International Weekly Miscellany of Literature, Art and Science - Volume 1, No. 9, August 26, 1850

Whether we consider the selection of these monumental relics, the explanatory letterpress, or the engravings which reproduce them, we are struck by the admirable taste, science, and fidelity with which the largest as well as the smallest gems have each and every one been made to tally in size with the originals.
The collection of the Trésor de Numismatique et Glyptique, consisting of twenty volumes in folio, and containing a thousand engraved plates in folio, reproduces upward of 15,000 specimens, and is divided into three classes—1st. The coins, medals, cameos, &c. of antiquity; 2d. Those of the middle ages; lastly, those of modern times. The details of this immense mass of artistic wealth would be endless; but these three classes seem to be arranged according to the latest classification of numismatists.
In the first class may be noticed—1. The regal coins of Greece, which contains, beside the portraits of the Greek Kings, to be found in Visconti's Iconographie, copied from medals and engraved gems, all the coins bearing the Greek name of either a king, a prince, or a tyrant, and every variety of these types, whether they bear the effigy of a prince, or only reproduce his name. To the medals of each sovereign are joined the most authentic and celebrated engraved gems of European cabinets. Next come the series of portraits of the Roman emperors and their families, with all the important varieties of Roman numismatics, amongst which will be found the most celebrated coins of France, Vienna, Dresden, Munich, Florence, Naples, St. Petersburg, Weimar, &c.; and, moreover, those medallions which perpetuate great events. These two volumes contain eight-fold more matter than the great work of Visconti.
In the second class, containing the works of the middle ages, and showing the uninterrupted progress of the numismatic art down to modern times, and forming alone fourteen volumes, we find the source which the French artists and men of letters have studied with such predilection. First in order are the Italian medals of the fifteenth and sixteenth centuries, chiefly by the famous Victor Pisano, a Veronese, whom Nasari has so much lauded. The scholars and imitators of Pisano also produced works as interesting as historical documents as they are admirable in workmanship. Here also will be found the French and English seals, in which the balance of skill in design and execution is acknowledged to be in our favor.