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of Pisano also produced works as interesting as historical documents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