Hands and Feet in Indian Art
and 8th centuries, that we find the moulded or
painted hands of greatest perfection; a little
slenderer, a little more nervous, than the Gupta
forms. These beautiful expressive hands and
feet are nowhere better drawn than at Ajanta;
several examples [FIGURES 8, 11-I4] are illustrated
here from tracings by Samarandranath Gupta,
originally published in the " Modern Review"
(Calcutta, August, 1912). With these may be
compared the somewhat earlier (5th century A.D.)
hand with a lotus flower, from the rock painting at
Sigiriya in Ceylon [FIGURE7]. The feet of a
dancing Siva(Nataraja)from Anuradhapuramay be
as earlyas the 8th century[PLATE,E, F]. The fine
NOTES ON ITALIAN MEDALS-XVI*
BY G. F. HILL
RAPHAEL MARTINUS GOTHALANUS
R. T. W. GREENE'S apparently
unique and unpublished medal of
this man which is here illustrated
[PLATE, A] is quite obviously
Florentine origin, and of the class,
dating from the last third of the 15th centuryand the
early years of the I6th, which goes under the name
of Niccol6 Fiorentino. The man's name is given
as RAPHAEL MARTINVS GOTHALANVS.
Under the bust is his age, but owing to the letters
having come too close to the edge in the casting
it is difficult to say whether they are to be read as
ANXXVIII or ANXXXIII. The reverseis one of
the shop-designs of the school, very roughly and
carelessly adapted to a field rathertoo large for it
by adding a raised border. If it is compared with
the two well-known medals of Pico della Mirandola
and Giovanna Albizzi which have this type of the
Three Graces on their reverses,we shall find that
the type, as distinct from the inscription, is from
one and the same model on all three medals. Yet
the diameters of the medals vary considerably.
The Martinmedal is 87 mm.; the diameter of the
medal of Pico is given by Heiss as 87 mm., by
Armandas 85 mm., which seems to be the normal ;
the Albizzi medal is only 78'5 mm. in the British
Museum specimen and still less on others accord-
ing to Heiss (75 mm.) and Armand (77 mm.).
These differences in reproductions from the same
model are, of course, due to the varying shrinkage
of the metal in cooling and also to irregularitiesof
edge, as well as to the greater or less number
* For previousarticles see Vols. xxiv, p. 36, xxII, p. 17, xxII,
p. 131,xx, p. zoo, and xIx, p. 138,where will be found a full list
up to that date.
DESCRIPTION OF PLATE OPPOSITE
A. Raphael Martin. Florentine School. Collection of Mr. D. Reverse of medal of FernandoI de' Medici,by M. Mazza-
T. W. Greene.
B. AntonioRoselli. By BartolommeoBellano. BritishMuseum. E. Francesco Fermi. By Leone Leoni. British Museum.
c. BartolommeoCepola. Ascribed to Bellano. Collectionof F. Sigismund III of Poland (wax model). Collection of Mr.
Mr. T. W. Greene.
Natarajas and other Saivite figures of South
India belong to the Ioth, 13th, and subsequent
centuries. Very often these hands are holding
attributes,such as the drum, the axe, or the flame
of Siva or the chakra of Vishnu. Examples of
these are shown in FIGURES1-4, and 9. The
hand with the drum, Siva [FIGURE6], appears
to me particularly beautiful. Next to these are
many graceful hands from Nepalese images of
somewhat uncertain date [PLATE,A,D] and one
from Java [FIGURE5], which must be older than
the 14th century. The hand [FIGUREIo] holdingan
enamelled scent-sprayistracedfrom a fragmentof a
large Jaipur(Rajput) picture of the I8th century.
of recastings between the original and any
particular specimen. But, from the fact that
the medallist of the Martin medal had to add a
border to bring his reverse up to scale, it is clear
of that he only had a small specimen of the type to
hand. Possibly he used one of the Albizzi medal ;
the diameterof his field within the added borderis
just about the same (77-75 mm.) as that of the
whole field of the Albizzi medal. Whatever he
used, he ruthlessly cut out the original inscription
and replaced it by the new one, IN HOC GRATILE
MVSAS PROVOCARVNT,
done in a manner very
slovenly though hardly uncharacteristic of the
Florentine school at this period.
We do not know who Raphael Martin was,
but that he had literary pretensions we learn
from the inscriptionjust referredto. "Gothalanus"
is naturally to be interpreted "Catalan", so that
we may suppose Martin to have been a Spaniard
visiting or settled at Florence.1 Whoever he may
be, we have in his portrait not the least fine of
the series produced by Niccol6 Fiorentino and
his school.
BARTOLOMMEO CEPOLA
The medal of this man is certainly more rare
and curious than beautiful. The specimen here
illustrated [PLATE, C]2 is dull in
quality, but
apart from that accident there is something un-
usually awkwardabout the contour and modelling
Don Pablo Bosch has very kindly caused much search to be
made at Barcelona with a view to identifying the man, but
without result. He makes the interesting suggestion that as
Catalaunumis the old name of Chalons sur Marne, so here
Gothalanusmay be used by analogyfor a native of Chalons,and
Martinbe really a Frenchman.
SIn Mr. T. W. Greene's collection. It measures
Armandalsogivesthe diameteras 53 mm. (11,73. 17),53 mm.
firri (wax model). Collectionof Mr. T. W. Greene.
T. W. Greene.
21I
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C~~--~-14,

NOTES ON ITALIAN MEDALS-XVI

Notes on Italian Medals
of the portrait, and a peculiar "knobbly " effect
which cannot be wholly due to faulty condition
of the original wax model, and which recalls,
so far as I know, only one other medal of
the 15th century. That is the medal by
Bartolommeo Bellano of Antonio Roselli [PLATE,
B]. Furthercomparison between the two pieces
confirms the impression that they are connected
in origin. We may note as something probably
not due to mere fashion that the two men
wear their caps so that their ears (and
what ears i) project ungracefully. In nearly all
other medals of the time the cap is not worn so
low as to allow of this, or at any rate the ear is
partly concealed under it. Sperandio's medal of
Galeazzo Marescotti is an exception, but not so
striking as these two. Another characteristic of
the two pieces is the clumsy rendering of the
muscles of the neck, like great weals. Finally
there is the lettering. Both show the round E,
the Roselli medal once, the Cepola medal twice.
Both have the B with the bottom loop much
larger than the upper, and the v with the left
hand stroke vertical instead of equally slanting
with its fellow.3 But details like these are only
of value in confirming the truth of the general
impression.
Bartolommeo Cepola was a distinguished jurist
of Veronese origin. Previous descriptions of the
medal' ignore the somewhat curiously shaped
letter which begins the second half of the inscrip-
tion; though so different from the letter which
follows, it can hardly be anything but a V. We
may interpret V(eronensis) V(triusque) I(uris)
D(octor) A(dvocatus) C(onsistorialis). The
explanation of the last two letters is given us by
the title-page of the Louvain edition of Cepola's
" Consilia " of 1486. Cepola was educated at
Bologna, where he took his Doctor's degree in
1446, and eventually held a Professorshipat Padua.
There he distinguished himself, as the rival of
AlessandroTartagniand Giovanni da Prato, by his
arrogantand quarrelsomemanner. His fame was
at its height about 1466, when he was summoned
to Rome and made an advocate of the Sacred Con-
sistory. He returned to Padua, where he died in
1477.5 Now Bellano was occupied at Padua from
1469 onwards with the monument of Roselli (it
was about the same time, doubtless, that he made
the medal of that "monarcha sapientiae") and
other works; he seems to have gone on to Venice
in or before 1472. The medal of Cepola,therefore,
could well have been cast during this period. It
does no credit to Bellano, if it is really his, but
on the other hand it is not much worse than many
of the works of that uncouth craftsman,.
SIn the Roselli medal the ordinary v also occurs on the
reverse.
3, 7 ; Trds. de Num., II, XLI,1.
45Armand, II, 73,
These biographicaldetails are from N. C. Papadopoll'sHist.
GymnasiiPatavini (1726)1, pp. 224 f.
212
FRANCESCO FERMI
The little medal of Francesco Fermi, of which
the British Museum specimen is illustrated in the
PLATE,E, is not of the highest importance; but
the signature LEOwhich is plainly visible below
the bust on the original, if not in the illustration,
enables us to add one more to the list of medals
signed by Leone Leoni. This signature has not
been noticed before, probably because the speci-
mens which have been described by various
writers6are more or less poor casts. The specimen
at Florence is certainlycast, and so is the one here
illustrated, but the original (as the mark of the
edge of the die on the reverse shows) was struck
from dies.
Salvaro has enlightened us as to the personality
of Francesco di Fermo Fermi, whose family
belonged to Bardolino on the left bank of the
Lago di Garda, where a well-head, dated 1541,
bears his name. But as to the device of the
reverse some uncertainty still remains. That it is
a flowering plant in a casket, as Salvaro suggests,
is certainly not the case. Armand's description :
"un coffret d'oAi sort une bague entour6e de
flammes" is much nearerthe mark, if indeed it is
not wholly right. The only doubt is whether it is
a long-leaved plant or flames by which the ring is
surrounded. On a medal of Rinaldo d'Este,l in
the manner of Coradini, we find the device of a
diamond ring entwined by the leaves of a plant.
But here the treatment certainly suggests tongues
of flame. As the diamond in the ring, the symbol
of durability,8alludes to the man's name Firmus,
so possibly the flames which lick the gold ring
are to be explained as the test of purity. The
inscription "sic homo operibus", where "is
revealed" is presumablyto be understood (with a
reference to I Cor., 3, 13), is quite in keeping.?
On the side of the casket is another detail which
Salvaro has doubtfully recognized as a coat of
arms. It is undoubtedly meant to represent the
arms of the man's family, which are az.,a crescent
arg. between three stars of five rays or.
TWO WAX MODELS FOR MEDALS
Wax models for Italian medals of the i6th
century are sufficientlyrare to make it worth while
'Armand, 11, 177, 2 (from the Heiss 32 mm.). J. C.
Robinson Catalogue, No. 16o (32 mm.). Coll., Supino, Medagliere
Mediceo, No. 802 (30 mm.). V. Salvaro,MedaglisticaVeronese
(Milan, 19o8), pp. 9 ff. (in his own collection, 30 mm.). Salvaro
adds a bibliographyof earlierpublications. The BritishMuseum
specimen measures32 mrm.
7Armand,I, 54, 3.
'So, I think, we may explain it. Paolo Giovio, it is true,was
unable to guess the significanceof the three interlaceddiamond
rings which formed the impresa of Cosimo Vecchio, and says
that Pope ClementVII was equallyin doubt about it (Dialogo
dell' Imprese, 1555, P. 42). But the diamond itself is the symbol
of indomitableresistanceto fire and hammer(ibid., p,
SSIcVTAVRVM IGNIand a crucible containing bars44).
of gold
formed the impresadevised by Lodovico Domenichi (Ragiona.
mento,ed, 1574,P. 260) for Albertoda Stipicciano,to symbolize
his inviolableloyalty towards his master,the Duke of Florence.

to record the addition of two others to the known
stock, albeit they belong not to the best period.
Both are in Mr. T. W. Greene's possession. The
earlier [PLATE, D] shows the design by Michele
Mazzafirrifor the reverseof a medal of Fernando I
de' Medici,the third Grand-Dukeof Tuscany, with
a group of Hercules and Nessus on a pedestal,and
the motto SICITVR AD ASTRA. It is modelled in
whitish wax on black slate, and is in excellent
condition, only the club of Hercules, a small piece
on the left side of the Centaur,and two of the
letters of the inscription being damaged. This
reverse appears to have been made in 1588; at
least, that is the date on the obverse to which it is
found attached.10
In even better condition is the other model, by
an unidentifiedartist,for a medal of Sigismund III
of Poland [PLATE, F]. The medal itself has
alreadybeen describedby Raczynskiand Armand,"
but evidently from an imperfect specimen. A
comparativelypoor example in the British Museum
(diameter 62'5 mm.) shows, like the model, the
faint inscription below the bust.
Since Sigismund&T'SV-'XXXII
was born in r566, the medal
dates from 1597-8. That it is the work of an
Italian artist is evident, but whether it was made
in Sweden or in Poland I cannot say.
This model, which shows both sides of the
piece, is wrought in bright red wax on the two
sides of a plate of black slate. The slight damage
to the top of the P in POLONIAEand other small
flaws are reproduced in the British Museumspeci-
men of the medal, showing that casts were made
from the model after it had been thus damaged.
The reverse shows a well-known type-Religion
holding a chalice and pointing to heaven, with the
motto DVM SPIRITVS HOS REGET ARTVS. It should
be compared with the reverse of the medal of
Pietro Piantanida; 12 it is evidently inspired by
some earlier medal of this kind.
10 Armand, I, 284, 8.
" Armand, II1, 307 D (diam. 60 mm.).
"2Burlington Magazine, Oct. I9Io, p. 19, and Pl. II, B, Recently
Dr. Reglinghas assignedthis medal toAntonioAbondio(Lepke's
THE "ELISABETH BAS" PORTRAIT AGAIN
BY ABRAHAM BREDIUS
S a few-and some well-known-con.
noisseurs seem to retain their belief
in the old attributionsof this portrait
to Rembrandt,I think it useful to give
here two new proofs of my accuracy
in attributing it to Ferdinand Bol. In an in-
terestingarticle on this subject, M. C. G. 't Hooft,'
the Director of the Museum Fodor, who entirely
shares my opinion, gives another proof for the
authorship of Bol. He says :
L'eau-forte de Bol, Philosophe en meditation. 1642
'La Revuede l'Art ancien et moderne,June, g9xz,
Notes on Italian Medals
The subject of wax models gives me an oppor-
tunity of acknowledging the correction's of an
error into which I, in common with other writers
on the subject of Italian medals, have fallen. It
is very doubtful that, as we had supposed, the
process of casting la cire perdue was ever used
by the medallists. The models must have been
made on a disc of slate or wood, either the two
sides separately,or both on one disc. From these
the two sides of the mould were made separately,
removed from the models, and joined together in
the usual way; the seams in the metal representing
the join are not infrequentlypresent in the finished
medal, when the edge has not been filed. To
make a model of a two-sided medal in one piece,
without the support of a disc, would have been
practically impossible, without spoiling one side
while the other was being modelled; but such a
disc provided a flat background and a support on
which the lettering could be worked with com-
parative ease. It also, as Baron de Cosson points
out to me, made it easy to provide a border when
a borderwas required,for the disc could be turned
in a lathe; and this was probably the origin of
most of the medals with moulded borders,such as
those (to mention only specimens previouslyillus-
tratedin these pages) of Andrea Gritti by Giovanni
Falier,"and of Antonio de Sanctamaria,Girolamo
Callagrani,Catelano Casali by Lysippus,as well as
Lysippus'sportraitof himself.15This method was,
of course, quite distinct from that employed by
certain medallists,accustomed to engrave in metal,
who cut the inscription on a separate ring and
placed it round the model when impressing it in
the mould.'6
Katalog, Parpart, &c., 1913, lot 336); but I find it difficult to
accept so late a date, and its connexion with the medalsof the
school of Cellini still seems to me to be very probable.
1"Due to Dr. Menadier, Zeitschr.fAr Num., xxx, p. 314.
"Burlington Magazine, Dec., i907, p. 149, P1. IV, 3.
5"Ibid.,Aug., I9o8,P1. I and II.
8eInstancesof this, proved by the shifting of the inscription
ring in relationto the type, are given from the work of Amadeo
da Milano in TheBurlingtonMagazine,Jan., Igog9,p. 216,and
from the medals of Paul II in The NumismaticChronicle,igio,
p. 368.
(Bartsch,No 5), nous montre sa predilection pour les plis
larges qui nous frappe si fortementdans la representation
d' Elisabeth Bas, et, chose qu'on cherchera en vain dans
les portraits de Rembrandt datant de cette epoque, la
mani.re dont Bol recouvrele dossieret les bras du fauteuil
par les plis du velement. On sent deja dans ce d6tailles
exagerations aux quelles Bol recourraplus tard dans les
grandes compositions destinees au nouvel hbtel de ville,
ainsi que dans ses portraits de parade , . . Or on retrouve
ces plis dansle portraitde Meulenaerde 1650 (RyksMuseum)
danscelui dela vieille damede l'Ermitage,datede 1651,dans
le portraitde Quellinuset dans maintsautres.
The Hermitage picture,reproduced here next to
Madame Bas [PLATE I, A & B] and paintedmore
217