XXX 
PBOCEEDINGrS OF THE 
which the types had to fulfil in order to he perpetuated were, in 
addition to the necessary resemblance to the pre-existing types, a, 
that they should be of easy execution; and J, that they should 
present symmetry of form. 
It is well known that the natural instincts of man seem to lead 
him in all parts of the world to the adoption of simple and symme¬ 
trical forms of ornament; while in all stages of culture the saving 
of trouble and the production of the greatest amount of show at the 
least possible expenditure of labour, is an object of universal desire. 
Thus among the ancient Britons the reduction of a complicated 
and artistic design into a symmetrical figure of easy execution, was 
the object of each successive engraver of the dies for the coins, 
though probably they were themselves unaware of any undue saving 
of trouble on their part, or of the results which ensued from it. 
In devices modified in the manner suggested, it may well be 
expected that we should find some portions of the original devices 
surviving in a merely rudimentary form, nor need we be surprised 
if from time to time we find a tendency to revert in the direction 
of the prototype. 
The descent of some of the types of British coins was next traced 
by means of diagrams, some of which are reproduced in the accom¬ 
panying Plate. 
The principal features in the prototype, Figs. 2 and 8, are, on the 
obverse, the wreath, the cross-band, the gorget, the back hair 
(which on Fig. 2 is arranged in one row instead of two), the front 
hair, and the face. 
The latter, being difficult of execution and near the edge of the 
coin, is the first part to disappear, though it often survives in a 
rudimentary state as a mere swelling, like that on Figs. 4 and 5. 
Passing by some intermediate steps, it will be seen that by the time 
the stage represented by Fig. 14 is reached, the head has become 
reduced to a somewhat symmetrical pattern. The wreath is the 
main feature, but runs in two directions from a central boss; the 
bandlet and the upper portion of the gorget form a cross line to the 
wreath ; the back hair has been simplified into two large locks, 
one on each side of the bandlet; and only one crescent of the front 
hair survives. In another stage, two crescents back to back have 
come to occupy the centre of the wreath, while the cross line has 
become developed into a second wreath at right angles to the first, 
and the whole device assumes the form of a cruciform ornament, in 
which the human head is difficult of recognition. On an examination 
of Fig. 9 it will, however, be seen that three of the angles of the 
cross are occupied by the gorget, some locks of the back hair, and a 
crescent representing the front hair, all in their proper positions. 
In Fig. 15 the artist has thought it sufficient to fill up each of the 
angles with locks of the back hair; and in Fig. 16 the ornaments 
in the angles are a Y-shaped representative of the gorget, and a 
crescent of the front hair, with pellets and annulets symmetrically 
arranged around them. Each of the four branches of the cross 
wreaths starts from a ring ornament, or a ring containing a pellet; 
