commerce, are especially appropriate for a busy port. I suggest that this figure might, and should be, adopted as the impersonation and image of the City of London. I had already written this when I found a figure illustrated in Bruce’s book on the Roman Wall, which is a close parallel to our figure. It was found at Netherby, and is described thus: “The best piece of sculpture belonging to this station represents the Genius of the Castrum wearing the mural crown and engaged in the grateful task of pouring an offering to the superior powers” (Fig. 77). The resemblance of this figure to that in the London Museum proves, I think, that that is the genius of a place, as does also the serpent which rises from the altar. An altar “To the Genius Loci,” found at Chester, represented the genius holding a cornucopia. Compare two altars figured by Lysons (_Reliq._, pl. lviii.) of similar figures apparently male, each with patera, altar, snake and cornucopia. Fig. 78 is one of those in the British Museum.) [Illustration: FIG. 77. ] Wren, in an early design for the Monument, proposed that it should be surmounted by a civic impersonation. [Illustration: FIG. 78. ] In Roman days every place and almost every field had its _genius loci_—an idea which we still timidly preserve as a “figure of speech.” Many British inscriptions and sculptures relate to Silvanus, Rivers and Fountains; to the Deities of the Fields of Britain (think of that now!), to Nymphs of the Springs (think again of ours choked with tins and old shoes), and to the God of Ways and Paths (perhaps such an image would do some good at Liverpool Street and King’s Cross). [Illustration: FIG. 79. ] The other marble sculpture found with the Genius is the torso of a river god of a well-known type—and very well carved. The figure reclined supported by his left arm; the right hand carried a long water reed which rested against his right shoulder (Fig. 79). The head, with long curling hair and beard, is in a tradition which derives from the Zeus of Phidias, and the body had its prototype in the reclining figures of the Parthenon pediments. Some reliefs of similar river gods occupy the spandrels of the Arch of Constantine. Bruce illustrated a very similar figure which represented the North Tyne (Fig. 80). We have every right to assume that the torso in the London Museum may be called the Thames. There is some reason, from the conditions of discovery, to think that this figure and the Genius before described occupied places in a Mithraic cell by the Walbrook. That a river impersonation and a genius of locality should be so found together strengthens the evidence that they represented London and Father Thames. Modern figures of the Thames and other rivers existed in seventeenth-century London. [Illustration: FIG. 80. ]