1905 AD., France, Paris mint, 25 Centimes, KM 856.

France, Republic, engraver: Henri-Auguste Patey, Paris mint, 1905 AD.,
25 Centimes (24 mm / 6,92 g), nickel, mintage 8.000.000 ,
Obv.: REPUBLIQUE - FRANÇAISE / A. PATEY , laureate Liberty bust facing left.
Rev.: 25 / CENTIMES // 1905 , oak branches divide date below and value plus denomination above, fasces (rod column with axe head on top) at left; date between the privy marks of the Paris mint (cornucopia - torch).
KM 856 .

Fasces (a plurale tantum, from the Latin word fascis, meaning "bundle") symbolise summary power and jurisdiction, and/or "strength through unity."
The traditional Roman fasces consisted of a bundle of birch rods tied together with a red ribbon as a cylinder. In wartime they were wrapped around an axe. One interpretation of the symbolism suggests that despite the fragility of each independent single rod, as a bundle they exhibit strength.
Numerous governments and other authorities have used the image of the fasces as a symbol of power since the end of the Roman Empire. Italian fascism, which derives its name from the fasces, arguably used this symbolism the most in the 20th century.
The fasces lictoriae ("bundles of the lictors") (in Italian, fascio littorio) symbolised power and authority (imperium) in ancient Rome. A corps of apparitores (subordinate officials) called lictors each carried fasces as a sort of staff of office before a magistrate, in a number corresponding to his rank, in public ceremonies and inspections, and bearers of fasces preceded praetors, propraetors, consuls, proconsuls, Masters of the Horse, dictators, and Caesars. During triumphs (public celebrations held in Rome after a military conquest) heroic soldiers — those who had suffered injury in battle — carried fasces in procession.
Roman historians recalled that twelve lictors had ceremoniously accompanied the Etruscan kings of Rome in the distant past, and sought to account for the number and to provide etymologies for the name lictor.
Believed to date from Etruscan times, the symbolism of the fasces at one level suggested strength through unity. The bundle of rods bound together symbolizes the strength which a single rod lacks. The axe symbolized the state's power and authority. The rods symbolized the state's obligation to exercise restraint in the exercising of that power. The highest magistrates would have their lictors unbind the fasces they carried as a warning if approaching the limits of restraint.
The Romans adopted the symbol of the fasces from the Etruscans. It may have an earlier link to the eastern Mediterranean — such as to the labrys, the Anatolian and Minoan double-headed axe, later incorporated into the praetorial fasces.
Traditionally, fasces carried within the Pomerium — the limits of the sacred inner City of Rome — had their axe blades removed. This signified that under normal political circumstances, the imperium-bearing magistrates did not have the judicial power of life and death; that power rested, within the city, with the people through the assemblies. However, during times of emergencies when the Roman Republic declared a dictatorship (dictatura), lictors attending to the dictator kept the axe-blades even inside the Pomerium — a sign that the dictator had the ultimate power in his own hands. But in 48 BC, guards holding bladed fasces guided Vatia Isauricus to the tribunal of Marcus Caelius, and Vatia Isauricus used one to destroy Caelius's magisterial chair (sella curulis).

Henri Auguste Jules Patey, (Paris, 9 September 1855 - June 1930) was a French sculptor, medallist and coin engraver.
Patey studied sculpture with Henri Chapu and engraving and medal making with Jules-Clément Chaplain. He was admitted to the École nationale supérieure des beaux-arts in 1873. In 1875, he won the second Prix de Rome for medal engraving and in 1881 he won the first Grand prix de Rome, also for medal engraving. He won further prizes in 1886 (third), 1887 (second) and 1894 (first). At the Universal Exhibition of 1889 he won a bronze medal. He produced many portrait medals, not only of clients, but also of relatives and friends. He also authored decorations and patterns.
In 1898, he became a knight of the Légion d'honneur. He was a member of the Académie des Beaux-Arts from 1913.
He succeeded Jean Lagrange as chief engraver of the Paris mint in 1896, a position he held until his death. He used a torch as his privy mark. In this position, Patey designed the nickel 25 Centimes 1903. This piece was generally rejected. It was the first copper-nickel coin in France. The white metal was taken for silver and the coin confused with the 1 franc, in spite of a completely different design. Coins with a different design and shape dated 1904 and 1905 were not accepted either. He did not design any other French coins after this double disappointments. Copper-nickel coins succeeded only in 1914, when holed coins were produced.

Patey was also responsible for the following French colonial and foreign coins:
Cameroon: 50 centimes, 1 franc, 2 francs 1924-1926
French Indo China: 5 centimes 1923-1943
Guadeloupe: 50 centimes, 1 franc 1903, 1921
Kingdom of Serbia, Croatia and Slovenia: 50 para, 1 dinar, 2 dinara, 20 dinara 1925
Thailand: 1 baht 1908
Togo: 50 centimes, 1 franc, 2 francs 1924-1926
And possibly coins for the Comoros, Syria and Lebanon struck at the Paris mint.