The dekadrachms of Kimon are celebrated as some of the most exquisite and powerful Greek coins, reflecting both artistic innovation and political ambition. These coins are widely regarded as commemorative medallions, with scholars linking them to Syracuse’s military triumphs. Initially attributed to the defeat of Athens in 413 BC, current scholarship favors the victory over Carthage in 406–405 BC, given the coins' dating and their striking motifs of weaponry and victory. The obverse scene, featuring a charioteer racing to triumph with Nike above, harmoniously integrates dynamic elements that celebrate Syracuse’s military and athletic prowess.

The historical context of these coins further underscores their significance. Following the devastating Athenian defeat in 413 BC, Syracuse acquired immense wealth from the plunder of ships, arms, and the sale of captives. This influx of silver financed an extraordinary wave of artistic and numismatic achievement during what is now called the age of the signing artists. Using larger flans as their canvas, engravers like Kimon reimagined traditional coinage with bold, innovative designs. The quadriga on the obverse symbolizes victory, potentially alluding to Syracuse's triumph over Athens, while the reverse’s masterpiece—a lifelike portrait of Arethusa adorned with dolphins—cements Kimon’s status as a pioneer in Greek numismatic art. The display of armour and weaponry that appears in the obverse exergue along with the inscription AΘΛA, which indicates 'prizes', completing a scene which conveys the strength of the rider and, in turn, the strength of Syracuse.

These masterpieces reflect a unique convergence of artistry and politics, set against the backdrop of Syracuse's Second Democracy, its struggle against Athens, and the rise of Dionysios’ tyranny. The bold experimentation of Kimon and his contemporaries achieved a pinnacle of classical perfection, influencing coinage across the Greek world. However, this period of innovation gave way to stagnation under Dionysios’ authoritarian rule, as later engravers merely imitated earlier works. The transition from dynamic artistic expression to rigid imitation mirrors the broader shift in Syracuse’s political landscape, from the pluralism of democracy to the centralization of tyranny, leaving behind an enduring legacy of artistic brilliance.

SICILY, Syracuse. Dionysios I, 405-367 BC. Dekadrachm (Silver, 37mm, 43.51 g 7), unsigned but by Kimon, c. 404-400. Quadriga galloping to left, driven by a female charioteer who leans forward, with a kentron in her right hand and the reins in her left; above left, Nike flying right to crown the driver; in exergue below, panoply of arms on pedestal inscribed with ΑΘΛΑ. Rev. ΣΥΡΑΚΟΣΙΩ Head of Arethusa to left, her hair bound in an ampyx with a net behind, and wearing a pendant earring and a pearl necklace; around her head, four dolphins: two swimming towards each other before, one swimming downwards behind, and one nestling under the neck truncation. Gulbenkian 309. Jongkees 12. Rizzo pl. LVI, 6.

Ex Numismatica Ars Classica 27, 12 May 2004, 121 and Bank Leu 61, 17 May 1995, 75.