a series of coins unearthed in that part of Asia? The coins of Alexander fix the capture of Egypt; those of Vespasian, the capture of Judea; and those of Trajan, the capture of Parthia. They were the 'brief chroniclers of the time'--Stantonian bulletins, announcing each fresh conquest. The coins of the ancient day--for our modern productions can hardly claim the credit--blend artistic grace and beauty. Upon them art made its first and some of its best essays. A cabinet of Grecian and Roman coins is a compact history of art from its inception to its meridian in the culmination of Grecian splendor--and since that time, if we may believe Ruskin, we only approximate, or what is worse, degrade. The gradual decline of art and the decay of the empire are traceable on the Roman series. You may follow the downward steps, until it becomes nearly extinct, to revive, after a period of stagnation, in a new feeling in the quaint but strong and rugged Gothic, the beautiful development of which may be seen in the coinage of modern Europe from the fifth to the fifteenth century. The Farnesian Hercules, the Venus de' Medici, the Apollo Belvidere, and the famous equestrian Marcus Aurelius make their appearance upon the ancient medals. Undoubtedly many of the magnificent designs of Grecian medals in particular are but the types of Protogenes and Apelles, as Houdin's model cast of Washington has been photographed, as it were, upon the Wright medal. The grand Byzantine school of art is nowhere better brought out than on the coins of that period. The details of Constantine's coins are found in the ivory dyptics and those splendidly illuminated Gospel vellums which art-despising monks kneeled upon from the seventh to the tenth century, and which art-loving monks, even in the middle of the nineteenth century, used in the decoration of their monastery halls at Mount Athos. I come to a phase in the study of numismatics which to many will seem paradoxical--the romance of coins--and pick out here and there a few incidents, which I shall string together, not heeding closely chronological sequence.