In the 1880s, Prince Wadysaw Czartoryski exchanged correspondence with
Carlo Borrani, an antiquarian, and Ricardo Mancini, an engineer-archaeologist
exploring the necropoleis at Orvieto.
1
In light of the letters from Borrani, who
dealt with the forwarding of antiquities, the Prince had apparently purchased
a certain number of objects from the Canicella necropolis, a provenance that is fur-
ther conirmed in Czartoryskis correspondence with the French archivist, palaeog-
rapher, and collector Charles Casati, a witness of Mancinis discoveries. These
artefacts are not speciied in the letter, but the inventory sequence of the items ob-
tained in 1889 has basically facilitated their identiication. Not all of the objects in
question correspond with the typical grave goods of the Orvieto cemetery explored
by Mancini. Some of them (including a group of objects obtained earlier, in 1884)
possess features indicative of their provenance from Latium and Campania. There
is, among other things, a black-glazed stemless kylix (Pl. 1)
2
on a triple-proiled
foot narrowing in the upper part, with a shallow bowl; its thin walls curve slightly
inwards. The horizontal handles, curved upward at their ends, are set below the
rim and rise above the level of the edge. The inside of the vessel is decorated with
a silvery relief medallion with a depiction of the nymph Arethusas head
1
K. MOCZULSKA, Kontakty kolekcjonerskie Wadysawa Czartoryskiego we Woszech (C. Borrani,
R. Mancini, Ch. Casati), Meander 56, 1985, pp. 211215. The inventory of the letters in the collection of the
Princes Czartoryski Library, cf. IBIDEM, n. 3, 17.
2
Inv. no. MNK XI 866 (collection of the Princes Czartoryski Foundation deposited with the National Mu-
seum in Krakow). Red clay, black metallic glaze. Dimensions: height 5 cm; diameter 12 cm; diameter, includ-
ing handles 19.3 cm; foot diameter 6.8 cm; medallion diameter 3 cm. Condition: minor glaze abrasion, more
noticeable on one of the vessel sides. Cf. K. BULAS, CVA Pologne 2, Cracovie, Krakw 1935, p. 22, pl. 19,6.
38
DOROTA GORZELANY
(situated at a slant in relation to the handles axis), wearing a diadem of water reeds,
and with four dolphins swimming around. The medallion is encircled by thirteen
stamped palmettes, a fourfold row of rouletted hatching, with the bend of the cup
walls accentuated by means of an engraved line. The glaze is deep black, with
a metallic sheen.
An almost identical cup (Pl. 2) came into the Princes Czartoryski Museum in
1897, along with some other antiquities donated by Zoia Woodkowicz after the
death of her son Bolesaw (186097) a lawyer and amateur collector. A group of
seventeen Greek and South Italian vases is marked by the items good quality and
condition of preservation. Unfortunately, we do not know the source from which
Woodkowicz had purchased these objects. The kylix from his collection
3
differs
from the one purchased by Prince Czartoryski by a few millimetres only. The me-
dallion with Arethusas head surrounded by the four dolphins is situated along the
axis of the handles. It is less distinct and not covered with a silvery coating. It is
surrounded by eight palmettes placed intermittently with groups of three impressed
circles, with a point in the middle, and a spiral-shaped rouletted hatching in ive
rows. Both kylikes date from the latter quarter of the fourth century BC.
4

These so-called Arethusa cups are marked by their traditional kylix form
known as delicate class, present in the Attic pottery beginning from the second
quarter of the ifth century BC.
5
Precise and subtle proportions as well as its ine
decorative motifs (impressed palmettes and rouletted hatching) led to the dissemi-
nation of this form in Southern Italy during the latter quarter of the ifth and in the
fourth century BC as well as its being copied, but often with the loss of the high-
quality of Attic workmanship.
6
The interior decoration in the form of a medallion
is also characteristic of the typical decorative solutions for kylikes both in black-
and red-igure painting and in cups decorated with impressed motifs. Its relief
character, in the form of little heads set at the bottom of deeper vessels had been
introduced only in the West Slope Ware in the irst half of the third century BC.
7

3
Inv. no. MNK XI 1466 (collection of the Princes Czartoryski Foundation deposited with the National
Museum in Krakow). Light brown clay, black metallic glaze. Dimensions: height 5 cm, diameter 11.8 cm, di-
ameter, including handles 17.6 cm, foot diameter 6.8 cm; medallion diameter 2.7 cm. Condition: minor chips
and cracks in the glaze surface on the outer side of the vessel, losses at two spots near the edge. Cf. BULAS, CVA
Cracovie, p. 22, pl. 19,5.
4
For a analogous example, cf. Z. KOTITSA, Hellenistische Keramik im Martin von Wagner Museum der
Universitt Wrzburg, Wrzburg 1998, p. 28f.
5
B.A. SPARKES, L.A. TALCOTT, The Athenian Agora XII. Black and Plain Pottery in the 6th, 5th and 4th
Centuries B.C., Princeton 1970, pp. 102105, Tab. 2223.
6
F. BETTI [in:] G.S. CHIESA, F. SLAVAZZI (eds.), Ceramiche attiche e magnogreche. Collezione Banca
Intesa, vol. III, p. 792, Cat. No. 400, 401.
7
S.I. ROTROFF, Athenian West Slope Vase Painting, Hesperia 60, 1991, p. 71.22, 81.53.57. Examples
of relief decorations dating from the early ifth century BC can be found in E. A. ZERVOUDAKI, Attische poly-
chrome Reliefkeramik des spten 5. und des 4. Jahrhunderts v. Chr. MDAI(A) 83, 1968, p. 73.
39
ARETHUSA CUPS IN THE COLLECTION OF THE PRINCES CZARTORYSKI MUSEUM...
The inely sculpted medallion is also reminiscent of metalware known from
Northern Greece (dating from the late Classical and early Hellenistic periods). The
shallow cup on the low foot with the handles curved upward at their ends is a form
of silverware in the third quarter of the fourth century BC. Among the drinking
vessels discovered in the tombs II and III in the Great Tumulus at Vergina, there
were kylikes of that type, with slightly differing depths and undecorated interiors.
Originally, they had been placed on tables of wood in tomb chambers along with
some inely made kalykes. One of them is decorated inside with a gilded relief me-
dallion representing Silenus head , and in a vessel from the tomb III Pans head.
Similar decorations can be found at the base of the handles of the oinochoai and
amphoras. They bear a representation of a precisely sculpted young Heracles head
in a lions skin, en face, which resembles the heros image, in proile, depicted
on the coins of Alexander the Great. Although this is not a case of the coin stamp
having been directly applied for the purpose of decorating the above-mentioned
vessels, there is a formal and ideological connection between the both cases of the
application of this popular motif.
8
A slightly later example of a silver kylix deco-
rated with a medallion representing Helios on a quadriga comes from Kerch and
dates back to the irst half of the third century BC.
9
The shape of the unproiled
bell-shaped foot and the handles strongly curved inwards is typical of metalware
objects, but simultaneously differs from the appearance of the Arethusa cups. It
appears, therefore, that the compilation of the new form and decoration of these
items of pottery, as well as the placement of the relief medallion at the bottom of
the shallow bowl may have originated in some Italian environment. Since the late
Classical period, workshops at Cales (the present-day Calvi Risorta) in the North
of Campania had manufactured the pottery decorated in relief and with applied re-
lief ornaments, identical with those used in decorating metalware vessels. Typical
local wares were medallion-decorated askoi, gutti, kylikes, and omphialos phia-
lae, depicting motifs derived from, among other things, the coinage of Syracuse,
Taranto, or sometimes from various metalware.
10
Also linked to the workshops
of Cales as well as the nearby Teanum Sidicinum (the present-day Teano)
11
have
been Arethusa cups manufactured from the latter half of the fourth century until
the early third century BC.
12
The whole kylikes or individual medallions with the
8
M. ANDRONIKOS, Vergina. The Royal Tombs, Athens 2004, pp. 146ff., 208ff.
9
R. PAGENSTECHER, Die calenische Reliefkeramik, Berlin 1909, p. 18, 127; N. ZIMMERMANN, Be-
ziehungen zwischen Ton- und Metallgefen sptklassischer und frhhellenistischer Zeit, Rahden/Westf. 1997,
p. 107.
10
PAGENSTECHER, Die calenische, passim; G.M.A. RICHTER, Calenian Pottery and Classical
Greek Metalware, AJA 63, 3, 1959, pp. 241249, pl. 5160.
11
W. JOHANNOWSKY, Relazione preliminare sugli scali di Teano, BA 48, 1963, pp. 131165.
12
R. PAGENSTECHER, Die calenische, pp. 16ff. (dated to the mid-third century BC); J.-P. MOREL, La
40
DOROTA GORZELANY
nymphs head have been found within the area of the local Loreto sanctuary and at
the necropolis.
13
Despite their limited repertoire of forms, the other vessels typical of
Teano are marked by their decoration placed on the shiny glaze combining the over-
painted style of the Gnathia pottery with the typically Campanian impressed motifs
and the centrally situated relief medallion inside the shallow cups and platters.
14

Shallow clay kylikes were particularly suitable for embellishing their interiors
with medallions and stamped or incised decorations, full of vivid expression in
particular thanks to the luminous effects upon the sculpted motifs.
15
The cups from
Campania employed the popular decadrachm of Syracuse with a representation
of Arethusas head on the reverse. This motif alluded to the myth associated with
the spring in the oldest part of the town, situated on the island of Ortygia. Accord-
ing to the myth, the Naiade Arethusa, leeing the advances of the Elean river-god
Alpheios, was turned into that spring.
16
Artemis rescued her nymph by turning her
into a stream and thus allowing her to low underground from Elis to Ortygia. Al-
pheios managed to catch up with Arethusa and merged his waters with those of her
stream, creating thus a passageway under the sea between the Peloponnesos and
Sicily. According to Strabo,
17
this phenomenon was attested by the fact that a phia-
le thrown into the Alpheios at Olympia would emerge in a fountain on the Ortygia
island. The representation of Arethusas head, in proile, inside the quadratum in-
cusum, was depicted on the reverse of the coins of Syracuse in the last quarter of
the sixth century BC,
18
with the four dolphins around the nymphs image added in
the early ifth century BC. This particular decoration can be found primarily on
the tetra- and didradrachms as well as in one series of decadrachms issued past
cramique campanienne: acquis et problmes, Paris 1980, p. 91; J.-P. MOREL, Cramique campanienne: Les
Formes, Rome 1981, pp. 46, 50, 296, 513, pl. 121, 4222b1.
13
JOHANNOWSKY, Relazione, pp. 132, 136.
14
J.R. GREEN, The Gnathia Pottery of Apulia [in:] M.E. MAYO (ed.), The Art of South Italy. Vases
from Magna Grecia, Richmond 1982, p. 259; D. BUITRON, Teano Plate [in:] IBIDEM, p. 277; J.R. GREEN,
Gnathia and Other Overpainted Wares of Italy and Sicily. A Survey [in:] P. LEVQUE, P. MOREL (ed.), Cra-
miques hellnistiques et romaines III, Paris 2001, p. 67f.
15
ZIMMENRMANN, Beziehungen, p. 71f.
16
The story of Arethusa is recounted by, among others, Pindar (N. 1), whereas broader versions of the myth
can be found in Strabo (VI, 2, 4), Ovid (Metamorphoses V, 572641), and Pausanias ( V, 7, 2).
17
Strabo VI, 2, 4.
18
E. BOEHRINGER, Die Mnzen von Syrakus, Berlin 1929, pp. 111ff. The author identiies the head of
a woman on the reverse as a depiction of Artemis, whose cult is attested in the land (Sicilian) part of Syracuse as
well as at the spring on the Ortygia in the latter case, with the cognomen Alpheioa. Arethusas head had report-
edly appeared only on the coins designed by Kimon, and bearing an inscription ARETHOSA, in the last decade
of the ifth century BC, cf. IBIDEM, p. 95ff., 261, Tab. 31.Z6. It is assumed, however, that the coins struck since
480 BC represented Arethusas head on the reverse, cf. N.K. RUTTER, Greek Coinage of Southern Italy and Sic-
ily, London 1997, p. 114ff.; IDEM, The Coinage of Syracuse in the Early Fifth Century BC, [in:] R. ASHTON,
S. HURTER (eds.), Studies in Greek Numismatics in Memory of Martin Jessop Price, London 1998, p. 307f.
I owe cordial thanks to dr hab. Jarosaw Bodzek for providing me with numismatic literature.
41
ARETHUSA CUPS IN THE COLLECTION OF THE PRINCES CZARTORYSKI MUSEUM...
the year 466 BC.
19
Following the victory of the Syracusans over the Athenians
in the Peloponnesian War (413 BC), a new version of the decadrachm, designed
by the minter Kimon, came into circulation. A rival version would be introduced
by Euainetos some time thereafter (Pl. 3). On account of its masterful craftsman-
ship and Arethusas subtle beauty, this decadrachm became especially popular: the
nymph is turned to the left, her facial features are regular; her hair is slightly wavy
above her forehead, curling into irmer locks at the side of the face, are pinned
up high at the back of her head and supported with a thin diadem of water-reeds.
Arethusa wears an earring with three pendants and a delicate necklace of pearls.
The issue of Kimons decadrachms began in 404 BC, those of Euainetos-type
a little later, and would continue throughout the reign of Dionysios I (405367),
20

who needed major funds in order to pay craftsmen and mercenaries from other
parts of the Mediterranean world,
21
from Campania too,
22
The Naro hoard allowed
even more precise dating of the unsigned Euainetos decadrachms related to the
decoration of both described kylikes not occurred however before the third quarter
of the fourth century BC they were struck from 395 till 385 BC.
23
Using the ceramic stamp with an impression made with a Euainetos coin, the
bottom of a Campanian cup would be decorated with a medallion whose quality
of representation depended on the stamps wear and tear and slight differences in
detail effected by alterations.
24
Due to the necessity of having the stamp ired, the
representations inside the cups are slightly smaller than the model decadrachm.
25

This method, which facilitated a quicker manufacture of vessels, was also used in
decorating the Calenian askoi and gutti with the motifs derived from other, also
much older, South Italian coins.
26
It is also attested by the motifs borrowed from
the iconography of relief ornamentation of Apulian kraters.
27

19
BOEHRINGER, Die Mnzen, p. 138, no. 40; RUTTER, Greek Coinage, pp. 123ff.; IDEM, The
Coinage of Syracuse, p. 308ff.
20
R. ROSS HOLLOWAY, La struttura delle emission di Siracusa nel period dei signierende Knstler,
AIIN 22, 1975, pp. 4148; CH. BOEHRINGER, Zu Finanzpolitik und Mnzprgung des Dionysios von Syra-
kus [in:] O. MRKHOLM, N.M. WAGONNER, Greek Numismatics and Archaelogy. Essays in Honor of Mar-
garet Thompson, Wetteren 1979, pp.1314; G. GORINI, La moneta [in:] G. PUGLIESE CARRATELLI (ed.),
I Greci in Occidente, Milano 1996, pp. 228, 761, no. 39 bis (diameter 37 mm); RUTTER, Greek Coinage,
pp. 156157.
21
BOEHRINGER, Zu Finanzpolitik, pp. 1011.
22
D.S. XIV, 79.
23
L. MILDENBERG, ber Kimon und Euainetos im Funde von Naro [in:] U. HBNER, E.A. KNAUF,
Vestigia Leonis. Studien zur antiken Numismatik Israels, Palstinas und der stlichen Mittelmeerwelt, Freiburg,
Gttinngen 1998, pp. 120, 125.
24
K. STANLEY, Calenian Kylix [in:] MAYO, The Art, p. 223.
25
Cf. notes 2, 3, and 20.
26
RICHTER, Calenian, pp. 242ff.
27
K. SCHAUENBURG, Zu einem Guttus der Kieler Antikensammlung, MDAI(R) 80, 1973, p. 197.
42
DOROTA GORZELANY
The effect of additional resemblance of this pottery to the relief-bottom met-
alware was achieved by coating the medallions with a silver or tin layer (tin is
cheaper, but its colour is the same as that of silver and, unlike silver, it does not
yield to oxidization).
28
The result was an effect suggestive of the actual usage of
a silver coin for the purpose of the cups decoration. This method contributed to
greater prestige for the clay vessels, thus resembling the metalware thanks to its
borrowed form as well as its speciic means of decoration. The black glaze with an
external metallic layer was obtained as a result of the iring at a temperature about
1000C. Such a surface type would be associated with bright spots on silver-
ware, and is sometimes compared with tarnished wares, darkened from sulphide
layers.
29
However, the black colour of the glaze itself, even in the case of thin-wall
cups, would not have an effect on their direct association with metalware. Rather,
they constituted an aesthetic and attractive alternative. A local coating of the still
warm vessel surface by means of a silver or tin foil, which is a technique well at-
tested in Greece as well as in the south of Italy, was intended to make those items
of pottery even more appealing.
30
A similar technique was applied for silverware
with gilded relief decorations.
31
Arethusa cups provide good examples of the evolution of ceramics as well
as the spreading of the forms and methods of metalware decoration into pottery.
The forms of the metal vessels inspired potters or served as models for their prod-
ucts, implemented mostly by putting an emphasis on certain elements of the vessel
structure, e.g., proiled foots, introduction of sharp handle curves and the replace-
ment of chiselled and engraved decorations by impressed and incised ones. The
workshops at Cales became famous for making pottery with its relief decoration
incorporating motifs from relief vessels, coinage, and bas-relief. In the aforemen-
tioned two cases, commonly known iconographic motifs and the objects manu-
factured over the last one hundred years. Calenian vessels enjoyed considerable
popularity, as conirmed by their dissemination in the south of Italy and Etruria.
The use of clay stencils made it possible to perform serial decorations at some
other centres as well, e.g. at the nearby town of Teanum. Two sanctuaries founded
there by the Sidicines during the Archaic period were located in the proximity of
water-springs (Fontana Regina, Torricelle) and the Loreto sanctuary, established at
the close of the sixth century BC, provided examples of the vases decorated with
28
ZIMMERMANN, Beziehungen, pp. 6674.
29
M. VICKERS, D. GILL, Artful Crafts. Ancient Greek Silverware and Pottery, Oxford 1984, pp. 123ff.
The authors assume that the silverware would soon take on darker hues (normally, it was not cleaned up in order
to restore its original colour) and, in consequence, dark-coloured vessels served as models in pottery-making.
30
J. BOARDMAN, Silver is White, RA 1987, p. 284; ZIMMERMANN, Beziehungen, pp. 67f.
31
Cf. above.
43
ARETHUSA CUPS IN THE COLLECTION OF THE PRINCES CZARTORYSKI MUSEUM...
relief medallions, depicting, among other things, images such as Arethusas head.
There were also cold acidic healing springs not far from the city, recommended
in the treatment of urinary calculi.
32
It is possible that the signiicant role of those
healing springs had an effect on the popularity of the decorating motif (the Syra-
cusan decadrachm with Arethusas image) in the kylikes manufactured there.
Contact the author at: dgorzelany@muzeum.krakow.pl
Translated by Marcin Fijak
32
Plin. HN XXXI, 5.
44
STRESZCZENIE
Czarki Aretuzy z kolekcji Muzeum XX Czartoryskich
w Krakowie. Moneta jako element dekoracyjny ceramiki
W zbiorach Fundacji Ksit Czartoryskich przy Muzeum Narodowym
w Krakowie znajduj si dwa kyliksy okrelane jako czarki Aretuzy nazwa ta
odnosi si do nimfy wodnej czczonej przy rdle na Ortygii. Wntrza naczy zdo-
bi odcisk reliefowy z przedstawieniem rewersu popularnej syrakuzaskiej deka-
drachmy datowanej na przeom V i IV w. p.n.e. Kyliksy te nie powstay jednak
na Sycylii, lecz nale do wyrobw kampaskich pochodzcych z przeomu
IV i III w. p.n.e. Jako centra ich produkcji wskazywane s Cales i Teanum Sidi-
cinum. Wanie tam w rodowisku przenikajcych si wpyww greckich i ital-
skich wytwarzano ceramik zainspirowan naczyniami metalowymi, ktra stano-
wi przykad przeksztacania tradycyjnych form klasycznych. W czarkach Aretuzy
poczono zdolno stworzenia czarnej metalicznej powierzchni cienkociennego
naczynia z umiejtnoci wykonywania dekoracyjnych motyww reliefowych.
Centralny element dekoracji stanowi inezyjny wizerunek nimfy, ktry dla zaak-
centowania oryginalnoci apliki pokrywany by niekiedy srebrzyst powok.
DOROTA GORZELANY
45
ARETHUSA CUPS IN THE COLLECTION OF THE PRINCES CZARTORYSKI MUSEUM...
PLATE 1 Arethusa cup
inv. no. MNK XI-866, the collection of the Princes Czartoryski Foundation
deposited with the National Museum in Krakow; photo: M. Studnicki
PLATE 2 Arethusa cup
inv. no. MNK XI-1466, the collection of the Princes Czartoryski Foundation
deposited with the National Museum in Krakow; photo: M. Studnicki
PLATE 3 Syracuse, decadrachm, c. 404367 B.C.
inv. no. MNK-VII-A-3982, the National Museum in Krakow; photo: Courtesy
of the National Museum in Krakow
46
PLATE 1
1
47
PLATE 2
2
48
PLATE 3
3