The M.L. Collection of Coins of Magna Graecia and Sicily Terina Nomos circa 380-360, AR 7.49 g. TEPINAIΩN Female head r., hair rendered in elaborate style, wearing earring and necklace. Rev. Nike seated on cippus l., holding a bird in r. hand and resting l. on cippus . Regling 81. Dewing 541 (these dies). SNG ANS 852 (this obverse die). Holloway-Jenkins 84. A very elegant issue of high style. Lovely old cabinet tone, a minor abrasion on reverse and minor marks on obverse, otherwise good very fine / about extremely fine Ex Sotheby’s 19-20 June 1991, Hunt part II, 53.If coinage can be taken as a yardstick of civic pride, the spirit of Terina remained intact despite a long history of its subjugation by more powerful neighbours. The city was founded by Croton late in the 6th Century B.C. on a site that has not certainly been identifed, but which likely is beneath the modern city of Sant'Eufemia Vetere on the south-western coast of the Italian peninsula.Terina probably remained under the infuence of Croton until 365 B.C., when it fell to the Lucanians. Nine years later it came under the rule of the Bruttians, and except for a brief inter- vention by Alexander the Molossian in about 330/325 B.C., it remained under the Bruttian yoke. Finally, in 203 B.C., it was razed by the armies of Hannibal, who were unable to hold it and thought it better to destroy Terina than to leave it intact for the Romans.The city's 'independent' silver coinage spans more than 150 years, and with few exceptions has on the obverse a female head presumed to be the local fountain nymph. The reverse shows a female fgure, usually winged, who stands, is seated, or is taking fight. Though limited to a narrow range of subject matter, the engravers at Terina demonstrated their creativity by producing a signifcant number of sub-types, and their skill by engraving some of the fnest dies in the Greek world.This coin was struck by one of the most accomplished sets of dies from Terina. The portrait is of a remarkable style that Hol- loway and Jenkins noted was clearly influenced by the works of Kimon and Euainetos at Syracuse. If possible, the reverse is even more astonishing, with the figure of Nike being perfectly engraved in the finest style of the Classical period. The delight of the viewer is only heightened by the angular perspective of the cippus upon which Nike rests, for it provides an extraordinary depth of field.