The Ancient City Of Mende In Northern Greece

Located on the west coast of the Pallene peninsula, one of the three fingers of the Chalkidiki, Mende was founded according to Thucydides, by Eretrian colonists in the 8th Century BC. It owes its name to the minthe plant, a type of mint, that still grows in the area. Abundant in lumber and possessing silver, gold and lead mines, the city developed rapidly, becoming an important economic and cultural center. During the Fifth Century BC, Mende became one of Athens most important allies and joined the Delian League, paying an annual tribute ranging from 5 to 15 Talents, and contributing ships and other resources. During the Peloponnesian War, the city shifted allegiance between Athens and Sparta.

A good portion of Mende's prosperity was based on the production and export of its high-quality wine – "Mendaeos oinos", which was much prized in the ancient world as attested by the Mendaeos amphorae that have been found throughout the Mediterranean. It is not then surprising that Dionysos, god of wine and wine-making [and merry-making, festivity, theatre and ritual ecstasy] appears as a central motif on its coinage along with the grape vine and other Dionysiac symbols.

The coinage of Mende can rightfully boast the most decadent depiction of Dionysos on ancient coinage; the present piece shows us a scene wherein the god reclines luxuriously upon the back of a donkey that carries him along. As Dionysos is borne forwards in procession by the donkey, the viewer is invited to imagine his thiasos, the ecstatic retinue of Dionysos made up of maenads, satyrs and Silenoi as it plays and dances around him. Dionysos props himself up with his left elbow which digs into the back of the unfortunate donkey, while with his other he holds his wine cup aloft in encouragement to his followers. Dionysos himself seems oblivious to the struggle of the animal beneath him whose seemingly stiff legs but proud posture are suggestive of an animal that is uncomfortable with the burdensome deity upon its back, but maintaining its poise admirably. However, one may not be able to describe Dionysos thus. Rendered on this die in remarkable detail and fine style with his head turned to look over his shoulder and three-quarters facing to the viewer's eye, he appears highly inebriated; his open mouth and vacant expression point to a god whose best faculties have already left the party.

One could hardly conceive of a more appropriate type for this city's coinage: Mende was a leading exporter of wine, rivalling such other cities as Naxos and Maroneia, and the quality and fame of its wine is well attested in the ancient sources. Thus it is only natural that Mende should have adopted Dionysos as a patron deity; notorious for his wild indulgences and frequent state of inebriation on account of his love of wine, this tantalising scene is at once wholly apt for a city exporting merriment and inebriety, and also a proud statement of the quality of their produce. The implication inherent in the link between the wine Dionysos holds and the vines laden with grapes on the reverse is clear: Mende's wine is good enough for a god.

The execution of the scene itself could not be more intriguing: juxtaposed we have the epicurean figure of Dionysos given over to indulgence and excess, and that of the humble donkey whose labour makes the god's comfort possible. The image is a sobering reminder to the viewer of the effort involved in viticulture and wine production, and that for one man's enjoyment others must work.