In the first class may be noticed--1. The regal coins of Greece, which contains, beside the portraits of the Greek Kings, to be found in Visconti's "Iconographie," copied from medals and engraved gems, all the coins bearing the Greek name of either a king, a prince, or a tyrant, and every variety of these types, whether they bear the effigy of a prince, or only reproduce his name. To the medals of each sovereign are joined the most authentic and celebrated engraved gems of European cabinets. Next come the series of portraits of the Roman emperors and their families, with all the important varieties of Roman numismatics, amongst which will be found the most celebrated coins of France, Vienna, Dresden, Munich, Florence, Naples, St. Petersburg, Weimar, &c.; and, moreover, those medallions which perpetuate great events. These two volumes contain eight-fold more matter than the great work of Visconti. In the second class, containing the works of the middle ages, and showing the uninterrupted progress of the numismatic art down to modern times, and forming alone fourteen volumes, we find the source which the French artists and men of letters have studied with such predilection. First in order are the Italian medals of the fifteenth and sixteenth centuries, chiefly by the famous Victor Pisano, a Veronese, whom Nasari has so much lauded. The scholars and imitators of Pisano also produced works as interesting as historical documents as they are admirable in workmanship. Here also will be found the French and English seals, in which the balance of skill in design and execution is acknowledged to be in our favor. Less barbarous, and indeed perfect works of art, in character of costume and visage, are the medals struck in Germany during the sixteenth and seventeenth centuries, when the influence of Albert Durer and his school was strongly felt. And finally, relics of ornamental art of different nations and epochs. In the third class, two parts only are devoted to contemporary art; the medals illustrative of the French revolution of 1789; those of the "Empire" and of the Emperor "Napoleon;" generally smacking of the florid and corrupt taste of that period, they are nevertheless curious as being often the sole evidence of the facts commemorated. There is, however, a manifest improvement in the late ones, and in them may be traced the transition from the independent ideas of the revolution to the subsequent submission to one man: and not less striking is the transition from a slip-shod style of art to a pedantic imitation of the antique. The "Trésor de Numismatique et de Glyptique" is the most scientific and important work of art which has been executed and achieved of late years in France. Our great public libraries may be proud of possessing so rich, so valuable, and so curious a collection,