2od 9. N« 78., JUSE S7. '/J?.] 



NOTES AND QUERIES. 



50fl^ 



NiA cvaiA ♦ ASt. Ex., s . c. A very smooth 

 coin, evidently a cast. Poor reverse, much bat- 

 tered. Ratlier thin. 



(12.) Annius Verus, JE. 2. 



Obv., ANNIVS VEBVS CAE9 . AHTONINI . AVQ . 



FiL. The youthful head of Annius with short and 

 curly hair, and a paludamentum close round his 

 neck. 



Rev., COMMODVS CAES . ANTONINI AUG . TIL. A 



similar portrait of Commodus but of somewhat 

 older appearance ; the paludamentum is fibulated 

 to the right shoulder. This (if genuine) very rare 

 little medallion was presented to me when my 

 cabinet numbered only some dozen pieces, and 

 unfortunately I allowed a cast to be taken in 

 stearlne, which dissolved its dark green patina; 

 this makes it now look suspicious. 



(13.) Didia Clara, JE. 3. 

 BiDiA . CLARA . AVG. Portrait with hair brought 

 over the ears, very like the present fashion (cf. 

 coins of Julia Domna) to the left. Rev., a female 

 standing with lance and cornucopia. Legend ob- 

 scure, apparently concluding .... rm . vkl. 



(14.) Macrinus, JE, 1. 



IMP . CAES . M . OPEL . SEV . MACRIKVS . AVG . P . 



M . TR . p . P. Head to the right. Rev., the Em- 

 peror on an estrade haranguing his soldiers, fid . 

 EXERCiTE. In the field s . c. A beautiful pro- 

 duction, a close imitation of the antique, probably 

 by Cavino the Paduan. It is very round and 

 covered with false green patina. File marks on 

 the edge. 



(15.) Saloninus, M. 2, 



c . COR . SAL . VALERiANvs . N . CAES. Bare head 

 of the prince to the left. Rev., pbincipi [ivv] 

 ENTVTis. Saloninus standing ; a globe in his right 

 hand, the " hasta pura " in his left. At his feet a 

 captive. In the field, s . c. File marks on edge, 

 and has very much the look of a cast. 



In describing the portraits as being to the left 

 or right, I mean that they do so when held to the 

 front of the spectator, face outwards. This, I be- 

 lieve, is the usual plan ; but it must be borne in 

 mind that it is the contrary direction when the 

 coins are viewed as they lie on a table, or in en- 

 graved specimens. I solicit from collectors fur- 

 ther lists of forgeries, and should any occur to 

 them identical with those described, it would be 

 very useful to notice them, if corroborative evi- 

 dence of their being forgeries is desired, as in the 

 case of the above, Nos. 4, 5. 9. 12. and 15. 



E. S. Tatlor. 



PICTORIAL SNEEZES, COUGHS, GAPE3, ETC. 



T. C. (2"" S. iii. 423.) mentions Wilkie's "tri- 

 umph of art " in representing, in his picture of 

 the *' Rent Day," a man coughing, and asks, " Did 



any painter ever represent a sneeze ?" Two en- 

 gravings, depicting a man in the agonies (or 

 should I say — luxuries ?) of a sneeze, are before 

 my mind ; the one an English one, more than half 

 a century old, — the other a modern French one ; 

 though I am unable to refer to them more parti-* 

 cularly. The idea of a sneeze is attempted to 

 be conveyed in a picture called " The Pinch of 

 Snuff," painted by M. Robinson, exhibited In the 

 Society of British Artists, and engraved in the 

 last monthly part of the National Mag., (p. 73.) 



I have a coloured engraving from a picture by 

 Morland, which represents a gape most truth- 

 fully. It is called " The Connoisseur and Tired 

 Boy." The former is seated, holding in his right 

 hand a candle, and shading it with the other 

 hand, the while he carefully inspects a framed 

 picture, which is held by the " tired boy," whose 

 face appears above the frame, lengthened into a 

 fearful gape. Hood's sketch of " When church- 

 yards yawn " will also be remembered. Also 

 "dirty-boy-and-bird's-nest," Hunt's picture (en- 

 graved) of " The Long Sermon," — a young gen- 

 tleman in his Sunday best, perched up upon a 

 high seat in a high pew, and betraying evident 

 symptoms of weariness. Hogarth's lady in " The 

 Rake's Progress," stretching herself after the 

 weariness of the night's debauch, also truthfully 

 represents this " emotional effect." 



The sense of acute hearing was well expressed 

 by Haydon, in his picture (painted for Sir George 

 Beaumont) of Macbeth listening in horror before 

 committing the murder. His ears are pressed 

 forward, like those of an animal in fright, to give 

 an idea of trying to catch the slightest sound. 



Between " hearing " and " eai'-ring " (a Cock- 

 ney would say) there is no great difference. In 

 Wilkie's picture of " The First Ear-ring," in the 

 Vernon Gallery, the action of the child shows her 

 delight at this mark of promotion, together with 

 her anticipation of pain in its performance ; while 

 her favourite little spaniel is vigorously scratching 

 his ear from very sympathy. Open-mouthed asto- 

 nishment and admiration is truthfully rendered in 

 Wilkie's "John Knox Preaching" — in the central 

 figure of the spectators. Cdthbert Bede, B.A. 



BEADS : ILLUSTRATION OF NATURAL AND SENSIBLE 

 OBJECTS FROM THE IMMATERIAL WORLD. 



Bede is correctly explained by Mr. Wright, in 

 the Glossary appended to his new edition of Piers 



Plowman : — 



" (A.-S.) Prayer. Our modern word beads is derived 

 from this word, because it was by such articles, hung on 

 a cord, that our forefathers reckoned the number of their 

 prayers." 



I would ask, is not this an almost unique ex- 

 ample of the deduction of a term for a visible and 



