No. of Screen. 20. St. James's Park, Horse Guards, and Fireworks in the Park. Nos. 420-438. 21. Buckingham House, St. James's Park. Nos. 439-461. 22. Chelsea, The Bun House, and Ranelagh Gardens. Nos. 462-485. 23. Westminster, Tothill Fields, Millbank, &c. Nos. 486-521. 24. Westminster, The Abbey, School, &c. Nos. 522-548. 25. Westminster, The Old Sanctuary, Old Palace Yard, Houses of Parliament, &c. Nos. 549-582. 26. Westminster, New Palace Yard, Whitehall, &c. Nos. 583-624. 27. Whitehall, The Horse Guards, Admiralty, &c. Nos. 625-648. 28. Charing Cross, Hungerford Market, and The Strand. Nos. 649-677. 29. The Strand, Somerset House, Wych Street, and Leicester Square Nos. 678-731. 30. St. Martin's Church, Covent Garden, &c. Nos. 732-776. 31. Covent Garden, Drury Lane, and Temple Bar. Nos. 777-802. 32. Temple Bar (continued), Fleet Street, &c. Nos. 803-839. 33. The Temple, Fleet Street, Ludgate Hill, &c. Nos. 840-873. 34. The Old and New St. Paul's Cathedrals. Nos. 874-898. 35. St. Paul's School, Doctors' Commons, Thames Street, Billings. gate, &c. Nos. 899-941. 36. Lower Thames Street, The Tower, &c. Nos. 942-977. 37. Tower Hill, Cheapside, &c. Nos. 978-1010. 38. Cheapside (continued), Bow Church, &c. Nos. 1011-1039. 39. The Mansion House, Guildhall, &c. Nos. 1040-1074. 40. The Bank of England, Royal Exchange, &c. Nos. 1075-1094. 41. The Royal Exchange (continued). Nos. 1095-1115. 42. Lombard, Fenchurch, and Leadenhall Streets. Nos. 1116-1171. No. of 43. Aldgate, Fish Street Hill, The Monument, Bishopsgate Street, &c. Nos. 1172-1214. 44. Threadneedle Street, Moorfields, Finsbury Square, &c. Nos. 1215-1269. 45. London Wall, Cripplegate, Aldersgate Street, &c. Nos. 1270-1323. 46. Bethlehem Hospital, The Charter House, and Smithfield. Nos. 1324-1355. 47. St. Bartholomew's Hospital, Smithfield Market, &c. Nos. 1356-1392. 48. St. Martin's-le-Grand, The Post Office, Christ's Hospital, &c. Nos. 1393-1427. 49. Newgate Prison, Snow Hill, &c. Nos. 1428-1477. 50. Furnival's Inn, Staple's Inn, High Holborn, &c. Nos. 1478-1515. 51. Lincoln's Inn, Great Queen Street, Bloomsbury Square, &c. Nos. 1516-1551. 52. Montague House, The British Museum, St. Giles's, Soho Square, &c. Nos. 1552-1579. 53. Oxford Street, Regent Street, and Portland Place. Nos. 1580-1622. 54. Hanover Square, Portman Square, Park Lane, &c. Nos. 1623-1651. TABLE-CASE I.-Vauxhall and Lambeth; Theatres and Places of Entertainment. Nos. 1-25. TABLE-CASE IL-Lambeth and Southwark: Ancient Houses and Inns. Nos. 26-51. TABLE-CASE III.-Southwark: Hospitals, Asylums, and Grammar Schools. Nos. 52-67. TABLE-CASE IV.-Southwark and Lambeth Grammar Schools, Churches, and Lambeth Palace. Nos. 68-92. GEORGE WILLIAM REID. DEPARTMENT OF COINS AND MEDALS. THE fronts of the two upright cases (A and B) on either side of the King's Library contain electrotypes of the finest ancient coins in the National Collection, arranged in such a manner as to afford a synoptical view, at once historical and geographical, of the gold and silver coinage of the ancient world, from the invention of the art of coining money early in the seventh century B.C. down to the Christian Era. The chief value of Greek coins lies in their being original works of art, not copies as are most of the extant sculptures in the round, and in their recording the successive phases and local varieties of Greek art, in which respect no other class of monuments, sculptures, bronzes, terracottas, fictile vases, or gems, can compete with them. If not by leading artists in all cases, they certainly faithfully represent the sculpture and even painting of many of the great masters, some of whom are only known to us by name.. Thus in no other branch of Greek monuments can the student so readily and so thoroughly trace the growth, the maturity, and the decay of Greek art, the great art of antiquity. For the study of mythology these coins present the local conceptions of the gods and heroes worshipped in the Greek world, with their attributes and symbols. The historian will find a gallery of characteristic portraits of sovereigns, almost complete, from Alexander the Great to Augustus. The geographical student will be able to verify and correct the nomenclature of the classical writers as preserved to us in manuscripts. The metrologist, by comparing the weights specified in the Guide, can gain an insight into the various systems of ancient metrology in its different standards, and obtain a just view of the relative values of the precious metals and the great lines of trade in the Greek and Roman world. For practical purposes, the medallist and the art-workman will find this series the most profitable as well as the safest guide. The artist will not fail to perceive the suggestive value of designs which, however small, are essentially large in treatment. Case A is divided vertically into four historical compartments, and Case B into three. These compartments, numbered I.-VII., contain the principal coins current during the following periods: I. circ. B.C. 700-480, Period of Archaic Art, ending with the Persian Wars. II. circ. B.C. 480-400, Period of Transitional and early Fine Art, to the end of the Athenian Supremacy. III. circ. B.C. 400-336, Period of Finest Art: age of the Spartan and Theban Supremacies. IV. circ. B.C. 336-280, Period of later Fine Art: age of Alexander the Great and the Diadochi. V. circ. B.C. 280-190, Period of the Decline of Art: age of the Epigoni, &c. VI. circ. B.C. 190-100, Period of continued Decline of Art: age of the Attalids, &c. VII. circ. B.C. 100-1, Period of late Decline of Art: age of Mithradates the Great and of Roman Dominion. Each of the above seven compartments is divided horizontally into three geographical sections, the upper one (a) containing the coins of Asia Minor, Phoenicia, Syria, &c., and Egypt; the middle one (b) those of Northern and Central Greece, Peloponnesus, and the Aegean Islands; and the lowest (c) those of Italy, Sicily, the Southern shores of the Mediterranean, and Western Europe, Each of the seven historical compartments thus offers in its three geographical sections a complete view of the coins current throughout the civilized world during that particular century or period, the whole forming a series of historically successive tableaux. The individual specimens are separately labelled and numbered in each of the 21 divisions, the numbers referring to the Guide to this portion of the Exhibition (see p. 228) where full descriptions and explanations are given. The Table-Cases C to K contain a selection of the finest and most interesting medals in the National Collection, Italian, German, French, Dutch, and English. The Medal had its origin under the Roman Empire, although the Greeks in some cases struck coins of a medallic character intended to record events. The Roman Emperors issued a series of types, especially in their "large brass" money, the reverses of which are a gazette of the events of history. They invented the Medal in striking large and more carefully executed pieces, which had no fixed value in the currency, and bore the portrait of an imperial personage with a reverse type recording an event of his reign or otherwise personally commemorative. This art did not, survive the fall of the Western Empire and revived with the Renaissance. Italy, the leader in the revival of arts and letters, first restored the Medal. It is probably not a coincidence that the oldest Italian Medal was cast in 1390 in honour of Francesco Carrara, Lord of Padua, the friend of Petrarch, himself one of the earliest collectors of Roman coins. The finest Italian works are of the middle and latter part of the fifteenth and the beginning of the sixteenth centuries. Subsequently medal casting and striking gradually fell into the hands of inferior artists, and, however historically interesting, is rarely a worthy measure of contemporary painting and sculpture in Italy. There are few works of any merit after the middle of the seventeenth century. Examples are here given, including copies of leaden proofs of the early Italian medals, classed according to the masters. The first group is by Vittore Pisano (Pisanello), A.D. cir. 1380-1451, the Veronese painter, the true founder of modern medal engraving, and by Sperandio (1447-1528), Matteo Pasti, Fra Antonio da Brescia, and Niccolo of Florence. In |