The medals of James I. are for the most part of Dutch work; and as few are signed, we are unable to ascertain by whom the majority were executed. As at this period the new invention of the screw for striking coins and medals was coming into general use, there are in consequence a number of struck medals. The engraved portraits of the royal family and others, classed at the end of the series of James I., are by Simon Passe. This artist worked chiefly with the graver in a neat clear style, which possesses much originality. His works have great merit in their class, especially his portraits, many of which were taken from life, and are remarkable for their precision and sharpness of outline. Besides these medals Passe executed frontispieces and bookplates, which are also well engraved. The abundant medals of the reign of Charles I. and of the Commonwealth were chiefly produced by three artists, Thomas Simon, his brother Abraham, and Thomas Rawlins. We must add to these the works of Nicholas Briot, who by his new invention of the balance for striking coins and medals had rendered great service to medallic art. His medals as well as his coins are all remarkable for their clearness of design and sharpness of execution. Briot did not reside in England after 1633, so that all his works date from the early part of Charles's reign. There are also a few medals by Jean Varin or Warin, who with George Dupré ranks first among French medallists. His medals are always cast, and generally in high relief. Of the two Simons it may be truly said that they stand first as English medallists, the beauty of their work having never been equalled in this country. As portraits the personal medals are faithful and expressive. The brothers produced joint as well as separate medals: in the case of a joint work Abraham appears to have made the model, whilst Thomas, who was a more skilful engraver, did the after-chasing. From an example in the British Museum, it is evident that the Simons first made their models in wax, and from these or from moulds in sand then cast their medals. The work of Thomas Simon was not confined to medals, for he executed all the Seals for the Commonwealth and for Charles II., as well as a fine set of coins which bear the portrait of the Protector. His last work of this kind, the Petition Crown of Charles II., has never been equalled in technical delicacy of execution, and is certainly the finest coin of modern times. Thomas Rawlins cannot be mentioned in such high terms as the Simons. His work was far above the average; but it failed to attain the sharpness and high finish which characterise that of his two rivals. Some of his coins are perhaps superior to his medals. Mention may be made here of the work of two other artists, specimens of whose medals will be found exhibited among those of Charles II. These are Pieter van Abeele and Müller, whom Bolzenthal calls 'der Meister Müller,' two Dutch medallists who worked in the repoussé style before