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early found too flexible and soft for general use, and hence arose the necessity of mixing with them a certain quantity of harder metal as alloy. The quantity or proportion of this alloy is various in different ages and countries. The most ancient gold coins existing, those of Lydia and other states in Asia Minor, are not of the purest gold, many not being above twenty carats fine. Many of the earliest coins seem to be formed of the metal anciently called electrum, and consisting of gold and silver. But when Philip, the father of Alexander the Great, coined the first Grecian gold, procured from the mines of Philippi, the art of refining gold had attained great perfection, and his coins are of the utmost purity. They are rivalled, however, by those of his son Alexander, and of other princes and cities within a few centuries of that age. The gold coins of the Egyptian Ptolemies are twentyhree carats three grains fine, with one grain alloy. The Roman gold coinage is very pure from the earliest times, and remained in this state till the reign of Severus. Most of the Roman gold was from Dalmatia and Dacia, where this metal is still found. Pliny says that the gold was refined by mercury, which mingled with it but rejected alloy, and the gold was afterwards delivered from the mercury by squeezing it in skins, when the mercury ran through and left behind the gold pure. In his time, indeed, the gold coins were very fine; and Boden tells us, that the goldsmiths of Paris, upon melting one of Vespasian's gold coins, found only part of alloy.

Most of the ancient silver, particularly that of Greece, is less pure than that of succeeding times; even the Roman silver is rather inferior to the present standard; but, in the time of Severus, the silver appears very bad, and continues so until the time of Dioclesian. Many writers upon this subject have mistaken the denarii arei, coins of brass washed with silver,' for silver currency. Silver coins are extremely scarce from the time of Claudius II. to that of Dioclesian, or from A. D. 270 to 284; in which short space no fewer than eight emperors reigned. Silver at that time was found mostly in Spain; and such were the troubles of the times, that both the silver and gold coins of those eight emperors are extremely scarce. There is still, however, some silver extant of these eight emperors. Occasional deprivations of silver had taken place long before; as Pliny tells us that Mark Antony mixed iron with his silver denarii; and Mr. Pinkerton informs us that he had seen a denarius of Antony which was attracted by a magnet.

The ancient brass coins are of two kinds: the red or Cyprian, which indeed is no other than copper; and the common yellow brass. In the Roman coinage brass was double the value of copper; and it was probably the same among the Greeks: the latter is the metal most commonly made use of in the Greek coinage. The Roman sestertii are always of brass; the middling-sized kind are partly copper and partly brass; the former being double the value of the latter, which are the asses. As the medals of these metals are always covered with platina the difference has not excited attention.

Of the mixed metals beside electrum the most valuable was the Corinthian brass, which however does not appear to have. been used at all in the fabrication of medals. Besides the authority of Pliny and other antiquaries of more modern date, who all declare that they never saw a single medal of Corinthian brass, or of that metal mixed with silver and gold, Mr. Pinkerton adduces other evidence which he looks upon to be superior to either, viz. that those who have advanced this opinion imagine that the large pieces called sestertii, and others called dupondiarii, worth about two-pence or a penny, are said to have been composed of this precious metal. It is unreasonable to think that any proportion of gold or silver could have been made use of in these. The coins said to have been struck upon Corinthian brass are only done upon a modification of common brass; of which we know, that, in proportion to the quantity of zinc made use of in conjunction with the copper, the metal assumes a variety of hues. Pliny says that the coins mistaken for Corinthian brass were no other than prince's metal.

The Egyptian silver coins struck under the Roman emperors are at first of tolerably pure silver; but afterwards degenerate into a mixture of copper and tin with a little silver, styled by the French potin. They are very thick, but many of them are elegantly struck, with uncommon reverses. There are likewise three sets of brass coins belonging to this country from the earliest times of the Roman emperors there. Some of these are of bell-metal or pot-metal; and after the time of Gallienus and Valerian, the coinage of brass with a small addition of silver become authorised by the state; the coins struck upon it being called denarii ærei. Those of lead or copper plated with silver have been fabricated by Roman forgers. Some coins of lead, however, have been met with of undoubted antiquity: and an ancient writer informs us that tin money was coined by Dionysius; but none has been found. The lead coins of Tigranes, king of Armenia, mentioned as genuine by Jobert, are accounted forgeries by modern medallists. Plautus, however, makes mention of leaden coins, and several of them have been found; but they are generally thought to have been chiefly essay pieces, struck in order to let the artist judge of the progress of the die. Others are the plated kind already mentioned, fabricated by ancient forgers, but having the plating worn off. A great number of leaden coins are mentioned by Ficorini in a work entitled Piombi Antichi, in which he supposes them to have served as tickets for guests; and coins of the same kind are also mentioned by Passeri.

Whatever the metal of which the coins were composed, the Roman moneyers cast it into a round bullet, in order to assist the high relief, as appears from the ancient coins not being cut or filed at the edges, but often cracked; and always rough and unequal. In modern coinage the blank pieces are flat, and cut round by the stroke of a machine, a plan followed even in the seventh and eighth century; but the hammered coin of the ancients appears never to have been The bullets were put into the die, and

cut.

received the impression by repeated strokes of the hammer, though sometimes a machine appears to have been used for this purpose: for Boiterue informs us that there was a picture of the Roman mintage, in a grotto near Baiæ, where a machine was represented holding up a large stone, as if to let it fall' suddenly, and strike the coin at once. None of the ancient money was cast in moulds, excepting the most ancient and very large Roman brass, commonly called weights, and other Italian pieces of that sort; all the rest being mere forgeries of ancient and modern times. Some Roman moulds which have been found are a proof of this; and from these some medallists have erroneously imagined that the ancients first cast their money in moulds, and then stamped it, in order to make the impression more clear and sharp.

The ancients had some knowledge of crenating the edges of their coins, which they did by cutting out regular notches upon them; and of this kind we find some of the Syrian and ancient consular coins, with a few others. The former were cast in this shape and then struck; but the latter were crenated by incision, to prevent forgery, by showing the inside of the metal: however, the ancient forgers also found out a method of imitating this; for Mr. Pinkerton informs us that he had a Roman consular coin of which the incisions, like the rest, were plated with silver over the copper.

As most medals and coins have a portrait on one side, that side is called the face or obverse, the opposite the reverse. The field is the interior space, which is enclosed nearly all round by the rim, except the bottom part, called the exergue, which is commonly separated from the field by a line upon which the figures of the reverse stand. Most medals contain, besides the portrait and other figures, also letters or words illustrative of some circumstance concerning them. If these letters or words occupy the field, they are denominated inscriptions; but if they run round the margin, or upon either side of the figures, or upon the exergue, they are more properly denominated legends.

In large cabinets medals are generally chronologically arranged under the separate heads of gold, large and small; silver, large and small; and brass, large, middle, and small; which are not so much distinguished by the breadth or thickness of the medal itself, as by the size of the head stamped upon it. But beside the ordinary coins of the ancients, which passed in common circulation, there were others of a larger size, which are now termed medallions. These were struck on the commencement of the reign of a new emperor, and other solemn occasions; frequently also, by the Greeks in particular, as monuments of gratitude or of flattery. Sometimes they were mere trial or pattern pieces; and those abound after the time of Maximinian, Iwith the words Tres Monetæ on the reverse. The common opinion is, that all the Roman pieces of gold exceeding the denarius aureus, and all in brass exceeding the sestertius, went under the denomination of medallions; but many of these large pieces went in circulation, though not very commonly The finest medallions

were presented by the mint-masters to the emperor, and by the emperor to his friends, as specimens of workmanship. The best we have at present are of brass, and many of them composed of two sorts of metal; the centre being copper, with a ring of brass around it, or the contrary; and the inscription is sometimes confined to one of the metals, sometimes not. There is a remarkable difference between the Greek and Roman medallions in point of thickness; the latter being frequently three or four lines thick, while the other seldom exceed one. Very few medallions, however, were struck by the Greeks before the time of the Roman emperors; but the Greek medallions of the emperors are more numerous than those of the Romans themselves.

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All these pieces, however, are of such high prices, that few private persons are able to purchase them. In the seventeenth century, Christina, queen of Sweden, procured about 300. In the king of France's collection there have been reckoned 1200, a number formerly supposed not to exist; but Dr. Hunter's collection contains about 100, exclusive of the Egyptian.

Besides these large pieces, there are smaller ones of a size somewhat larger than our halfcrowns; and by Italian medallists are called medaglioncini, or small medallions. They are still scarcer than the large kind.

There is still a third kind, which have almost escaped the notice of medallists, viz. the small coins or missilia scattered among the people on solemn occasions; such as those struck for the slaves on account of the Saturnalia; counters for gaming; tickets for baths and feasts; tokens in copper and in lead, &c. Many, or perhaps almost all, of those struck for the Saturnalia were satirical; as the slaves had then a license to ridicule not only their masters, but any person. One of the most common pieces of this kind has on the obverse the head of an old woman veiled, with a laurel crown; the reverse only s. c. within a wreath.

A fourth class of medals are called. contorniati, from the Italian contorniato, encircled, because of the hollow circle which commonly runs around them. They are distinguished from medallions by their thinness, faint relief, reverses sometimes in relief, sometimes hollow, and in general by the inferiority in their workmanship. The opinions of medallists concerning these pieces are very various: some suppose them to have been struck by Gallienus to the memory of illustrious men and celebrated athlete, at the time that he caused all the consecration coins of his predecessors to be restored; others ascribe their invention to Greece, &c.; but Mr. Pinkerton is of opinion that they were only tickets for places at public games. Many of them, notwithstanding their inferior workmanship, are very valuable, on account of their preserving the portraits of some illustrious authors of antiquity no where else to be found, though some think much dependence cannot be put on them. They, however, are valuable, as being ancient, and perhaps traditional portraits of these great men.

The usage of coining money for the imme

diate use of a blockaded town is very ancient. The medals thus struck are called obsidional, and generally bear in their fabrication and material evidences of the calamitous and bereaved condition which gave rise to their existence. They are mostly of bad metal, and rudely formed, an observation to which some exceptions of course occur, but they are not numerous. The shape of these coins or medals varies :-sometimes they are round, sometimes oval, sometimes square; occasionally, even, octagon or triangular, &c. The type and inscriptions vary equally. Some are engraved on both sides, which how ever is rare; by far the greater part having no reverse. It is more common to see the name of the town only (either entire or abridged) with the date and value.

Their different thickness forms a remarkable distinction between the Greek and Roman medallions; the Roman being often three or four lines thick, while the others seldom exceed one. By the Greek medallions we mean those struck in the imperial periods; for few Greek medalhons are found prior to the emperors of Rome. But there is a fine one struck at Syracuse, upon the defeat of Icetas by Timoleon. The medallion is of silver, with the head of Ceres upon one side, and upon the other a female figure, perhaps representing Sicily or Syracuse, in a car, a victory crowning her, and spoils in the exergue. Its workmanship is fine, but not equal to that of the gold coin of the same Icetas, struck at Syracuse, EIII IKETA, under Icetas, which is a perfect gem surpassing all description. Syracuse also affords a most remarkable medallion on another great occasion. The only one perhaps existing formerly belonged to Dr. Combe, and was engraven by his order. It is exquisitely wrought, in high relief, and perfect preservation; of copper, and about two inches in diameter. Upon one side is a female head, covered with a helmet, on which is a caduceus and roma. Upon the other is a man's head, with a helmet wreathed with laurel, and M. M. Dr. Combe thinks this fine piece, now in Dr. Hunter's cabinet, was struck by Syracuse, in honor of Marcus Claudius Marcellus, who besieged and took that city, 210 years B. C. This medallion is most remarkable for its being unique; for its beauty, for its pre servation, and for the portrait of this great man. These are perhaps the only Greek medallions prior to the Roman empire.

As for the ornaments of portraits, the chief is the diadem, or vitta, a ribband worn about the head, and tied in a floating knot behind, the ancient simple badge of kingly power. It is observable upon the Greek monarchic medals, from the earliest ages to the last; and is almost an infallible sign of the portrait of a prince. In the Roman coins it is seen on the consular one with Numa and Ancus; but never after till the time of Licinius.

The Romans had such an abhorrence of this badge of kingly distinction, that their emperors had, for two centuries, wore the radiated crown, peculiar to the gods, before they dared to assume this tyrannic badge. However, in the family of Constantine, the diadem became common, but divested of its ancient simplicity; be

ing ornamented on either side with a row of pearls, and various other decorations. The radiated crown, at first, as in the posthumous coins of Augustus, a mark of deification, was, in little more than a century after, put upon most of the emperors' heads in their several medals. The crown of laurel, at first the honorary prize of conquerors, was afterwards commonly worn, at least in their medals, by all the Roman emperors from Julius, who was permitted by the senate to wear it always, in order to hide the baldness of his forehead. In the lower empire, the laurel is often held by a hand above the head, as a mark of piety. Agrippa appears on his coins with the rostral crown, a sign of naval victory or command, being made of gold, in resemblance of prows of ships tied together. He is likewise seen with the mural or turreted crown, the prize of first ascending the walls of an enemy's city. The oaken, or civic crown, is frequent on reverses, as of Galba and others; and was the badge of having saved the life of a fellow citizen, or of many citizens. See CROWN. Besides the diadem, the. Greek princes sometimes appear with the laurel crown. The Arsacidæ, or kings of Parthia, wear a kind of sash round the head, with their hair in rows of curls like a wig. Tigranes, and the kings of Armenia, wear the tiara. Xerxes, a petty prince of Armenia, appears on a coin in a conic cap, with a diadem around it. Juba, the father, has a singular crown, like a conic cap, all hung with pearls.

The successors of Alexander assumed different symbols of deity on the busts of. their medals; such as the lion's skin of Hercules, surrounding the head of the first Seleucus; the horn placed behind the ear, an image of their strength and power, or of their being the successors of Alexander, called the son of Jupiter Ammon; the wing, placed in like manner behind the ear, symbolic of the rapidity of their conquests, or of their descent from the god Mercury, &c. Pyrrhus, as Plutarch informs us, had a crest of goat's horns to his helmet; and the goat was a symbol of Macedon. The successors of Alexander might take this badge on that account. The helmet also appears on coins, as in those of Macedon, under the Romans, which have Alexander's head, sometimes covered with a helmet. Probus has the helmet: and Constantine I. has helmets of different forms, curiously ornamented.

The Greek queens have the vitta or diadem. Most queens of Egypt have the sceptre. The Roman empresses never appear with the diadem, the variety of their head-dresses compensating the want of it. The remarkable part of the Roman head-dress among the ladies was the sphendona, or sling, on the crown of the head, which was of gold, and so prominent as to be even remarkable on a coin. Sometimes the bust of an empress is supported by a crescent, denoting that she was the moon, as her husband was the sun of the state. There are other symbolic ornaments of the head observable on some Roman coins. Such is the veil, or rather toga, drawn over the head, and seen on the busts of Julius Cæsar, when Pontifex Maximus, and others. Latterly the veil was only a mark of consecration, and is common on coins of em

presses, as Faustina and others. In the coins of relief. Such are those of Caulonia, Crotona,

Claudius Gothicus it is first found as a mark of the consecration of an emperor; and it was continued in those of Constantius I., Maximian I., and Constantine I. 'These coins,' says Mr. Pirkerton, rank with those that are valuable for their rarity.'

The nimbus, or glory, now pecuiiar to the saints, was formerly applied to emperors. A nimbus appears round the head of Constantine II., in a gold coin of that prince, and of Flavia Maxima Fausta, in a gold medallion; and of Justinian in another. But the idea is as ancient as the reign of Augustus. Havercamp gives a singular coin, which has upon the reverse of the common piece with the head of Rome, URBS ROMA, in large brass. Constantine I., sitting amid victories and genii, with a triple crown upon his head, for Europe, Asia, and Africa: legend SECURITAS ROMÆ. The bust alone is generally given on ancient coins; but sometimes half the body, or more; in which latter case the hands often appear, with tokens of majesty in them. Such is the globe, said to have been introduced by Augustus, to express possession of the world; the sceptre, sometimes confounded with the consular staff; the roll of parchment, symbolic of legislative power; and the handkerchief, expressing that of the public games, where the emperor gave the signal. Some princes hold the thunderbolt, showing that their power on earth was equal to that of Jupiter in heaven. Others hold an image of victory.

The reverses of medals contain figures of deities at whole length, with their attributes and symbols; public buildings and diversions; allegorical representations; ceremonies civil and religious; historical and private events; figures of ancient statues; plants, animals, and other subjects of natural history: ancient magistracies, with their insignia; and, in short, almost every object of nature or art. Some reverses bear the portrait of the queen, the son, or the daughter of the prince who appears on the obverse. Such are highly esteemed by antiquaries, not merely because coins stamped with portraits on both sides are valuable, but because they identify the personage on the reverse to have been the wife, the son, or the daughter, of such a particular prince, and thus help in the adjustment of a series. Some medals with two portraits are very common; such are Augustus reverse of Caligula, and M. Aurelius reverse of Antoninus Pius. The reverses of the Roman coins have more of art and design than the Greek; but the Greek have more exquisite relief and workmanship than the other. In the very ancient coins no reverse is found except a rude mark struck into the metal, as of an instrument with four blunt points, on which the coin was struck. Afterwards, by degrees, we see some little image of a dolphin, or other animal, inserted into one of the departments of the rude mark, or into a hollow square. Then follows a perfect reverse of a horse, or the like, with a slight mark, and at length without any mark, of the hollow square. Some ancient Greek reverses are struck in intaglio, not in cameo; hollow, not

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Metapontum, and some other ancient cities of Græcia Magna. These reverses sometimes bear the same type in intaglio which the obverse has in cameo; and sometimes they are quite different. When complete reverses appear on the Greek coins, about 500 years B. C., they are of exquisite relief, minute finish, and beauty. The very muscles of men and animals are seen, and will bear inspection with the largest magnifier, as ancient gems.

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Of Roman coins the reverses are very uniform, the prow of a ship, a car, or the like, till about 100 years B. C., when various reverses appear on their consular coins in all metals. The variety and beauty of the Roman imperial reverses are well known. The medallist much values those which have a number of figures, as the Puellæ Faustinianæ of Faustina, a gold coin no larger than a sixpence, which has twelve figures: that of Trajan, Regna adsignata,' which has four: the 'Congiarium' of Nerva, with five : the Allocutum' of Trajan with seven; of Hadrian, with ten; of Probus, with twelve. Some Roman medals, to which no peculiar name has been appropriated by medallists, have small figures on both sides, as the Apolloni Sancto' of Julian II. Others have only a reverse, as the noted 'Spintriati,' which have numerals I. II. &c. on the obverse.

The figures of deities and personifications on the Roman coins are commonly attended with their names, besides being distinguished with their attributes. These names, without an adjunct, are put down merely because it was necessary that the coin should have a legend. Thus, in a coin of Lucilla, Venus, though well known by the apple which she always holds in her hand, has nevertheless the name round her, Venus, without any addition. But an adjunct is most commonly added, and this renders the insertion of the name very proper and necessary, as in the instance of a Neptune, with Neptuno reduci :— a Venus, with Veneri victrici, and others similar. The like may be said of the coins with a figure of modesty, pudicitiæ Augustæ; of virtue, virtus Augusti, &c.; for it is the legend which appropriates the virtue to the emperor or empress, and thus leaves no doubt as to the meaning of the reverse.

In the Greek coins a superior delicacy is observed by not expressing the name of the deity, but leaving it to the easy interpretation of fixed symbols.

The principal symbols of the divine attributes to be met with on the Greek medals are as follow:

1. Jupiter is known on the coins of Alexander the Great by his eagle and thunderbolts: but, when the figure occurs only on the obverses of coins, he is distinguished by a laurel crown, and placid bearded countenance. Jupiter Ammon is known by the ram's horn twisting round his ear; a symbol of power and strength assumed by some of the successors of Alexander the Great, particularly by Lysimachus.

2. Neptune is known by his trident, dolphin, or being drawn by sea-horses; but he is seldom met with on the Grecian coins.

3. Apollo is distinguished by a harp, branch of laurel, or tripod; and sometimes by a bow and arrows. In the character of the sun his head is surrounded with rays; but, when the bust only occurs, he has a fair young face, and is crowned with laurel. He is frequent on the coins of the Syrian princes.

4. Mars is distinguished by his armour, and sometimes by a trophy on his shoulders. His head is armed with a helmet, and has a ferocious coun

tenance.

5. Mercury is represented as a youth, with a small cap on his head, wings behind his ears, and on his feet. He is known by the cap, which resembles a small hat; and the wings. He appears also with the caduceus, or wand, twined with serpents, and the marsupium, or purse, which he holds in his hand.

6. Esculapius is known by his bushy beard, and his leaning on a club with a serpent twisted round it. He sometimes occurs with his wife Hygeia or Health, with their son Telesphorus or Convalescence between them.

7. Bacchus is known by his crown of ivy or vine, his diadem and horn, with a tiger and satyrs around him.

8. The figure of Hercules is common on the coins of Alexander the Great, and has frequently been mistaken for that of the prince himself. He appears sometimes as a youth, and sometimes with a beard. He is known by the club, lion's skin, and remarkable apparent strength; sometimes he has a cup in his hand; and a poplar tree, as a symbol of vigor, is sometimes added to the portrait.

9. The Egyptian Serapis is known by his bushy beard, and a measure upon his head.

10. Apis is delineated in the form of a bull, with a flower of the lotos, the water lily of the Nile, supposed by Macrobius to be a symbol of creation; and Jamblicus tells us that Osiris was thought to have his throne in it.

11. Harpocrates, the god of silence, appears with his finger on his mouth; sometimes with the sistrum in his left hand; a symbol common to most of the Egyptian deities.

12. Canopus, another Egyptian deity, appears in the shape of a human head placed on a kind of pitcher. See CANOPUS.

13. The Holy Senate and Holy People appear frequently on Greek imperial coins, sometimes represented as old men with beards, on others as youths.

The goddesses represented on medals are,

1. Juno, represented by a beautiful young woman, sometimes with a diadem, sometimes without any badge, which is reckoned a sufficient distinction, as the other goddesses all wear badges. Sometimes she appears as the goddess of marriage; and is then veiled to the middle, and sometimes to the toes. She is known by the peacock, a bird sacred to her from the fable of Argus.

2. Minerva is very common on the coins of Alexander the Great; and her bust has been mistaken by the celebrated painter Le Brun for the hero himself. Her symbols are her armour; the spear in her right hand, and the ægis with a VOL. XVI.

Medusa's head in her left; an owl commonly standing by her.

3. Diana of Ephesus is commonly represented on the Greek imperial coins; and appears with a great number of breasts, supposed to denote universal nature. She is supported by two deer, and carries a pannier of fruit upon her head. The bust of this goddess is known by the crescent on her brow, and sometimes by the bow and quiver at her side.

4. Venus is known by an apple, the prize of beauty, in her hand. Sometimes she is distinguished only by her total want of dress; but is always to be known by her extraordinary beauty, and is sometimes adorned with pearls about the neck.

5. Cupid is sometimes met with on the Syrian coins, and is known by his infancy and wings. 6. Cybele is known by a turreted crown and lion: or is seen in a chariot drawn by lions.

7. Ceres is known by her garland of wheat, and is common on the Sicilian coins; that island being remarkable for its fertility. Sometimes she has two serpents by her, or is drawn in a chariot by them. She carries in her hands the torches, as if in search of her daughter Proserpine.

8. Proserpine herself is sometimes met with on coins with the name of kopŋ, or the girl.

9. The Egyptian Isis has a bud or flower on her head; a symbol of the perpetual bloom of the inhabitants of heaven. She carries also a sistrum in her hand.

10. The Sidonian Astarte appears on a globe supported on a chariot with two wheels, and drawn by two horses.

These are the deities most commonly represented on the Greek coins. The more uncommon are, Saturn with his scythe, or with a hook on the Heraclean coins; Vulcan with his tongs, on the reverse of a coin of Thyatira, represented at work in the presence of Minerva. Adranus, a Sicilian god, is sometimes represented on coins with a dog. Anubis, an Egyptian deity, has a dog's head. Atis is known by his Phrygian bonnet; Castor and Pollux by a star on the head of each; Pluto by his old face, dishevelled hair and beard, and a hook; Flora by a crown of flowers; Nemesis by her wheel; and Pan by his horns and ears of a beast.

There are likewise to be found on medals many different symbols by themselves; of which we subjoin a list, with their significations:

1. Vases with sprigs signify solemn games. 2. Small chest or hamper, with a serpent leaping out, mystic rites of Bacchus. 3. Anchor, on Seleucian medals, coin struck at Antioch, where an anchor was dug up. 4. Apollo, on Syrian coins, on an inverted hamper, covered tripod. 5. A bee, Aristeus, the son of Apollo. 6. Laurel, Apollo 7. Reed, a river. 8. Ivy and grapes, Bacchus. 9. Poppy, Ceres and Proserpine. 10. Corn, Ceres. 11. Owl and olive, Minerva. 12. Dove, Venus. 13. Torch, Diana, Ceres, or Proserpine. 14. Mudnis, or conic stone, the Sun, Belus, or Venus. 15. Pomegranate flowers, Rhodes. 16. Owl, Athens. 17. Pegasus, Corinth. 18. Wolf's head, Argos. 19. Bull's

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