Reverse. SIDERIBVS RECEPTA. In the field S. C. This was struck to denote the supposed reception of Faustina into heaven. A female is represented of rather a robust make, with short garments, in the character of Diana; but though she holds a torch, as on No. CCLIX, the style of drapery, and her legs-together with the knot confining her tresses behind-rather indicate Venatrix than Lucifera. Upon her shoulders she holds a crescent, in a manner similar to that of Lunus, the MHN of the Greeks, a god adored among those who thought that by worshipping the moon as a female, they would be surely "hen-pecked." This is the symbol of Diana presiding over the moon, whence Horace called her "Siderum Regina bicornis," in the grand Secular Hymn. The poets, indeed, have been very full on the many attributes of this triple goddess; but it is in her capacity as the lunar Intelligence that she is most interesting. In the platonic fable of her love for Endymion, there is some reason to think that the eclipses of the moon are intimated, as the veil was an essential part of her attire on that occasion. Catullus, when commending Conon, the illustrious friend of Archimedes, says that he knew the reason of the eclipses of the sun; why the stars are sometimes lost; and why the moon disappears in the midst of her course :—

"Flammeus ut rapidi solis nitor obscuretur;

Ut cedant certis sydera temporibus ;

Ut Triviam furtim sub Latmia saxa relegans
Dulcis amor gyro devocet aërio."
CCLXIII.

Obverse. DIVA FAVSTINA PIA. The head of the Empress in style, workmanship, and aspect, similar to the last. It is covered with a deep-brown patina, and is in capital preservation; I procured it at Zante, in 1820.

Reverse. SIDERIBVS RECEPTA. In the field S. C. This is struck with the same design as the one just described, but under a different type. A female, habited as Diana, with a floating veil, stands in a small car drawn by two light prancing horses. This goddess is sometimes represented as drawn by stags, does, and oxen, as well as horses; both poets and artists have agreed in giving her but two at a time, and it seems that the painters of old depicted them of a perfectly white colour. See Nos. CCLIX. and CCLXII.

CCLXIV.

Obverse. DIVA FAUSTINA PIA. A profile of Faustina, in style resembling the last, but with a less pleasing expression. The medal is covered with a chocolate-coloured patina, and is in very good conservation; I purchased it at Rome, in 1823.

Reverse. AETERNITAS. On the exergum S. C. The deceased Empress, with a sceptre, is seated upon a throne, transported through space by two females, who, as well as Faustina, have floating veils above their heads. These attendant figures have been pronounced by Havercamp, Angeloni, and Visconti, to represent Horæ, or nymphs of the air; and by Tristan, the relations of the Empress who died before her, and were delegated to pay this respect. Others see in these three figures an indication of the past, the present, and the future; and Eckhel hints that they may allude to the golden statue which Aurelius erected in Faustina's usual place at the theatre, around which the principal ladies seated themselves, as in her life-time. But the throne raised from the ground, and the arched iris-like veils indicative of divinity, are arguments against this opinion. Indeed, nothing more can be made out with certainty, but that the device commemorates the apotheosis of the defunct Empress.

CCLXV.

Obverse. DIVA FAVSTINA PIA. The usual head of the Empress, with a sweet expression of countenance. This medal is bare of patina, but is in sound, though secondary condition; it was purchased at Lord Morton's sale, in 1830.

Reverse. AETERNITAS. In the field S. C. The Empress is borne through the empyreum on the back of a winged female, who holds a large torch in her hands. This figure, from its light and flowing drapery, and the office it is performing, might at once be pronounced to

U

represent a celestial genius, or an angel; but Occo styles it "Victoria volans,"-and Archbishop Agostini, a winged eternity. Oiselius simply terms it a victory; and it accords with that described in the dream of the father of Alexander Severus. Tristan quaintly and satirically explains the medal thus, "Et voicy sa femme portée sur les ailes d'une Victoire, ou de Minerve, surnommée Victrice. Pour donner à entendre qu'estant decédée elle estoit recompensée de la demure éternelle du Ciel, pour sa sage et vertueuse conduite, et comme ayant esté victorieuse du vice et de l'incontinence, dont cette Déese estoit ennemie formelle." CCLXVI.

Obverse. DIVA FAVSTINA PIA. The head of Faustina, with the hair carefully dressed, but without ornament, and her shoulders covered with neat drapery. This medal is coated with brown patina, and is in excellent preservation; it was presented to me at Pola, in Istria, in 1819. Reverse. CONSECRATIO. In the field S. C. A grand lectisternium, with a sceptre in the part which is to be occupied by the new divinity; and a peacock with an expanded tail—“ avem quippe Junoniam "standing before the drapery, are here represented. This device denotes that the throne prepared in heaven, for Faustina, was equal to that of Juno.

The lectisternia were religious feasts, made for the gods themselves, in times of danger or success, as supplications or thanksgivings. On these occasions their statues were solemnly brought out by the Epulones, and absurdly laid upon sumptuous beds, by the side of tables which were profusely spread with viands-while the whole space-beds, temples, and altars-were strewed with leaves, and odoriferous herbs and flowers; whence the name. images of goddesses were placed on thrones, as better adapted to the delicacy of their sex; and on the medal before us, the lectisternium appears fitter for sitting upon than reclining. Horace, rejoicing on account of Cleopatra's death, exclaims :

"Nunc est bibendum, nunc pede libero

Pulsanda tellus; nunc Saliaribus

Ornare pulvinar Deorum

Tempus erat dapibus."

The

Until the time of Casaubon this custom was considered as being peculiar to the Romans; but that acute critic, examining a passage of the Scholiast upon Pindar, and there finding mention made of the cushions which supported the gods, justly concluded that the lectisternium was in use among the Greeks. Besides this evidence, Pausanias speaks decidedly of the pulvinaria on which the deities were placed, and Valerius Maximus also mentions the practice. But its source seems deducible from the Jewish principle of eating the passover, which was a sacred symbol of federal communion with God.

CCLXVII.

Obverse. DIVA FAVSTINA PIA. The profile of the Empress, the hair curiously dressed but without ornament, and the bust enrobed. A medal in very excellent condition, though but thinly patinated; it was presented to me by Col. Sir Parker Carroll, in 1821, at Malta.

Reverse. CONSECRATIO. In the field S. C. A noble peacock, strutting with its tail expanded. This bird was especially consecrated to Juno, as the eagle was to the mighty Thunderer-and therefore the "Avis Junonia" was more appropriately used in apotheosis of empresses, than the "Jovis Armiger." The peacock was also a symbol of that conjugal love and affection which ought to exist between married people.

CCLXVIII.

Obverse. DIVA FAVSTINA PIA. The head of Faustina attired as in the last, but with a more pleasing expresion of countenance. This medal is coated with green patina, and is in excellent preservation; it was procured at Marseilles, in 1823.

Reverse. CONSECRATIO. In the field S. C. An altar resembling the Ara Pacis of Nero, but of a plainer fabric. See No. CCXXVI. We learn that an altar was erected by the senate to the

memory of the Empress; and it was ordained, that young women, immediately after their marriage, should repair to it, and there offer a solemn sacrifice. For this scandalous institution, adds the historian, they deserved that their daughters should all resemble Faustina, and their sons Commodus.

CCLXIX.

Obverse. DIVA FAVSTINA PIA. The profile of the Empress with her hair neatly disposed in curls, and a veil falling from the back of the head to her shoulders. This medal is covered with a rich-brown patina, and is in singularly high perfection; it was purchased at Mr. Marmaduke Trattle's sale, in 1832, being lot 3057. It superseded a less perfect one which I had brought from Algiers, with the same reverse, but the face a little older.

Reverse. AETERNITAS. On the exergum S. C. A grand car drawn by two noble elephants caparisoned, and each mounted by a naked guide. On the car is a throne bearing the statue of Faustina, with a sceptre in her right hand, and a canopy over her head. This device is of fine workmanship, and represents the golden statue of the Empress as it was drawn to the great games. See No. VIII.

Obverse. DIVAE FAVSTINAE PIAE.

CCLXX.

The head of Faustina, attired and veiled as in the last-but having a more pleasing expression of countenance. A medal in very fine condition, and incrusted with a dark-green patina; I procured it at Sassari, in Sardinia, in 1824. Reverse. MATRI CASTRORVM. On the exergum S. C. Here is another piece of adulation to the deified Faustina, who is superbly robed and seated upon a throne. On her right hand she bears a radiated phoenix on a globe, the emblem of power and eternity; (see No. CCXXXI.) and in her left the wand of divinity; while before her are raised three military standards. This device proves the truth of what Dio has related, that the Empress was saluted by this pompous title after the glorious victory obtained by Aurelius over the Marcomanni, Sarmatæ, and Quadi. This extraordinary title was afterwards assumed by Julia Domna, and Julia Mæsa.

CCLXXI.

Obverse. DIVAE FAVSTINAE AVG. MATR. CASTROR. (Diva Faustina, Augusta, Matri Castrorum.) The profile of the Empress, veiled and attired as in the last. This medal is coated with a red-tinted patina, and is in good preservation: it was purchased from Mr. M. Young, in 1826. Reverse. CONSECRATIO. In the field S. C. A rogus very splendidly ornamented with statues and festoons, and surmounted by a curiously-wrought apex, with an equestrian statue, in allusion perhaps to the designation of Mother of the Camp. As the Empress died at the foot of Mount Taurus, this must represent an honorary funeral. See No. CCLIII.

CCLXXII.

Obverse. DIVAE FAVSTINÆ AVG. MATR. CASTROR. (Diva Faustinæ, Augustæ, Matri Castrorum.) The veiled head of Faustina, with a sweet expression of countenance. A medal incrusted with a deep bottle-green patina, and in excellent condition; it was found near Oristano, in Sardinia, in 1824, and presented to me directly afterwards.

Reverse. CONSECRATIO. On the lower verge S. C. Faustina, on the back of a large eagle, is conveyed to heaven; and has a floating veil and wand, the symbols of divinity, to denote her apotheosis. The interior of the veil is spotted with seven stars, a number which has been mystical from the earliest ages. This Empress is represented on some coins as borne on a peacock-but the eagle may be considered as indicative of greater honour, and more suitable to the Mother of the Camp.

Perhaps this medal ought to have been placed before the Sideribus Recepta, which denotes the end of her flight, and her reception among the stars; but as it has not the deifying veil on the portrait, their place in the cabinet has been determined by that circumstance.

ANNIUS VERUS.

Annius Verus, the son of Marcus Aurelius and Faustina Junior, was born A. D. 163; was decorated with the title of Cæsar at the age of three years; and died A. D. 170, at Præneste, a town of Latium, of a glandular swelling in the throat, which appears to have been unskilfully treated. Being the only surviving son except Commodus, he seems to have been greatly regretted, for statues, one of them of gold, and many other honours, were decreed to him.

Latin medals of this young prince, are of extreme rarity; and I have only heard of two medallions, and a very few in large-brass-indeed so few, that the rich cabinet in the British Museum, does not yet possess one. M. Beauvais and M. Mionnet mention Latin coins of second-brass at the low price of 50 francs, but I never yet met with one of that class. Greek-imperial coins were struck of second and third-brass, but they are scarcely less rare than those of the Roman mintage: these are distinguished from those of Lucius Verus, by the addition of Augustus, a title which Annius never received.

CCLXXIII.

Obverse. ANNIVS VERVS CAES. ANTONINI AVG. FIL. (Annius Verus Cæsar, Antonini Augusti filius.) The youthful head of Annius, with short and curly hair, and a paludamentum close round his neck. This very rare medal is covered with deep-brown patina, and is in fair condition, though it appears to have been tooled; I procured it from the Rev. Mr. Hall, chaplain to the British Factory at Leghorn, in 1823, in exchange for some Carthaginian coins. Reverse. COMMODVS CAES. ANTONINI AVG. FIL. (Commodus Cæsar, Antonini Augusti filius.) The naked head of Commodus, with curly hair, and a somewhat older appearance than that of Annius; the paludamentum is fibulated to the right shoulder. As Commodus was two years senior to his brother, his head, in strict justice, ought to be the obverse, and the medal should fall into the series of his reign; but in the present arrangement, I have followed that adopted in the best cabinets.

LUCIUS VERUS.

Lucius Ceionius Commodus, the son of L. Ælius Verus and Domitia Lucilla, was born at Rome, A. D. 130, and after the preferment of his father by Hadrian, had Elius Aurelius added to his name. He was adopted by Antoninus Pius, at the same time with Marcus Aurelius; but that good emperor complied with the express orders of Hadrian only according to the letter, and neither made him Cæsar, nor invested him with any power during his whole reign-a clear indication of the light in which he viewed his character. After the death of Pius, A. D. 161, Aurelius associated him in the empire with the agnomen of Verus, although fire and water are scarcely more opposed to each other than were the characters of these

princes. On this occasion the latter was not only declared Cæsar but Augustus also; and he experienced still further the kindness of his colleague, in having his daughter Lucilla, bestowed upon him, A. D. 164. With all his faults, it must be admitted that Verus shewed himself sensible of the considerate condescension of Aurelius, and conducted himself with great deference in public matters, acting rather as a lieutenant than a co-equal. He died A. D. 169, at Altiuum, not without suspicion of poison; but from his depraved habits of life, drunkenness, and gluttony, it is more probable that he died of apoplexy-an inference also countenanced by the description of his death. Lucilla and Faustina have both been charged with this crime; but it is unjust to entertain such a suspicion of the virtuous Marcus Aurelius, as that thrown out by Dio Cassius.

Lucius Verus was a prince of effeminate habits and frivolous pursuits, on the one hand entirely abandoned to debauchery, and on the other confining his studies to the most trifling subjects. It has been asserted that he was proud, indolent, unprincipled, and disgraced by every vice except cruelty-but with respect to the last, such was his passion for gladiators, that his character appears to have been saved only by his not being the absolute master of Rome. During his stay in the East, instead of appearing at the head of his army, he scarcely stirred from Antioch, where he wallowed in all the abominations of Daphne, its noted suburb, among comedians, gamblers, charioteers, musicians, courtezans, and wretches still more infamous. On his return to Rome, that awe for the superior virtue of Aurelius, which had been the only check on his conduct, was considerably weakened, and his revels were shared by the dregs of the rabble. In the height of his excesses, he would sally forth disguised in the "cucullio," like another Nero, to scour the streets of Rome, and in the consequent broils was often severely handled.

The folly and extravagance of this Emperor were attended with a ruinous ex pense. He was so fond of a horse which he called Celer, that he erected a golden statue to him, fed him with pistachio-nuts, almonds, and raisins, assigned him apartments in the palace, and clothed him in purple trappings. And Capitolinus-who paints Verus as neither very good, nor extremely bad-has preserved an account of one of his prodigal entertainments. The party consisted of a dozen persons, which was esteemed a great number, for the proverb said-" Septem convivium; novem, vero, convicium." The cost of the rare wines and delicate viands served up was scarcely worthy of consideration-for to each guest was presented the youthful cup-bearer who had replenished his "bumpers," together with the carver or butler who waited on him and the massy chargers from which he ate; and likewise living animals,