_Henry VII_.--Folkes, in his _Table of English Silver Coins_, after describing the various pieces coined by Henry VII., says, "We may further in this place take notice of a very uncommon and singular coin, charged with the royal arms, but without a name. The arms are surmounted with an arched crown, and placed between a _fleur-de-lis_ and a rose, legend DOMINE-SALVVM. FAC. REGEM; on the other side is _fleur-de-lis_ and a lion of England, and an arched crown between them above, and a rose below, with this inscription, MANA. TECKEL. PHARES. 1494. An English lion also for a mint mark. It is, by the make and size, a French gross, and is supposed to have been coined by the Duchess of Burgundy, for Perkin Warbeck, when he set out to invade England." There are also half-groats of this coinage, with the same date, one of which brought _twenty guineas_ at a sale in London in 1827. _Milled Money_.--The artist first employed on the milled money of England was a Frenchman, named Philip Mestrelle, who was executed at Tyburn, on the 27th of January, 1569, having been found guilty of making counterfeit money. _Charles I_.--The obsidional, or _siege pieces_, struck by the partizans of this monarch during the civil wars, are extremely interesting, and, with the exception of those coined at Newark, are all rare. They may be known by their shape from every other English coin, as well as by their legends. Those of Newark are of a diamond or lozenge form, some are octangular, and others of a shape that would puzzle a geometrician. Some have the rude representation of a castle; others, a crown; and many have the initials, C.R., and the legend DVM. SPIRO. SPERO. _Oliver Cromwell_.--The coins of Oliver were the production of the inimitable Simon, whose works are to this day admired and prized. Some have doubted whether they ever were in circulation, but it is now pretty generally allowed that they were. _Charles II_.--The milled money of this king is of a very different style, and has the head laureated. All the pieces of this coinage are common. To the eternal disgrace of Charles, he encouraged an artist whom he had brought over from Antwerp, and gave the preference to his works before those of Simon, who produced in the year 1663, a pattern crown of most extraordinary workmanship, _on the edge of which_ was the following petition in two lines: "THOMAS SIMON _most humbly prays your_ MAJESTY _to compare this his tryal-piece with the Dutch, and if more truly drawn and embossed, more gracefully ordered, and more accurately engraven, to relieve him_." To any one but the heartless profligate whose portrait occupied the obverse of the medal, this appeal would have been irresistible, but it does not appear that the unfortunate artist was relieved. He probably died of grief and disappointment at the unjust preference shown to his rival.