IV, 10) that the earliest and commonest form of Samudragupta’s issues, the Standard type (Pl. V, 2) was imitated. The earliest specimens, though much superior in workmanship, follow their model very closely: the “standing king” still wears Kushāṇa dress; a Kushāṇa symbol still appears on the reverse; only, on the obverse, in place of Śiva’s trident, appears a Garuḍa-headed standard (_Garuḍadhvaja_), emblem of the cult of Vishṇu. This coinage appears to have been introduced about the middle of the reign: such legends as “_The invincible one, the lord of the earth_” suggest, as indeed is obvious, that only rich plunder made such a varied and plentiful gold currency possible. Samudragupta struck only gold. In such abundance did the Kushāṇa kings mint copper money that it may be said without exaggeration to have remained in circulation in the Panjāb down to the nineteenth century; in the time of the Guptas the bazars must have been full of it. But for gold there is always an insatiable demand in India, and seven other distinct varieties appeared during this reign. Of these the Archer type, the commonest and most characteristic Gupta coin (Pl. V, 6), struck by at least eight succeeding kings, is a natural development of the Standard type, of which also further modifications are to be found in the Battle-axe and Kācha types. On the obverse of the former a second attendant figure is introduced, and a battle-axe instead of a standard is in the king’s left hand. In the Kācha coins the change takes place on the reverse, where a standing figure of Lakshmī facing left takes the place of the seated goddess: the reverses of the Tiger-slayer and Aśvamedha coins present variations of this motif. The Tiger-slayer type, of which four specimens only are at present known, is the prototype of the Lion-slayer issues of later kings, and represents the king, dressed for the first time in an Indian waistcoat and turban, trampling on a tiger as he shoots it. There remain the Chandragupta I, Aśvamedha (Pl. V, 5) and Lyrist types, all three obviously in the nature of commemorative medals, and perhaps intended as pious gifts (_dakshiṇa_) to Brahmans. The Lyrist coins (Pl. V, 3), the rarest of the three, merit special attention. Evidently intended as a graceful tribute to the king’s accomplishments, he is portrayed in Indian dress, sitting cross-legged on a high-backed rather ornate couch, playing on a _vīṇā_, or Indian lute. On the reverse appears the goddess Lakshmī seated to left on a _mora_ (wicker stool). The excellent modelling of the king’s figure, the skilful delineation of the features, the careful attention to details, and the general ornateness of design in the best specimens constitute this type as the highest expression of Gupta numismatic art. [29] Cf. _B.M.C._, “Coins of the Gupta Dynasties,” Introduction, pp. lxiv-lxviii. [30] Situated in Tirhut, Bengal.