Abstract
As the most famous and beautiful coins are the coins of the Greek Colonies, especially of those in Sicily, we decided to send photographs of some of these, and one coin of Carthage, to our selected artists, and to ask them, as far as possible, to take them as a model.1 But the Greek coins had two advantages that ours could not have, one side need not balance the other, and either could be stamped in high relief, whereas ours must pitch and spin to please the gambler, and pack into rolls to please the banker.
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Notes
The Swedish two-kronor silver coin was issued in 1921 to commemorate the 400th anniversary of the war of liberation led by Gustavus Vasa (1496-1560), the founder of the Vasa dynasty. It is illustrated in Richard S. Yeoman, A Catalog of Modern World Coins: 1850–1964, ed. Holland Wallace, 12th edn (Racine, Wis.: Western, 1978) p. 449
Chester L. Krause and Clifford Mishler, Standard Catalog of World Coins, 8th edn (Iola, Wis.: Krause, 1982) p. 1631
Charles Shannon (1863-1937), English painter, long a friend of Yeats; the Kings Inn designs are untraced. In a Senate speech, 22 July 1926, Yeats unsuccessfully advocated rejecting the robes and wigs of judges of the Irish Free State High Court and Supreme Court; he praised, as ‘more dignified and more simple’ the Irish District Court robes designed — at Yeats’s invitation — ‘by a celebrated Irish artist, Sir [sic] Charles Shannon’, and a flat velvet cap designed at the Dun Emer workshop (SS 125–6, 129, 132); see Joseph Hone, W. B. Yeats: 1865–1939, 2nd edn (London: Macmillan, 1962) p. 381.
Paul Manship (1885-1955), American sculptor. Diana (1921 [model], 1924 [gilded bronze group, 2.21 m high, Brookgreen Gardens, Georgetown, SC], 1925 [five copies, bronze with green patina, 1.22 m high, Art Gallery of Toronto, etc.]) shows Diana with a bow and one dog; a companion piece shows Actaeon being attacked by two dogs. For illustrations see Paul Manship, American Sculptors series (New York: Norton, 1947) pp. 17 and 16 (Diana and Actaeon, 1924, Brookgreen Gardens); and Edwin Murtha, Paul Manship (New York: Macmillan, 1957)
Jerome Connor, Robert Emmet (1917), full-length, bronze, 2.54 m high, National Gallery, Washington DC, illus. in Mâirín Allen, ‘Jerome Connor — [Part] Two’, Capuchin Annual (Dublin), 31 (1964) 363.
The nineteen column statues which flank the three doors on the west front (Portail Royal) (c. 1150) of Chartres Cathedral represent ‘the Ancestors of Christ, men and women mostly in royal attire’ (Wilhelm Vŏge, The Beginnings of the Monumental Style in the Middle Ages [1894], tr. Alice Fischer and Gertrude Steuer in Chartres Cathedral, ed. Robert Branner [New York: Norton, 1969] p. 127).
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© 1988 Micheal Yeats
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O’Donnell, W.H. (1988). Introduction to The Coinage of Saorstât Éireann (1928). In: O’Donnell, W.H. (eds) Prefaces and Introductions. The Collected Edition of the Works of W. B. Yeats. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-06236-2_27
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