were not only sorted and arranged, but mounted uniformly on tinted paper by his own hands in his leisure hours. I may be excused if I give a few particulars of the compiler of so laborious a work. He was born June 3, 1779. Following the profession of his father, he was extensively employed in the decoration of the Royal Palaces and of other important works. He married, in 1804, Augusta, daughter of Mr. John Gregory, J.P., of Chelsea, who was the Treasurer of the Whig Club and a friend of Charles James Fox. My father's kind and genial disposition gained him a large circle of friends, to whom his enthusiasm in the work, and the unceasing industry which he brought to bear in forming this Collection, were well known. As it was the labour so it was the solace of his latter days. As his Collection increased, his love for it became all the stronger; and he worked at it without intermission, even through failing health, until, to use the words of Strype on old Stow, ' prevented by Sicknesse-bringing Death,' he imparted not only his good intentions, but best collections also unto me,' and I have endeavoured thus 'to perfect so well deserving a work.' My father died September 18, 1859, in his eighty-first year. Since his death I have regarded it as a duty to complete the arrangement of the Collection, and to compose this Catalogue of the contents. It was his great desire that the Collection should remain unbroken, and eventually be placed in some public institution. To the fulfilment of that desire the publication of this Catalogue may possibly contribute." PRINTS AND DRAWINGS FROM THE COLLECTION FORMED BY THE LATE MR. FREDERICK CRACE. No. of Screen. 11. The Tower of London, Wapping, and the Docks. Nos. 159-182. 12. Deptford, Greenwich Hospital, and Frost Fairs on the Thames. Nos. 183-195. 13. Kensington Palace, Gardens, and Hyde Park. Nos. 196-225. 14. Kensington, Knightsbridge, and Hyde Park Corner. Nos. 226-277. 15. Piccadilly, Burlington House, &c. Nos. 278-312. 16. Piccadilly (east end), Carlton House, &c. Nos. 313-339. 17. St. James's Street, Palace, Square, Haymarket, &c. Nos. 340-387. 18. St. James's Park, Palace, &c. Nos. 388-395. No. of Screen. 19. St. James's Park, Palace, The Horse Guards, &c. Nos. 396-419. 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 and 30. These screens have been removed for re-arrangement. 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, Billingsgate, &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. 43. Aldgate, Fish Street Hill, The Monument, Bishopsgate Street, &c. Nos. 1172-1214. No. of 44. Threadneedle Street, Moorfields, Finsbury Square, &c. Nos. 1215-1269. TABLE-CASE I.-Vauxhall and Lambeth; Theatres and Places of Entertainment. Nos. 1-25. TABLE-CASE II.-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. D 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 geographica} 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 liues 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 |