1879.] -"-"I [Piatt. 



Throwing out the sulphur, water and ash, and counting the ignitible 

 constituents only, these coals show the following proportions : 



Coal No. 3. Coal No. 1. 



Fixed Carbon 71.646 71.646 



Volatile Hydrocarbons 28.354 28.354 



100.000 100.000 

 And the proportions of Volatile Matter and Fixed Carbon, are for No. 3, 

 as 1 to 2.527 ; and for No. 4, as 1 to 2.527. 



There are several points touching these coals which are noteworthy : 



1. They range in proportion of Volatile Matters to Fixed Carbon from 

 bituminous to semi-bituminous coals ; these proportions being 1 to 4.022 ; 

 1 to 4.132 ; 1 to 2.527 ; 1 to 2.527. 



2. They carry an unusual percentage of water ; these percentages being 

 4.310; 5.815; 7.930; 6.830. 



3. The gases driven off burn with a nonduminous flame. 



4. None of the coals coke. 



5. All of the four coals re-absorb in a short time fully 60 % of the water 

 which has been expelled by raising their temperature to 225° F., in this 

 respect differing from all the other Pennsylvania coals hitherto examined. 



Notes upon the Collection of Coins and Medals now upon Exhibition at 

 the Pennsylvania Museum and School of Industrial Art, Memorial 

 Hall, Fairmount Park, Philadelphia. 



By Henry Phillips, Jr , A. M. 



{Read before the American Philosophical Society, Feb. 7, 1879.) 



" Quern non moveat clarissimis monumentis lestata consignataque vetustasf" 



Spaxheim. 



The object of this display is to present Art as typified upon coins and 

 medals, from the earliest known period until the present time, so as to 

 show the student the nature and character of the development of aesthetic 

 culture as exhibited by the aid of Numismatic science. 



The change and advance presented by the inspection of coins and medals 

 is a vast chain of ever closely joining links. From the very beginning of 

 coinage, from the rudest of all ancient coins, the Persian daric or the 

 tortoise of iEgina, to the majestic medallions of Syracuse, step by step 

 every inch of the onward march of Art may readily be traced. The earliest 

 of all known coins exhibit on the reveiee only a shapeless punch mark, are 

 the work of unskilled hands, are defective in type, in shape, in inscription, 

 while the latest (or most modern), present complicated and intricate devices 

 of all kinds and natures. 



