early coin of
Tarentum. The city was founded as you know, by the Spartan Phalanthus,
late in the eighth century. I believe the head is meant for that of
Apollo Archegetes, it may however be Taras, the son of Poseidon; it is
no matter to us at present whom it is meant for, but the fact that we
cannot know, is itself of the greatest import. We cannot say, with any
certainty, unless by discovery of some collateral evidence, whether this
head is intended for that of a god, or demi-god, or a mortal warrior.
Ought not that to disturb some of your thoughts respecting Greek
idealism? Farther, if by investigation we discover that the head is
meant for that of Phalanthus, we shall know nothing of the character of
Phalanthus from the face; for there is no portraiture at this early
time.

118. The second coin is of AEnus in Macedonia; probably of the fifth or
early fourth century, and entirely characteristic of the central period.
This we know to represent the face of a god--Hermes. The third coin is a
king's, not a city's. I will not tell you, at this moment, what king's;
but only that it is a late coin of the third period, and that it is as
distinct in purpose as the coin of Tarentum is obscure. We know of this
coin, that it represents no god nor demi-god, but a mere mortal; and we
know precisely, from the portrait, what that mortal's face was like.

119. A glance at the three coins, as they are set side by side, will now
show you the main differences in the three great Greek styles. The
archaic coin is sharp and hard; every line decisive and numbered, set
unhesitatingly in its place; nothing is wrong, though everything
incomplete, and, to us who have seen finer art, ugly. The central coin
is as decisive and clear in arrangement of masses, but its contours are
completely rounded and finished. There is no character in its execution
so prominent that you can give an epithet to the style. It is not hard,
it is not soft, it is not delicate, it is not coarse, it is not
grotesque, it is not beautiful; and I am convinced, unless you had been
told that this is fine central Greek art, you would have seen nothing at
all in it to interest you. Do not let yourselves be anywise forced into
admiring it; there is, indeed, nothing more here, than an approximately
true rendering of a healthy youthful face, without the slightest attempt
to give an expression of activity, cunning, nobility, or any other
attribute of the Mercurial mind. Extreme si