APOLLO - TRIPOD / Kaystriani, Lydia - 261-246 BC. Æ Autonomous Coin +COA GGcoins

Description

Kaystriani,  Lydia
AE. Autonomous
circa;  200 - 201 BC.
Size: (13.6mm)  / Weight: (3
.3gm)
This may well be a rarity as a Referance was
very difficult to locate, this was the only one that is available...
Obverse:
Head of
Apollo
facing right...
Reverse:
KAYΣTΡI-ANΩN, Tripod,
monogram beneath...
Ref:
Paris M4932
Personalized COA included
The Coin:
this
is
an excellent example of a bronze B.C.
era coin
,
struck well before Christ...!
it saw some use before it found a safe place
to wait out the centuries.
Always Authentic,  I have never knowingly sold a copy or reproduction!
As grading
is subjective please Judge the coin photos to determine this for yourself.
_________________________________________________________________
History: of coin images
Apollo
was a major Greek god who was associated with the bow, music, and divination.
The epitome of youth and beauty, source of life and healing, patron of the civilized arts,
and as bright and powerful as the sun itself, Apollo was, arguably, the most loved of all the
Greek gods. He was particularly worshipped at Delphi and Delos, amongst the most famous
of all religious sanctuaries in the Greek world.
Apollo’s most direct presence amongst the Greeks, though, was manifested in his oracle at
Delphi, the most important in the Greek world. According to legend, Apollo, wishing to reveal
to humanity the intentions of his father Zeus, created the oracle on the site where he had
killed the serpent (or dragon) Python. The Panhellenic Pythian games were begun at the site
in order to commemorate the death of this divine creature. Tripods and laurel wreaths were
given as prizes to the victors at these games.
The 30 treasuries built at Delphi by various cities indicate the popularity of the god and the
sanctuary in the wider Greek world.
Birth & Family
Son of Zeus and Leto, and the twin brother of Artemis, Apollo was born on the island of Delos
(in Hesiod’s Theogony he is clutching a golden sword). His mother, fearful of revenge from
Zeus’ wife Hera, had chosen barren Delos as the safest retreat she could find.
At his first taste of ambrosia, he was said to have immediately transformed from babe to man.
Apollo was then given his bow, made by the master craftsman of Mount Olympus, Hephaestus.
As with the other major divinities, Apollo had many children; perhaps the most famous are
Orpheus (who inherited his father’s musical skills and became a virtuoso with the lyre or kithara),
Asclepius (to whom he gave his knowledge of healing and medicine) and, according to the
5th-century BCE tragedian Euripides, the hero Ion.
Apollo is a significant protagonist in Homer’s account of the Trojan War in the Iliad.
On the side of the Trojans, he gives particular assistance to the Trojan heroes Hector,
Aeneas, and Glaukos, saving their lives on more than one occasion with his divine intervention.
He brought plague to the Achaeans, led the entire Trojan army (holding Zeus’ fearsome aegis)
in an attack which destroyed the Achaean defensive walls, and was also responsible for guiding
Paris’ arrow to the heel of Achilles, killing the seemingly invincible Greek hero. Apollo is most
frequently described by Homer and Hesiod as the ‘far-shooter’, the ‘far-worker’, the ‘rouser
of armies’, and ‘Phoebus Apollo’.
Apollo generally played the dutiful son to Zeus, father of the gods, and never attempted to
usurp his position (unlike Zeus who had overthrown his own father Cronus).
The pair did have a serious falling out when Zeus killed Asclepius after he had used his
marvellous medicinal skills to bring a mortal back to life. In revenge, Apollo then killed the
Cyclopes, the one-eyed giants who made Zeus’ thunderbolts.
As punishment, Apollo was obliged to spend a year in the humble service of Admetus of Therae,
tending the king’s sheep.
Apollo acquired his lyre from his mischievous half-brother Hermes, the messenger god.
While still a baby, Hermes had stolen Apollo’s sacred herd of cattle, cleverly reversing their
hooves to make it difficult to follow their tracks. Hermes was permitted to keep his ill-gotten
gains but only after he gave Apollo his lyre which he had invented using a tortoiseshell.
Apollo’s darker side as the bringer of plague and divine retribution is seen most famously when
he is, with his sister Artemis, the remorseless slayer of Niobe’s six (or in some accounts seven)
sons as punishment for her boasting that her childbearing capacity was greater than Leto’s.
Another hapless victim of Apollo’s wrath was the satyr Marsyas who unwisely claimed he was
musically more gifted than the god. The pair had a competition and the Muses ruled that Apollo
was indeed the better musician. Apollo then had the mortal flayed alive for his presumption and
nailed his skin to a pine tree. The tale is an interesting metaphor for the competition between
(at least to Greek ears) the civilised and ordered music of Apollo’s lyre and the wilder, more
chaotic music of Marsyas’ flute. Apollo won another musical competition, this time against the
pastoral god Pan and, judged the victor by King Midas, Apollo thus became the undisputed
master of music in the Greek world. The god’s defeat of Marsyas and Pan may reflect the
Greek conquest of Phrygia and Arcadia respectively.
Apollo oversaw the initiation rites performed by young males (ephebes) as they entered the
full civic community and became warriors. Rituals in this process involved cutting hair and
offering it to the god, as well as athletic and martial challenges. The god is frequently associated
with the sun (as Phoebus Apollo) and the sun god Helios, but modern scholars mostly agree
that the link between Apollo and Helios does not go further back than the 5th century BCE.
Apollo continued to inspire the Romans when he was principally considered a god of healing.
Octavian, the future emperor Augustus (r. 27 BCE - 14 CE), famously claimed the god as his
patron and even dedicated a temple to Apollo at Actium. The god of moderation was a useful
association and in direct contrast to the god of excess, Dionysos, championed by Octavian’s
no. 1 enemy, Mark Antony.
Perhaps the most celebrated representation of Apollo in ancient Greek art is the statue which
dominated the centre of the west pediment of the Temple of Zeus at Olympia (c. 460 BCE).
Here, in a majestic pose, he brings order and reason to the battle between the Lapiths and the
Centaurs at the wedding of Peirithoos. Another fine example of Apollo in his guise as a handsome
youth, this time with long locks, is a 2nd-century CE marble relief from a funerary monument in
Piraeus.
The head of Apollo frequently appeared on Greek coins, notably on the silver tetradrachms
of 5th-century BCE Catane (Catania) in Sicily and the gold staters of Philip II of Macedon
(r. 359-356 BCE).
Roman sculptors were also fond of Apollo and a celebrated marble statue of the god, now in
the Vatican Museums in Rome, is the Apollo Belvedere, a 2nd-century CE copy of a bronze
statue of the 4th-century BCE by Leochares. Even the Etruscans were at it, perhaps one of
their most famous sculptures in terracotta being the Apollo of Veii (c. 510 BCE), a striding figure
of the god, known to them as Aplu, which once stood on the roof of a temple.
________________________________________________________________
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