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THE SALTON COLLECTION

RENAISSANCE 6- BAROQUE
MEDALS & PLAQUETTES

BOWDOIN COLLEGE MUSEUM OF ART


MCMLXV

THE SALTON COLLECTION

THE SALTON COLLECTION


RENAISSANCE & BAROQUE
MEDALS & PLAQUETTES

BOWDOIN COLLEGE MUSEUM OF ART


BRUNSWICK, MAINE

MCMLXV

COPYRIGHT 1965 THE PRESIDENT & TRUSTEES OF BOWDOIN COLLEGE, BRUNSWICK, MAINE

PREFACE
Few

any age have come down

artifacts of

their time as the Renaissance medal.

Though

relatively

exceptional degree that fusion of art and thought which


sance. Indeed, in their beauty
civilization

and

and scholars

years by those

Mark

who

as well,

reflection in

world which celebrated not only princes

kind in private hands, belongs

its

York. The Salton Collection

high level of quality of the specimens in

No

collections of the past.

it;

many

come from

of them, indeed, have

World War

II,

lected since that time. Mrs. Salton has taken as great

and her enthusiasm

tion to the Catalogue.

^ The

for,

most of the pieces


an

Duke

(no. 4) has as

men

is

the illustrious

collection contains

of,

medals

formation

in the

evident in her Introduc-

is

masterworks by the most important medallists

and

exemplar

greatest

represented by four medals, including his portrait of Filippo Maria

Milan (no.

of

its

He

Mr. and Mrs.

contains were col-

husband

interest as her

and knowledge

now

it

of the Italian Renaissance, beginning in the Quattrocento with the founder


of the art, Pisanello.

to

particularly distinguished for the extremely

is

fewer than seventeen examples are unique. While the origins of the

Salton Collection date from before

Visconti,

microcosm of the

have cherished them as enduring expressions of the Humanistic tradition.

New

of the collection,

size,

one of the chief glories of the Renais-

and they have been preserved down through the

present collection, one of the finest of

Salton of

diminutive in
is

medals are a

their learning, these

which produced them. They represent

prelates but poets

^ The

and

many facets of
they embody to an

charged with the meaning of so

to us

i)

and two of Lionello

reverse the celebrated study of

d'Este,

Amor

of the portrait of Pisanello (no. 6) by Marescotti

Lord of Ferrara, one

teaching a lion to sing.

is

Matteo

also included.]

trayed yet another Renaissance Prince, Sigiswondo Malatesta,

Lord

of

of

which

[A superb

speci-

de' Fasti has por-

Rimini (nos.

10-13).

These

medals, because of their acutely perceptive characterization of personality and the ineluctable
appropriateness of their design, convey a sense of the Renaissance Prince unsurpassed by any
other record.

^ Also

present

Cesario Contughi (no. 17).

on

work

is

a piece by Goethe's favorite Italian medallist, Sperandio, of Fra

portrait of

an ancient Roman, the Emperor Caracalla, may be seen

(no. 18) by the Venetian medallist, Boldu.

Among

the five medals in the collection

ascribed to Spinelli are exceptional specimens of his portraits of Vecchietti

33 and 34).

by Candida.

most revealing portrait of Mary

Two

of

medals, whose creators are

rectangular bronze of an

Unknown Boy

Burgundy
unknown,

is

and Savonarola

on the reverse of

medal (no. 27)

are of extraordinary c]uality

(no. 8), possibly by a Ferrarese artist,

(nos.

small

and a very large

one portraying the Florentine poet Tito Vespasiano Strozzi (no. 29), probably by a Florentine.
Represented among the medallists of the Italian Cinquecento are Leoni, da Trezzo, Belli, and
Cesati, the last of

whom

was

greatly

admired by Michelangelo.

ticularly rich in the productions of the

master craftsmen of the

^ The

Salton Collection

German

Christoph Weiditz, Friedrich Hagenauer, Joachim Deschler, and Valentin Maler,

famous

for their intensely realistic portraits.

the Elder,
f**

who

is

best

known

Another member of

this

is

par-

Renaissance, including
all

of

whom

are

school was Hans Reinhart

for the strikingly three-dimensional effects of his silver medals,

Happily, in addition to medals of the Renaissance,

much

known

this collection also contains a

quantity of

we

are not de-

prived of the pleasure of such brilliantly executed portraits in gold as that of Charles

Emanuel I,

examples from the Baroque,

less

period of medallic

art.

As

a result,

Duke

Savoy (no. 43) by Gaspare Mola and Pope Innocent XII (no. 51) by Giovanni Hamewe can enjoy the French medals of Guillaume Dupre, including his remarkable

of

rani. In addition,

work
ice,

(no. 82), the obverse of

and the

reverse,

which

is

an almost equally

a superb portrait of
fine likeness of

Marcantonio

Memmo, Doge

Majfeo Cardinal Barberini,

ban VIII. In Germany, among the great medallists of the period

is

later

of

Ven-

Pope Ur-

Sebastian Dadler, First Gold-

smith to the Imperial Court at Augsburg; in Holland, O. Wouter Muller, whose unforgettable
portrait of

which

Admiral Tromp

an elaborately

is

is

only half of a silver repousse medal (no. 145), the other side of

pictorial naval

engagement; and

in

England, Bernard Rantwic, whose

likeness of Sir Richard Shelley (no. 151) holds an honored place

among

medallic portraits.

Thirty-two plaquettes constitute a brilliant section of the Salton Collection. There

is

a Pieta (no.

156) by Agostino di Duccio, which is the only known specimen other than the one in the Louvre.
L'Antico is represented by his portrait bust of the Empress Faustina (no. 157), and Riccio, by

Head of Holofernes (no. 158) after Mantegna. Also particularly outstanding is


Entombment (no. 166), which is apparently unique and is here published
One of the most striking of the German plaquettes is another Entombment

his Judith with the

Federigo Parmense's
for the first time.

(no. 184),

which

is

engravings.

ries of

based on Diirer's composition of the same subject in his "Kleine Passion"

The

last

probably working about the turn of the seventeenth century,


scrollwork frame, illustrating the

times.
strictly

stone

Finally, special

speaking,

one

tributed to

by an

manner

in

wood and

encased in

has a gilded
in earlier

mention must be made of four extraordinary pieces which do

of a nobleman, possibly

Benvenuto

is

which plaquettes frequently were adorned


medals or of plaquettes.

into the category either of

fall

se-

of the plaquettes, a St. Peter (no. 187) by an unidentified Spanish artist

Cosimo

Cellini or his school;

unknown South German

and the

master, dated 1556.

other, of

The

third

are portraits in

as a bijou,

Hieronymus Allgaeuer
is

a painted

wax

quality of an unidentified sixteenth-century Niirnberg Patrician (no. 100)


orately decorated fire-gilded bronze case of the

Two

Medici (no. 36), mounted

de'

same period. The

last is a

not,

and

at-

(no. 109),

portrait of superb

mounted

in

an elab-

gold bolla (no. 169),

probably unique (the British Museum's vast collection of seals contains only a sulphur cast), of

Andrea

Gritti,

Doge

of Venice, 1523-39.

role in the production of this catalogue.

extremely
sistency

difficult task of

and

error.

^
My

Several people have played an indispensable

secretary,

Mrs. Kathryn

S.

Rumsey, performed the

typing the intricate catalogue entries with a vigilant eye for incon-

McKee made the unusually sensitive photographs of the originals. For the
catalogue, we are profoundly indebted to Leonard Baskin. Our deepest

John

superb design of the

thanks must, however, be reserved for the Saltons themselves for their vast knowledge of medallic

art as

manifested in the catalogue and for their great generosity in making their magnificent

collection available to the public for the first time.

Marvin
Director

S.

Sadik

INTRODUCTION
The aim

of this introduction

is

broad outHnes the development of the medal

to sketch in very

and the plaquette. The serious student who wishes


body of specialized

that a very extensive

more profoundly

to explore the field

literature exists

on the

^ Antonio Pisano

subject.

he produced the

was

his time,

to

The

Renaissance medal.

first

peror John VIII Palaeologus (born 1390,

add further
first

Emperor

^ The medal was one

port against the Turks.

who had come

of the arts

which served both

ancients, in addition to their coinage

vehicle for propaganda, had,

commonly

as a

on occasions, struck very large but

in

to appeal for sup-

medium

and

of exchange

commemorative

coin-like

struck in

commemoration

coined 480/479

b.c.

Greek examples

the early

of the victory at

Athenian

Marathon (490

worn

coined during the reign of Octavius Augustus (63


cessors, portray exclusively the
still

Emperor

or

made

another type of medallion

Roman

members
its

as

imperial portrait medallions,

By

some

niates, glorifying

men

of the great

the middle of the fifth cen-

on the occasion of public

On them we

it

ing Pisanello to depict in a similar fashion the


Pisanello after

Roman

(before he created his


those ancient works,

pieces,

his

During the

late

The

men and women of his own time. Drawings by


first stay in Rome while working in the Lateran

Middle Ages there were

on

Owing

few

isolated attempts at the

medals were struck from engraved

about 1390, commemorating the recovery of that

Roman

exist other medal-like struck

to his interest in

which throughout the Middle Ages had

portraits representing Francesco Carrara

are modelled after those

ERRATA

artist

and contor-

significant role in the

probable that they were instrumental in inspir-

to the tradition of classical learning, several

by an unidentified

Milanese hands.

portrait medallions

no doubt played a

revival of medallic portrayal. In Padua, a university city

been dedicated

ex-

find represented victorious ath-

medal), have been preserved (Louvre), attesting

first

c-*"

made during

is

They were

games and

and famous writers and poets such

The Roman

of antiquity,

development of the Renaissance medal, and

first

his suc-

appearance, the contorniate. Unlike the Greek and

Terence, and others.

Sallust, Apuleius,

more

the practice of issu-

and thereafter by many of

of his family.

charioteers, mythological subjects, earlier emperors,

Horace,

dies cut

The

she obtained

imperial medallions, the contorniates had no connection with the coinage.

hibitions for presentation or sale to the spectators.

and

when

Roman Empire

b.c.-a.d. 14)

large copper pieces with raised borders, probably struck

letes

and the Damareteion medallions

b.c.)

the period of the

ing medallions was continued and developed extensively.

the

as

medallions {del{adrachms)

of the Syracusan tyrant Gelon,

During

favorable peace terms for them. P*'

tury

silver

in-

by the Syracusans out of the gold in a wreath presented by the defeated Car-

Queen Damarete, wife

thaginians to

are the

as a

pieces,

were not primarily

tended as money, but rather as rewards, gifts of grace or tribute, which were sometimes

Among

Italian

this case, in ancient coins.

called medallions. These, although official issues of the mints,

decorations.

Em-

to Ferrara to attend

which flourished during the

Renaissance because of the rebirth in Italy of interest in classical art

The

in 1438,

person to be portrayed was the Byzantine

and Western Churches and

the council for the reconciliation of the Eastern

when,

luster to his immortality

1425-48)

(c.

and one of the

1397-1455, ac. as a medallist 1438-49) called Pisanello, a Veronese of Pisan origin

most celebrated painters of

will find

imperial bronze coins,

and

sestertii.

his son,

From

city

from

both Lords of Padua,

the

same

period, there

examples, products of a Venetian family of die-engravers, the

to editorial, not author's, errors, the following corrections

should be

Sesti.

made

in

the Introductiox.

Page

[I],

Ime

17:

For out of

the gold in a wreath read out of the proceeds

from

gold wreath

[5]) ^ines 31-34: Read A noteworthy example is a golden lion holding a cup containing a hundred gold medals presented to Anne of Brittany (born
1477, Queen 1491-1514) in March,

P^ge

1494,

upon her
on

his

state entry into the city of

way

to the Italian

campaign.

Lyon accompanied by her husband, Charles

VIII,

who was

These

perhaps to an even greater extent than the Carrara medals, imitate ancient coins.

pieces,

^ Also

of pre-Renaissance origin are a series of cast

them made
emperors

in

two hollow

made

or

all

Roman and

subsequently joined together) depicting

shells

most of

Byzantine

important in the early history of Christianity. These medals

as well as other persons

are believed to have been

and chased medals (perhaps

in the late fourteenth century

by Flemish-Burgundian goldsmiths

and, together with a lead impression of the forementioned medal of the elder Carrara, were contained in the inventories of the collections of the great connoisseur, Jean,
1416).

Old

two medals from

copies of only

this series of

traying the Emperors Constantine the Great

both pieces

reflects

as conceived

Flemish-Burgundian

by Pisanello and

its

it

de Berry (1340-

mediaeval medallions have survived, por-

280-337) ^"<^ Heraclius

(c.

The
The medal

575-641).

end of the Middle Ages.

art at the

we know

as

general spirit of the age, with

(c.

Due

now, was a creation of the

humanistic aspirations and

the

numerous

all

of

whom

saw

in

it

another means for their

example was followed almost immediately by other

^ Soon

modern times had begun.


statesmen, poets,

artists, scholars,

persons from

all classes

to reach

an ex-

medal were

chiefly

and

larger tyrants,

own

of the

medal in

crowned heads, renowned


shared in the de-

prosperous merchants, beautiful ladies,

etc.

reproduced in "bronze eternal" and thus be immortalized. But

sire to see their features

and

glorification. Pisa-

artists; the history

of society

The

on individualism, must

early patrons of the Renaissance

art-loving princes of northern Italy, the various smaller

the ambitious condottieri,


nello's

^ The

proper,

Italian Renaissance.

its stress

have been very favorable to the development of the portrait medal, which was
tremely high degree of popularity.

style of

it

was

not vanity alone which caused medals to be made; perhaps more important, medals were meant
to be,

and were treasured

as,

objects of art, offering

mind. As such they soon became objects of great

members

besides having

of their

own

of

some

to the eye

interest to the collector.

and stimulus

The

to the

Estes of Ferrara,

family portrayed on medals, arranged for the exchange of

those bronze marvels with other reigning houses,


allists portraits

enchantment

and on occasions even ordered from

of their devoted servants.

^ Many

their

med-

other notables of that era: the

Gon-

zagas of Mantua; the Sforzas of Milan; Alfonso, King of Naples; Pope Julius

II;

and the Medicis

(who outshone them all) formed extensive cabinets of medals, some of which are
museums today. But collecting was not confined to Italy: Jean, Due de Berry in
France; Konrad Peutinger (1465-1547) and his wife Margareta (Welser) in Germany; Erasmus
in The Netherlands; to cite but a few illustrious examples, took pride and pleasure in assembling
As tokens of friendship and respect medals were precollections of medals and plaquettes.
sented to members of one's family or to friends; they were placed on tables, into vitrines, or pierced
of Florence

preserved in

and suspended from

a chain

on the wall; medals were employed

as

ornaments on objects such

boxes and book covers and, notably in Germany, on tankards and other similar
best surviving

cover are
Seifridt,
als

set

examples

is

a splendid golden chalice Melchior Pfinzing

vessels.

had made

and Martin (Germanisches National-Museum, Niirnberg). As

also

its

four medals representing Melchior himself as well as his three brothers, Sigmund,

were buried

It

of the

in 1536; into

in the foundations of buildings, as

is

historic

documents, med-

evidenced by examples found in the walls

of the Rocca Malatestiana at Rimini, the Palazzo Strozzi, the Palazzo di Venezia,

One

as

was fashionable on

festive occasions to

wear medals of

and

others.

suitable size as personal adorn-

ment; during the second part of the sixteenth century they sometimes had loops or chains

at-

tached, were

hung with

embelhshed with

pearls or

fine

enamelled scrollwork. Three such "Bijoux"

or "Gnadenpfennige" are in the present collection (nos. 36, 112,

prominently record the luster medals lent

male and female

to

and

attire.

114).

A number of paintings

Lucas Cranach the Elder in

1533 executed the portrait of a Saxonian gentleman wearing a double necklace from which

pended

medal of John Frederick the Magnanimous

is

sus-

(1503-54, Elector of Saxony 1532-47) (for-

merly in the Wallraf-Richartz Museum, Cologne). In 1569, Ludger Tom Ring the Younger portrayed Gese Reiners of Brunswick, adorned by a necklace hung with a medal (Herzog-AntonUlrich

Museum, Brunswick).

As

5*'

name and

with an inscription giving the

title

were inspired by, and often

cal

works of

Siena, or a

art as the ancient

the giants (Naples

was

(ac.

accomplishments.

It

its

many

great

in the library of the Cathedral of

gem

of Jupiter thundering against

an innovation of Pisanello. The impresa, usually

symbolic meaning, often obscure, alluding to the

emblem

soon developed into a personal

men

were formulated by learned

rules

now

197-159 b.c.)

c.

their reverse motifs from, such classi-

very popular reverse design on Italian Quattrocento medals

a personal device, the so-called impresa,

station, or

borrowed

group of the Three Graces

Museum).

with a legend, was chosen for

of the person represented, while the reverse usually

freely

group of horses from Athenion's

portrait, together

on German medals) heraldic design.

bears an allegorical, historical, or (especially


Italian artists

medal shows the

a rule, the obverse of a

as to

what constituted

of a sort,

a suitable impresa;

who knew enough

mysterious, while at the same time revealing to those

sitter's life,

and numerous
it

about the

had

to

sitter.

humanist Angelo Poliziano (1454-94) reportedly complained that every bumpkin bothered
with requests for a secret device comprehensible only

The

best

known

considerable erudition whose Dialogue of Warlil^e


1555,
cast

went

into several editions within a few years.

from wax models,

impose

limits

On

flat

this the

on the

size of the

differed according to artist

disk, usually of black slate, but

wax model was

built

ably employed by Pisanello.

up

^ The

The two

and water. After the mold had been allowed

was repeated

due

to the

published in

for coins, did not

The kinds of waxes and other


The early method was as fol-

mass of wax. The

glass,
latter

formed the

base.

method was prob-

new molds

The

for

made

out of fine ashes,

two halves were removed from the

to dry, the

Additional specimens were made by


wax model could seldom be used more

in.

metal casting, as the

as often as desired.

could serve for the preparation of

others.

medals were invariably

employed

into fine clay or into a paste

model, joined together, and the molten metal poured


first

first

all

a historian of

were modelled either on separate disks or on a single

sides

model was then impressed

forming a new mold over the

its relief.

and period.

or carved out of a

salt,

this

early Italian

sometimes of wood, bone, or

The

finished

Como,

and Amorous Devices,

medal or the height of

one.

than once;

loved one, inscrutable to

a technique which, unlike the striking process

molding materials used


lows: a

to his

inventor of such riddles was Paolo Giovio (1493-1552) of

be

The
him

resulting second-generation casts in turn

still

further specimens,

and

so on.

However,

shrinkage of most metals in cooling, each successive cast became smaller. Sharpness

of detail also

would gradually

tween an early and a

late casting.

the early medallists. In this

molding material;

deteriorate,

The

method

and thus there

"lost

wax"

S*"

When

the

process also

marked

difference in quality be-

was used, though probably not by

wax model was embedded in heat-resistant


wax was melted out and the vacant space filled

the complete

then, by heating the mold, the

with molten metal.

is

mold was removed,

it

was usually necessary

to chase the sur-

medal

face of the

or

remove casting imperfections such

in order to

the like. If chasing

was done

an excessive degree, or by

to

"improvements" were attempted

if

the "trial proof,"

kept this

quent

was

owing

lead,

cast

was considered

cast

with which

too

were

raw

also used.

in appearance.

to give

it

what

is

^ The
The

artist's,

The

first

casting,

artist usually

prospective clients. For subse-

skill to

Quattrocento preferred bronze or related

silver

with a lacquer or varnish

often used for the

could be melted.

it

proof for future use and to demonstrate his

first

casts, the medallists of the

quecento onward gold and

when

to the ease

^ A metal

hands than the

then the result was often

to the point of re-engraving,

such as to destroy the quality of the original design.

edge ridges, and

as air bubbles,

less qualified

From

alloys.

the Cin-

reddish color which bronze acquires

artist

would, therefore,

The

usually called "patina."

treat the finished

recipes for produc-

ing a patina were legion, producing tones ranging from light to deep brown, from brownishyellow to green, and occasionally near-black. Sometimes medals were gilded or silvered; but
unlike a patina to which age can only add beauty, such gold and silver coverings sometimes

wore

off.

In

Italy,

medallic art reached

Mantua, Venice, Florence, and Rome.

To

medals the Renaissance produced.

trait

the founder of medallic art but also


ation

a masterpiece.

is

From

its

its

zenith during the Quattrocento, chiefly in Ferrara,

the medallists of that century

Pisanello's influence

greatest master. It

is

we owe

was enormous.

the finest por-

He

was not only

remarkable that even his

1438 to 1449 he produced a body of

first cre-

work which has never been

sur-

passed in grandeur of conception and power of composition. There exists a portrait of Pisanello

on

a medal, formerly believed to be a self-portrait, but

scotti (ac. 1444-62) of

^ Matteo

Ferrara (no. 6).

which now

ascribed to Antonio Mare-

is

was an immediate

de' Pasti (ac. 1441-68)

lower of Pisanello, perhaps even a pupil of the master.

Pisanello to the court of Sigismondo Pandolfo Malatesta (died 1468) at Rimini.

made
c.

number

of medals of the tyrant of Rimini

and of

Isotta degli Atti, a

and personal charm who became Sigismondo's fourth

tellect

1504) of

Mantua was among

the

most productive

ond

many

patrons, judging by the

number who

whose works

There De'

woman

Sperandio

Pasti

of great in(ac.

1466-

Quattrocento. For nearly forty

His vigorous

style

must have

^ At Venice during
was Giovanni
Pasqualino Boldu
^ The name
him.

sat for

half of the Quattrocento, one of the foremost medallists

(ac. 1454-C. 1477),

wife.

artists of the

years he enjoyed great popularity throughout northern Italy.

pleased

the sec-

di

reveal a particularly strong affinity for antiquity.

of Niccolo di Forzore Spinelli, called Niccolo Fiorentino (1430-1514), epitomizes Florentine


dallic art at its height.

his signature.

No

^ Toward

fewer than 130 medals have been attributed


the end of the Quattrocento there

a result of the technical achievements of Gianfrancesco

Francia

(c.

1450-c. 1517),

who experimented

similar to that of striking coins,

Medallic

from

this

art,

though

was

Enzola

to

him, of which

change

(ac.

in medallic style, as

1456-78)

and Francesco

with medals struck from engraved dies

artistically

more

allied to

me-

five bear

a process

engraving precious stones.

formerly so intimately associated with sculpture and even painting, did not benefit

more mechanical

process. Fortunately, the best artists continued to favor casting,

continued into the Cinquecento, and indeed


medallists of the Cinquecento
in

fol-

native of Verona, he accompanied

was Benvenuto

is still

occasionally used.

Cellini (1500-71).

He

is

which

^ Foremost among
known

to

the

have engraved

hard materials, and the honestone portrait (no. 36) in an enamelled frame shows the perfec-

tion to

which

portrait cutting in stone

and the

art of the

goldsmith could be carried.

Cellini,

Foppa

together with the Milanese medaUist Cristoforo Caradosso

Rome, did much

settled in

Cinquecento, Leone Leoni (1509-90), whose

was

life

in a style

lently

human

with Gianello, calling him an ox in

who

475-1 527)

in 1505

In Milan during the

was

as turbulent as that of his rival Cellini,

which much resembled Leoni's. The medal of Gianello

example, has variously been attributed to Leoni and

f'*'

Jacopo Nizzola da Trezzo

the most important medallist. Another Milanese,

worked

(ac.

improve the process of striking medals,

to

Da

della

(1515/20-89),

Torro (no.

67), for

Trezzo. Leoni appears to have fought vio-

shape; yet he probably authored the medal.

Quite a number of Cinquecento medallists, like Valerio Belli (1468-1546), Giovanni Bernardi

da Castelbolognese
practised

gem

(1496-c. 1555),

and Alessandro

Cesati, called

in hard materials. Cesati has

developed

the final

when

work

of

son Alessandro

art.

(c.

wax model,

the

hitherto just a

means

^A
for

in their style they

waxes are polychromed, and

century art toward more elaborate detail.

making medals

flourished.

itself

became

among the major creators in this medium and


own with the best miniatures of that period.

Some

of these

very special branch of medallic

Pastorino de' Pastorini (1508-92), Antonio Abondio (1538-91) as well as his

1570-1648, ac. 1595-1640) were

their

still

(ac. 1538-53), also

producing the medal,

produced some wax portraits which can hold

art of

Grecchetto

been credited with some important advances in die-sinking, and

Michelangelo expressed a high opinion of Cesati's work.


art

II

engraving, and their style sometimes betrays a hand more accustomed to working

in Italy

Among

remained rather stationary. However, some

Mola

these were Gaspare

Medici families (no. 43)

demonstrate a trend in sixteenth-

During the seventeenth century and beyond, the

(c. 1580-c.

who were

the Hameranis,

Girolamo Lucenti

years; as well as the Travanis,

1640),

of distinction

artists

who worked

for the

Savoy and

Papal medallists for almost two hundred

(ac.

1668-90),

c.

and

number

of others.

In

France, medallic art goes back to the close of the Middle Ages, and includes that group of med-

made by Flemish-Burgundian goldsmiths in the late fourteenth century. Beseries of medals commemorating historic events was produced;

already cited,

als,

tween 1451 and 1460 another

most of these had long chronogrammic


lish

from France

of coin engravers
coins.

^ During

and were struck from

commemorating

dies,

Eng-

the expulsion of the

based on designs borrowed from contemporary

the reign of Charles VIII (born 1470,

proper came into being.


of France

inscriptions,

end of the Hundred Years' War. But these pieces were entirely the work

at the

From

King

1483-98), the

French

portrait

that period date pieces presented by cities to the kings

on the occasions of

their royal visits.

noteworthy example

Anne

in

of

VIII,

of Brittany (born 1477, Queen 1491-1514)


Lyon accompanied by her husband, Charles

March,

1494,

is

upon her

who was on

his

medal

and queens

medal presented

to

state entry into the city

way

cam-

to the Italian

paign; the medal depicts a golden lion holding a cup containing a hundred gold medals. An-

homage medals

other example of such

March,

1500, this time

1515) (no. 78).

by

this

the one offered to

Anne

at a later visit to

While the

style of the earlier

medals had been that of the

1462,
late

Lyon,

King

duced the

style of the Italian

Renaissance

many

were employed

man on
of

at the

Middle Ages,

Burgundian Court of Charles the Bold, where they

Renaissance.

the French throne,

its artists,

had

Francis

among them Benvenuto

Cellini, as well as

such

and

lesser

(c.

intro-

(born 1494, King 1515-47), the

a great passion for Italian art

in

1498-

time Italian medallists, notably Niccolo di Forzore Spinelli and Giovanni Candida

1450-C. 1494),

court

is

accompanied by her second husband, Louis XII (born

first

attracted to his

known

artists as

Matteo dal Nassaro

King

(1515-c. 1547)

and Benedetto Ramelli

Monnaie du Mouhn opened and

the

(1552) to

it.

(ac. c. 1530-37).

on the other hand, patronized native-born engravers;

1547-59),

his reign that

French medals of the second half of the sixteenth

series o

century are the Valois medallions; their author was the sculptor Germain Pilon

who

in 1572

became Controller-General

which measure

as

much

such as Henry

alty

In the

etc.

first

were

him

mm.

in diameter,

made between

(c.

period was Guillaume

surface texture

is

Dupre

(c. 1574-c.

and superb technical

so fine that

it is

1535-90),

some of

cast medallions,

1573 and 1577, chiefly depict roy-

half of the seventeenth century France ranked

display an elegant style

cast, their

French mint. These large

Catherine de Medici, Charles IX, Elizabeth of Austria, Henry

II,

est medallist of the

cuted by

as 171

of the

(born 1519,

II

Laune was appointed

the French die-cutter Etienne de

^ The most remarkable

Henry

was during

it

1643).
skill.

easy to mistake

in

first

The

medaUic

sixty or

The

great-

more medals

Although nearly

them

III (no. 80),

art.

for struck pieces.

exe-

medals

his

all

num-

among whom were Jean


The former probably was second

ber of other French medallists added luster to the seventeenth century,

Warin

To Claude

only to Dupre.

the period of Charles


lic art

and Claude Warin

(ac. 1627-c. 1672)

it

reached some prominence again during the Empire in the early nine-

Germany the development of medallic art started with Hans Schwarz


1516-c. 1530). The two most prominent centers were Niirnberg, the home of
In

teenth century.

(born 1492,

have been attributed some charming portraits of English subjects from

(born 1600, King 1625-49). After the seventeenth century French medal-

declined before

(ac. c. 1630-54).

ac.

goldsmithry, and Augsburg, where metal casting was prevalent. Leipzig also deserves mention.

^ As Florence had

its

Lorenzo

loving Emperor, Maximilian


ers

and bronze

casters,

of the fine arts.

Candida (no.

wax

As

Medici (1449-92), so did the Germanic lands have an

(born 1459,

Emperor

early as 1477,

casionally used.

young

bride, the beautiful

From

boxwood, honestone, or

Mary

of Burgundy.

brought

to

While

them

all

slate; alabaster

^ While

cast,

and then

in

many

Italian artists frequently signed their

much admired
left their

as

in

German

also oc-

negative

some

medal of Erasmus

who

Renaissance med-

medals (during the early period

OPVS), German medallists usually


The models were cut either directly from life

"imago ad vivam efligiem expressa" on

German

cases subsequently chased by the artists,

the meticulousness of detail so

ceded by the proud


initials.

and mother-of-pearl were

these wood and stone models, through the intermediary of

mold, the medals were

branch

this

Maximilian had himself portrayed on a medal by Giovanni

served as the material for the models of Italian medals, the models for the early
in

art-

1493-1519), whose patronage of die-engrav-

even while a young archduke, greatly contributed to furthering

27), together with his

medals were carved

als.

de'

their

name

pre-

works unsigned or simply used


scholars believe the inscription

indicates

or, as

was more

usual,

Hans Schwarz appears to have worked mainly


5*' The boxwood model was used chiefly in
Augsburg, Ulm, and the AUgiiu; its masters were Hans Schwarz, Martin Schaffner (ac. c. 152230), Christoph Weiditz (ac. 1523-c. 1533), Friedrich Hagenauer (ac. 1525-46), Hans Kels (ac.
1527-C. 1554), and his younger brother Veit Kels (ac. 1536). Their work encompasses the period
of the boxwood model. In Niirnberg the stone model was predominant due chiefly to the work of
Matthes Gebel (ac. c. 1526-c. 1555) and Joachim Deschler (ac. 1540-c. 1569). 5*" The extent to
which Albrecht Diirer (1471-1528) played a part in the history of the German medal has long

after portrait sketches.

from

sketches, 136 of

The Augsburg

medallist

which have been preserved.

been a subject of controversy. There

however, general agreement and, in one case

is,

documentary evidence that several medals and plaquettes, even


were made

certainly

teenth century,

wax

after his designs (see, for

into the

by

his

which the

German

Italian artist

their life-like portraits

hand,
six-

from Lombardy, who came

German

of the merit of the

Some

perfect technical execution.

its

and minuteness, with


trait, to

Much

own

After the middle of the

modelling material. This technique was intro-

as

by Antonio Abondio, an

chiefly

employ of the Hapsburgs.

be found in

wood

replaced stone and

duced into Germany

example, no. 184).

at least, also

not executed by his

if

Renaissance medal

is

to

of the early productions are marvels of delicacy

and

skillfully

Italian medallist lent refinement

and

designed heraldic reverses.

ideality,

counterpart whose style did not conceal the

was modelled more

The

por-

realistically

possible lack of dignified ap-

sitter's

pearance. Faithfulness to reality was his goal, and he succeeded to an unprecedented degree.

Thus we sometimes can

and be amused

see,

councilman, church sexton, or butter dealer,

ruler, city

ject for portrayal

which has

on

medal

(see, for

as the starting point

began

At about

which was

to

to decline.

was

many

a petty

considered himself a suitable sub-

no other medallic school

is

German medal had lasted


first medals by Hans Schwarz

After the great age of the

taking the Augsburg Diet of 1518 with

it

struck medal. Portraiture no longer


earlier medals.

who

example, no. 90). There probably

us such accurate likenesses.

left

for about half a century

place

by, the unflattering pictorial record of

its

Gradually the cast medal was eclipsed by the hammerfired

by the same

vitality

and individuality

so typical of

the middle of the sixteenth century a development in technic]ue took

have a profound impact on medallic

coin press at Augsburg.

It

die-cutters such as Sebastian

rich Mueller (1654-1719),

Dadler

and

new

^ Highly esteemed during

considerable increase in production.

(ac. 1619-54),

number

of others,

of

permitting a

potentialities,

the seventeenth century were

Johann Hoehn

some

mechanical

art: the invention of the

presented the art of the medal with

whom

1637-93), Philipp

(c.

were

Hein-

also influenced by the

simultaneously developing Dutch school. In the almost microscopic detail of their medals unfold historic events

the

Baroque

is

peace

battles,

treaties, coronations,

and weddings. The sumptuous

expressed in their elaborate and ornamental designs.

sixteenth century several medallists of note

made

their

At

the beginning of the

Low

appearance in the

taste of

Countries. These

include Quentin Metsys (1460-1530), the blacksmith turned painter and medallist,

maker

of a

who modelled in stone, wood,


Venlo. The latter was in the serv-

magnificent portrait medal of Erasmus; Jean Second (151 1-36),


or

wax with

equal

ice of Floris of

Mercator was
lists

at

skill;

and Michael Mercator (1491-1539) of

Egmont, Count

work

in

t^*'

hke Jacob Jonghelinck (1531-1606) of Antwerp, probably one of the

tives of the school,

who

also

met with

lands as well as in France and

Low

known

Germany.

(ac. 1575-1602),

^ Yet with few

who was

representa-

and goldsmith.

active in

The Nether-

exceptions the medallists working in

Countries during the sixteenth century were hesitant to assert themselves in an inde-

pendent native
linck,

best

great success as a sculptor, seal-engraver,

Also prominent was the medallist Conrad Bloc

the

and diplomat. In 1527


There were other medal-

of Buren, in the dual capacity of artist

England, where he portrayed Henry VIII.

it is

style; their

works usually show strong foreign

the Milanese; in the case of Mercator

Dutch medallic school did not emerge


van Abeele

(ac. 1622-77), J^*^

FiUus

and

Bloc, the

influence. In the case of Jonghe-

German

schools.

well-defined

until the seventeenth century. Its chief masters

Lutma

(c.

1605-85),

and O. Wouter MuUer

were Pieter

(ac. 1653-88), all

skilled in the characteristically

Dutch repousse medal. In

shells

were joined together by

a rim. In addition, Jurriaan

obverse and reverse of

this process the

medal were separately formed by being hammered or pressed

the

and then the two

into relief,

Pool (ac. mid-seventeenth century) and

Jan Roettiers (1631-1703), whose descendants and relatives became coin and medal engravers in

The

Netherlands, England, and France, contributed significantly to the development of the struck

medal.

^ The

respects;

design.

plaquette

most obviously

The

is

closely allied to the

in shape, subject,

shape of a plaquette

may

medal from which, however,

and (with

it

differs in various

few exceptions) the absence of a reverse

be square, oblong, oval, circular, shield-like,

etc.

Subjects

include religious, mythological, allegorical, and historical scenes, as well as themes based on

Greek and Roman


its

portrait,

some

art or classical literature. Since

likenesses of

one of the principal features of most medals

shapes other than round, are classified as medals (nos.


others (nos. 180

and 181) are

among

listed

round uniface bronzes of figures from the


179).

Roman

and

On

described previously.

By

and from there the

many. The development


to that of the

far the greater

number

art spread

of the plaquette

were occasionally used

beyond the Alps

as a pax, a tablet to

wax

process

and Ger-

to France, Flanders,

began about the middle of the

same men who figured prominently

and

on functional or

Renaissance medal, likewise was the cradle

fifteenth century, parallel

The

medal, and flourished well into the sixteenth century.

often were the

aesthetic appeal

its

of plaquettes were cast by the lost

Italy, the birthplace of the

although

as plaquettes (see nos. 176-

In their practical application, plaquettes served as decorations

be kissed during mass.

of the plaquette,

example)

29, for

the other hand, certain small

world are regarded

religious objects; those with suitable representations

of

8,

2, 7,

the plaquettes.

In the main, the plaquette was an object of art to be enjoyed for

artistic qualities.

is

contemporary persons on bronzes which, though uniface, have

creators of plaquettes

in the art of the medal. Gianfrancesco

Parma, Cristoforo Caradosso Foppa of Milan, Fra Antonio da Brescia

(ac.

Enzola

1487-151^),

and

others were skilled in both crafts. Valerio Belli, Giovanni Bernardi da Castelbolognese, though

primarily engravers of crystal and precious stones, produced a considerable

and plaquettes

as well.

mous, although

^ Unfortunately, many

at times stylistic

tine sculptor

Donatello

(c.

number

1386-1466); an example

field

during the

late fifteenth

and

art

permits at least

of plaquettes have been ascribed to the Florenis

^ Among

the

early sixteenth centuries

Briosco (1470-1532), called Riccio ("Curly Haired").

more

a Pieta (no. 156),

another Florentine master, Agostino di Duccio (1418-98).


volved in this

of medals

of the plaquette artists have remained anony-

comparison with medals or other works of

a geographical attribution. In the past, a

number

It is

recently given to

more

prolific artists in-

was the Paduan Andrea

believed that he

may

also

have been the

author of plaquettes bearing the signature Ulocrino (Greek for "Curly Haired"). Another prom-

was Jacopo Sansovino (1486-1570), a Florentine by birth, who


Rome but settled about 1527 in Venice, which already had a long tradition
inent figure

Here

first

in

was

active in

bronze casting.

the prosperous Venetian merchants vied with each other in building opulent palaces,

whose furnishings were

collections of

vorite subjects for plaquettes

and

number

statuettes, plaquettes,

were scenes from the

did the door of the sacristy, the six


the choir,

bronze

New

Testament. For

reliefs in the choir, the

of other figures.

In conclusion

and plaquette complements many of the major

among

and medals. Sansovino's


St.

fa-

Mark's, Sansovino

Four Evangelists on the balustrade of


it

may

be said that the art of the medal

arts of the Renaissance.

These

objects,

by virtue

of their small size, have withstood the vicissitudes of time, and have played an important role in

contributing to our understanding of the Renaissance and Baroque periods.


catalogue, the arrangement of the Italian medals

up

to the

5-*^

In the present

time of Benvenuto Cellini follows the

order of G. F. Hill, Corpus of Italian Medals of the Renaissance before Cellini.

German medals

of the sixteenth century have been grouped according to the order established by G. Habich, Die

Deutschen Schaumunzen des XVI. Jahrhtmderts.


Director of the
first

Bowdoin College Museum

sparked the idea of

this exhibition.

of Art,

He

^ Our thanks

are

due

whose enthusiasm

for

most generously gave of

edge and also shouldered the burden of preparing


interest to old friends of the

nating

this catalogue,

medal and plaquette and

to

Mr. Marvin

his time

which

S.

Sadik,

medals and plaquettes

it

is

and wide knowlhoped

will be of

will help to introduce others to this fasci-

field.

L.S.

medals and plaquettes have been reproduced


to exact size.

Bibliography and indexes

follow the catalogue.

ITALIAN MEDALS TO THE TIME OF

BENVENUTO CELLINI
ANTONIO PISANO
Medallist

called

PISANELLO

c.

1397-c. 1455

from 1438-49

Antonio Pisano was probably born at Pisa about 1397. In his younger
moved to Verona, where he was surnamed "Pisanello" (Little

years he

He already was a highly distinguished painter of fresand animals before 1438 when his first medal, marking
the beginning of Renaissance medallic art, was executed.
man from

Pisa).

coes, portraits,

In the history of art, Pisanello ranks as the founder of the cast

indeed, as the most celebrated of

was

a painter,

work

and he

all

medal and,

medallists; but he never forgot that he

signs his medals

OPVS PISANO PICTORIS

(the

of Pisano the painter)

His medals reveal the trained eye of the painter in the clear and subtle
they combine realistic rendering, sometimes ex-

lines of the portraits;

traordinarily severe, with dignity of character.

and

observation of nature

mals (see the reverses of

The

The

reverses

show a keen
and ani-

liking for rocky landscapes


4).

medallic creations of this great master date from the year 1449;

last

he died

marked
nos. i and
a

c.

1455. (For a portrait of Pisanello see no. 6 by Marescotti.)

Filippo Maria Visconti 1392-1447,

Bronze medal, 100 mm. diam., c.


PHILIPPVSMARIA ANGLVS

PAPIE ANGLERIE
(The Duke lost Genoa

of

Milan

1441

DVX MEDIOLANI ETCETERA


QVE COMES AC GENVE DOMINVS

in 1435, but kept his title.) Bust right,

up

:ap with edge turned

Duke

all

around and

soft

wearing

crown. Brocaded

dress.

Plain linear border.

Hill, Pisanello, pp. 125

Habich,

pi. 11,

ff.

Tresor, Pisano,

pi.

i,

Friedlaender, p. 36, 17
Rizzini, no. 20

Supino,

pi. VIII,

Venice, Correr

17

Museum,

The dragon on

no. 18

the Duke's helmet appears in the coat of

arms of the

Viscontis.

Provenance; Count Trivulzio Coll.


2

Francesco

Sforza 1401-66,

Duke

of

Octagonal bronze medal, H. 82 mm.,


Bust

left,

wearing

tall

No

reverse.

the following:

Hill,

Corpus, no. 23,


i, 8, 22

pi.

Armand,

Heiss, Pisano, p. 15, 3; pi. 11,


Hill, Pisanello, p. 127, pi. 32

Habich,

Rev.

OPVS PISANI PICTORIS

on a sunken band, below. Mountainon one of which is a colossal female


In the foreground, three horsemen. The Duke to

3us landscape with tops of buildings


itatue

holding sceptre.

armor with biscione crest to helmet, lance erect, horse prancpage on horseback much foreshortened from behind;
jetween them armed horseman to front. Plain linear border enclosing

left

ing;

in full

on

right, small

ipper part of design.

Corpus, no. 21,

\rmand,

i,

8,

^eiss, Pisano,

pi.

23
11,

2; pi.

i,

pi.

11,

49

mm.,

c.

1441

cap with soft round crown and edge turned up

around; plate armor over shirt of mail.

cf.

Milan 1450-66

W.

all

on which is a mast with inflated sail and


background, on rocky hill, eagle seen from

in background, tall square pillar

Lionello d'Este 1407-50, Lord of Ferrara 1441-50

Bronze medal, 69

mm.

CCCC

XLIIII; in

behind, perched on

diam.

LEONELLVS MARCHIO ESTENSIS

(words

separated

by

olive

branches). Bust right, with short curly hair, wearing surcoat with scale

leafless tree.

Hill, Corpus, no. 32, pi. 6

Armand,

i,

3,

Heiss, Pisano, p. 19, 11; pi. iv, 2


Hill, Pisanello, pp. 148 ff., pi. 39

decoration over mail.

Habich,

pi. iii, i

Friedlaender, p. 34, 12;


Supino, no. 5
British

British

Rev.

on

OPVS PISANI PICTORIS A

seated
Hill,

nude old man seated facing


facing left, seen from behind.
a

left,

left

mast with

right;

on

inflated sail; at

right, a

pi. iv

Museum, Select Italian Medals,


Museum, Guide, p. 10, fig. 3

pi.

foot,

its

nude young man

Corpus, no. 25

Armand,

i,
3, 5
Heiss, Pisano, p. 19, 6; pi.

iii, i

Friedlaender, p. 34, 10

The mast with

the

sail is

the Este impresa

known

as the Vela.

Lionello d'Este

Bronze medal, 100

mm.

diam., 1444

LEONELLVS MARCHIO
ESTENSIS in two lines across field;
above,
GE R AR
below,
D FERRARIE REGII ET MV

TINE
Rev.

Bust

OPVS

left,

with short curly

PISANI

hair,

PICTORIS

wearing richly brocaded

dress.

Above, on rocky ground, a lion

standing right, singing from a scroll of music held by nude Cupid

left;

The reverse. Amor teaching the lion (Lionello) to sing is one of the most
humorous and one of the finest of Pisano's compositions. The medal with
its poetic charm commemorates the marriage of Lionello with Maria of
Aragon, the natural daughter of Alfonso of Naples (April 1444) Lionello
;

is

GE(ner) R(egis) AR(agonum). The eagle probably is the eagle


Este arms. Musical pomps were a leading feature of the marriage

called

of the

ceremony.
Provenance: Dr. Benno Geiger Coll.

ANTONIO MARESCOTTI
Little

that

is

known

ac.

about Marescotti's

he was a sculptor

1444-62
believed, although not proven,

life. It is

as well as a medallist.

bule of the Hospital of

St.

Anne

at Ferrara,

(For a portrait of Tavelli, see no.

A terra-cotta

bust of Giovanni

who

Tavelli of Tossignano, Bishop of Ferrara,

is

died in 1446, in the vestigenerally attributed to him.

5.)

Beato Giovanni Tavelli da Tossignano 1386-1446, Bishop of Ferrara


1431-46

Bronze medal,

mm.

89.5

diam., 1446

PAVPER

PR

lOHANES

DEVOTISSIMVS

RIENM

tonsured, with rays issuing from

Bust

left,

EPS

crown

FERRA-

of head, wear-

ing cloak. In front, mitre.


Rev.
I

EGO SICVT OLIVA FRVCTIFICAVI SV A VITAL ODO


DI In field left, MCCCC XLVI In field right, MARE SCa

DO

TVS

- The Bishop, in loose undergarment, kneeling left in adorapouring on him from heaven; an olive tree sprouting from his
head; in front of him, his shoes; behind him, his cloak.
-

tion, rays

Hill, Corpus, no. 79, pi. 18

Brescia (Brozzoni Coll.), (illustrated in Hill, Corpus)

Armand,

i,

29, 8

^snheimer, no. 13,

Heiss, Niccolo, p. 22,

now
i

Morgenroth

in

pi.

11,

FERRARESE OR OTHER NORTH ITALIAN ARTISTS,

Coll.

1470-1500

xoehler, xlx, p. 73

Habich,

pi. xvii,

-riedlaender, p. 54, i; pi. x

Mazzuchelli,

i,

ix,

Un}{notvn

Rizzini, no. 55
British
British

Man
W.

Rectangular bronze medal, H. 79.5 mm.,

Male bust

Museum, Select Italian Medals,


Museum, Guide, p. 13, fig. 9

pi. 13,

left,

57.5

mm.

wearing conical hat and robe with pleated

front.

No

rhe halo does not imply an official beatification, but is an anticipation; the
nedal must have been made immediately after the Bishop's death. He is
described as Blessed in a biography written before 1501

(Gruyer,

i,

cf.

reverse.

Hill, Corpus, no. 126 (69

Provenance: Luccardi

x 48

mm.)

Coll., pi. 42, no. 13

p.

:6i).

Unknown Boy
Rectangular bronze medal, H. 66.5 mm.,

Antonio Pisano called Pisanello


Bronze medal, 57

PISAN\'S
.rumpled

mm.

diam.,

PICTOR.

Bust

c.

c.

Bust

1397-c. 1455

left,

with long

hair,

W.

53.5

mm.

wearing round cap; bust loosely draped.

1440-43

wearing brocaded dress and high,

left,

soft,

beretta.

No

reverse.

Hill, Corpus, no. 140, pi. 27 (46 x 38


Hill,

Dreyfus

Coll., pi. xiv,

Provenance: Luccardi

FERRARESE

c.

mm.)

47

Coll., pi. 42, no. 12

1500-30

Remo Ducal Secretary to Alfonso I


mm. diam.
OPIZO REMVS ALFON ESTEN DV
Opizo

1505-34

Bronze medal, 68

with bobbed hair, wearing cap with back


toned in front. Below, a

Rev.

(spray)

(spray) in conventional laurel

wreath with spray rising from bottom.


Hill,

Corpus, no. 87,

Armand,

i,

9,

pi.

20

25

Tresor, 1,1,1

Habich,

pi. xi, 4
Friedlaender, p. 41, 27;
Rizzini, 22

Supino, 19,

pi. i

pi. IX

PMIA, p. 31, 5; pi. xvni


British Museum, Select Italian Medals,

Hill,

pi. 13,

Heiss, Pisano, p. 9
Ferrer, iv, 573 (attributed to Pisanello), this

G. F. Hill reads the initials

on the reverse

specimen

as

meaning

Fides, Spes, Karitas, lustitia, Prudentia, Fortitude,

Provenance: Loebbecke

Coll.,

on the cover of the catalogue.

Munich

1908, no.

the seven virtues:

Temperantia.

3, pi.

i,

also illustrated

fig

flap

branch. Very high

III

SECRETA

turned up, and


relief.

Bust

gown

left

but-

Rev. (rosette) CASTELLVM


SISMONDVM
CCCC XL VI The castle of Rimini.

ARIMINENSE

Rev. Jason and the dragon (from Fra Antonio da Brescia's plaquette).
Hill, Corpus, no. 156, pi. 29

Armand,

De

Rev.

11,

92, 15

Ricci, Dreyjtis Coll., no. 116, pi.

Loebbec\e

Munich

Coll.,

xxxiv

1908, no. 26, pi.

v (chased)

Provenance: Dr. Benno Geiger Coll.

MATTEO

DE' PASTI (Matteo

di

Maestro Andrea

de' Pasti) ac.

1441-68
This accomplished Veronese architect, sculptor, painter, miniaturist, and
medallist
di

heard of in 1441 at Venice, where he worked for Piero


he settled in Rimini, soon becoming perthe court of Sigismondo Malatesta. In 1454 he is referred to

is first

Cosimo

de' Medici. In 1446

sona grata at

Hill, Corpus, no. 174, pi.


33 (London)
Numismatic Chronicle (1917), p. 308, no.

Heiss, Alberti,

Fabriczy,

etc., p. 31, 10; pi. v,

pi. ix

Supino, no. 28
Hill, Pisanello, pi.

66

as "noble."

British

Museum,

medals of Sigismondo were made between 1446 and 1450. The


castle of Rimini on the reverse ranks as one of the finest representations
of a building on any medal. De' Pasti's versatility and reputation as an
artist were enormous; it may be said that, as a medallist, he took up the

Calabi

&

mantle of Pisanello.

Provenance: Luccardi Coll.

De'

Pasti's

14

Select Italian Medals, pi. 11,

Cornaggia,

p.

95

Rimini Casde, the "Rocca Malatestiana," begun in 1438, was finished in


1446. This reverse is copied in Piero dei Franceschi's fresco of Sigismondo
kneeling before his patron saint in San Francesco, Rimini.

10

Sigismondo Pandolfo Malatesta 1417-68, Lord of Rimini 1432-68

II

83.5 mm. diam., 1446


SIGISMONDVS PANDVLFVS DE MALATESTIS S
RO ECLESIE C GENERALIS Bust left, wearing cuirass and surcoat. The abbreviations stand for: SACRAE ROMANAE ECCLESIAE
CAPITANVS GENERALIS.

Sigismondo Pandolfo Malatesta

Bronze medal,
(rosette)

Bronze medal, 82

mm.

diam., 1446

Obverse same as in preceding number.


Rev. Fortitude, crowned, cuirassed, and in long tunic, seated facing front
in a

meadow on

a throne, the sides of

which are formed by foreparts of

elephants. She holds in both hands a broken column. Below: (rosette)

Hill,

CCCC XL VI

(rosette).

Corpus, no. 179,

Armand,
Tresor,

i,

11,

pi.

33 (no. 174 obverse, no. 178 reverse)

20, 10

pi. iii, i

Numismatic Chronicle (1917),

p. 309, no. 18

Rizzini, no. 35
Metzler, no. 6, pi. ni

& Cornaggia, p. 39, no. 6 (London, George III) and


Dreyjus Coll., no. 61 (same reverse), pi. xviii

Calabi
Hill,

Heiss, Alberti,

etc., p. 31,

no. 11; pi.

vi,

p.

97

12

Sigismondo Pandolfo Malatesta

mm. diam., 1447


SIGISMVNDVS PANDVLFVS MALATESTA
Bronze medal, 32

Bust

left,

wearing

mail and surcoat.


Rev.

PONTIFICII

EXERCITVS IMP M. CCCCXLVII. An

suing from a cloud, and holding a birch rod.


Hill, Corpus, no. 182, pi. 34

The

birch rod

is

the symbol of

command.

arm,

is-

Friedlaender, Berliner Blaetter

(1866), pp. 202-207,

iii

pi.

xxxv

(attrib-

uted to Filippino Lippi)

Sigismondo Pandolfo Malatesta

mm.

Bronze medal, 80

SIGISMVNDVS PANDVLFVS
wearing plate armor over mail

CASTELLVM

Rev.

XL VI The
Armand,

Bust

left,

ARIMINENSE

M CCCC

(1923/4), p.

EN BOnonia"; by Milanesi (Bibl.


"Bona Franciscus Panini Hoc fecit Ferrariae ENcenia" or
"Francesco Panini Horafo Ferrarese Fece."

34

Com.

Xuniismatic Chronicle (1917),


& Cornaggia, p. 42, 12

19, pi. iii, 4

In 1503 Lucrezia wrote to Bembo asking him to suggest a motto for this
medal. The lettering on the tablet has been analyzed by Friedlaender:

PHilippi Filius Fecit

"Filippinus

pi.

20, 12

i,

Arethuse

Nanni, 1902

Rimini.

Corpus, no. 184,

Hill,

MALATESTA PAN

shirt.

SISMVNDVM

castle of

Bode, Zeitschrift, p. 37
Habich, pi. lxiv, 4

diam., 1446

p. 307, 12

Siena)

Provenance: Elkan Coll. 1934, no. 21 (as "Maitre a I'Amour captif")

Calabi

Provenance: Dr. Benno Geiger Coll.

GIANFRANCESCO ENZOLA

MANTUAN

in the

manner

ALARI BUONACOLSI

of

called

PIERO JACOPO DI ANTONIO


L'ANTICO c. 1460-c. 1528

1456-78

ac.

Ferrara. His early medals are

on a

small scale, and for a while he tried to strike his medals instead of casting them, but the struck products never attained the fineness of his cast

Among

Giulia Astallia

Rev.

left,

Hill,

head bent a

fillet,

bodice laced in

at the sun's rays issuing

from

Phoenix on burning

a cloud.

Habich,

(1923/4), p.
Friedlaender, p. 129
i

On
p. 16, fig. 13
17, pi. ni, 2

Hill,

Medals

Hill,

Habich,

dell' Arte III (1890), p. 31

pi. xli,

p. 23, pi.

11,

i,

8,

who, having been violated by

Mantua (1483-1510), drowned

Bishop

(leaf)

d.

left, in

high

relief,

(leaf)

AC FORMAL PVDICITIA PRAECIOSISSIMVM

(two leaves on stalk). Nude Amor, blindfolded, tied with hands behind
lis back to a laurel tree, on which are suspended on left a broken quiver;
>n right, a trophy-like arrangement of a tablet inscribed

iN, a violin and


nusic,
-fill,

its

bow

string,

Corpus, no. 233

Vrmand,
-oville.

i,

BO

ac.

1466-1504

118, 3

Gazette des Beaux Arts, 39 (1908), p. 387

became too

feeble to continue his

work, and

a year

he died in Venice, where he had been active as a cannon-founder.

pecially

fond of

is

his

characterized by vigorous portraiture. Goethe was

works and ranked him

first

among

the Italian

es-

med-

allists.

17

Fra Cesario Contughi of Ferrara


Bronze medal, 84 mm. diam., First Ferrarese period (1462-77)
FR CESARIVS FER ORDINS SER B M V(rose)DIVIN
L T EXELLEN DOC AC DIVI VER FAMOSIS PREDICA

TOR

FPHFF

Elderly bust

wearing habit with hood over head.

left,

placed like a psaltery, a bundle of sheets of

and a bow with broken

1504, Sperandio

Sperandio's style

MVT

heavy hair covering temples and

which is seen; low dress


shoulder with ring; double cord with pendant on breast;

VIRTVTI

SPERANDIO OF MANTUA

later

straight truncation.

Rev.

11,

reverse

fame spread over the entire north of Italy as a goldsmith, sculptor, architect, medallist, and cannon-founder. He was mainly active in Ferrara,
Faenza, and Bologna.

1512

with a braid drawn from temples across and knotted behind, at


left

xxi

41; Friedlaender, p. 116.

By

mm. diam., c. 1505


BORGIA (leaf) ESTEN FERRARIAE

Bust

p. 115, i; pi.

Probably born in Mantua about 1425, Sperandio moved at an early age to


Ferrara, but always remained proud of his Mantuan citizenship. His

ihoulders tied together in a pigtail, beginning of

on

Pearled border.

tree.

45

a servant of

herself; the

15

fastened

pi.

Lucrezia Borgia 1480-15 19

.leck,

shows the Duke's impresa (motto: Quietum nemo me impune lacesset) cf. Paolo Giovio, Dialogo dell'I mprese (Lyon 1574), p.

The

erected to her.

Bronze medal, 59.5

pi. lvii,

ff.

MANTUAN close to GIANCRISTOFORO ROMANO

REGII

border.

PARMENSIS OPVS

44, 6

Litta, Sforza, pi.

generally identified with Giulia of Gazzuolo, heroine

is

Bishop Lodovico of

Supino, no. 51

Matteo Bandello's Nov.

LVCRETIA

BELLI

Rizzini, no. 71
p. 16, fig. 13

liad a statue

FR ENZOLAE

IIII

right, elderly,

Simon, no. 128

Weimar, GoetheSammlung no. 186


Giulia Astallia

i,

Friedlaender,

Select Italian Medals, pi. 19, 5


of the Renaissance, pi. vii, 2

Revue Numismatique (1892), pp. 485


11,

field

LVI Bust
F Pearled

Corpus, no. 281,

Armand,

Burlington Magazine xx (Oct. 1911),


Tresor,

Roville, p. 205

Museum, Guide,

British

rocky ground,

attached by a chain to the

Museum,

British

lO

M CCCC

greyhound seated left under a fruit tree; a hand issuing from a radiant cloud touches him; below him, on the ground, a bridle

Fabriczy, p. 49
Supino, no. 96

Simon, no. 123


Archivo Storico

mail under plate; across

Rev. Artist's signature:

Museum, Guide,

Arethuse

in shirt of

Bode, Zeitschrift, p. 37
British

Duke of Milan 1450-66


mm. diam., 1456
SFORTIA VICECOMES MLI DVX

Bronze medal, 42.5

83.3

i,

pi. lv,

16

(Biscione) FR
PATER ET PACIS AVTOR

Corpus, no. 218

Armand,

En-

Francesco I Sforza 1401-66,

EXEMPLVM VNICVM FOR ET PVD


up

whom

little for-

neck open.

pyre, looking

various employers was Francesco Sforza,

artist's

the following number).


of girl

ward, hair in long braid knotted up and tied with


front,

the

zola portrayed on several medals, the earliest bearing his signature (see

Bronze medal, 63 mm. diam., c. 1485


DIVA IVLIA ASTALLIA Half -figure

A.C

Parma

Parma and

chiefly at

ones, especially in the portraits.

14

of

Enzola worked

Rev.

INSPICE

MORTALE GENVS MORS OMNIA DELET

and in arc below: OPVS SPERANDEI Fra Cesario, wearing long tunic,
and scapular with hood over his head, seated on rock three-quarters right,
resting head on left hand, and contemplating a death's head on the
ground to right.

Corpus, no. 363,

Hill,

Armand,

61

pi.

67, 16

i,

Heiss, Sperandio, p. 36, no. 16


Foville, p. 40, 6 (assigned to 1467)

Gruyer, p. 640

Weber, pp. 531-532

GIOVANNI (ZUAN) BOLDtJ


ac. 1454-C.

(Giovanni

Although Boldu describes himself on


is

di

Pasqualino Boldu)

1477

definitely

known

medals as a painter, nothing


may, however, have worked in

his

He

of his paintings.

Venice, both as a painter and as a medallist.

Boldu had

and in the case of the


number), the obverse, except for
taken from a Roman coin. He doubdess was

a special affection for classical subjects,

Caracalla medal

(see the following

minor alterations, is directly


one of the most important Venetian

medallists.

18

Emperor Caracalla 211-17

mm.

Bronze medal, 90.4

ANTONINVS

PIVS

diam., 1466

AVGVSTVS

youthful Caracalla facing

Laureate and draped bust of the

left.

Rev. 10 SON FINE in an arc


CCCC LXVI The youthful artist

above. Below, in a sunken arc,


Boldu seated on a rock. To the right
the winged genius of death, seated on the ground, holding a flame (symbol of the soul) in his left hand and resting his right elbow on a human
skull. Pearled border over upper part of design.

VETTOR

Hill, Corpus, no. 423, pi. 80

1455/60-1537

Armand,

i,

37, 4
530
Heiss, Venetian Medals, p. 107, pi. 11, 3
Spitzer Coll., no. 1335, pi. 11, 35 (now Paris)

Weber,

Loebbec\e

Coll.,

Munich

1908, no. 10, pi. ni

pi.

xiv

Museum, Select Italian Medals,


Museum, Guide, p. 19, fig. 18
Revue Numismatique (1895), p. 567
British

ANTONIO GAMBELLO

called

CAMELIO

Camelio worked as engraver to the Venetian mint from 1484 to 1523, but
probably was active as a medallist at an earlier stage. He also experimented with struck medals, but his cast pieces are doubtless the finer
ones. The two medals of Gentile Bellini and his brother Giovanni are
among Camelio's most beautiful creations. He died in Rome, where he
was employed as Superintendent of the Papal mint. During his last
decade he did very little work.

p.

Friedlaender, p. 89, 7;
Supino, 48

DI

pi. xii, i

British

This medal

is

generally attributed to Boldu, based

reverse composition
is

no resemblance

broader than

Roman
little

is

aureus,

is

upon the

fact that the

identical with that of Hill, Corpus, no. 421.

There

in lettering; in addition, the style of the obverse

is

The head of Caracalla is taken from a


which the Emperor is facing right. The

usual with Boldu.


cf.

Cohen

genius on the reverse

96, in
is

after a design

by Pietro da Fano.

Provenance: Count Trivulzio Coll.

19

Giovanni Bellini

c.

1430-1516

mm. diam., c. 1495


lOANNES BELLINVS VENET PICTOR OP
Bronze medal, 58

hair, plain cap, dress

Rev.

Owl perched

left

Hill,

Corpus, no. 438,


i,

with long

pi.

FACIEBAT

ET

Pearled border.

83

115, 2

Habich, p. 94
Fabriczy, p. 78,
Hill,

left,

on fragment of a branch; above, VIRTVTIS

INGENII; below, VICTOR CAMELIVS


Armand,

Bust

with stole over right shoulder. Pearled border.

Dreyjus

pi. xvi, i

Coll., p. 12, no. xii

Heiss, Venetian Medals, p. 123, pi. vn, 2

Friedlaender, p. 95, no. 4;


Hill,

The

PMl. l,
last

p. 39, 14; pi.

pi. xvii

XX

two words of the obverse legend stand

OPTIMVS.
Provenance: Count Trivulzio Coll

for

PICTORVM

BOLOGNESE, after FRANCESCO RAIBOLINI


FRANCIA c. 1450-C.1517

IL

called

22

Francesco degli Alidosi, Cardinal Legate of Bologna and Romagna,


1508-1

Bronze medal, 61 mm. diam.


FR ALIDOXIVS CAR PAPIEN BON ROMANDIOLAE Q C

LEGAT

Bust right, wearing a bishop's cape and beret. Pearled border.

VENETIAN, EARLY SIXTEENTH CENTURY


20

Fra Giovanni Cornaro Venetian Benedictine of the Abbey of Pra-

Abbot of Santa Giustina of Padua 1507-14

glia,

mm. diam.
CORNELIVS MONA COR CASIN COLVMEN Aged

Bronze medal, 44

10

bust

left,

tonsured and almost entirely bald, wearing Benedictine habit with small

hood.

PIETAS EVANGELICA A

Rev.

shepherd standing three-quarters

left,

looking to front; he carries crook in right hand, and a sheep on his


shoulders,

and drives

a flock of sheep past a

palm

on which

tree

is

pelican.

Corpus, no. 527,

Hill,

Armand,
Habich,

96

pi.

70, 5

11,

pi. lxviii, 8

Simon, no. 285


Rizzini, no. 495
Heiss, Venetian Medals, p. 180, pi. xii, 7
Keary, no. 73
British

Museum,

Select Italian Medals, pi. 38, 5

Loehr, no. 311, pi. xxvii


Hill, Dreyjus Coll., no. 168,

pi. xliii

FRANCESCO RAIBOLINI

called

IL

FRANCIA

c.

i45o<. 1517

From about

1508 until his death Francia was in control of the Bolognese


mint, working for Julius II, after the Pope had taken the city from Gio-

vanni

Bentivoglio in 1506. Prior to that, according to Vasari, Francia

II

who in 1494 had been granted the right of


coinage by Emperor Maximilian. Francia was also a goldsmith and

Rev.

painter.

certain nature in his

cut dies for the Bentivoglio,

The following medal

has been attributed to Francia.

Duke

Bentivoglio 1462-1506,

II

Hill,

of

Bologna 1494-1506

mm. diam., 1494


lOANNES BENTIVOLVS II BONONIENSIS

hair, parted to

show

the ear, wearing

doublet and coat with open


(in six lines)

Corpus, no. 606,

Armand,
Herrgott,

i,

104,

pi.

pi.

IMPERATORIS

ADASTRA.

Jupiter,

i,

pi.

lxx,

108

MVNVS

Habich,

pi.

lxx, 5

xxxni, 3
Saglio, L'Art, liv (1893), pp. 125-131
Tresor,

i,

pi.

Fabriczy, p. 93

Venturi,

vi,

800

Friedlaender,

p. 176, pi.

xxxiv

Simon, no. 132

Monete, no. 16

Rizzini, no. 135

pi.

xxxiv,

Supino, no. 228,

pi.

xxxi

British

Simon, no. 131


Supino, no. 222

British

Museum, Select Italian Medals,


Museum, Guide, p. 23, no. 50

pi. 42, 2

Cardinal Francesco degli Alidosi was a favorite of Pope Julius

Keary, no. 77

Museum, Guide,

Dreyjus

109

Revue Numismatique (1914), pp. 98 ff.


Hill, Medals oj the Renaissance, pp. 64-65

xxxi, 2

Friedlaender, p. 173,

British

turned up;

pi.

116, 45
Zeitschrijt, xv (1904), p. 40
11,

Foville, p. 55

Litta, Bentivoglio,

Habich,

xvni, 86

Mazzuchelli,

flap

Pearled border.

Pearled border.
pi.

Bode,
Bust right, with long

low cap with back

MAXIMILIANI

MCCCCLXXXXIIII

collar.

Corpus, no. 610,

Armand,

Bronze medal, 28

Hill,

RIS

hand, and holding an object of unright hand, standing on a car drawn to right along
left

border.

Giovanni

Hill,

CVRRVQ CITODVCE

clouds by two eagles. Below, signs of Pisces and Sagittarius. Pearled

21

Rev.

HIS AVIBVS

wielding thunderbolt with his

Coll., no. 184, pi.

Vligeon, Les Arts

24
xlvi

p. 22, fig.

(August 1908),

p. 12, no. xxiii

II.

After

the loss of Bologna to Giangiacomo Trivulzio, the Marshal of France,


Alidosi was careless enough to accuse the Pope's nephew, Francesco
Maria della Rovere, of misconduct and to blame the military reverses on

him. Francesco Maria thereupon stabbed his accuser to death. According

he suspected Ahdosi of treachery on be-

to another version of the story,

half of the French.

graved) and

SIXTE-POTES

arm on

Constancy, nude, standing to front, looking

column, her right on tall staff, and holds


At her feet, on the right, a group of
crouching Turkish captives, arms and banners; on left, galleys in the harleft;

she rests

left

fluted

a long scarf passing across her waist.

Provenance: Dr. Benno Geiger Coll.

bor. Pearled border.

CRISTOFORO CARADOSSO FOPPA


One

ac.

of the best artists of the fifteenth century,

The motto

1475-1527

Foppa

is

generally

known

by his second name, Caradosso; he worked chiefly in Milan until the


of Lodovico

il

remainder of

Moro. In 1505 he

his

settled in

Rome, where he

fall

stayed for the

life.

His square medal with the portrait of the old warrior, Giangiacomo
Trivulzio, is indeed unusual for its shape.

from

is

Virgil (Aen. vi, 854).

Hill,

Corpus, no. 751,

Armand,

i,

50, 10

Bonanni,

i,

91, no. 9

Venud,

p. 36, no. vi

Programm zur

Jenaischen Literatur-Zeitung (1810), p. viii

Numismatic Chronicle (1884),

p. 182

Giangiacomo Trivulzio 1441-1518, Marshal of France 1499


Square bronze medal, H. 46 mm., W. 46 mm.

Heiss, Florentine Medals,

MAR VIG FRA MARESCALVS

Fabriczy, p. 108,
Martinori, p. 29

Laureate

with long hair, wearing plate armor over gorget of mail. Inscription between two outer and one inner circles; in the four corners are
bust

left

four shields: i) Trivulzio (paly of six), 2) cross pattee within a flaming


circle, 3) biscione on a shield, 4) on a shield, three brands in pale, each
carrying two buckets. Double outer border interrupted by these shields.

the

126

pi.

23

10 lACOBVS TRIVVLS

The medal commemorates

expulsion of the Turks from Otranto in 1481 by troops partly contributed


by the Pope.

Hill,

Roman

Habich,

52,

i,

Medallists, pp. 30

pi. xxxiii,

and

32, pi.

i,

Andrea

Friedlaender,

pi. iv, i

pi. xxi,

Guacialoti, p. 14, 8; pi. in, 7

Friedlaender, p. 137, 10;


Rizzini, no. 41

xxiv

pi.

Rovere, Sisto IV, no. 4


pi. xiv

Litta,

Supino, no. 61,

Keary, no. 311

Museum, Guide,

British

26

p. 24, fig.

Louvre, Catalogue des Bronzes (Paris 1904), no. 466


Hill, Dreyjus Coll., no. 209, pi. lui

Migeon, Les Arts (August 1908),


Forrer, n, 331

LYSIPPUS ac. 1471-84


Known under the pseudonym
is

unknown. He was

Nearly

the

Roman

name

of Cristoforo di Geremia.

seem

to

have been connected with the Papal

University. His medals are distinguished by their fine

and the preference

lettering, their sense of proportion,

EXPVGNATA ALE XANDRIA:


DELETO EXERCITV LVDOVI CVM SF MLI DVC EXPELLIT. REVER SVM APVD NOVA RIAM STERNIT CAPIT BeRev. Nine lines of inscription: 1499

of "Lysippus the Younger." His real

nephew

the artist's clients

all

Curia or

p. 11, no.

(ill.)

leaf or pair of leaves as

for the use of a

an ornament (see no. 26).

25

low:

Raised linear border.

leaf.

Tresor,

i,

Armand,

Bronze medal, 42

xi, 3

SIXTVS

no,

i,

IV

Sixtus

Hill, Corpus, no. 655, pi. 115

11
tiara, cope,

Habich,

Van

pi. lxvi, i

Mieris,

Koehler,

11,

i,

p.

Rev.

328

p.

49

ill.

p. 139.

It is

and Trivulzio's appointment

probably one of the best portraits of

this great

condottiere that have been preserved.

Provenance: Loebbecke

Coll., 1908, no. 59, pi. 6

ANDREA GUACIALOTI
Guacialoti

is

or

GUAZZALOTTI

generally regarded as a

SACRI

CVLT

Bust

left,

wearing

facing front, wearing cope, hands joined in prayer;

placed on his head by

is

Anthony on

right

(who

St.

Francis on

holds a fire)

member

Hill,

left

(who

holds a cross) and

both have the nimbus. Pearled

Corpus, no. 807

Armand,

n, 62, i; ni, i8o, a

Bonanni,

p. 91, 3

Venuti,

p. 33,

Tresor,

i,

in

xxiv, 3

Numismatic Chronicle (1884),


1435-95

Thurston,

of the Florentine School,

medals are directly or indirectly connected with


Rome. He was a clerk in the Papal Curia until 1467, in which year he retired to a canonry in Prato. There, besides attending to his clerical duties,
he cast his own and other artists' medals, one of them the medal by

although almost

MAX

large circular morse. Pearled border.

border.

This specimen.

the capture of Alexandria

as Marshal of France.

St.

diam.

HEC DAMVS IN TERRIS AETERNA DABVNTVR OLIMPO

a tiara

Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 1400-

Commemorates

and

The Pope, enthroned

Litta, Trivulzio, no.

1600, no. 312,

mm.

PONT

IIII

all his

Bertoldo on the Pazzi Conspiracy (see no. 28).

p.

Burlington Magazine (1909),


Martinori, p. 26
Hill,

Roman

Habich,

p. 179, i

43

Medals, p. 35,

p.

280

pi. v,

pi. lxi, i

Simon, no. 338


Rizzini, no. 39
Litta,

24

Rovere, Sisto IV, no. 2

Supino, no. 189

IV (Francesco della Rovere 1414-84) Pope


mm. diam., 1481
SIXTVS IIII PON MAX SACRICVLT Bust

Sixtus

1471-84
26

Bronze medal, 60

left,

wearing

tiara,

Bronze medal, 42.5

cope and morse. Pearled border.


Rev.

PARCERE SVBIECTIS ET DEBELLARE SVPERBOS; in the


CONSTANTIA Across the field: MCCCC-LXXXI (en-

exergue:

Giovanni Alvise Toscani

mm.

lOANNES ALOISIVS
wearing round cap and

d. 1475,

Milanese

jurist, orator,

and

poet.

diam.

TVSCA
close-fitting

AVDITOR CAM

Bust facing

gown. Pearled border.

left,

Rev. (two leaves on stalk)

VICTA lAM NVRSIA FATIS AGITVR

Nep-

tune nude, mantle arched over his head, holding trident in right, dolphin
in

left,

Hill,

facing front in sea-car

Corpus, no. 8ii,

Armand,

11,

pi.

drawn by two

sea horses. Pearled border.

pi. xix,

i,

and

pi. xviii,

141

pi. i; pi. x, vi

11,

Baldass, xxxi (1925), p. 249

Rizzini, no. 565


British Museum, Guide, p. 28,

28, 13

i,

pi. xiv,

Mieris,

Herrgott

132

Rizzini, no. 443

Mazzuchelli,

Heraeus,

Van

fig.

30

Supino, no. 155


Tresor,
Hill,

i,

xxxix, 5
Coll., no. 220, pi. lvi

pi.

BERTOLDO

Dreyjus

Bertoldo

GIOVANNI CANDIDA

more

is

GIOVANNI

(Giovanni di Salvatore Filangieri)

c.

a noble Neapolitan family,

Candida grew

to distinction

in the diplomatic service. In 1477, after the death of Charles the Bold,

Candida became secretary to Maximilian I and Mary of Burgundy at the


court in Ghent. Maximilian and the beautiful young Mary were married
that same year. The charming medal which Candida executed of the pair
on the occasion of their marriage is among the artist's notable produc-

c.

1420-91

remembered

often

own
having made his

angelo's master than for his

1450-C. 1495

Descended from

DI

as Donatello's pupil

productions.

He

and Michel-

did not cast his

own

medals but, after


models, left the casting to others.
The medal on the Pazzi Conspiracy was cast by Andrea Guacialoti. Bertoldo's medals are low relief, usually crowded with many small figures

and rather

restless.

28

Lorenzo 1449-92 and Giuliano de Medici 1453-78


Bronze medal, 63.5

mm.

diam.

tions.

The well-known

man

Hans Memling in
Nero may possibly be

painting by

holding a coin of

Candida, though some experts believe

it

the

Antwerp Gallery

LAVRENTIVS MEDICES.

of a

the portrait of Giovanni

to represent Niccolo Spinelli.

Bust almost in profile, to the right, placed


above the octagonal enclosure of the choir in the Duomo of Florence.
Within it, priests are celebrating Mass; outside, conspirators are attacking

Lorenzo. Below the bust:

SALVS PVBLICA.

IVLIANVS MEDICES Bust almost in profile, to the left, placed


above the choir of the Duomo where Mass is being celebrated. Outside,
conspirators killing Giuliano who lies on the ground. Below the bust:
Rev.

LVCTVS PVBLICVS.
Hill,

Corpus, no. 915,

Armand,

i,

pi.

148

59,

Vasari, edizione Milanesi,

iii, 297
Keary, no. 33
Bode, Florentiner Bildhauer der Renaissance p. 259
Fabriczy, p. 112
,

Hill,

Medals

Habich,

of

the Renaissance, p. 75

xxxiv, 4
Bode, Bertoldo, p. 26
pi.

ff.

Friedlaender, p. i6o, i; pi. xxxi


Rizzini, nos. 84 and 85
Mazzuchelli, i, pi. xxx, 2

Supino, no. 66,

pi.

xvi

Litta, Medici, no. 3


Heiss, Spinelli, p. 60

ff., pi. vi,

Louvre, Catalogue des Bronzes (Paris 1904), no. 469

FLORENTINE, SECOND HALF OF THE FIFTEENTH

CENTURY
29

Tito Vespasiano Strozzi 1422-1505, Florentine poet


Rectangular bronze medal, H. 185 mm.,
Bust with long hair in very high

and pleated

No

27

Maximilian

of

Austria 1459-1519 and

mm. diam., c.
MAXIMILIANVS. FR. CAES.

Bronze medal, 48.4

Mary

of

Burgundy 1457-82

1477

F. DVX. AVSTR. BVRGVND Bust


with long hair confined by twisted fillet and myrtle (?) wreath;
open coat over doublet laced across breast. Pearled border.

right,

MARIA. KAROLI. F. DVX. BVRGVNDIAE. AVSTRIAE. BRAB.


FLAN: Bust right, hair drawn back and tied in loose knot; plain dress

robe.

relief

W.

132

mm.

facing right, wearing round cap

Below the truncation: TITVS.

STROCIVS

reverse.

cf. Hill,

Corpus,

p. 33, no. i25d,

i25e

11, 35 (175 x in mm.). Armand judges Strozzi on this medal


to be about 50 to 60 years of age, which would date it between 1470-80.

Armand,

i,

Hill, in his Corpus, no. 125, erroneously

combines

this

medal with an-

other from the Ferrarese School (the specimen in Oxford illustrated in

Corpus), which, however, portrays another person.

Rev.
C.

with insertion in front; behind, two M's interlaced and surmounted by


crown. Pearled border.
Hill,

Corpus, no. 831

Armand,
Habich,

11,

80, i

pi. lxii, 7

Only the piece quoted by Hill as i25d (Paris-Armand, 175 x iii mm.)
and i25e (Turin, no size given) are similar to the present. Another specimen (183 x 128 mm.) was recorded in the Elkan Coll. (Catalogue 1934),
no. 70.

The

present specimen

is

the fourth

Provenance: Count Trivulzio Coll.

known, and the

largest in size.

29

NICCOLO
RENTINO
His

is

FORZORE SPINELLI

DI

called

NICCOLO

FIO-

1430-15 14

the most

Niccolo's skill

Alessandro di Gino Vecchietti 1472-1532

famous name
at

is

its

33

in the history of the Florentine medal.

best in his splendid portraiture.

Powerful

Bronze medal, 77.3

style

and bold

relief,

rather than petty details, are the arUst's forte.

manner

painting in the

ALESSANDRO

mm.
DI

diam.,

c.

1498

GINO VECHIETTI

and below

bust,

ANN!

Z6. Bust right, curly long hair, wearing cap with back flap turned up,

of Botticelli, in the Uffizi Gallery, of a

young

and plain

robe.

man

holding a medal of Cosimo Vecchio, probably represents Niccolo.


Some experts have also recognized him in Memling's famous painting at
the Antwerp Gallery, showing a man with Florentine long hair, holding
a

bronze coin of Emperor Nero.

30

Antonio Geraldini 1457-88

mm.

Bronze medal, signed, 66.7

diam.

ANTONIVS GERALDINVS PONTIFICIVS LOGOTHETA FASTORVM VATES Bust right with curly hair, wearing round cap and

gown.

pleated

RELIGIO SANCTA and, in arc below: the signature OP


NI FO SP FL (Opus Nicolai Forzori Spinelli Florentini) Standing
Rev.

figure of Religion facing

left,

laureate,

wears tunic and mande, swings

censer in right hand, holds cornucopia in

left

hand.

Hill, Corpus, no. 924, pi. 150

Armand,

84, 2

i,

Bode, Jahrbuch xxv,

Habich,

p. 10; pi. B, 8

xxxvi, 2

pi.

Tormo, xxv (1917),

p. 61

Friedlaender, p. 140, 3
Heiss, Spinelli, p. 13, 3;

According

to

Bode,

this

pi.

i,

medal was made

in

Rome

during the stay which

have made there in 1485-86. Geraldini was a colleague of Mendoza, Ambassador of Ferdinand and Isabella, in his embassy in i486. He was crowned Poet Laureate in 1479. Innocent VIII
he supposes Niccolo

made him

to

Memorie Intorno

protonotary (logothea). Lancetti,

Laureati (1839), pp. 194

ai Poctt

Rev. Nude Fortuna, three-quarters left, advancing over waves on dolphin; holds aloft in right hand halyard of a sail, sheet of which she holds
in her left hand; in front of her, on the waves, radiant sun's face. On
right,

on

PRIVS

ff.

a rock,

NICCOLO DI FORZORE SPINELLI


RENTINO 1430-1514, attributed to

called

NICCOLO

FIO-

Armand,

BER GAME

mm. diam., 1485


INNOCENTII VIII

AN XXX

1485. Bust

Rev.

SATIABOR CVM APPARVERIT God


11,

the Father in clouds.

64, 15

Dreyfus Coll., no. 260


Bode, ]ahrbuch der Preussischen Kunstsammlungen xxv (1904),

p. 10, pi.

B, 10

Simon, no. 175


Gamberia, here "cubicularius secretus,"
Burckhardt from 1485 onwards.

is

mentioned frequently by

32

Bronze medal, 87

mm.

1419-99, Florentine writer

relief,

and historian

diam., 1493

ALAMANNVS RINVCCINVS
bareheaded and with long

PHILIPPI
hair,

wearing

Bust

left,

reverse.

Hill, Corpus, no. loio, pi. 166 (this

Armand,
Cecchi,

iii,

171,

specimen illustrated)

ill.

Heiss, Florentine Medals,

i,

145

Burlington Magazine, xxii (1912), 132

Provenance: Baron C. A. de Cosson Coll.

in very

close-fitting dress.

neath: 1493.

No

Friedlaender, p. 154, 35;


Supino, no. 118

pi.

high

Under-

8, pi.

xxx

dell' Arte iii


pi. xvi, 3

(1890), p. 30

(Museo Arqueologico Nacional)

Provenance: Count Trivulzio Coll.

Hill,

Alamanno Rinuccini

99, 4

Calvo y del Rivero,

Hill, Corpus, no. 933, pi. 152

Armand,

i,

pi. xlvi, i

Archivo Storico

with thick curly hair, wearing round cap and close-fitting dress.

left,

of the Vecchietti of Florence are five ermines rampant, silver

Bode, Jahrbuch der Preussischen Kunstsammlungen xxv,


Heiss, Florentine Medals, i, p. 89; pi. xiii, 6

Bishop of Cavaillon

Bronze medal, 61.2

a scroll inscribed

blue.

Habich,
d. 1507,

mouth

Hill, Corpus, no. 1027, pi. 170

31

Bernardino Gamberia

its

The arms
on

an ermine, holding in

MORI QVAM TVRPARI

B, 4

According

34

Girolamo Savonarola 1452-98

mm. diam.
HIERONX[!]MVS SAVo

Bust

The

doubtless due to one of the

is

reverse legend records predictions by

FER

left in

VIR

habit with

DOCTISSs
hood

is

the French

which he predicted.

invasion,

design of this medal

Savonarola of the fate of Florence; the sword of the Lord

Bronze medal, 93

PREDICHATORVM

to Hill, the

sons of Andrea della Robbia.

ORDINIS

raised.

FLORENTINE, LATE FIFTEENTH-EARLY SIXTEENTH


CENTURIES
35

Dante AUghieri 1265-1321

mm.

Bronze medal, 52

diam.

DANTHES FLOREN TINVS

falling point

No

and stringed

flaps

Bust

left,

wearing laureate cap with


gown with small lapels.

covering ears;

Dante before the Mountain of Purgatory. Wearing


left, holding book in
his left hand, raising his right, and gazing at the mountain on summit
of which is the Earthly Paradise, with Adam and Eve under the Tree of
Knowledge; in a cavity at base of mountain, two figures; halfway up,
an arch; to the left, a lesser mountain with two entrances to Hell w'ith
demons, etc., about them; above, seven circles of Heaven.
Rev.

inscription.

cap as on obverse, and long robe, he stands at the

Hill,

Corpus, 1092

Armand,
Habich,

11,

pi.

11,

xlix,

Heiss, Florentine Medals,

i,

125, i; pi. xvii,

page and pp. 240-241


Friedlaender, p. 154, no. 37; pi. xxx

Holbrook,

title

Passerini, p. 43
Tresor, i, xiv, 3

Numismatic Chronicle (1913), p. 414, pi. xx, i


reverse of this medal is based on the painting made in 1465 by Domenico di Micheiino in the Duomo, Florence. Cf. the early Florentine en-

The

graving (Hind, A,
Rev.

GLADIVS

DOMINI SVP

i,

23).

TERAM CITOET VELOCITER

Divine hand holding dagger, threatening the cities of Venice, Milan,


Genoa, Florence, Pisa, Rome, Naples, and another city, probably Bologna.

BENVENUTO
TURY

CELLINI,

SCHOOL

OF,

SIXTEENTH CEN-

Hill, Corpus, no. 1075, pi. 179

Armand,

11,

36

46, 17

Unl^noivn Nobleman, possibly Cosimo de' Medici, 1519-74; married


1539 to Eleonora de Toledo; Duke of Florence 1537-69, Grand Duke

Heiss, Spinelli, p. 69, 3; pi. vii, i


Migeon, Les Arts, August 1908, p. 8, v

Dreyfus Coll., no. 282


Hofstede de Groot, 17, 6, 1929, no. 31 (92
Hill,

Portrait of
trait of

of

mm.)

most powerful expression. The only medallic Savonarola por-

great merit.

Tuscany 1569-74

Octagonal buff-colored honestone bijou, H. 56 mm.,

W.

42

mm.

Bareheaded bust with short beard to left, wearing armor with


on both shoulders, over shirt with turned-down collar.

lions'

heads

Armand,
Tresor,

Van

188, 2

i,

xxxvi, 4
Mieris, 11, 377
11,

Koehler, xvii, 33

Loebbec\e
Habich,

Munich

Coll.,

1908, no. 53

lxxxiv, 6

pi.

Forrer, iv, 409 (ill.)


Mazzuchelli, i, lxvii, 4

38

Lucrezia de Medici 1545-61,

Lead medal, 69

mm.

first

wife of Alfonso

LVCRETIA MED FERR PRINC A A

II

diam., 1558

XIII

Bust

left,

hair

wound

back and ornamented with string of jewels, wearing richly embroidered


robe, earring and necklace with pendant. Above truncation, artist's signature: P. Below truncation: 1558.

No

reverse.

Armand,

Made

195, 40

i,

probably on the occasion of Lucrezia's marriage to Alfonso

II

d'Este in 1558.

GIANPAOLO POGGINI

Florence 1518-c. 1582 Madrid

Poggini was born into a family of

His father Michele was a gem-

artists.

engraver, his younger brother Domenico, like himself, a medallist of

He

renown.
Rev. Painted with interlacing scrolls and leaf patterns centered by a
fleur-de-lis, in tones

The

p. 127, no. 11 (this

specimen)

style of this piece, as well as the

in

worked from 1545

hard materials

to 1571 in Florence,

like honestone, slate,

and

and

(M. Bernhart, 'Nachtraege

zii

it is

crystal.

stone model, depicting Alessandro Piccolomini,


Coll.

of the enamelled

known

The

Another

is

in the

Armand, Archiv

that he cut

Italian

hone-

Munich

State

v, p. 82).

Unique
Provenance: Martin

Desmoni

J.

Coll.,

Sotheby,

for his fine medals of Philip

King

May

17, i960, no. 96, pi.

and

his family.

1559

ET NOVI ORBIS OCCIDVI REX

headed bust with short beard facing

wearing

left,

cuirass.

Bare-

Below trunca-

I
PAVL POG F Pearled border.
PACE. TERRA. MARIQ. COMPOSITA Standing Pax, holding

Rev.

horn of plenty,

Temple

i,

armaments

of

sets fire to a pile

MDLIX

in front of the closed

Pearled border.

238, 5

Van Loon,

i,

Cicognara,

11,

Habich,

lxxx,

pi.

of Janus. In the exergue:

Armand,

28

lxxxv, 2
5,

Ramon,

Vidal Quadras y

Le

18

II

of Spain 1556-98

mm. diam.,
PHILIPPVS HISPANIAR

Silver medal, 42

tion, artist's signature:

workmanship

frame, would point toward an attribution to Benvenuto Cellini.


artist

known

39

Philip 11 1527-98,

of brown, white, and gold.

The stone panel is set in a contemporary octagonal gold frame with openwork border, enamelled in red, white, green, and blue. Original suspension loop. Outside dimension of frame: H. 87 mm., W. 63 mm.
Otrange-Mastai,

best

is

no. 13609

Maistre, no. 13

Betts, no. 3

Forrer,

ITALIAN MEDALS FROM THE TIME OF

BENVENUTO CELLINI ONWARDS

glance they almost appear to be struck.

artistic career

a popular one as well. Vasari says of him, "he copied


.

."

He

portrayed with great

all

skill

the world,

many

the Italian Renaissance. His highly developed feeling for grace

nute detail

in the presentation of their likenesses

is

and

ladies of

Cosimo

together with his brother Gianpaolo.

1 de'

mm.

diam., 1567

Rev.

and drapery.

Bareheaded bust

II

On

the breast: 1567.

Pearled border.

Rev.

QVO MELIOR OPTABILIOR

In a hexagonal basin, fed by

aqueduct, stands Neptune, brandishing his trident, on a chariot drawn by


sea horses. Pearled border.
i,

261, 41

cf.

Forrer,

iv,

629

Laureate and bearded head of the poet

PIETRO PAOLO GALEOTTI

Pearled border.

PRO BONO MALVM

right with short beard, wearing cuirass

Litta, Medici, no. 31

LVDOVICVS ARIOST POET

amidst flames. Pearled border.

prolific ardst, his

Medici 1519-74, Duke of Florence 1537-69, Grand

COSMVS MED FLOREN ET SENAR DVX

Armand,

Lodovico Ariosto 1474-1533


Bronze medal, 38 mm. diam.

fifty pieces.

Tuscany 1569-74

of

Silver medal, 41.5

two

left.

in the

40

and mi-

evident (see no. 38).

37

facing

New World

Rome

Florence 1520- 1590

medallic creations alone comprise about

kinds.

and of the

of Spain

goldsmith, sculptor, die-engraver, and medallist, Poggini began his

Duke

Judging by the number of medals by Pastorino, it would appear that he


was not only one of the most prolific artists of the sixteenth century, but
all

King

Philip as

DOMENICO POGGINI

Siena 1508-1592 Florence

Although a native son of Siena (his father was a shoemaker at, or from
the neighborhood of, Siena), Pastorino worked in the Florentine tradition. His early years were spent on glass painting, but from 1540 to
1578 he devoted himself to the modelling of portraits in wax and casting
them, usually in lead and without reverse. His casts are so finely exe-

persons of

The remarkable

the peace treaty of Chateau Cambresis.

cites

West.

PASTORINO DE' PASTORINI

first

633

obverse legend

FLORENTINE ARTISTS

cuted that at

iv,

Commemorates

Bees surrounding a column rising from

PAOLO ROMANO
A

called

IL

generally

ROMANO

goldsmith, coin engraver, and medallist,

II

d.

known

as

PIETRO

1584

Romano,

a native of

Rome,

worked

and died there

in the north of Italy, settled at Florence in 1550,

in

1584.
II

Romano's medals are executed with much care and

in a

manner

at

of the House of Savoy, whose meaning has been explained as: Foedere
Et Religione Tenemur). Under the truncation, the artist's signature:

GASP

OPORTVNE

Rev.

once graceful and expressive.

The

centaur Chiron, bearded and with flying

prancing right, shooting his arrow.


41

tarius

Faustina Sforza Marchesa of Caravaggio, married 1546

the date

mm. diam.
FAVSTINA SFORTIA MARCH CARAVAGII.

Forrer

Bronze medal, 72

and

richly draped,

vine

No
cf.

Bust facing right, veiled

wearing double necklace. In the

field, to the right, a

("The Archer"); beneath

MDCVI.

iv,

113

body the constellation

his

stole,

Sagit-

hooves the planetary system. Below,

Original suspension loop.

(ill.)

centaur Chiron, son of Titan Chronos, ancestor of Achilles and Ajax,

The

was the famous teacher

of Jason, Asklepios,

wound he gave

ceived an incurable

leaf.

his

On

Chiron became the constellation

and Herakles.

When

he

re-

immortality to Prometheus.

his

Sagittarius.

reverse.

Armand,

This gold medal


i,

the earliest

is

and probably the

finest

by Mola.

234, 35

44

42

Gianfrancesco Trivulzio d. 1573, Marchese of Vigevano and Castel-

nuGvo
Bronze medal,

mm.

H. 48 mm.,

Duke

of

Tuscany 1608-20

W. 40 mm.

with Maltese cross on breastplate.

of

in the

FRAN TRI MAR VIG CO MVSO AC VAL


(rosette) lO
REN ET STOSA D Bearded and cuirassed bust right, drapery fastened on right shoulder. On the truncation: AET 39
Rev. FVI SVM ET ERO. Nude Fortuna, holding flowing sail amidst a

de Medici 1590-1620, Grand

II

Youthful bust right, with short hair and small moustache, wearing armor
diam.

Giangiacomo Trivulzio, he lost his possession


of Pavia, but in 1535 was restored by Charles V.

The grandson
battle

59.5

Cosimo

Silver oval medal,

No

reverse.

Unpublished and probably unique,

cf.

Fabriczy, p. 183,

cf.

Habich,

xxxvi, 5

pi.

p. 119, pi. lxxxii, 8

and

violent sea, surrounded by dolphins

tritons.

ANTONIO SELVI
Selvi

blowing zephyrs.

Armand,
Forrer,

11,

11,

Habich,

pi. xcvi,

is

said to

a pupil of Massi-

have resided in England for a while.

45

Cosimo

GASPARE MOLA

Duke

Medici 1519-74, Duke of Florence 1537-69, Grand


Tuscany 1569-74

I de'

of

mm.

c.

Milan goldsmith. The bronze


were his first major commission. During his early period of activity he worked at Florence, and from
1613-14 at the mints of Guastalla and Mantua. In 1623 the artist settled
in Rome, and was appointed Papal mint engraver in 1625, succeeding
Jacobo Antonio Moro. Habich writes about Mola: "His best works show
the influence of the brilliant French medallist Guillaume Dupre, with
whom Mola had contact." Mola was a master at depicting even the most
youth Mola was apprenticed

diam.

MAGNVS COSMVS MEDICES

1580-c. 1640

to a

gates of the Cathedral of Pisa, about 1601,

minute

and

prolific Florentine artists,

He

302, 13

192

Bronze medal, 85

1755

was one of the most

miliano Soldani-Benzi.

Provenance: Dr. Jacob Hirsch Estate

As

d.

Above and below, four

detail.

and round
Rev.

SEMPER
11,

25,

Mazzuchelli,

ROMAN

Three interlinked

i,

mo,

right,

wearing

gown

rings. Raised border.

xx, 3

pi.

ARTISTS

ALESSANDRO CESATI called


ac.

cap. Raised border.

Hill, Corpus, no.

Armand,

P P Bust

IL

GRECO or IL GRECHETTO

1538-53

was born on Cyprus about 1500, the son of an Italian father and a
He is mentioned by Vasari as the first medallist of his
age. "Far beyond others," V^asari says, "has gone Alessandro Cesati,
called II Greco, by whom every other artist is surpassed in the grace and

Cesati

Cypriote mother.

perfection as well as in the universality of his productions."

46

Dido, Queen of Carthage


Bronze medal, 45

Greek
coils and

mm.

inscription:
falling

diam.

DIDO

BASILISSA. Bust

right,

wreathed, hair in

on neck, drapery fastened on right shoulder. Pearled

border.

Rev. Greek inscription:


lying in harbor before

K.'^RCHEDON View

Hill, Dreyjiis Coll., no. 368, pi.


cf.

lxxxvi

Burlington Magazine, February 191

1,

GIAN FEDERIGO BONZAGNA


43

Charles

MENSE
Emanuel

I 1562-1630,

Oval gold medal, H. 58 mm.,

W.

Duke
45.5

CAROLVS EMAN D G DVX

of Savoy 1580-1630

mm., 1606

SAB P P

artist of stature of the

alive in 1586.

called

11,

FEDERIGO PAR-

second half of the sixteenth century, medallic

He worked

at the

and Ottavio Farnese

especially fine plaquettes by

in

known

after 1575,

Papal mint in

though he was

Rome and

still

also for Pier-

Parma.

luigi

Two
166.

p. 267, pi.

ac. 1547-75

products by Bonzagna are not

Bareheaded bust with


beard and moustache to right, wearing ruff collar, richly damascened
armor and drapery; around the neck an embroidered ribbon from which
a medallion is suspended. The ribbon doubly inscribed: FERT (the motto

An

of Carthage, with galleys

it.

Parmense

will be

found

as nos. 165

and

from the

47

rising

Pierluigi Farnese 1503-47,

Hildebrand,

mm.
LOYSIVS

P(etrus)

DVX

and damascened

Crona

AD

F(arnesius)

PARM(ae)

ET

PLAC(entiae)

De

cuirass with lion's

head on right shoulder. Under trun-

F PARM Legend between pearled circles.


CIVITAT(is) DITIONISQ(ue) TVTEL(am) MVNIM

Armand,

260 (bronze)

(ill.)

and 27

Bildt, pi. vi, nos. 26

Dreyjus

11,

1649-1705

Giovanni Hamerani, who in 1677 succeeded his father Alberto as Papal


medallist, was perhaps the most distinguished of the Hamerani family
of die-cutters.

Innocent XII (Antonio Pignatelli 1615-1700) Pope 1691-1700

lxxxvii

Coll., no. 375, pi.

INNOCEN

Provenance: Loebbecke

Coll.,

Gutekunst

Munich

mm.

Gold medal, 32

214

i,

GIOVANNI HAMERANI

51

222, 6

i,

Litta, Farnese,

Forrer,

129

vi,

(entum) EXTRVCTVM Bird's-eye view of the citadel of Parma, with


gate opening on a stream. Legend between pearled circles.

Hill,

Coll., no.

Forrer,

cation, the artist's signature:

Rev.

Parma and Piacenza

of

field.

Bearded, bareheaded bust right, wearing mantle, shirt of mail,

Duke

diam.

Bronze medal, 39

Granulated

ashes. In the exergue: 1665.

no. 104a

i,

1908, no. 87

I
(anno I). Bust right, with short
camauro and embroidered cope. Under the truncation, the

beard, wearing

Coll., Stuttgart 1910, no. 60, pi. iv

diam., 1691

PONT M A

XII

signature: HAMERA. Pearled border.


A DEO ET PRO DEO Caritas standing,

artist's

facing front, holding

48

Rev.

Pius

arms a child, and flanked by two others who are bearing urns
from which flow streams of coins. At her feet, an urn spilling coins.

(Michele Ghislieri 1504-72) Pope 1566-72

mm.

Gilded bronze medal, 37.5

PIVS

PONT(ifex)

Bearded bust

MAX(imus)

DEXTERA TVA DOM(ine) PERCVSSIT INIMICVM

View

VI

1571

chalice;

Armand,

Forrer,

402

11,

he abolished.

PADUAN ARTISTS

226, 33
Tresor, Medailles Papales, pi. xv, 4

VALERIC BELLI

Bolzenthal,

i,

291, 11

i,

Dreyfus Coll., no. 373,


Vogel Coll., no. 43

Hill,

The

on

reverse legend

this

pi.

lxxxvii

medal

The medal commemorates


Pius

is

an engraver of

A nephew

Emperor Aelius

his

The following

1668

ac. 1627-c.

Papal mint in Rome.

at the

piece belongs to the period of his earliest works.

a.d. 138,

adopted son of Emperor Hadrian

mm. diam.
AELIVS CAESAR Draped

of

Mantua 1626-27

Silver medal, 46

mm.

VINCEN

From

the series of the

D G DVX MANT

II

VII

dux Mantuae VII

ET

et Montisferratis

V
V)

Rev.

signature:

FERIS

G MORON

F(ecit)

with

"Twelve Caesars" by Valerio

Belli.

known

called

PADOVANO

IL

Roman

1500-70

large bronze coins

Bare-

of their successors. His

bringing back to

life

for his imitations of

work

is

typical of the spirit of the Renaissance,

the heritage of classical antiquity.

53

left.

Pearled

Floriano Antonini

mm. diam.
FLORIANVS ANTONINVS ANDREAE F

Bronze medal, 38

Corpus,

p. 359,
iv,

25

hair right,

156

wearing buttoned

Rev. Below exerguel line:

GIOACHINO FRANCESCO TRAVANI

mid-seventeenth cen-

In 1655, Travani was one of the three "Consuls" of the goldsmiths' guild

Among

Rome.

best-known productions

his

Christina of Sweden,

Catholic

Bearded bust with short

coat.

AETERNITATI SACRVM

in front of a two-story building, the frieze of

which

is

Various persons

adorned with

bas-relief.

tury

in

soldiers

(Vin-

border.

Forrer,

armed

Pearled border.

TANTVM INFENSVS A hound standing to

five

Cavino is
and medallions, numbering about 120. The portraits mostly belong to
the period of the "Twelve Caesars," though he does not neglect some

headed bust with long hair and moustache facing left, wearing ruff collar
and adorned cuirass, neck chain with jewel. Under the truncation, the
artist's

him

158

i,

well

diam.

centius secundus, Dei gratia,

bearded and with curly hair,

bust,

Rev. Aelius seated on a podium, before

GIOVANNI DAL CAVINO


Gonzaga Duke

II

Chiefly

and medals.

captive. In the exergue: S. C.

Forrer,

49

Vincenzo

artist.

facing right.

(cf.

and Orazio
uncle's death, he was appointed engraver
his uncle

Paduan

also cut dies for coins

Bronze medal, 36

nos. 43 ff.), he entered into partnership


Ghibellini for the production of medals. Upon

Mola

of Gaspare

and gems, he

15, 6.

the victorious Battle of Lepanto.

GASPARO MORONE-MOLA

crystal

52

taken from Exodus,

the last Pope to have been canonized.

is

1468-1546

native of Vicenza, Belli ranks, however, as a

L(ucius)

with

on
God hurling lightning from above. Pearled border.

of the Battle of Lepanto;

Innocent XII was elected Pope as a result of a compromise, but soon


showed himself a stern reformer, especially regarding nepotism, which

an angel with cross and

a galley,

wearing skullcap and cape with hood. Below, the

left,

Pearled border.

ANNO

signature: F(edericus) P(armensis). Pearled border.

artist's

Rev.

diam., 1571

OPT(imus)

in her

Church had

who

after her abdication

retired to

of

Queen

and conversion

to the

is

Rome. Christina

the

is

medal

Mazzuchelli,

Armand,

i,

i,

lxiv, 5

179, 2

54

represented as the

Agrippina

"Pallas Nordica."

Sr. d. a.d. 33,

daughter of Marcus Agrippa, wife of Ger-

manicus
50

Christina 1626-89,

Queen

of

Sweden 1632-54

mm. diam., 1665


CHRISTINA Head

REGINA

as Pallas

Athena facing

mm.

AGRIPPINA
GVSTI Bust right,

hair in club behind, tresses falling

right.

Granu-

lated field.

Rev. S

MAKELOS

(Swedish: without peer). Phoenix

MAT(er)

C(aii)

CAESARIS. AVdown neck, drapery

over shoulder.

Q R MEMORIAE
I

Rev. (in Greek letters)

diam.

M(arci) F(ilia)

Silver medal, 61

Bronze medal, 36.5

by two mules.

AGRIPPINAE

Funeral car drawn

Forrer,

60

(ill.)

367

i,

Hill, Drcyjtis Coll., pi. xci, 401 (variant)

Emperor Marcus Aurelius

Cohen, i, 231, i
Lawrence, no. 7

ANTONINVS

M.
55

Emperor Otho

a.d.

Bronze medal, 36

IMP(erator)

mm.

Bronze medal, 37

mm.

CAESAR

AVG(ustus)

TR(ibunicia) P(otestatis) XXI3<


wearing drapery over cuirass adornec

right,

Rev. IMP(erator) VII COS(ul) III Winged Victory seated to righi


on armaments, holding a palm branch and a shield inscribed VlC(toria)
AVG(usti) in front of her, a military trophy.

diam.

OTHO

AVG(ustus)

Bearded and laureate bust


with aegis on breast.

69

161-180

a.d.

diam.

TRI(bunicia)

POT(estatis). Bust right, wearing undulated hairpiece.


Forrer,

Rev.

SECVRITAS

an

R(omani)

P(opuli)

ing his hand to four

armed

Otho before an

altar extend-

soldiers carrying military standards before

61

In the exergue: S C.

altar.

Cohen,

i,

Forrer,

i,

Faustina

354 (note)
368

mm.

diam.

FAVSTINA AVG(usta) ANTONINI

types of this

issue Sestertii of

Marcus Aurelius

176, wife of

Jr. d. a.d.

Bronze medallion, 34

Lawrence, no. 23

The

369
Lawrence, no. 56
i,

medal were invented by Cavino. The Romans did not

Otho.

bust right, hair confined by

and

fillet

AVG(usti)

Draped

PII FIL(ia).

in chignon.

Rev. Sacrifice by the Empress and five

women and

a child before a hex-

agonal temple containing a statue of Vesta (?). Below: S C.


56

Cohen,

Emperor

Vitellius a.d. 69

mm. diam.
VITELLIVS GERMAN(icus)

Forrer,

Bronze medal, 35
A(ulus)

IMP(erator) AVG(ustus) P(on-

M(aximus) TR(ibunus) Draped and

tifex)

laureate bust right.

In the

Forrer,

field,

Emperor Lucius Verus


Bronze medallion, 38

C.

VERVS

L(ucius)
362, 80 (variant)

i,

i,

Coll., pi. xcii,

407

369
Lawrence, no. 59
i,

62

Rev. Helmeted Mars, his mantle flowing, striding toward the right,
carrying a transversal sceptre and a shouldered trophy of armaments.

Cohen,

loi

iii,

Dreyfus

Hill,

368

61-169

Villi

P(otestatis)

wearing drapery over

right,

Lawrence, no. 28

diam.

AVG(ustus) ARM(eniacus)

TR(ibunicia)

(imus)

a.d.

mm.

Emperor Titus

holds Victory and

TR(ibunicia)
a.d.

Bronze medal, 34

79-81

mm.

P(ater)

diam.

IMP(erator) T(itus) CAES(ar) VESP(asianus)


fex)

who

peror

M(aximus) TR(ibunicia)

VIII

Laureate head

Rev.

IVDAEA CAPTA Under

P(otestatis)

AVG(ustus) P(ontiP(ater) P(atriae) COS(ul)

P(otestatis)

palm

tree, a captive

Judaean standing

mourn-

ing. In the exergue: S C.

439, 114

Forrer,

i,

368

Cohen,

iii,

Forrer,

i,

Emperor Nerva

a.d.

Bronze medal, 35

mm.

Em-

IIII

COS(ul)

III

197

Lawrence, no. 60

VENETIAN ARTISTS

ANDREA

SPINELLI

d.

1572

Parma, was a medallist and mint engraver

at

Venice

Andrea

diam.

Doge 1523-39
mm. diam., 1534

Gritti

Bronze medal, 37

right.

left,

NERVA

CONGIAR P R The

emperor holding

scroll seated facing right,

on

curule chair placed on a suggestum, presiding at a congiarium; before

him, a prefect distributing

and engravings.

in books

63

96-98

CAES(ar) AVG(ustus) P(ontifex) M(aximus)


TR(ibunicia) P(otestatis) COS(ul) II P(ater) P(atriae) Laureate bust

gifts to a citizen

who

is

mounting

the steps

ANDREAS GRITI DVX VENETIAR MDXXXIIII

Bearded bust
wearing ducal hat and robe. Legend between two pearled borders.

San Francesco

signature:

AN

SP

i,

Cohen,

Tresor,

xxviii, 2

11,

Forrer,

i,

37
368

(leaf)

View

of the church

Vigna at Venice. Below exerguel line, the


F Legend between two pearled borders.

della

Armand,
i,

DIVI FRANCISCI MDXXXIIII

Rev. (leaf)
of

of the suggestum; behind, soldiers and Liberalitas. In the exergue: S C.

artist's

155, 4

4,

Habich,
Hill,

Lawrence, no. 44

pi.

lxxvi, 16

Dreyjns

Coll., no. 413, pi. xciii

VITTORIA DELLA VOLPE

59

Marciana,

d. a.d. 114, sister of

Trieste

Emperor Trajan

Medallion, silver core within a bronze rim, 39.5

DIVA AVGVSTA MARCIANA Draped


dem on

IMP(erator)

VII.

the

Virtus. In the exergue:

369

Giacomo, and dealt

58

Rev.

Rome, receiving

during the middle of the sixteenth century. He started his career in 1535
as assistant engraver at the Venice mint, and was appointed chief engraver in 1540. In 1543 he ventured into business, together with his son

Lawrence, no. 37

IMP(erator)

of

P(atriae)

Spinelli, a native of
i,

hills

crowned by

is

left.

beside captured armaments, and the seated Judaea in attitude of

Cohen,

MAX

PARTH(icus)

cuirass.

Rev. Jupiter seated right upon the seven

57

Laureate and bearded bust

mm.

diam.

bust right, wearing triple dia-

elaborately arranged hair.

Rev. CONSECRATIO Marciana, as Vesta, seated on a car drawn by


four elephants. In the exergue: S(enatus) P(opulus) Q(ue) R(omae).

Next

called

ALESSANDRO VITTORIA

525-1 608 Venice

to Sansovino's, Vittoria's

name

figures prominently

among

the Ve-

MedRangoni medals was


produced, Vittoria was received into the Confraternity of San Marco,
when (according to the inscription on the following medal) Rangoni
netian artists of the sixteenth century. Forrer, in his Dictionary of

allists,

writes: "In 1562, the year

when one

of the

presided over the Brotherhood as a Guardian."

He

of Charles V.

Tornmaso Rangoni

mm.

Bronze medal, 40

the

physician and professor in Padua

d. 1577,

diam., 1562

to repair the

Re\

left,

tight-fitting

woman

the breast of a reclining

Loebbecke

L^nna

In the

eagle places a child

on

(the birth of Hebe).

196, 19

11,

Ferrer, vi, 289

TVRRIAN

HOROLOG

from which escape two

jets

Munich

1908, no. 42

Armand,
Plon,

i,

of water,

which various persons

and

274
da Trezzo)

9, p.

8 (as Jacopo

pi. xciii,

LEONE LEONI

called

ARETINUS

sculptor, goldsmith, medallist,

1509-90

and die-engraver, Leoni probably was

most important artist of the Milanese School during the sixteenth


century. His violent temper caused him to be committed to the galleys
in 1540, and it was to the Genoese Admiral Andrea Doria that he owed
his liberadon. Even with old age the artist did not mellow, and on one
occasion he nearly murdered the son of Tidan, trying to rob him, when
the latter had come to Milan to collect a large sum of money.
the

Leoni deserves great praise. His medals, retaining

many

of

i,

pi. xlix,

Hill, Dreyjtis Coll., no. 435, pi. xcvi

Lanna

Coll., no. 227, pi. 15

Loebbec}{e Coll.,

Munich

1908, no. 121, pi. viii

There also exists a painted portrait of Gianello by Titian (see: Jean BabeIon, Revue de VAnttqiiite Ancienne, 1913, October, pp. 269-278).

JACOPO NIZZOLA DA TREZZO

called

JACOPO DA TREZZO

Milan 1515/20-1589 Madrid

the sculptural qualities of his predecessors of the fifteenth century, are

work of an artist of broad scope. Charles V was very fond


work and, in recognition thereof, ennobled him in 1549, dur-

certainly the

artist's

sojourn at Brussels.

65

Daniel de

Hanna

in dif-

170, 38

XXXIV, nos. 8

pi.

Herrera, 9 (1905), pp. 226-270


Fabriczy, pi. xxxix, 4

ing the

ARCHITECT

VIR TVS and, in the exergue: NVNQ:DEFICIT A female figure


(Fountain of the Sciences) standing, draped, holding on her head a ves-

Mazzuchelli,

of Leoni's

ob-

ferent attitudes collect in vases below. Pearled border.

Coll., in, no. 164, pi. 12

ardst,

The

asked him

Rev.

^MILANESE ARTISTS

As an

refer.

who had

at Pavia.

CREMON

medal may

this

for Charles V,

Bust right, with short hair and beard, wearing tunic and cloak. Pearled

Habich,

made

one by Giovanni Dondi

lANELLVS

sel

(ill.)

Coll.,

which the reverse of

border.

.\rmand,

gown.

1562.

A lOVE ET SORORE GENITA An

Bareheaded and bearded bust right, wearing


held, to the

constructed a hydraulic machine to raise the level of


to

verse legend refers to a clock he

THOM PHILOL RAVEN PHYS EQ GVARD D MAR MAG

Tagus River,

member

(a

of the well-known Flemish merchant

Trezzo, a contemporary of Leone Leoni's and

like

him

a distinguished

Milanese medallist, entered into the employ of the Emperor, as was cus-

tomary for leading


in

The

he

left

artists in that

Netherlands, where his

From 1555 to 1559 he was active


appears in the state records. In 1559

period.

name

and stayed there for the remainder of


monarchs in the many artistic crafts

for Spain

for the Spanish

his

life,

working

marked

that

his

versatility.

family that settled in Venice)

Bronze medal, 54

mm.

diam.

D.A.N'IEL (rose)

DE

(rose)

68

HANNA

Bust

beard, wearing cloak fastened with bulla

on

left,

left

with short hair and

shoulder, over figured

underdress. Pearled border.

OMNE VANVM

Armand,

i,

Cicognara,

169, 29;
iv,

iii,

1535-63, wife of Antonio Caraffa

Bronze medal, 68.5


facing

left,

mm.

diam., 1552

GONZAGA FERDINANDI

HIPPOLYTA

Female figure (Vanity), wearing tunic girt high


and mantle, standing to front, looking left, holding in both hands a vase
from which smoke emerges. Pearled border.
Rev.

Gonzaga

Ippolita

FIL

AN

XVII Bust

with upbound hair, wearing richly draped robe, earring, two

necklaces (one with pendant). Below truncation:

AC TREZ.

Pearled

border.

72, ee

198

Venice, Correr: Bergman,

11,

4,

no.

11

Hauschild, Anhang, no. 363


T. Whitcombe Greene, no. 93

Bridsh

Museum

Copenhagen

The

present piece

is

the largest of the recorded specimens.

66

Gonzaga

Ippolita

Bronze medal, 68.6

1535-63, wife of Antonio Caraffa

mm.

diam.

FIL AN XVI, and in


Greek) LEON ARETINOS. Bust left, with hair wound
into a chignon, wearing dress draped in the antique manner, double pearl
necklace with pendant. Pearled border.

HIPPOLYTA GONZAGA FERDINANDI

the right field (in

Rev.
right,

PAR

with Cerberus

Armand,
Habich,
Plon,

POTEST AS

VBIQ

Diana blowing her horn marching

holding an arrow, and accompanied by three hunting dogs. Pluto,

i,

at his feet,

is

seated in a building to the

left.

163, 7

pi. xcii,

pi. XXXII,

and

Provenance: Elkan

Rev.

Coll., no. 78

VIRTVTIS FORMAEQ PRAEVIA Aurora

heavens

in a chariot

and with her

drawn by Pegasus; holding

Armand,
Bronze medal, 80.8

Born

in

mm.

Hill,

241,

Rodocanachi,

diam.

Cremona, Delia Torre was an engineer and

i,

Dreyjus

achitect in the service

her

left

hand,

right strewing flowers over the earth. Pearled border.

67

Gianello della Torre d. 1583

riding through the

a torch in

Coll., no. 438, pi. xcvi


p.

220

Provenance: Luccardi

Coll., no. 11, pi. 41

D'ETA DI XXXIII ANNI

Rev. Circle of inscription:

Armand,
This

iii,

235,

(this

known

the only

is

M D

XLIIII

specimen)

specimen.

Provenance: T. Whitcombe Greene Coll.

Lippman Coll.
Henry Oppenheimer

Coll.

VENETIAN, SIXTEENTH CENTURY


70

Trifone Gabrielli d. 1549, Venetian patrician and poet

mm. diam.
TRYPHON GABRIEL Bareheaded

Bronze medal,

44.5

bust

left,

wearing patrician robe.

INNOCENS MANIB ET MVNDO CORDE

Rev.

Draped female

figure

(Innocence) washing her hands at a spring gushing from a high rock.

Armand,

126, 10

11,

71

Marcantonio Trevisan Doge 1553-54

NORTH

ITALIAN, SIXTEENTH

CENTURY

VIXANO

NO

diam., 1544

GIOVANNI DI NALE

wearing plain robe with

Bearded bust

right,

wear-

DVX

DEI GRATIA

TREVIXITA

b. 151

mm.

MARCVS
ANTONIVS
VENETIARVM ETC

Rev. Within an olive wreath:

Giovanni di Nale

shoulders.

diam., 1554

MARCVS ANT TREVISANO DVX V

ing ermined robe and ducal cap.

69

Bronze medal, 65

mm.

Bronze medal, 63.5

UNIDENTIFIED ARTISTS

on round

collar, loose

left,
cf.

OBIT

MDLIIII

Hill,

Bearded bust with short curly hair facing


lace trim

IN PRINCIPATV

Dreyjus

Armand,

cvni

Coll., no. 504, pi.

224,

11,

drapery over

72

Girolamo Priuli Doge 1559-67

mm. diam., 1567


HIERONIMVS PRIOL VE DVX

Bronze medal, 42

gown and

caded
Rev.

PV

VIII
AN
ME
N DE IIII

Bearded bust

wearing bro-

right,

ducal hat.
II

DI

OBI

IIII

DLXVII
Armand,
Tresor,

225, 4

11,

11,

xxvii, 5

73

Cornelio

Musso

Bishop of Bitunto

d. 1574,

mm.

Bronze medal, 58

diam.

CORNELIVS MVSSVS EP BITVNT

His bearded bust right, wear-

ing habit with lowered hood.


Rev.

DIVINVM CONCINIT ORBI Swan

Armand,
cf.

Habich,

cf.

Lanna

Forrer,

left,

with spread wings.

212, 48

11,

pi.

xcv, 4
iii, no. 312

Coll.,

192 (as Pietro Paolo Galeoti,

11,

II

Romano)

Francesco Cornelio Musso was called "the Isocrates of

Italy."

74

Marino Grimani Doge 1595-1606

mm.

Bronze medal, 39

MARIN. GRIMANVS

diam., 1595

DVX VENETIAR

brocaded robe and ducal


Rev.

SYDERA

lion of St.

Armand,
Tresor,

Vogel

CORDIS and

Mark, rampant

11,

273,

Bearded bust

right,

wearing

hat.

to left,

below exerguel

line:

holding crosslet orb.

xxvii, 3
Coll.. no. 56
11,

MILANESE, SIXTEENTH CENTURY


75
Pietro Piantanida Milanese Captain

1595

The

haloec

FRANCESCO

PANIGAROLA

AETA

ANNI

XXVIII between

three linear circles. Pearled border. Bareheaded bust with curly hair

short beard facing

No

gown

wearing buttoned

left,

with ruffled

and

collar.

reverse.

Armand,

262, 3
xcvi, 2

11,

Mazerole,

i,

Provenance: Luccardi

Coll., pi. 40, no. 5, this

specimen

77
Battista Spinola

de Serravalis

Genoese nobleman

b. 1537,

mm. diam.
BAP SPINOLA D SERRAVALLIS
Bronze medal,

47.5

Bareheaded and bearded bust left,


adorned with standing female figure and,
head. Around, granitura.

wearing ruff
on shoulder,
Bronze medal, 50.5

right,

diam.

raging

Bareheaded bust

with short hair and beard, wearing drapery over damascened

adorned with aegis and

breast armor,

grifiBn's

lion's

Hebrew

Rev.

PLANTANIDA AET AN XXXVI

PET

CAP

mm.

collar

cuirass

inscription:

"Oh Lord,

help us."

two-masted ship on a

two zephyrs blowing from above. Pearled border.

sea,

Armand,

and

209, 30 (example seen in Heiss Coll.)

11,

head on right shoulder.

FRENCH MEDALS
NICOLAS LECLERC

ac.

Lyon

JEAN DE SAINT-PRIEST

1487- 1508

Lyon

ac.

c.

1500

by Louis XII and Anne of Brittany,


celebrate the occasion presented the Royal couple with a splendid

Lyon was

In 1500 the city of

visited

and to
medal measuring about ^Vi inches in diameter. The medal was modelled
by Nicolas Leclerc (who in a document is referred to as "tailleur
d'images" in 1499) and Jean de Saint-Priest. The casting was done by the
brothers Jean and Colin Le Pere. The medal (no. 78), with its lingering
touch of the Gothic, is one of the most admirable examples of French art
from the waning Middle Ages.
78

Louis XII 1462-1515, King of France 1498-1515 and Anne


tany 1477-1514, Queen of France 1491-1514
Rev.

DV\I

SPIRITVS

ure, standing
in her left

towards the

HOS REGET ARTVS

left,

raising her right

Draped female

arm and holding

Large bronze medal, 113


(crosslet)

On

11,

Coll., no. 423, pi.

pi. xxiii,

Habich, Corpus,

11,

xciv

5 (attributed to Etienne de Hollande)


487, fig. 507a (as early Italian work of Antonio

2, p.

Abondio)

The

present piece

crowned and
Hill,

Medals

Hill,

Dreyjus

the largest of the recorded specimens.

76

Mazerolle,

Francesco Panigarola Bishop of Asti 1548-94

mm.

diam.,

c.

1576

p. 207,

Rondot,

cap, robe

Lyon.

BIS

1499.

to

left,

Lyon.

pi. xxiv, 3

Munich
iv,

454
no. 27

1908, no. 24, pi. iv

(ill.); v,

303

(ill.)

p. 16

Rosenheim

Anne

364;
cf.

Coll., no. 527, pi. cxiii

Loebbechj: Coll.,
111,

fleurs-de-lis

the Renaissance,

crown over

CEsown with

SIC FVI CONFLATA


and ermine, bust of Anne

veiled; below, lion of

of

Friedlaender,
is

Forrer,

Bronze medal, 61

sown with

a field

a field

REPVBLICA GAVDE(n)TE

LVGDVN(ensi)

Regling, p. 93

Simonis,

collar of St. Michael; below, lion of

ANNA REGNANTE BENIGNE

lxxxiii, 4, p. 121

Dreyjus

bust of Louis XII to right, wearing

fleurs-de-lis,

and

Rev. (crosslet)

Cellini)

Hill,

11, 179, 9 (49 mm.), after Cabinet de France


Burlington Magazine, October 1910, pi. 11, B (attributed to Benvenuto

pi.

DVODECIMO

SARE ALTERO GAVDET OMNIS NACIO On

hand (Faith?).

Armand,

Habich,

mm. diam., 1499


FELICE LVDOVICO REGNANTE

fig-

cup

of Brit-

Coll., no. 554, pi.

24

1488 from her father, Francis II. Consequently her hand was eagerly sought by a number of suitors. Archduke
Maximilian (later Emperor Maximilian I) in 1490 married her by proxy.
inherited Brittany in

forced Anne to seek annulment of this marriage,


was married to Charles VIII with the stipulation that in
case of his death she was to marry his successor. Accordingly, in 1499 she
married Louis XII, who for the purpose had obtained a divorce from his

The French, however,


and

in 1491 she

first

wife.

These developments led

to the eventual incorporation of Brit-

tany into France.

Provenance: Count Trivulzio Coll.

ETIENNE DE LAUNE
In his youth

De Laune

engraver. Cellini's
tions,

c.

1518-c. 1583

exercised the trade of goldsmith, modeller,

work seems

to

have inspired some of

ere

office
etc.,

and

produc-

which are most graceful and pleasing. In 1552, upon the establishII of the "Monnaie du Moulin," in which coins no longer
struck by hammer but by machine, De Laune was elected to the
of engraver. Several drawings by the artist's hand of medals, coins,

ment by Henri
v.

his early

are preserved at the Bibliotheque Nationale.

King

ricfiry II 1519-59,

Bronze medal, 53

mm.

HENRICVS

FRANCOR REX

right,

II

diam.

INVICTISS P P Laureate

TE COPIA LAVRO ET FAMA BEARVNT NVIA

Rev.

bust

wearing armor. Pearled border.

Fama,

holding trumpet, driving a quadriga to right in which Pax and Abun-

dance are seated. Pearled border.


Ferrer,

iii,

337

Armand,

in, 285,

Tresor,

xi,

i,

5
Mazerolle, no. 103

GERMAIN PILON

the eminent French sculptors

of the second half of the sixteenth century.

lists
is

1535-90

c.

among

Pilon takes his place


[

of France 1547-59

the

monument

Henri

to

II

One

and medal-

of his masterpieces

and Catherine de Medici

at St. Denis.

His

medallic productions are conspicuous for their very large size, a purely

French fashion which has no equivalent elsewhere.


80

Henry

King

III 1551-89,

of France 1574-89, elected

King

of

Poland

1573

Bronze medal, 154

HENRICVS

mm.

diam., 1575

D G FRAN ET POL REX

1575 Bust almost fac-

ing front, wearing soft beret

ornamented with feathers and


chain over brocaded gown.

collar, triple

No

jewels, ruff

reverse.

Tresor,

Med. Franc,

pi.

xxiv,

Babelon, no. 167


Forrer,

iv,

542/3

(ill.)

GUILLAUME DUPR
During

c.

1574-c. 1643

French medal found its highest


Although Dupre's products may not rival those
masters in their conception and composition, their

this celebrated artist's life the

technical achievement.
of the great Italian

execution

so fine, their details so delicate, that they are a source of con-

is

tinuous enjoyment.

Dupre was comptroller-general of the French mint from 1604-39, but his
influence on coinage was negligible. He was one of the last representatives of the French Renaissance and one of France's greatest medallists.
81

Henry IV 1553-1610, King

mm.

Bronze medal, 57

HENRICVS
right,

D G FRANC ET N.WAR REX

Laureate bust

Roman Emperor, wearing

drapery over

bearded, dressed as a

cuirass.

Rev.

IIII

of France 1589-1610

diam., 1604

Underneath:

1604

MAIOR AB IGNE

M.\IESTAS

de Medici, shaking hands over a flaming

Henry IV and

altar.

his

wife Marie

In the exergue: 1604.

Mazerolle, no. 283

Marie de Medici 1573-1642, Queen

of France 1600-31

mm. diam., 1615


MARIA AVG. GALLIAE ET NAVARAE REGINA
Bronze medal, 63

Pro venance: Loebbecke

Coll.,

Halle 1925, no. 76,

pi. vi

82

Bust right, wear-

ing diadem and earring, high lace collar closed with a cross on brocaded

Marcantonio

Memmo

Doge of Venice
Pope Urban VIII

Barberini later

Bronze medal, 91.5

mm.

16 12-15

and Cardinal Maffeo

right,

Rev.
diam., 1612

four

wearing brocaded dress and ducal

DUPRE F

Rev.

MAPH

BONO LEG

hat.

Under

Bearded bust

the truncation:

1612 Pearled border.

R E P CAR

Tresor,

Med. Franc.,

Forrer,

i,

DUPRE F

15, 3

657

Provenance: Dr. Benno Geiger Coll.

field.

artist's

signature: G.

Tresor,

DUPRE

1615. All in con-

Pearled border.

SERVANDO DEA FACTA DEOS


girls.

Marie

in a ship

manned by

Above, two blowing zephyrs.

Med. Franc.,

pi. v,

Mazerolle, no. 680

Lanna

BARBERIN SIG IVST PRAE

Bust with short beard to right, in ecclesiastical garb. Un-

der the truncation: G.

gown. Below truncation,


cave

MARCVS ANTONIVS MEMMO DVX VENETIARVM


G.

83

Coll., no. 411

Loebbecke

Coll., no.

Provenance: British

206 (Munich 1908)

Museum

Duplicates (Sotheby, July

13, 1922, no.

39)

1612 Pearled border.

JEAN WARIN
in 1646.

ac. 1627-c.

1672

called Lorfelin, as engraver to the mint


Together with Dupre, Jean Warin holds a most honored place

Warin succeeded

Jean

Darmand,

in the history of

French medallic art. To this talented artist we owe


most beautiful medals and coins of the seventeenth cen-

some

of France's

tury.

His medallic productions bear the

Little

known about Warin's

is

mark

and distinguish themselves by

technical skill

early

life.

He may

have been born

Liege, but he settled in France in 1627 and was naturalized in 1650.

medals of Louis

XIV when

Warin was working on


death cut his

whom

is

the Renaissance, p. 148, writes: "Jean's portrait of Richeits bold handling of the relief," pi. xxvi,
7 (British

0}

brilliant in

Museum

specimen, bronze with the date removed)

und

Bernhart, Medaillen
at

He

he por-

a series of historic

life short.

84

BERTINET

Pla\etten, p. 33

seventeenth century, worked for Louis

XIV

85

Michel Le Tellier 1603-85, French statesman, Minister under Louis


XIV and Mazarin, later Chancellor of France

mm. diam., 1678


LETELLIER (rosette) FR (rosette) CANCELLA-I
1678 On granulated band. Bust right, wearing robe, skull-

Bronze medal, 132

Armand

Jean

Du

Silver medal, 77

Medals

lieu

of his highly developed

their boldness of relief.

enjoyed the all-powerful protection of Cardinal Richelieu,


trayed on several medals.

Hill,

Plessis 1586-1642,

mm.

Cardinal de Richelieu 1622-42

MICHA
RIVS

diam., 1630

ARMANDVS lOANNES CARDINALIS DE RICHELIEV

Bust with

short beard in very high relief to right, wearing skullcap. Pearled border.

(rosette)

(rosette)

cap and decoration,

No

within a laurel wreath.

all

reverse.

GERMAN MEDALS
ALBRECHT DURER

1471-1528

few medals have been attributed to Diirer, but a number of others


as well as some plaquettes are based on his designs. An outstanding example is a plaquette of The Entombment (no. 184).

Only

86

Agnes

Lucretia, formerly described as

Lead medal, 55

mm.

diam., 1508

Female head with open flowing


facing front. In the field, to the

gram:

No

Diirer, the artist's wife

hair, slightly inclined to left,

left:

1508; to the right, the Durer

almost

mono-

within A.

reverse.

Habich, Corpus,

Lanna

i,

i;

no. 14, pi.

Coll., no. 908, pi.

11,

and

2;

fig.

42

Will, p. 369
Sallet, p.

25

Sallet, Zeitschrijt j.

Numis>nat!/{,

11,

362

Erman, pi. i, i
Merzbacher Coll.,
Rev.

TANDEM VICTA SEQVOR

palm branch,

attached a banner with the coat of arms of Richechained to the back of the quadriga, while Victory is

ing trumpet to which


lieu.

Fortuna

is

flying overhead,

WARIN
Tresor,

1630

vi,

Pearled border.

line:

1914, no. 37
Cabinet des Medailles, fig. 5

Provenance: Dr. Jacob Hirsch Estate

CHRISTOPH WEIDITZ
A

ac. 1523-c.

native of Strassburg, Weiditz

there

made

various trips abroad.

1533

settled in

He

Augsburg

modelled

his

in 1526,

and from

Cortez medal in Spain

xxi, 3

215 (bronze)
no. 166 (bronze)

Coll., no.

Gullet Coll.,

Forrer,

is

crowning Francia. Under curved exerguel

Med. Franc,

Loebbeche

Francia holding sword of justice and


Fama, who is blow-

seated in a quadriga, driven to left by

Paris,

369

in 1529.

Weiditz, like

many

other of his contemporaries, carved the models for

medals in boxwood. Many of his portraits show a marked


style to those of Hans Holbein the Younger.
his

Hernan Cortez
Bronze medal, 56

485-1 547

mm.

diam., 1529

DON FERDINAND CORTES MD

XXXXII
hair

and

affinity in

XXIX

ANNO

ETATIS

Bust facing front, slightly turned towards the right, with long

short, straight-cut beard,

wearing loose

gown and

flat biretta.

ductions are thoroughly

German

in every respect.

typical

example

is

the extraordinary portrait of the well-nourished, Niirnberg sexton, Hi-

eronymus Paumgartner, which

German

medallic art (no. 90).

Little

known about

is

possesses all the realism so characteristic of

Deschler's place of birth.

He became

a Niirnberg

citizen in 1537, attended various "Reichstag" sessions in order to practice his art

and worked

there,

for

Archduke Maximilian,

the future

Emperor. In the latter part of 1550 he went to Vienna and entered into
the permanent employ of the art-loving Emperor, who raised him to the
rank of "Imperial sculptor."
90

Hieronymus Paumgartner 1497-1565, Niirnberg church-warden


Bronze medal,

66.5

mm.

diam., 1553

HIERONYMVS PAVMGARTNER ANNO AETATIS

Bust
56
bald-headed and with side-whiskers, wearing gown over loose
All within border of leaves. On truncation: 1553.

front,
shirt.

IVDICIVM DNI APPREHENDIT EOS ET FORTITVDO

Rev.

EIVS

CORROBORAVIT BRACHIVM MEVM

Divine arm issuing

'

from clouds.
Habich, Corpus,

i,

no. 376,

i,

pi.

Domanig, Deutsche Medaille,


Berlin,

Amtliche Berichte,

p.

xlix, 4

no. 100

52

Babelon, xrv, 6

FRIEDRICH HAGENAUER

ac. c.

1525-46

Hagenauer was one of the most prolific of the classical German medallists. Born at Strassburg, he setded in Augsburg in 1527. His success
aroused the jealousy of the guild of painters and sculptors of Augsburg,
and since he was not a member of the guild, they attempted to restrict
his activity. He contended, however, that medallic art was a free art, and
therefore not subject to guild law. It would appear that the guild won
out, for by 1532 he was working again in Strassburg.

Hagenauer was an

craftsman and his medals portray the

efficient

with remarkable precision. Great care

and

face

dress.

Although

own

medallist and, in his

is

sitter

taken to show every detail of

a sculptor as well,

he

is

known mainly

as a

terms, "sought to earn his bread as a medallist."

88

Unknown Humanist

Menno

(in the past tentatively identified as

Silver

medal, 56

Bust facing

left,

Habich, Corpus,

mm.

diam.

wearing beret and

Rev. Later engraving: D.

ecclesiastical

gown. Granulated

MARTINUS. LUTHERUS. Open

field.

Bible on

al-

Mieris,

11,

251

Coll.,

According

to

iii,

no. 121

Habich,

1, pi.

this

50

medal dates from about

1539.

89

Philipp Melanchthon 1497-1560, Reformation leader and humanist

Bronze medal, 38

PHILIPPVS
Bust

left,

mm.

signature:

Rev. In five lines:

EVM
I

diam., 1543

MELANTHON ANNO AETATIS SVAE

bareheaded and bearded with long

field, artist's

ANNO

Habich, Corpus,

hair,

XLVII

wearing gown. In the

FH.

PSAL

36

SVBDITVS ESTO

DEO ET ORA

M. D. XXXXIII.

i,

i,

no. 651, pi. lxxx,

Juncker, p. 145
Tresor, Med. All., xvi, 3
Lanna Coll., iii, no. 930

Loebbec\e

no. 161

1, pi.

clxxiii, 7

Tresor,

Med.

All., pi. ni, 10

Coll.,

1908, no. 297, pi. xix


pi.

45

Provenance: Dr. Jacob Hirsch Estate

Juncker, p. 535

Lanna

2,

Munich
Lanna Coll., iii, no. 1015,
Rosenheim Coll., no. 433

no. 633, pi. lxxviii, ii

i,

i,

i,

Imhof, 608, 3
Koehler, xv, 137

Loebbeche

tar.

Habich, Corpus,

of leaves.

van Friesland 1492-1559)

Van

Rev. IN
VMBRA ALARVM TVARVM SPERABO DONEC
TRANSEAT INIQVITAS Helmeted coat of arms on drapery. Border

Coll.,

Amsterdam

JOACHIM DESCHLER

1929, no. 246, pi. xvii

ac. 1540-c.

Although Deschler spent two years

1569

as a student in Italy, his medallic pro-

91

]ohann Neudoerfer 1497-1563, "Schreib-und Rechenmeister"

in

medal separately and, by soldering, joining them onto the design, in


order to achieve a tbree-dimensional effect. An example of this method

Wisdom on

are the leaves of the Tree of

Niirnberg

Reinhart's extraordinary technical

medal with old

Silver

mm.

fire-gilding, 24

diam., 1554

lOHANN NEVDORFFER ARITHM AET:


:

gown

with long hair, wearing

On

with small ruffled

ucts are considered masterpieces of craftsmanship.

SVE. LVII Bust


collar.

right,

Pearled border.

In 1539 Reinhart setded in Leipzig. Prior to that time, he

Lucas Cranach, whose influence

a pupil of

is

may have been

apparent in his work.

truncation: 1554.

INDVSTRIAM

Rev.

ADIVVAT

DEVS

Helmeted coat of arms.

Pearled border.

94

John Fredericl^ Elector of Saxony 1532-37

Habich, Corpus,

i,

no. 1617, pi. clxxiv, 4

2,

mm.

Silver medal, 66

Imhof, 849, 8

diam., 1535

lOANNS FRIDERICVS ELECTOR DVX SAXONIE FIERI


CIT ETATIS SVAE 32 Bearded half-bust almost facing front,

Med. AIL, pi. xxxii, i


Domanig, ]ahrbuch (Vienna),
Tresor,

xiv, 32, no. 22, pi.

Fratikjmter Miinzzeitung, 1903,

Coll., Munich 1908, no. 305,


Lanna Coll., iii, no. 1016, pi. 45
Domanig, Deutsche Medaille, no. 162

Loebbecke

pi.

gown,

the collar of

Rev.

xx

SPES

MEA

electoral shield

IN

Wiirzburg 1558-73

Silver medal with old fire-gilding, 27 mm. diam., 1572


FRIDERICVS D G EPS WIRCEBVRG Bust facing

with long hair, wearing

right,

jewelled chain. In the field: 15

Rev.

AETATIS SVAE

cloak over gown, and

EREN

Triple-helmeted large coat of arms with the


in the center.

and 3a

i,

pi.

xxxi

95

Man

Crucijixion

Habich, Corpus,

Provenance: Vogel

IN

schnitte, no. xin, 14).

Silver medal, 68.5

no. 1682, pi. clxxxi,

2,

portrait on this medal is based on a woodcut by Lucas Cranach


(Gotha Landesmuseum), made about 1533 (cf. Geisberg, Etnblattholz-

three helmets, the quadripartite shield.


i,

REN ALS

embroidered:

(two crossed swords)

Fall oj

& L. Hatnbtirger,

is

7Z.

FRANCIAE ORIENTALIS DVX Under

65

biretta, fur-lined
-

FE-

hold-

The
three-quarters

DEO EST ANNO NOSTRI SALVATO-

Domanig, Deutsche Medaille, no. 154


Loebbecke Coll., Munich 1908, no. 562,
Lanna Coll., ni, no. 861, pi. 40

92
of

no. 1935, pi. cciv, 3


Tentzel, Ernestine Line, pi. 7, i

JOACHIM DESCHLER, SCHOOL OF


Von Wirsberg Bishop

which

M-D X X-X-V

RIS

Habich, Corpus, u,

Frederick

ing the electoral sword and hat; wearing necklace and fur cloak over loose

p. 496, pi. 22, 8

Felix Coll., no. 187

L.

Man medal (no. 95).


great praise. His prod-

the Fall oj

won him

skill

mm.

diam., 1536

ET SICVT IN ADAM OMNES MORIVNTVR ITA ET IN


CHRISTVM OMNES VIVIFICABVNTVR VNVS QVISQVE IN
ORDINE SVO Adam and Eve, surrounded by the animals of Paradise

1891, no. 1200

Coll., no. 140, pi. 15

MICHAEL HOHENAUER,

half of the sixteenth century

first

Probably a native of Prague, he held a variety of positions


his

home town and

in Vienna.

The

artist's

at the

date of death

is

including a unicorn, under the Tree of

mint

in

believed to

is

ground,
the

have been about 1558.

II 1506-26,

ter of

Charles

King

of

Hungary

and

1516-26,

his wife Maria,

from

Paradise. In

the electoral shield of Saxony, in the right, the ducal shield.

lOANNS FRIDERICVS ELECTOR DVX

a ribbon:

SAXONIE FIERI

Louis

the foliage of which

the creation of Eve; right, the expulsion

left,

left field

Underneath, on
93

Wisdom,

soldered to the medal (typical of Reinhart's early work). In the back-

FECIT

sis-

V
mm.

Silver medal, with old fire-gilding, 41

diam., 1526

LVDOVIC VNGA EC REX CONTRA TVRCA PVGNANDO


OCCVBVIT Bust left, with long hair and short beard, wearing broad

rimmed
Golden
Rev.

mantle over pleated gown, and the sash with the

hat, fur-lined

Fleece. In the field:

Z6

ETATIS - SVE

30

MARIA REGINA EC QVOS DEVS CONIVNXIT HOMO

NON SEPERET

Bust

left,

wearing wire cap and double necklace over

bodice.

Habich, Corpus,

11,

i;

compare

no. 1897, pi. cci,

(her bust to right)

Lanna Coll., ni, no. 659


Donebauer Coll., no. 980
Forrer,

11,

duction;

518
it

(ill.):

is

workmanship,
Louis (Lajos)

II

"Fiala considers this

medal

executed with special care and

is

as the artist's best pro-

remarkable piece of

of characteristic style."

was the

last

of the Jagiello Dynasty, ruling the two king-

doms of Hungary and Bohemia. In the Battle of Mohacs, 1526, commemorated by this medal, his army was utterly destroyed and he was
killed

by the Turks under Suleiman

for the first time in history.

Through

I,

who

used artillery in open battle


marriage treaty concluded by his

father Wladislas II, the crowns of Hungary and Bohemia passed to


Louis's brother-in-law, Ferdinand of Hapsburg, resulting in the union
which was to last four centuries between Hungary, Bohemia, and the

Hapsburg

VT MOSES EREXIT SERPETE ITA CHRS IN CRVCE


EXALT ATVS ET RESVSCITATVS CAPVT SERPENTIS CONTRIVIT SALVARET CREDENTES Christ on the cross between
Rev.

the

two

artist's

HANS REINHART THE ELDER

ac. c.

1530-80

left,

signature:

DEO EST

Below, Mary,

R and

1536. Below,

on

a ribbon;

Habich, Corpus,

Tentzel, Ernestine Line,


the technique of casting various portions of the

St.

School.
is

John, and mercenaries. In the backthe Church; right, the Resurrection. Under the cross, the

thieves.

Probably one of the best-known Renaissance medallists of the Saxonian

Reinhart's hallmark

ground,

lands.

11,

i,

no. 1968, pi. ccxi,


pi.

vni,

Domanig, Deutsche Medaille,

no. 762

i,

and

SPES

MEA

IN

98
Philipp Adolf von Ehrenberg Bishop of Wiirzburg 1623-31

Oval

medal with old

silver

PHILIPP

H. 37 mm.,

fire-gilding,

ADOLPH D G

EPS WIRCEB

and with long

three-quarters to right, bareheaded

W.

31.5

mm., 1623

FR OR DVX

Bust

hair, square-cut

beard

and moustache, wearing broad-collared brocaded gown, buttoned

in

center.

Rev. Without legend. Helmeted shield, quadripartite with the coats of

arms of Ehrenberg and the Diocese of Wiirzburg; above, 1623. Original


suspension loop.

Habich, Corpus,

i,

11,

Schulthess-Rechberg

no. 2799, pi. cclxxiv, 3

2832

Coll., no.

GEORG HOLDERMANN, SCHOOL OF


99

Hugo

Donellus (Doneau) 1527-91, famed law scholar

Oval lead medal, H. 52 mm.,

Lanna

Coll.,

Loebbec^e

Van

iii,

no. 1290,

pi.

Munich

Coll.,

W.

40 mm., 1590

HVGO DONELLVS IC CL PROF ALDORP AET SVAE


64 AN 90 Bust facing front, in very high relief, wearing skullcap,

53

ruff collar,

1908, no. 567, pi. xxxi

and coat with fur

collar over

buttoned gown.

Mieris, n, 447

Mueller-Lebanon
Ferrer,

v,

Coll., no. 88, pi. ix


(ill.)

pp. 78, 79

Provenance: Dr. Jacob Hirsch Estate


96

Man

Fall of

Crucifixion
|

Silver medal, with old fire-gilding, 56

Similar to the

mm.

diam.

but without the circular legends. In the obverse

last,

MVLIER DEDIT MIHI ET COMEDI GE


MISERERE NOBIS DOMINE

Loebbec\e

field:

In the reverse field:

11,

i,

no. 1969, pi. ccviii, 2

Tentzel, Ernestine Line,

m,

Coll.,

Habich, Corpus,

Lanna

Coll.,

pi. 8, 11

no. 1288, pi. 53

Munich

VALENTIN MALER

1908, no. 569, pi. xxxi

c.

1568-1603

native of Moravia, Maler's chief center of activity for 35 years was


Niirnberg. He was the son-in-law of the famous Niirnberg goldsmith,

No

Wenzel Jamnitzer. Thanks

Will,

favor of the Niirnberg

The number

Town

he obtained by special

Koehler,

hand is most impressive; yet in


poor man, leaving his widow 11 00 gulden

Mazzuchelli,

he died

His house was inherited by his son Christian, along with

its

un-

vii,

i,

11,

no. 401,

III,

Council the privileges of a mastership.

of medals by the artist's

spite of his diligence


in debt.

to this relationship,

reverse.

Habich, Corpus,

no. 2807, pi. cclxxiv, 12

385
i,

pi.

xcv, 7

Domanig, Deutsche Medaille,


Imhof,

II,

no. 245

715, no. 21

paid mortgage of 1900 gulden.

UNIDENTIFIED ARTISTS
97

NURNBERG(.?), SIXTEENTH

Matthaeus Fetzer 1527-83, Niirnberg Councilman 1556


Silver medal, 29

mm.

gown

ing right, wearing

Rev.

LI 1576 Bearded bust, three-quarters


with high ruff collar.
:

ALL MEIN HOFNVNG ZV GOT

rounded by three smaller


Habich, Corpus,
Will,

100

diam., 1576

MATHEVS FETZER AET

IV,

11,

i,

CENTURY

Helmeted coat

fac-

of arms, sur-

shields.

Portrait of a Patrician

Oval wax medallion, H. 95 mm.,

W.

72

mm.

Portrait of a Niirnberg patrician almost facing front, with short hair

and

long broad beard, wearing black embroidered coat with white ruff

no. 2509; pi. ccli, 6

299

collar.

In contemporary fire-gilded bronze case, adorned with fruit volutes,

Binder, 573, 20
Delbeck,e Coll., no. 822

Provenance: Trau

elaborate scrollwork with putto in center. Outside case height: 157

width: 90

Coll., no. 1761, pi. ix

Gallet Coll., no. 105,

GEORG HOLDERMANN
A goldsmith,

pi.

Niirnberg 1585-1629

and wax modeller, Holdermann's medallic work


dates from between 16 10 and 1629. He also seems to have been connected with the production of coins, as evidenced by a Niirnberg Council
medallist,

ordinance of 1620.

mm.;

mm.

Habich, Corpus,

11, i,

no. 2820 (this specimen)

Sonderausstellung catalogue, 1939/40,


(this specimen)

Provenance: Spitzer

Bern, no. 42

Coll., Paris 1890, v, p. 191, no. 10

Spitzer Coll.,

Lanna

Kunstmuseum

London

1893,

Prague
Pick Coll., Budapest
Delmar Coll., Budapest
Coll.,

11,

no. 2959, pi. lvi

(ill.)

SOUTH GERMAN

108

1530

c.

Portrait of an

lOI

Anna von Frundsberg Countess

Lodron

of

mm.

Checker, ground marble on light wood, 50

VXOR

Bust

gown

widow's

veil

Checker, ground marble on ebony, 50

diam.

(her husband died in 1527) and wide

ANNA GEORGI

IN

FRVNTSPERG

left,

wearing

over pleated

cf.

Habich, JaJtrbuch 28, 1907,

Lanna

Coll.,

11,

pi. J 8

collar over pleated

medal by Friedrich Hagenauer with Anna's

A wooden

corded in Habich, Corpus,

i,

i,

Lanna

no. 541,

ill.

portrait

is

re-

diarh.

gown.

Coll., n, no. 66, pi. 8

SOUTH GERMAN,

no. 65, pi. 9

mm.

Bust right, wearing turban, earring, mantle with embroidered shoulder

cf.

bodice.

cf.

Unl^nown Mohammedan (probably a Turkish grand

vizier)

1556

109

loi.

Hieronymus Allgaeuer
102

b.

Kehlheim stone model, 42

1509

mm.

diam., 1556 (in

wooden frame)

Emerentiana von Tannhausen married 1521


Checker, ground marble on light wood, 50
Bust, three-quarters facing,

diam.

with shoulder collar over bodice,

der, cloak
cf.

Habich, jahrbuch 28, 1907,

cf.

Lanna

For

mm.

wearing pleated bonnet with plain wide bor-

Coll.,

portrait, cf.

11,

pi. J 8

no. 65, pi. 9

Habich, Corpus,

i,

no. 1315, pi. cxlviii,

2,

103

Saxony married 1527,

Sybille of

d.

1554

mm.
DVCIS

Checker, ground marble on light wood, 50

lOHANNI

SIBILA

FRIDERICHI

diam.

VXOR SAXONIAE

Bust three-quarters facing, wearing wire cap, necklace with pendant,

gown with

pleated sleeves over bodice.

cf.

Habich, fahrbucfi 28, 1907,

cf.

Lanna

pi. J 8

Coll., n, no. 65, pi. 8

104

Euphrosina de Chamemilon
Checker, ground marble on light wood, 50

EVPHROSINA DE CH.\MEMILON

round ornament
over embroidered bodice,
net with

cf.

Habich, ]ahrbuch

cf.

Lanna

Coll.,

11,

mm.

Bust facing

in center, necklace

HIERONYMVS ALLGOE'WER XVIIL lAR ALT A MDLVI

diam.

left,

wearing bon-

with pendant, and cloak

Bearded bust facing front, bareheaded, wearing fur-lined coat with high
collar turned down. Around the neck, a chain with medallion.
Provenance: Merzbacher

28, 1907, pi.

Neuburg

no. 65, pi. 9

Coll.,

Munich

BALDUIN DRENTWETT

c.

105
Frisian by birth, Drentwett's

Frederick^

Behaim von Schwarzbach 1491-1533, Niirnberg Council-

man
Checker, ground marble on ebony, 50

mm.

with broad shoulder collar over high-closed, pleated gown,


cf.

Lanna

For

Coll.,

portrait, cf.

11,

i,

2,

no. 936, pi. cxiv, 10.

Augsburg from

Wolfgang

Vitil,

Augsburg

1495-

renown and ability. After 1612, Drentwett's productivity


though several medals from the years 1612 to 1620 may still
have come from his workshop.
of lesser

lessened,

in

Augsburg 1548

Bronze medal with old gilding, 41

mm.

D GEORGIVS MYLIVS AVG AET

1540)
Checker, ground marble on ebony, 50
Bust, three-quarters facing, with

mm.

(as

Georg Miler), Professor

Lanna

Coll.,

portrait, cf.

11,

moustache and square beard, wearing

i,

i,

Rev.

no. 485, pi. lxiv, 7.

107
Portrait of a

Humanist

(possibly

Johann Caesarius, Ph.D. and M.D.,

born Juelich 1468)

mm.

Bust, three-quarters facing, with long hair

gown and

D MARTINVS LVTERVS

field.

diam.

and beard, wearing

31

Bust with moustache and

Habich, Corpus, u, i, no. 2943


Delbecke Coll., no. 864
Loebbec\e Coll., Munich 1908, no. 369
Rosenheim Coll., no. 464

The
scholastic

Bust of Luther three-quarters right;

Cable border.

Archiv, 4 (1913/14), p. 188,

Checker, ground marble on ebony, 50

ruff collar; granulated field. Cable border.

granulated

no. 66, pi. 8

Habich, Corpus,

diam.

small pointed beard, almost facing front, wearing high-closed robe with

diam.

brocaded coat over gown, and round wire cap.

wett.

pi. xv,

10

medal is by Valentin Maler, and was copied by DrentHabich dates the medal c. 1579.

reverse of this

hat.
1 1

cf.

Lanna

Caesarius
pus,

the early

of Theology in Wittenberg, d. 1607

Portrait of a Patrician (probably

For

in

although he travelled widely in the practice of his art. He is


assumed to have employed a considerable number of assistants, including

Georg Mylius born

106

cf.

1545-1627

home was

no

no. 66, pi. 8

Habich, Corpus,

111

seventies,

some

diam.

Bust right, with beard and moustache, wearing wire cap and mantle

1900, no. 346, pi.

xxn

Coll., no. 168, pi.

I,

I,

Coll.,
is

11,

no. 66, pi. 8

portrayed on a medal, dated 1543, recorded in Habich, Cor-

no. 661, pi. Lxxxi,

8.

Charles I

560-1 600,

Gold medal,

23.5

mm.

Count

Palatine

diam., 1591

569-1 600

CAR D G CO PA RHE BA DV C V E

S Bareheaded bust

with short beard and moustache, three-quarters facing


collar and double chain.

right,

wearing ruff

ANNO DO

MI MDXCI Minerva standing on a book,


palm branch and crowning Patientia who caresses a lamb; at
Rev.

Habich, Corpus,
II,

ii,

i,

1538-91

Lombard, perhaps Milanese, origin. His father, Alessandro Abondio, was a celebrated wax modeller during the first half of
the sixteenth century, and a pupil of Michelangelo. It was the elder
Abondio who introduced young Antonio into the art of modelling and

much

undoubtedly imparted

left his

we

artist

portrayed on a

visits to

find

of his genius to his son.

and travelled across the Alps. A year


employ of Emperor Maximilian II, whom the

native land

in the

number of medals. With the exception of occasional


The Netherlands, Spain, Bavaria, and Northern Italy, Antonio

spent nearly

Upon

him

all

of his

life in

George, helmeted and bearded, galloping

St.

(this

to

right,

specimen described and illustrated)

p.

17 (this specimen de-

and illustrated): "A work by Antonio Abondio, hitherto unknown, which is different from the other reverses of his medals, but
which does not hide the artistic hand of this master. The bearded representation of St. George, usually shown as a young man, is perhaps connected with the portrait of the Emperor on the obverse. The medal is
undated, but is close to the one on Johann Khevenhueller (Fiala no. 25,
pi. Ill, 3), made around 1571. Minerva on the reverse of that medal wears
a similar armor as St. George here. As Maximilian's portrait also appears
on another medal together with that of Maria dated 1575 (Fiala no. 38,
pi. II, 3), this present Maximilian medal with the St. George reverse
originated probably between the years 1571 and 1575. The tinsmith,
Caspar Enderlein, has used this St. George design by Abondio on a tin
plate (illustrated in H. Demiani, Francois Briot, Caspar Enderlein, and^

continued to bestow

II

secured the

many

favors

the Tin, Leipzig 1897)."

Unique.

Prague and Vienna.

the death of Maximilian, Rudolf

like his father,

Fleece. In the lower left

scribed

of

later

Golden

Dr. V. Katz in Berliner Miinzblaetter, 1930,

In 1565 Antonio

Mounted

Habich, Corpus, 11, 2, 3412 note


Archiv 3/4 (1921/22), p. 91

no. 2991, pi. cclxxxvii, 3

ANTONIO ABONDIO
Abondio was

Rev.

of the

AN:AB:

her feet a

Spiess, IV, 363


7, fig.

and the sash

the artist's signature:

spearing the dragon.

144, no. 102

Streber, p.

coat,

field,

holding a

mirror.

Exter,

wearing armor,

artist's services

and,

Provenance: Dr. Viktor Katz Coll.

on him.

113

Antonio Abondio occupies a rank of honor among the medallists of


age. His medals show a blend of Italian and German art.

his

Maximilian

II

Silver medal, 24.5

112

Maximilian
Silver

II of

Hapsburg

medal with old

1527-76,

fire-gilding, 6x

three chains ending in one ring.

Emperor 1564-76

mm.

The frame

]MP:CAES: MAXIMIL:II :AVG:

ruff collar,

diam., 1575, in frame with


has the Viennese inspection

stamp used from the end of the sixteenth century


no. 5065) and the monogram AL.

to 1674

MAXIMILI

(Rosenberg

Rust right, bareheaded and bearded.

Rev.

diam., 1570
I

AV

Bearded and laureate bust left, wearing


sash with the Golden Fleece.

armor and drapery, and the

DOMINVS

wings holding

Coll.,

15

70

PROVIDEBIT

a globe.

Habich, Corpus,

Lanna

mm.

ROM

II

iii,

hocbbccl{e Coll.,

11,

2,

no. 3438, pl. cccxxi, 9

no. 721

Munich

1908, no. 560

Facing eagle with spread

L.

Hamburger,

Herrgott,

Oval

1922, no. 136

iii, pi. ix,

silver

D G

41

Donebauer

Coll., no.

1232

left,

PAULUS VAN VIANEN


Born

at or

and

Upon
to a

together with his brother

artists,

from his father, an able goldCornelius Elertz of Munich. Thereafter he contalents in Rome. He was falsely denounced to the

received his early training

a certain

tinued to develop his


Inquisition

Rev.

1592-1612

near Utrecht into a family of

Adam, Paulus
smith,

ac. c.

and imprisoned

his release,

for several months.

about 1596, Paulus

left for

Munich where, according

record in the goldsmiths' annals, he was received as "Master" in

medal, H. 39 mm.,

SOPHIA

wearing ruff

W.

mm., 1622

30

NAT MAR BRAN DVC SAX ELE

collar

and jewel on

Veiled bust

triple chain.

SEREN D D lOH GEORG ELECT SAX IN MATR

CHARISS In
MOR: 7 DEC:

1622

Schulthess-Rechberg

Coll.. no.

Munich

Tentzel,

pi. xxii,

NAT:

JUN

:
|

1568

PIETAS

Loebbecl^e Coll.,

Berlin,

the field, under an angel's head:

4688

1908, no. 698, pi.

xxxv

Amtliche Berichte, no. 78

Engelhardt, no. 420

Emperor Rudolf II,


monthly salary of twenty gulden (most other artists in the Imperial
employ received only ten gulden). His principal works belong to this

SEBASTIAN DADLER ac. 1619-54


A goldsmith and a foremost medallist of

Imperial period in Prague.

was born

1599. In 1603, the artist's services were secured by

for a

Paulus van Vianen's products have been compared to those of Cellini


because of their excellence of

workmanship and

The

finish.

artist

died of

the plague in 161 3.

Oval

II of

silver

medal with old

ROM

II

the title of "First Goldsmith to the Imperial Court," and there attained considerable celebrity.

a later stage in his career, Dadler worked for the Electoral Court of
Saxony, where he executed various articles of plate in repousse work for

John George I. So great was Dadler's reputation, that many princely


houses of Europe eagerly tried to enlist his services. The latter part of his
life was spent at Dresden, where he died, presumably in 1654.

Hapsburg 1552-1612, Emperor 1576-1612

RVDOLPHVS

Hamburg, and Dresden. At Augsburg he held


At

114

Rudolf

the seventeenth century, Dadler

but was active chiefly at Augsburg, Niirnberg,

at Strassburg,

fire-gilding,

IMP

H. 38 mm., W. 46

AVG REX HVNG BOE

ing front, wearing laurel wreath, cuirass, ruff collar

mm.

Bearded bust facand sash with the

117
Christ

order of the Golden Fleece.

and

Paul

St.

Silver medal, 43

mm.

diam., 1625

CHRISTUM HAT GOTT FURGESTELT ZU EINEM GNADENSTUEL The Savior, haloed, wearing the crown of thorns. To the
(italics)

left,

a mercenary; to the right, St. Paul. Underneath: 1625.

(italics) JESUS HAT SICH ZUM LOSEGELT BEIM HIMLISCHEN VATTER DARGESTELT FUR ALLE SUND DER GANTZEN WELT within foliate wreath. Underneath, the artist's signature:
S-D

Rev.

118
Frederic}{

Oval

HI

1609-70,

King

medal, H. 58 mm.,

silver

of

Denmark

W.

48

1648-70

mm., 1648

FRIDERICUS III. D G. DAN. NORW. GOT. VAND REX.


HOLST. DIT. COM. IN OLD. & DELM. Within a baroque

DUX

SL.

cartouche,

the King's bust, three-quarters facing, wearing wig, lace collar, drapery

over cuirass, with lion's head on shoulder, on the breast the Order of
the Elephant. Below, the

artist's initials:

and

16

48.

SEHT WIE DER FRIED lEZ ZIERT DIE WELT DA FRIDRICH


KROHN UND SCEPTER HELT On a pedestal Pax seated, holding the
raying Sun, palm branch and an open book inscribed: DAS HOEHESTE
Rev.

GUT,

OMEN

Rev.

FIRMAVIT

eagle

winging toward the sun.

Capricorn over globe; above, the Hapsburg

Original loop for wearing.

Habich, Corpus,

11,

Provenance: Trau

2,

Hung

with pearl.

her feet resting on a globe.

Danske Mynter og Medailler, pi. i, no.


Domanig, Deutsche Medaille, no. 329

Commemorates

no. 3555 (this specimen)

the King's accession

and the conclusion of the Peace of

Westphalia.

Coll., no. 615, pi. iii

Belli Coll., no.

6389

Unique.

SEBASTIAN DADLER, SCHOOL OF

UNIDENTIFIED ARTIST, SIXTEENTH CENTURY

119

Showing

"5

Christ

Louis VI Count Palatine 1576-83

Silver medal, 36

medal with old gilding, H. 35 mm.,

Silver

Rev.

wearing ruff

VINCES

collar

31

mm., 1580

VIVENTIS

bust

Rev.

1580

The

I,

NOSTRA MEDELA

Winged

archangel, carrying the cross. In the

background, rooster on column.

JOHANN JAKOB KORNMANN also known as GIOVANNI


JACOPO CORMANO first half of the seventeenth century

58, no. 51

RUPRECHT NICLAS KITZKATZ

wearing the crown of thorns, showing the

Resurrection.

Pearled border. Suspension loop.


Exter,

Christ,

stigmata. Below: 1625.

and drapery. Pearled border.

VIRTVTE

diam., 1625

VULNER CHRISTI

ADZ- Bareheaded and bearded

LVD D G CO PA ELE
right,

W.

the Stigmata

mm.

Dresden,

ac. c.

1615-33

116

Sophia of Brandenburg 1568-1622, wife of Christian


Saxony

I,

Elector of

Kornmann was born

in Augsburg, but his enthusiasm led him to Italy,


where he Italianized his name. He worked with great success at Venice
and Rome. It was his misfortune to fall into the hands of the Inquisition
at Rome and thus lose his goods and liberty. The style and the finish

of his medals are of great precision.

120

Brandenburg
deburg and Halberstadt
Christian William of

Oval

W.

medal, H. 41 mm.,

silver

phalia, 1648.

mm., 1627

31

JOHANN BLUM

VGGCWPABEV'SM:VHP:GMZBIPH
Gnaden, Christian Wilhelm,

Mag-

587-1 665, Archbishop of

Thirty Years' War. After Ferdinand's election as Emperor, things took


a turn for the worse, undl Ferdinand had to assent to the Peace of West-

(Von Gottes

Postulierter Administrator beider Erz-

Und

Magdeburg Und Halberstadt, Primas Germaniae, Markgraf Zu


Brandenburg, In Preussen Herzog). Bearded bust, three-quarters facing,
bareheaded, wearing lace collar and drapery over cuirass. Underneath:

ac.

1631-60

Bremen, Blum made


Saxony, Brunswick, and Orange.
resident of

number

of medals for the Houses of

Stift

1627

THVE RECHT FVRCHTE GOTT

Rev. In four lines:

VND

NIE-

MEHR

MANTS

Amtliche Berichte,
H. Hauswaldt Coll.)

Berlin,

is

Saxe-W eimar 1604-39

of

mm. diam., 1638


HEROIS HUIUS NOMINA IN CUNCTA CLARENT SECULA.

Silver medal, 53

Within an elaborate baroque cartouche, bust of Bernhard, three-quarters


facing left, wearing cuirass, lace collar and sash, and holding staff.

Suspension loop.

This

124

Bernhard

43, no.

p.

iii, pi.

(specimen from the

13

Around

Magni

(in italics)

der the cartouche, the

the second recorded specimen.

RIUS

1638 View of the


system of fortifications.

121

Tentzel,

Adolf 1594- 1632,

11

Silver medal, 63

mm.

King

of

Sweden

diam., 1629

D:G: SVEC: GOTH: WAND: Q: REX. Laureate bust with pointed beard and moustache, three-quarters facing right,
wearing lace collar and military sash over cuirass. Broad foliate border.

DEVM COLE
ARGENTVM
VIRTVTEM SECTARE
SPERNE PATRIAM DEFENDE 16Z9, all under the glorified name
six lines,

arranged in the shape of the divine eye:

AVRVM CONTEMNE
God

Hebrew

in

Hildebrand,

Oldenburg
Schultze

i,

letters.

Broad

foliate border.

no. 73

Coll., no.

Commemorates

i,

Coll., no.

6372

Commemorates Bernhard's capture


Provenance: Crona

Coll., no.

of Breisach.

189

JOHANN BARTHOLOMAEUS BRAUN

ardst was married to Anna Maria Pfruendt, the daughter of another


well-known medallist, and a medallist in her own right.

Sigmund

his victories in the

Gabriel Holzschuher 1575-1642, Niirnberg Councilman

1606

Thirty Years' War.

67 Bust three-quarters facing


bareheaded with square-cut beard, wearing large rulT collar and

gown. The

Adolf

Oval bronze medal, H. 45 mm.,

GVSTAVVS ADOLP

W.
:

27

mm., 1629

SVEC

GOTH WAND Q REX


:

over cuirass.
of God ET VICTRICIBVS ARMIS ("Deo et
was the motto of Gustav Adolf.) Religion and Svecia
standing at a column, between anchor and lion (referring to the King's
successful landing in Germany).

The Hebrew name

victricibus armis"

no. 87

Provenance: Crona

portrait realisdcally

shows a large wart on the forehead.

SPE GLORIAE HVMILIS Helmeted

Rev.

Laureate bust to right, with short beard, wearing lace collar and drapery

i,

ac. c. 1636-

The

right,

Hildebrand,

Niirnberg

66

122

Rev.

its

201

Lead medal, 51 mm. diam., 1642


SIGM:GABRIEL HOLZSCHVHER AE:

11

Rhine, showing

xxxix, 3

pi.

Provenance: Crona Coll., no. 75

Gustav

Un-

125
359

82

Coll., no.

effigies.

of

Weim.

Blum.

city of Breisach across the

Forrer,

GVSTAVVS ADOLP:

Rev. In

Reimmann

161 1-32

signature:

BRISACH FORTIS SED FORTIOR DEUS FVIT ET WEIMA-

Rev.

UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY


Gustav

ducis Bernhardi Saxon.

artist's

Forrer,

i,

shield, to the sides, 16-42.

269/270

Lanna Coll., ni, no. 1123, pi. 48


Loebbec}{e Coll., Munich 1908, no. 625
Felix Coll., no. 136 (probably this specimen)
Imhof,
Will,

p. 394, 14

305

II,

JOHANN BUCHHEIM

1624-83

Buchheim worked for Bishop Charles Ferdinand of Breslau, the city o


Breslau, the Dukes of Silesia-Liegnitz-Brieg, and for John George o

Coll., no. 81

Saxony.

123

Ferdinand
Battle of
Silver

111 of

Hapsburg

1608-57,

Emperor

126
1637-57, Victor of the

George

Noerdlingen 1634

medal with old

fire-gilding, 56

mm.

diam.,

c.

1634-36

FERD. III. D. G. ROM. HVNG. BOHEM. R. ARCHID. AVSTR.


DVX. BVRGV. LVCENBVRG. SILES: STYR. CARINT. CARN.
WIRTENB. MARCHIO. MORA. LVSAT. COMES. HABSP. TIROL:

EC

(title as

King

Romans, Hungarians, Bohemians, etc., thus


Emperor, 1637). Within double circle of legend,

of the

before his election as

two putti hold crown over a medallion surrounded by the chain of the
Golden Fleece, showing Ferdinand, bareheaded, with long hair and
pointed beard, wearing lace collar and drapery over cuirass.
Rev.

QVAMVIS OCCVMBAS FELIX OCCVMBIS IN IPSO STARE


EFFIGIEM. SOL ORIENTE VIDES On a river in a moun

Oval

all

of Silesia, Liegnitz,

and Brieg 1639-64

W. 37 mm.
SIL L & B
SUPREMAE

medal, H. 39 mm.,

GEORG

PRAEF
cuirass,

Duke

111

silver

DUX

ADMINISTR:
with

lion's

PER

tainous landscape, over

which the sun

rises,

haloed

St.

Peter guides his

the Papal tiara; the

Hapsburg eagle perched on

RENITATIS NVNCIA.

the sceptre. Above, SE-

Suspension loop.

This medal commemorates the short-lived Hapsburg successes in the

head on right shoulder. Below:

artist's

signature

B,

within foliate frame.

Rev.

SORS

MEA A DOMINO

Under

three helmets

and on baroque

cartouche the quadripartite Liegnitz-Brieg shield.

Loebbec\e

Coll.,

Munich

1908, no. 713

Friedensburg und Seger, no. 1827


Forrer,

i,

305/306

TVAM

boat through the waves; before him, on the Bible the crossed keys and

SIL

Bust facing front, wearing wig, drapery over

UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY


127

Leopold

1 of

Hapsburg

1640-1705,

Emperor 1658-1705

Gold medal, H. 52 mm., W. 44 mm., no date (1658)

D G. ROM. IMPERATOR Laureate and armored bust


wearing sash of the Golden Fleece and drapery over shoulder.

LEOPOLD\'S.
to right,

ET

CONSILIO

Rev.

globe on which

INDVSTRIA The
and

a castle

is

To

a rock.

from heaven holding sword and

sceptre.

divine eye, over a crowned

two arms extending

the sides,

Granulated

field.

Original sus-

pension loop.

und

Joseph

PHILIPP HEINRICH

MUELLER

Augsburg 1654-1719
young age
Augsburg town council

Mueller's parents being of modest means, he was obliged at a


to

A member

begin providing for himself.

of the

recognized the young man's


It

artistic talents and took an interest in him.


was then Mueller learned medal engraving, an art in which he soon

excelled.

Fellner, 1888

Commemorates

Mueller's medals became

known

The

graver.

Provenance: Dr. Paul Julius Coll.

some

dies for

all

of the

many

over Europe, and

He was

princes were portrayed by him.

the Emperor's coronation at Frankfurt.

and

rulers

equally successful as a coin en-

most beautiful coins of the seventeenth

century were cut by Mueller.

JOHANN HOEHN
The

Danzig

c.

131

1637-93

worked for the Danzig mint, the Electoral court of Brandenand various other courts.

William

artist

burg,

and Mary King and Queen

111

Silver medal, 55

mm.

of

England 1688-94

diam., 1689

GVILIELMVS ET MARIA REX ET REGINA BRITANIAE. The two

12S

H. M.

busts conjoined to right. Below, artist's signature: P.

John Casimir King of Poland 1648-68

Rev.

mm. diam., 1658


IO.\NNES CASIMIRUS D. G. POLOKIAE & SUECIAE REX
medal, 69

Silver

reate bust

of the

Golden

Under

Fleece.

the truncation,

artist's

signature:

THORUNIUM PRISCO REDDITUR OBSEQUIO.

View

under orange

RESTITUTA

H.

NUMINIS AUSPICYS ET REGIS FORTIBUS ARMIS.


of the city of

1689.

EXTERNO MALE PRESS A lUGO BRITANNIA


PRIDEM, IN PRISCAS ITERUM RESPIRAT LIBERA LEGES.

Outer rim inscribed:

Franks and Grueber, no. 60


Van Loon, iii, 412, no. 3

Hutten-Czapski, no. 2109


Ossbahr, no. 22, pi. vii

Forster, no. 657

Forrer,

England.

Commemorates William and Mary's Coronation

522

Lib-

tree

Thorn, under the glorious name of God. In the foreground, encamped


troops. Underneath, in a cartouche: M. D. C. LVIII. XXX DECEMBER.

11,

ROSETTIS.

from which the crown is suspended. She


holds cap of liberty, scales of justice, and the cross. On exerguel line,
artist's signature: P. H. M. Below the line: SECURITAS BRITANIAE
erty seated

etc. Lauwith long hair to right, wearing armor, drapery, and the sash

Rev. (rosette)

AUREA FLORIGERIS SUCCRESCUNT POMA

as

King and Queen

of

Bahrfeldt, no. 9164

Raczinsky, no. 142

MARTIN HEINRICH OMEIS

Vossberg, no. 358

Omeis was employed

Commemorates

the capture of

at the

Niirnberg 1650- 1703 Dresden

Dresden mint

as assistant engraver,

with a

Duerr taught him the art of


medals executed before 1680 we find their joint

yearly income of 124 gulden. Ernst Caspar

Thorn by John Casimir.

die sinking.

129

On

several

signatures.

]ohn Casimir
Silver medal, 43

132

mm.

diam., 1660

JOAN CASIM D G REX POL. & SUEC

M D

John George HI Elector of Saxony 1680-91

R PRUS

Laureate bust with long hair and moustache to right, wearing drapery

Under

over cuirass and the chain of the Golden Fleece.


signature:

artist's

I.

the truncation,

mm.

Silver medal, 33.5

lOH GEORG

III

diam., 1691

D SAX

M A &W

wearing wig, and ermine over plate armor with

H.

PAX AETERNA AD GEDAN


CONDITA. A crowned dove holding
Rev.

A.

CDIDCLX

olive

III

wreath over the

On

MAII
city

of

Danzig. In the exergue, crowned olive and laurel wreaths, and signature: IH.

the truncation, the artist's signature:

Rev.

COELITUS DATA

GATA

in

lion's

EL-

Bust right,

head on shoulder.

arch above; below,

A TERRA DENE-

Divine hand issuing from the clouds, holding crown over globe.
Outer rim inscribed: NAT DRESDAE D 20 lUN A9 1647. DENAT

TUBINGAE

A*? 1691

12

SEPT

Hutten-Czapski, no. 2156


Franl{iewicz Coll., no. 639

Commemorates

the Peace of Oliva between Poland

Draped

diam., 1687

985
as

ANTONIO

Neapolitan by birth, Di Gennaro worked for the King of Naples dur-

ing his early career. By a resolution dated December 171 3 he was appointed "Kaiserlicher Muenz-Eisenschneider" at the Vienna mint. To

half-bust with long hair facing front.

lOHANNES HEVELIUS DANTISCAN CONSULVET CIVITAT. DELICIUM REGUM AC PRINCIPUM ASTRONOMORUM


IPSE PRINCEPS
IN GLORIAM ATQUE ADMIRATIONEM SECULI PATRIAE ORBIS ANNO 161 DIE 82 lANUARII NATUS
REM CONCILIIS PUBLICAM lUVIT LITERARIAM PRAECELLENTIB. MONUMENT. AUXIT MERITIS IN UTRAMQUE ILLUSTRIS SPLENDOREM NOMINIS AETERNITATI INSERUIT
IPSO NATALI DIE ANNO 1687 DENATUS, and the artist's signaRev.

Coll., no.

MARIA ANTONIO DI GENNARO also known


DE JANUARIO ac. Naples and Vienna d. 1744

John Hevelius Astronomer in Danzig 161 1-87

mm.

pi. lxix, 8

Dassdorj

and Sweden.

130

Silver medal, 52

Tentzel,

this period belongs the interesting medal on Count Waldstein who, as


would appear, took no minor pride in a prolific ancestor (cf. no. 133).

it

133

John Joseph Count of Waldstein

Silver medal, 72

mm.

diam., 1716

The Count's

Henry of Waldstein, offering in 1254 his


twenty-four sons to King Primislav of Bohemia for participation in the
ancestor, John

ture:

H.

King's crusade against the pagans.

The Count and

Hutten-Czapski, no. 3899


Coll. tn the

exergue, the

Marienburg, no. 8852

made

valuable observations of the moon's surface, discovered

four comets, and collected data for his catalogue of 1564 stars.

famous

He

is

most

for his study of lunar topography, recorded in his Selenogra-

phia (1647), which

AD- lANVARIO

signature:

King. Above the

in the field

HEROICA FOECUNDITAS.
Rev. XXIV FILII A PATRE IOAN:HENRICO BARONE A WALDSTEIN A:P:0:R:MCCLIIII PRIMISLAO BOHEMIAE REGI IN
CRUCIATA CONTRA PRUTENOS AD MILITIAM PRAESENTATI FABIOS CCCVI TRANSGRESSI QUI A VICTORES DE
below:

Vossberg, no. 1105

Hevelius

his twenty-four sons arriving before the

artist's

is

noted for excellent lunar maps.

HOSTE REDUCES ET VITELLIIS SUPERIORES NON IN UNA


COLONIA SED IN NUMEROSA PROSAPIA SECULO NOSTRO
|

& EL

artist's

Bust right, in elaborate baroque drapery.

FA- SCHEGA

signature:

DONATA INDELEBILES
Outer rim inscribed: QUORUM MEMORIAM IOAN:IOS:COM:A
WALDSTEIN. S:C: ET C:M:CAMER: HOC NUMO RESTITUIT

topped by rising eagle. In the exergue: OBIIT


LXIII

1716.

Dassdorf, no. 1510

Forrer,

11,

Rev.

cf.

241

AUG

PUS MANIBUS

Forrer,

v,

III

On

the truncation, the

MAGNANIMI Statue in mausoleum,


V OCTOBRIS MDCC

377/8

Brettauer, no. 4902

Donebauer Coll., no. 4026


Domanig, Die Deutsche Medaille,

Neumann,

p. 668, 57; pi. lxxiv,

PETER PAUL WERNER


Werner worked
which

tivity

639

CONCZ WELCZ

Nurnberg

German

for several

started about 171 2

BOHEMIAN MEDALS

no. 735, pi. 83

and

There

689-1 771

lasted until his death.

(which gave
tain")

name

their

may have

German

to the "Erzgebirge,"

contributed to the

The

discovery, at

Bohemian
for

silver mines
"Ore Moun-

ample medallic production.

artist's

ac.

1709-46

representing corresponding scenes from the Old and

office.

The

New

Testaments.

Welcz and that of many of his Joachimsthal contemporaries


are very similar, and it was not an uncommon practice among these
artists to borrow or buy from one another their hubs and dies.
style of

following Prussian medal represents the combined effort of the two

The

artists.

obverse

is

137

signed by Werner, the reverse by Niirnberger.

Prophet Jonas

Resurrection
134

Silver

King

Frederic}^ William I Elector of Brandenburg,

of Prussia 1713-

medal with old

fire-gilding,

40

IVSTOS FACIAT

FRID

silver

medal, 132.5

mm.

diam., 1733

wearing wig, plate armor with aegis on

PRO DEO ET MILITE

Under

formation. Underneath, on a ribbon:

Coll., no.

and

Bust right,

sash.

On

the

fee.

all-seeing eye, troops in

parading
In the

N.

obverse die for this medal burst

while being tempered, and only three specimens are

PAUL HEINRICH GOEDECKE


Hamburg

Goedecke, a

medallist,

also executed several portrait

are signed: P.

known

the

tomb and holding

a ban-

to the right, a tree; in the left back-

Prophet Jonas, his hands raised in prayer, emerging from the whale's
mouth. In the left background, a castle and a ship.

obverse shows the influence of

Moderno

(cf.

180). Katz believes the medal possibly to be

the plaquette, Molinier,

from the workshop of the

Leipzig Master, Hans Reinhart.

to exist.

1730-64

worked chiefly for the Danish court.


medals of private persons. His medals

H. G.

St.

Joachimsthal

ac.

1544-70

Etchings and woodcuts by artists like Hans Holbein, Hans Sebald Beham,
Hirschvogel, and others often served as models for Milicz's medallic
works. The first mention of the artist occurs in 1540 when he is named
among the town councillors of Thai. During his artistic career, which
stretched over twenty-five years, Milicz also cut dies for coins.

135
Frederic/^

King

1723-66,

mm.

Gold medal, 38

of

Denmark and Norway

right,
artist's

1746-66

138

diam., 1749

On

wearing armor and drapery with ermine.


signature: P. H. G.

HAG SECVLA IVBILANT VMBRA

Under

bust with wig

the truncation, the

the raying sun, Dania

Minerva, seated on a throne adorned with the crowned royal cypher


throwing its shadow over the 300-mark of a sundial. Dania holds the

as

shields of the

House

of

Oldenburg and of Denmark. In the exergue:


VICE IVBILANS D. 28. OCT. 1749.

OLDENB:DAN:TERTIA

Dans\e Mynter og Medailler,

Suppl., pi.

3,

no.

years of rule by the

FRANZ ANDREAS SCHEGA

House

King

of

Gilded silver medal, 60 mm. diam., 1550


PROGENIES DIVVM QVINTVS SIC CAROLVS ILLE IMPERII
CAESAR LVMINA AET SVAE L Bareheaded and bearded bust right,

wearing plate armor, with Golden Fleece on


double circles.

of Oldenburg.

Bernhart, Die Bildnismedaillen Kails des Fiinjten, no. 136,

1787

pi. iv,

Erbstein Coll.,

Schega was a self-taught medallist whose artistic ability has been much
acclaimed. He filled the post of mint engraver and medallist at Munich

Lanna

beginning in 1738 and was appointed medallist to the court in 1751.


The artist died blind.

Montenuovo

136

The

Crown Prince of Poland


mm. diam., 1763
FRIDERIC CHRIST D G PR REG POL & LITH

Coll.,

pi.

Markl, no. 1984,

i,

pi.

nx

pi.

i,

605

xlv, 3

Ferdinand
2,

is

after a

medal by Joachim Deschler,

no. 1616; pi. clxxiv, 3

DUX SAX

Maximilian

II of

Hapsburg

1527-76,

cf.

Ha^

139

Silver medal, 62

no

Coll., no.

portrait of

bich. Corpus,

pi. xi

no. 649

iii,

Katz, no. 318,

breast.

39

Fredericl^^ Christian

Legend between

Rev. FERDINANDVS D G ROMANOR HVNGARI BOEMINI INFANS HISPA ARC AVS REX 1550 Bareheaded and bearded bust right,

Herrgott,
d.

breast.

with long hair, wearing plate armor with Golden Fleece on


Legend between double circles.

Galster, 418

Commemorates 300

V 1500-1558, Emperor 1519-56 and Ferdinand I 1503-64,


Bohemia 1526-62 and Hungary 1526-63 (Emperor 1556-64)

Charles

FRIED. V. DG. REX. DAN. NORV. VAN. GO. Youthful

Rev.

NICKEL MILICZ
ac.

two warriors;

the tomb,

from

On the right wall of the tomb, the date 1537.


Rev. lANAS QVI POST TRES DIES DE PISTE EXIVIT DESIGNAT CRISTI RESSVREXIONEM CAPITVLOZ The bearded

I,

The

Christ rising

ground, a tower.

The

of the largest struck medals.

Around

Katz, no. 226

11313

Henc/^el Coll., no. 1393

One

diam., 1537

BEROL. M. DCCXXXIII.

field, to the right, the artist's signature:

Ampach

breast, ermine,

Werner

truncation, the artist's signature: P. P.

Rev.

ner.

WILH D G REX BORVSS EL BRAND

mm.

46

Very large

52

CHRVS MORITVR PRO NOBIS ET RESVRGIT VT NOS

He

1527-53

c.

Especially popular with the local population were Biblical medals, often

Niirnberger was assistant mint-master of Niirnberg from 1709-21; thereafter, until his death in 1746, mint-master. In 1730 he went bankrupt,
but was able to retain his

Joachimsthal

ac. St.

information about the origin of Welcz.

the beginning of the sixteenth century, of the rich


courts during his long period of ac-

PAUL GOTTLIEB NURNBERGER

The

little

is

Emperor 1564-76

II, son of Ferdinand I and Anna, sister of Ludwig II of


Hungary and Bohemia, was born 1527, elected King of Bohemia 1548,
crowned 1562, King of the Romans from 1562, Emperor 1564, died

Maximilian

.1576.
'

'

his trident

Poseidon, in chariot

and sinking Aeneas'

ship.

drawn by

sea horses, brandishing

Beyond: a rainbow and two blow-

ing zephyrs. Pearled border.

Armand,

mm. diam., 1566


MAXIMILIANVS II D G ROMA IMPERI SEM AVG GER
Silver medal, 53

HV BO ETC REX

ARCHI

Hapsburg

Katz, no. 326,

Roman Em-

shield. Foliate border.

pi. 8,

17

Provenance: Merzbacher

3 (1920/21), no. 12, pi. vii

11,

Coll.,

no. 465, pi. 26

iii,

Viscomte de Sartiges

UNIDENTIFIED ARTIST

Coll.

1601

143

pi. xlvi, 8

Domanig, Die Deutsche MedaiUe, no. 230


Katalog der Muenzen-und Medaillen-StempelSammlung des K. K.
Hauptmuemamtes in Wien 1901, p. 45, no. 55; pi. xi, i
Herrgott,

Bernhart, Archiv.,

1566

Double-headed imperial eagle under the crown of the Holy


pire; in the center, the

11, 255, 37
Plon, p. 275, pi. xxxiv, 3 (reverse)
Simonis, p. 109, pi. ix, 2

Provenance: Lanna

Fleece. Foliate border.

DVX AVSTRI DVX BVRG MARC MOR

Laureate and bearded bust right, wearing cuirass

and chain with the Golden


Rev.

DVRATE

Rev.

Coll.,

Munich 1914,

Nicholas van Delen Dutch patrician

H. 28 mm.,

Silver cachet,

B NICOLA VS

W.

mm., 1601

41

VAN DELEN

Under elaborately crested helmet, the


two ram's heads on broad center bar. Dated: ANNO 1601.

coat of arms,

no. 86, pi. x

The Van Delens were an

Dutch

old

patrician family.

140

Creation of Eve

Marriage

medal with old

Silver

GOTT

LIES

42

fire-gilding,

mm.

him God

EVA G

Adam

Very

diam., 1552

ADAM HART ENTSCHLA NAM

A-SSMDD
next to

JURRIAAN POOL

at Carta

Amsterdam, mid-seventeenth century

in

EIN

RIPP

deep slumber below a

tree,

the Father raising Eve.

of the

tions

medal of Admiral Tromp, which bears

the

is

Silver medal,

67

mm.

diam., 1653

MARTEN HARPERTS[!]EN TROMP RIDDER

hoebbec\e

pi.

Coll.,

lvi

Munich

1908, no. 510

neath:

UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY


141

HET

J.

Bust right, wearing

ecclesiasti-

Rev.

COMES DE WALDSTEIN

coat of

arms under

archi-

episcopal hat with infula. Underneath: 16*88

Donebauer, 4633

Commemorates

View

1653

iv,

O.

11,

364

665,

two men-of-the-line

in close

(ill.)

this

medal

is

quoted

as "the

most important

of this

medals."

WOUTER MULLER
artist of

ac.

1653-88

Amsterdam was one

of the foremost masters of the

repousse medal. His medals are embossed, chased, and the two sides

The Dutch

himself; he injects into

the consecration of the Kreuzherrenkirche in Prague.

of a naval battle, with

where

united by a rim.

(silver)

action; in the foreground, sinking ship.

This Dutch

Crowned

artist's

cal garb.

Bareheaded bust
breast. Under-

ADMIRAAL VAN HOLLAND VOOR


VAADERLAND GESNEVVELT DEN 10 AVGVSTI

ANNO
Forrer,

Waldstein Archbishop of Prague 1675-94

gown, and medallion on

POOL.

LIEVTENANT

Van Loon,
of

Gold medal, 33 mm. diam., 1688


lOANNES FRIDERIC ARCHIE PRAG

cf.

Rev.

facing front, wearing high-closed

The Marriage at Cana is after an etching by Hans Sebald Beham. (G.


Pauli, Hans Sebald Beham, Strassburg 1901, p. 36, no. 25)

John Fredericl{

his signature.

Admiral Martin Harpertszoon Tromp 1597-1653

a cartouche, 1552.

Katz, no. 370,

He may have been employed at


Among his excellent medallic produc-

of Pool.

life

the Utrecht mint as an engraver.

144

VFF DER HOCHZEIT ZV CANA VERWANDELT


CHRISTVS WASSE Z W lO Z The Marriage at Cana; below in
Rev.

known

little is

them

legends possibly are composed by Muller


his

own name and

states that

they are the

art of Muller.

Probably unique in gold.

MEDALS OF THE LOW COUNTRIES


JACOB JONGHELINCK Antwerp

531-1606

Jonghelinck ranks as the most prolific Flemish medallist of his period


and has a considerable repute as a sculptor as well. In 1558, while in the
employ of Philip II, he executed the monument at Bruges to the memory
of Charles the Bold, Duke of Burgundy.

when only twenty-five years old, Jonghelinck engraved the seal


Order of the Golden Fleece. In 1 572 he became master of the mint
at Antwerp. In addition to these assignments he also was active as a goldsmith and medallist; a document dated 1598 records a payment to him
of 148 livres, 15 sous, and 9 deniers for four gold medals he had executed
In 1556,
of the

for

Archduke

.Albert.

Jonghelinck during his early career was a pupil of Leone Leoni in Milan,

which explains the Italian influence in his style. His medals are cast,
sometimes subsequently chased, and without doubt the work of an accomplished

artist.

142

Admiral Martin Harpertszoon Tromp

Antoine Perrenot 1517-86, Cardinal Granvella


Silver medal, 58

mm.

ANTONII PERRENOT
bust right, wearing

Silver repousse medal, 70

diam.

gown

EPI

mm.

diam., 1653

Bust, three-quarters facing, in very high relief, surrounded by naval

ATREBAT

with high closed

Bareheaded and bearded

collar.

Pearled border.

em-

blems, under crown held by two putti. Underneath, on a ribbon: "Mijn


hert en hant was voor het lant."

Child; on the right, two shepherds standing, the heads of the ox, the ass,
and a tree; on the left, a shepherd carrying a crook; in the background, a
building; above, the star of Bethlehem.

Rev. (in

"Waarom

italics):

silver leeven

om

dat

doet Muller

hij d'ijzer

Tromp

door kunst van gout en


heeft verdreven."

eew door krijgsdeugd

naval engagement, with two men-of-war at close range in the fore-

ground. At top: "den lo. Aug. 1653."

Franks and Grueber,

Van Loon,

11,

Loebbecke

Coll.,

p. 403, no.

364, no. 3

Munich

Tromp's crushing of

34

(ill.)

1908, no. 195

a Spanish fleet in the lee of the

Downs

in

1639
the passing of Spanish sea power in the seventeenth century.

marked

Rev. On the left, the Virgin seated holding the Child, behind her St.
Joseph standing, before her the Three Kings, the foremost figure kneeling,

and three children; on the

ground, a building; above, the

146

right, the

ox and the

ass; in the

back-

star.

Apparently unpublished. Probably unique.

Admiral Cornells Evertsen


Silver repousse medal,

79

d.

mm.

1666

diam., 1666

HEER EVERTS, MET TRIOMF, OP'T BED VAN EER GESNEEFT,


ALDVS IN'T SILVER DOOR DE KUNST VAN MULLER LEEFT.
Ao. 1666 den

1 1

On

trophies.

Junii.

Bust in high

the truncation:

relief,

three-quarters right,

on naval

CORN EVERTSEN-ADMIRAAL VAN

ZEEL(and).

HIER STRYCKT HET BRITSCH GEWELT VOOR NEDERLANT DE VLAGH DE ZEE HEEFT NOIT GEWAEGHT VAN
ZULT EEN ZWAEREN SLAGH. Sea batde between the Dutch and
Rev.

English

fleets.

Van Loon,
Forrer,

iv,

11,

529,

195

Provenance: Viscomte de Sartiges Coll.

JAN FILIUS LUTMA Amsterdam

c.

1605-85

Lutma's medals, though not numerous, are very

fine in execution.

147

den Vondel 1587-1679, Dutch poet

Joost van

Silver repousse medal, 66

Draped bust facing

DEN VONDEL,
Rev.

mm.

diam., 1679

front, within

gest. 5

an olive wreath inscribed:

JOOST

VAN

Feb. 1679

Swan with open wings within an

olive wreath inscribed: S'lants

149

Outste en Grootste Poeet, geb. 17 Nov. 1587.

Anointing

Van Loon,

Silver repousse medal, 53

iii,

283, 2

Koehler, xiv, 193


Forrer,

iii,

of

Saul

Biblical Scene

mm.

diam.

Saul kneeling in front of Samuel. Saul in wide shepherd's garb, holding

503

surmounted by a lily, receives the crown from bearded Samuel,


wearing long gown and round cap. In the background, a city.
Ornamental border.
sceptre

Van den Vondel wrote Gysbreght van Aemstel and


lated Tasso, Virgil, Ovid, Horace, Sophocles,

other dramas, trans-

and Euripides.

who

is

Rev. Biblical scene.

UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY


148

Nativity

Apparently unpublished.

150
|

Adoration

Silver repousse medal, 83

The Virgin and

St.

Magi
mm. diam.

of the

Joseph kneeling on the ground, between them the

Pope Adrian VI (Adriaen Floriszoon van Trusen of Utrecht 14591523) Pope 1522-23
Lead medal, 84.5

mm.

diam.

M ADRIAEN VAN GOD GHEKOREN PAYS VAN ROMEN


T'UTRECHT GHEBOREN
P

Bust

with a medallion. In the

No

tiara

and cope closed

two coats of arms.

Mieris,

Tresor,

Bust left, with elaborately arranged hair, wearing ruff collar, richly
brocaded dress with puffed sleeves and jewel. Broad foliate wreath.
Rev. Crowned royal cypher over Phoenix rising from the ashes (symbolizing the Queen's virginity). Broad foliate wreath.

reverse.

Van
cf.

field,

wearing

left,

ii,

An

158, 3

Med. des Papes,

p. 7, no. 6,

identical piece

is

note

ERICH PARISE

ENGLISH, DANISH,
BERNARD RANTWIC

AND SWEDISH MEDALS

Copenhagen,

151

phia Amalia

of

mm.

Silver medal, 41

mm. diam.
SCELLEIVS PRIOR

Rev.

right,

ANGLIAE

Bearded half-bust

wearing armor, the breastplate adorned with the Maltese

Under the truncation: BERN.

SPES

MEA

tion, in italics:

Bronze medal, 71

RICARDVS

RANTWIC.

Denmark

cross.

1648-70 and his wife So-

Brunswicl^
diam.,

1658

c.

King's bust to right, laureate, draped and

armored. Under the truncation,

England, Knight of Malta

b. 15 14 Prior of

half of the seventeenth century

153

DOMINVS PROVIDEBIT
Richard Shelley

first

Frederick III 1609-70, King of

sixteenth century

Rantwic was of German origin but worked in London. \'ery few medals
have been attributed to him.

Sir

Museum.

in the British

IN
EP

DEO

in italics, the artist's signature:

Queen's bust

Dans\e Myntcr og Medailler,

left,

draped.

Under

EP

the trunca-

pi. xviii, 4, var.

Galster, no. 81

F.
J.

HERCLAS

Copenhagen,

mid-seventeenth century

ac.

154

The
of

Relief of Copenhagen by a Dutch Fleet


Cronenborg

mm.

Silver medal, 46.5

View
on

of the city

diam., 1658

and harbor of Copenhagen with ships


Three

battle.

United Provinces

ships-of-the-line, flying the

age, the artist's initials:

anchor. Above,

n, 430, 2

On

in the

foreground.

a floating piece of wreck-

Dans){e Mynter og Medailler,


Ossbahr,

at

Dutch, Swedish, and

combat; a sinking ship

flags, in close

background: Kronborg Castle.

In the right

Van Loon,

Naval Victory

HAFNIA DANIAE.

a ribbon:

Rev. Naval

after the

xx, no. 2

pi.

(ill.)

p. 87, no. 21, pi. vi

After Copenhagen had been besieged for two months by the land and

naval forces of Charles

Gustav of Sweden, a Dutch

fleet of thirty-five

70 guns, under the command of Baron Opdam van


Wassenaer, arrived on October 23, 1658. Following a fierce engagement
with the Swedish fleet and heavy losses on both sides, the Dutch forced

mounting

ships,

Rev.

PATRIARVM EXVBITOR OPVM A

standing

left in

winged

way

their

griffon,

crowned,

11

Copenhagen and landed food

into the port of

supplies

and

troops.

mountainous landscape.

Franks and Grueber,

i,

127, 75

K.

^^^^^^

Forrer, v, 28

RULL

Sweden,

half of the seventeenth century

first

155

Gustav

11

Adolf 1594-1632, King of Sweden 161

Silver medal, 28

mm.

GUST ADOL D

SUEC

DV ETH ET CAR

FIN

and bearded bust

1-32

diam., 1632

right,

NOV: 1632
Rev.
STANS ACIE

and

the

GOT VAND REX M PRIN


D Within a quadrilobe, laureate
legend: NAT 9 DEC: 1594 DEN AT

IG

VMPHAT

the background, a

Hildebrand,

Crona

PVGNANS

Crowned sword,

i,

VINCENS

MORIENSQ

and palm branch


landscape with river and sailboat.
laurel

TRI-

tied together. In

no. 179

Coll., no. 116

Forrer, v, 268

Commemorates

the King's death in the Battle of Luetzen.

ITALIAN PLAQUETTES ATTRIBUTED TO


ARTISTS
AGOSTINO
UNIDENTIFIED ENGLISH ARTIST, SIXTEENTH CEN-

TURY

lington

152

Elizabeth

ture
I

1533-1603,

Queen

of

England 1558-1603

Oval silhouetted suspension medal of

silver,

H. 57.5 mm., W. 46.5

is

Little

mm.

DI

DUCCIO

Florence 1418-98

This great Italian master worked during the middle of the Quattrocento.
Only two plaquettes have been ascribed to him. Eric MacLagan {Bur-

Magazine

1920, pp. 166

ff.)

writes: "Agostino (di Duccio) sculp-

extremely rare."
is

known

about Duccio's

life;

he was active at Modena, Venice,

Rimini, and Perugia. In 1446 he was banished from Florence.

156

cf.
cf.

Pieta

Rectangular bronze plaquette, H. 128 mm.,

W.

198

mm.

In the center, the veiled Virgin, across her knees the

To

supported by grief-stricken female figures.


thea carries the

crown

of thorns.

To

the

left,

Body

of Christ,

the right, Joseph of Arima-

Nicomedes holds the

nails

Bange, Reliefs und Pla}{etten, nos. 491 and 492 (reverse)


Migeon, Les Arts, no. 80 (August 1908), p. 22, 10 (reverse)

ANDREA BRIOSCO

called

IL RICCIO (the curly-haired) 1470-

1532

Among

the sons of Padua, Riccio's

name

holds an honored place. As an

Church of Santa Giustina at Padua,


worker he created some unrivalled objects of decorative

architect he built the

of the cross.

Molinier, no. 83 (the Louvre specimen, formerly in the His de

la

Salle

Coll.)

masterpiece

is

beautiful of

its

as a
art,

bronze
but his

the bronze candelabra in Sant'Antonio at Padua, the

most

kind in the world.

Provenance: Count Trivulzio Coll.

PIERO JACOPO DI ANTONIO ALARI BUONACOLSI


L'ANTICO c. 1460-1528
The

158
called

were Mantua, Bozzolo, and


Gazzuolo, where he was employed by Federigo and Gianfrancesco Gonzaga. Many of his works are inspired by classical subjects, which explains
his nickname.
places of L'Antico's principal activity

Roman Empress

c.

125-176

mm.

diam.

DIVA FAVSTINA

Bust facing front, her head slighdy inclined to left,


two strands of hair falling over her shoulders, wearing softly draped
gown. Two incised border lines. High relief.

SENATS POPLS A

triumphal procession, marching towards the

bearing a shield, two horsemen, a standard bearer, a


trophy bearer, and a nude captive, his head turned backwards. In the
exergue, various weapons and pieces of armor. On an oval shield, the
right, a warrior

M.

cf.

Molinier, no. 516 (obverse), no. 640 (reverse)


De Ricci, Dreyfus Coll., no. 121 (reverse)

cf.

Victoria

cf.

156

W.

83

mm.

Judith is standing in front view, bending towards the right, about to


drop into a bag, held open with both hands by an old woman, also in
front view, the head of Holofernes, which she holds by the hair in her

High

relief.

Molinier, no. 218

Faustina

Circular bronze plaquette, 39

letter

Rectangular bronze plaquette, H. 108 mm.,

right hand. Raised base line.

157

Rev.

Judith

and Albert Museum,

no. 86 (reverse)

British Museum (T. W. Greene specimen), no. 97


Migeon, no. 321 (Louvre specimen)
Musee Jacquemart-Andre, no. 493
Paris, Cabinet des Medailles (Armand-Valton bequest no. 2529)
Bange, Die Italienischen Bronzen, no. 356

Florence (Carrand Coll.), no. 400

De

Ricci, Dreyjus Coll., no. 125


Migeon, Les Arts, no. 80 (August 1908),

p. 25
Detroit Institute of Arts, Decorative Arts of the Italian Renaissance 1400-

1600, no. 325 (this specimen)


Bode, Die Italienischen Bronzen, 1904

After a composition by Mantegna, engraved by Girolamo Mocetto (B. i).


cf.

Planiscig, Riccio, p. 436.

MODERNO

i6i

"Moderno" was only

cognomen, and he identifies the artist as Vettor di Antonio Gambello, called "Cameho," a Venetian, to whose works Moderno's creations bear great similarity.
According

to Molinier,

Holland (1549), Moderno is mentioned as an


engraver of leaden seals (papal bullae), which would indicate that the
artist also worked in Rome. Camelio was superintendent of the Papal
mint under Leo X, about 15 15.
In a treatise by Francis

Circular concave bronze plaquette (perhaps the decorative bottom of a

bowl), 110

mm.

diam.

Around an ornamented

many-figured battle scene be-

circular shield,

tween horsemen and foot

soldiers,

some

cuirassed

For

Crucifixion
Rectangular silver plaquette (bronze frame), H. 235 mm.,

On

W.

128

mm.

between the two thieves. At the foot of the cross,


on the left, the Virgin fainting in the arms of two women; near them, a
nude child. Behind them, St. John standing with clasped hands, and the
Magdalene embracing the cross. Around them, a number of soldiers on
horseback and on foot, a horseman on the right wielding his club at one
of the thieves. The soldiers armed with halberds and shields.
a tall cross, Christ

The

plaquette

columns,

is

set in a

bottom, on each

the side

mourn-

ing angels; in the center, floral garland and two putti.

The

half-round
Ricci,

field, in

Dreyfus

very high

Coll., no.

relief,

God

top border

the Father facing front, blessing.

MASTER

Ricci,

Dreyfus

Coll., nos.

10. F. F. North Italian

Museum, no. 38
Bange, Reliefs und Plaketten,

c.

1500

of Paris

Circular bronze plaquette with traces of gilding, 56.7

who

left

on

a rock

under

a tree,

extends her right hand to receive

standing, the latter holding a dagger

Cupid

mm.

diam.

presenting the apple to Venus

it.

(.?),

Behind her Juno and Minerva


a spear, and a shield. Abo\e,

flying. Plain linear border.

Molinier, no. 134

Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 1400p. 141 (this

Coll., no.

55

JACOPO SANSOVINO, SCHOOL

no. 454

Migeon, Les Arts, no. 80 (August 1908), p. 20, vi


Florence (Carrand Coll.), nos. 47 and 48
Oxford (Ashmolean Museum), nos. 58 and 59
Louvre, no. 301 (gift of Gustave Dreyfus, 1875)
Paris, Cabinet des Medailles (Armand-Valton), nos. 2510 and 2539

Coronation

of the

Virgin

Rectangular bronze plaquette, H. 133 mm.,


Christ, enthroned

160

Bode, Die Italicnischen Bronzen, no. 1273


Braun, p. 406

Rectangular bronze plaquette, H. 125 mm.,


before, but with different detail

W.

88

mm.

and without frame.

Coll., 20, 330, pi.

W.

87

mm.

on clouds, lowering the crown on the head of the kneeland surrounded by nine winged putti.

Molinier, no. 509

Crucifixion

SIXTEENTH CEN-

163

ing Mary, veiled,

specimen)

OF,

TURY

Provenance: Count Trivulzio Coll.

Provenance: Gutekunst

216 and 217

162

Judgement

Molthein

British

ill.

De

Bange, Reliefs und Plaketten, no. 652


170

Molinier, no. 171

1600, no. 329A,

style, cf.

Provenance: Luccardi Coll.

Paris seated

On

side, three

rectangular frame with rounded top.

ecclesiastical designs; at the

bears five medallions, the center one depicting the Dove. In the upper

As

and helmeted. Raised

border.

Apparently unpublished and unique.

159

De

Roman Combat

Bange, Die Bildwerke des Deutsche/! Museums, no. 944


Forrer, V, p. 332

Loebbecl{e Coll.,

Molthein

Munich

1908, n. 836, pi.

Coll., no. 90, pi. 4

xxxx

159

GIAN FEDERIGO BONZAGNA

MENSE

ac.

FEDERIGO PAR-

called

1547-75

165

Adoration

of the

Shepherds

Rectangular bronze plaquette, H. 198 mm.,

W.

148 mm., 1561

In a basket placed on a broken column, the Christ Child, surrounded by

Mary, Joseph, John, and the shepherds offering a lamb. To the right, the
heads of the ox and the ass. In the background, an arch carried by columns, its frieze inscribed FARM INVENT On the broken column in

front, the date 156

To
cf.

1.

Beyond

round tower and

the arch, a

a tall building.

the left in the sky, the star. Raised border,

Range, Die Bildu'er\e des Deutschen Museums, no. 42

Braun,

Faure

406

p.

Coll., no. 665, pi. xxiv

Molthein

Coll., no. 64, pi. 8

166

Entombment
Rectangular bronze plaquette, H. 248 mm.,

Two

bearded

men

W.

195

mm.

lowering the partly draped body of Christ into the

tomb, behind which Mary, the Magdalene, and two other female figures
stand, veiled and in an attitude of grief. To the right, the bareheaded St.
John. In the background, an arch partly overgrown with shrubbery and
grass.

Apparently unpublished and unique.


Provenance: Dr. Benno Geiger Coll.

ITALIAN PLAQUETTES BY UNIDENTIFIED


ARTISTS
FLORENTINE, FIFTEENTH CENTURY
167

Emperor Augustus
.V

31 b.c.-a.d. 14

Oval bronze plaquette, H. 50 mm., W. 34 mm.


Bust of the youthful Augustus to left, laureate, wearing cuirass and

163

mantle; on breast, aegis.

GIOVANNI BERNARDI DA CASTELBOLOGNESE

1496-c.

cf.

De

1555

cf.

Bange, Rcliejs und Plal^etten, no. 202

is known not only for the production of medals and plaquettes,


which frequently depict classical scenes, but also for his success as an engraver of crystal and other precious stones. His most celebrated work in

cf.

Oxford (Ashmolean Museum),

Bernardi

this field

On

is

the Farnese Casket in the Naples

Museum.

the occasion of Charles V's coronation at Bologna in 1530 as

Dreyjus

Ricci,

Coll., no. 53, pi. xviii

and

nos. 17

18

ROMAN, FIFTEENTH CENTURY


168

King

of

Lombardi, Bernardi cut the dies for a medal which so pleased the Emperor that he not only paid him 100 pistoles but also invited him to
Spain. Bernardi, however, preferred to return to Rome, where most of
his work was executed.

Sixtus

IV (Francesco

(crosslet)

Rev.

della

Rovere 1414-84), Pope 1471-84

mm. diam.
SIXTVS
FAPA
AE In high relief, the

Lead papal

bolla,

37

FF

Fearled border.

IIII

three-quarters facing heads of St. Peter

and

164

Roman Combat

Paul, haloed. Between them, a

This bolla
(Battle at Cannae.')

Circular convex silver badge, 41.4

St.

mm.

retains the cord with

tall

cross rising

which

it

from

was attached

orb.
to a papal

document.
diam.

between mounted troops, helmeted and cuirassed


and armed with spears and swords.
fierce battle scene

still

VENETIAN, SIXTEENTH CENTURY


169

Apparendy unpublished and unique.

Andrea

Gritti

Gold ducal

AND

Doge

of Venice 1523-39

bolla (sigillum), 36

GRITI

mm.

VENET(iarum) DVX Andrea


gown and ducal hat, receiving the banner

Gritti standing,

wearing wide

from haloed

Mark, who holds the

St.

diam.

S(anctus) M(arcus)

Bible.

No reverse.
British

Museum, Catalogue

oj Seals, vi,

373, nos. 22, 222

(sulphur cast)

Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 14001600, p. 100 (text

and

illustration)

and

p. 132, no.

317 (this specimen)

Probably unique.

Provenance: said to have been in the possession of the Ruzzini family of


Venice.

i65

66

172

Ornamental Plaquette
Mandorla-shaped bronze plaquette, H. 174 mm., W. 57 mm.
Probably made to be affixed to a piece of furniture. In the center, a lion
rampant to the left, surrounded by elaborate scrollwork, in silhouette.

No

other specimen of this ornamental applique seems to be recorded.

Probably unique.

NORTH
Bolle (seals) were attached to documents,

much

as seals are today.

Mostly

CENTURY

ITALIAN, MID-SIXTEENTH

173

they are of lead, in rare cases of silver, in bearing with the importance of
the

document or

which they were attached. Golden bulls (boUa


rarities, since they were used only in
Very few have come down to us.

treaty to

Entombment

d'oro or sigillum aureum) are great

Shield-shaped bronze plaquette with old fire-gilding, H. 188

exceptional cases.

140

The body

Mary and John, at the rocky entrance


John with flowing hair wears shepherd's
garb. Underneath, broad border with three angels' heads and two pal-

170

of Christ, supported by

of the cave.

Christ Carrying the Cross

Rectangular bronze plaquette, H. 124 mm.,

W.

88

mm.

Apparendy unpublished. Probably unique.

Mary

is

veiled, St.

mettos.

Surrounded by mercenaries and henchmen, Christ carries the cross, followed by two holy women. To the left, the kneeling St. Veronica with
veil in her hands. In the background, a city wall.
unidentified

mm., W.

mm.

great masterpiece by an

Provenance: Molthein

Coll., no. 108, pi. 7

174

Head

Christ

of

artist.

Oval bronze plaquette, H. 48 mm.,

Provenance: Count Trivulzio Coll.

Head

of Christ wearing the

W.

34

crown of

mm.

thorns.

Within elaborate Renais-

sance frame with foliate motifs,


cf.

Bange, Reliejs und Pla\etten, no. 926

175

Head of

Christ

Square bronze plaquette, H. 46.5 mm.,

Head

of Christ to

W.

36

mm.

left.

Gallerie Nazionali Italiane,

248

iv,

ITALIAN, SIXTEENTH

CENTURY

176

Emperor Tiberius

a.d. 14-37

Circular bronze plaquette, 85

TIBER

CAESAR

mm.

diam.

Laureate bust right, with hair

to

nape of neck.

Raised border.
Planiscig,

i,

172, 330

177

Emperor Caligula

a.d.

37-41

Oval bronze plaquette, H. 106.5 mm.,


Laureate bust right, underneath:
border of

Roman armaments,

W. 85 mm.
CAES T D

All within a broad

interrupted by four lions' facing front.

178

Emperor Vespasian

a.d.

69-79

Circular bronze plaquette, 86

VESPASIAN AVG C

mm.

diam.

Laureate bust right, with hair

to

nape of neck.

Raised border.
Planiscig,

i,

172, 330

171

179

Entombment

Emperor Trajan

Rectangular bronze plaquette, H. 96 mm.,

W.

70

mm.

In a rocky landscape, the body of the Savior being lowered into the tomb;

behind,

Mary and another woman,

veiled, in

an attitude of

grief; to the

right, the kneeling Magdalene kissing the Savior's hand. In the background, Golgotha under the rising moon; in the foreground, a water
bowl and an ointment vessel.

Provenance: Imbert Coll.

a.d.

98-117

Oval bronze plaquette, H. 56.5 mm.,

W.

44

mm.

Laureate bust right, hair to nape of neck, on granulated


relief.

Unpublished and probably unique.

field.

Very high

173

FRENCH AND FLEMISH PLAQUETTES


UNIDENTIFIED ARTISTS

FRENCH, EARLY SIXTEENTH CENTURY


-1

80

Francis I 1494- 1547,

King

of France 1515-47

Bronze plaquette, H. 150 mm.,

The King's bearded

W.

98 mm.,

c.

1535

wearing cap with broad brim, furcollared coat over pleated robe, and necklace with pendant. All within
double-lined raised border and cartouche of elaborate scrollwork; to the
sides two fish-tailed mermaids supporting the upper part of the frame
with the French fleur-de-lis in center. At the bottom, floral ornaments
portrait to right,

with antique mask in the center.

Apparently unpublished and unique.


Provenance; Count Trivulzio Coll.

FRENCH, SIXTEENTH CENTURY


181

Henry IV

1553-1610,

King

of France 1598-1610

Oval bronze plaquette, H. 59 mm.,


Half-bust

left,

W.

bearded and with long

cross over striped

gown. Granulated

47

hair,

mm.
wearing

ruff^ collar,

sash

\\

ith

field.

Apparently unpublished.

CENTURY

FLEMISH, SIXTEENTH
182

The Triumph

of

Wisdom

Rectangular bronze plaquette, H. 63 mm.,

On

a four-wheeled chariot, driven by

One

corns, are seated four female figures.

holding
fourth

a sceptre

(and perhaps

(Wisdom) holding

W.

an old

124

mm.

man and drawn

by tw o uni-

bearing a yoke, the second

a bird), the third

with crossed hands, the

bunch of keys; above her head, the Holy

Ghost. Raised base line.

De

Ricci,

Dreyfus

Coll., no. 428, pi.

cxx

Molinier, no. 665


Paris, Cabinet des Medatlles, no. 2474

Bange, Die Bildu/er/(e des Deutschen Museums,

11,

133, no. 1490

Vienna, Estensische Kunstsammlung, no. 458


Padua, Rizzoli, no. 78
Exhibited: Detroit Institute of Arts, "Flanders in the Fifteenth Century,"

October-December, i960

GERMAN PLAQUETTES
UNIDENTIFIED ARTIST, NURNBERG(.?), SIXTEENTH

CENTURY
183
Christ Carrying the Cross

Bronze plaquette with old

On

fire-gilding,

H. 161 mm.,

W.

123

mm.

stony ground with a serpent and a tree stump in the foreground,

Christ carrying the Cross.

Behmd him

to left, veiled

Mary and

standing.

Upper

part silhouetted.

Middeldorf and Goetz, Morgenroth

Coll., no. 381 as

Second specimen known.


Provenance: Commerzienrat Bauer Coll.

unique

St.

John

GERMAN, SIXTEENTH CENTURY


DURER)

ALBRECHT

(after

SOUTH GERMAN, END OF THE SIXTEENTH CENTURY


185

184

Flight into Egypt

Entombment

Rectangular bronze plaquette with old fire-gilding, H. 169 mm.,

Rectangular bronze plaquette, H. 129 mm.,

W.

mm.

97

Three men lowering the body of Christ into the tomb. To the left, the
kneeling Magdalene placing the ointment vessel on the edge of the
grave; behind her, a second kneeling woman and Mary and John standing. In the

After the

background,

Mary, the Child


ox,

Diirer,

cf.

is

with

to the right, a grotto; to the left, a city.

Entombment by Albrecht

in her

led by Joseph,
his

To

hand.

arm, seated on a donkey which, together with an


turns his head towards Mary and points the way

the

left,

dense woods; to the right, some

Stony ground with grass and flowers

Kleine Passion.

ground, a

village.

On

down

left, emerging from the


Holy Family.

250 (from the Kleine Passion 151

Apparently unpublished and unique.

1,

entitled: Passio Christi

ab Alberto

Coll., no.

In the style of Albrecht Altdorfer (1488-1538).

Farewell

374

oj

SPANISH PLAQUETTES
UNIDENTIFIED ARTISTS

c.

160a

186
Francis

Rectangular bronze plaquette with traces of old

90

silver,

H. 122 mm.,

W.

mm.

Before the crucifix,


stasy, his

St.

Francis, haloed, his head turned

hands with the stigmatas raised

rocky landscape. At the foot of the

upward

in ec-

background,

in prayer. In the

crucifix, a skull.

187
St.

Peter

Rectangular bronze plaquette in wooden frame with gilded scrollwork

and angel's head on


Half-bust of

top,

H. 197 mm.,

W.

148

towards heaven; in front of him, the keys.

which the cock

is

crowing.

Braun, Archiv, iii (1921/22), 15


Imbert Coll., no. 215

Loebbecke

mm.

Peter under a tree, his hands clasped in prayer, looking

St.

Coll.,

Munich

fT.

1908, no. 854

To

the

cf.

Baldass 1941, p. 297,

the Disciples, and landscapes, pp. 300-301.

Provenance: Commerzienrat Bauer Coll.

Viscomte de Sartiges Coll.

St.

clouds, are seven

carminibus Fratris Benedict!

variis

Chelidonii Musophili, Nurenberg 1511).

Provenance: Gutekunst

at the

trees.

in the foreground. In the back-

the upper

angels looking

cum

126

who

Willi Kurth, Albrecht Diirer, siimtliche Holzschnitte, Miinchen 1927, no.

Diirer Nurenbergensi, effigiata

W.

mm.

left,

column on

i87

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W.

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Grueber, H. A. Medallic

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Fiinfzehnten Jahrhunderts Berlin 1882

62
C. F. Keary Guide to the Exhibition 0} Italian
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London

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Calvo y del Rivero Guia del Salon de Numismatica
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Bernhart, M. Die Bildnismedaillen Karls des Ftinften

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Arethuse

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London

1923

Gallerie Nazionali Italiane

Rome

ca.

1894-99

Dans\e og Nors\e Medailler og Jetons


i$i^-ca. iy88 Copenhagen 1936

Galster, G.

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Hildebrand, B. E. Sveriges och Svens\a Konungahusets Minnespenningar Stockholm 1874-75
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Corpus

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Medals

0}

the Renais-

London

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London 1905

Pisanello
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Medals

of Italian Artists of

the Ren-

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Hind, A. M. Catalogue of early Italian Engravings
London 1930
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Imbert, E.

Le

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Paris 1871-1916

Placchette Italiane della Raccolta (by

G. Morazzoni)

Milan 1941

Imhof, C. A. Niirnbergisches Munz\abinett Niirnberg 1780-82

Jahrbuch der Kunsthistorischen Sammlungen


Allerhdchsten Kaiserhauses Vienna

des

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Juncker, C. Das Guldene und Silberne EhrenGeddchtniss D. Martini Lutheri Frankfurt and

Joseph, P.

Leipzig 1706
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see British

Koehler,

J.

D.

Miinchen 1927

Prague 1896
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Roma Rome

1917
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XVe

Siecle

Mazzuchellianum Museum, seu Numismata


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W.

Die Medaillen und Pla\etten der


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P.

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Rinaldis Medaglie dei Secoli

XV

XVI

Museo Nazionale di Napoli Naples 1913


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nel

1852-70

Numismatic Chronicle London


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Besittningarnas och Landgreven
Mynt Stockholm 1883

Svensl^a, Svens\a
Fredril{s Hessis^a

C. A. Mynt och Medaljer slagna for


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J.

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Pompeo Leoni

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Berlin-

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INDEX OF ARTISTS
Abondio, Alessandro, note preceding 112
Abondio, Antonio, 75, 112, 113

Grechetto, 46

Alari Bonacoisi, Pier Jacopo di Antonio, see Antico

Hagenauer, Friedrich, 88, 89, loi


Hamerani, Alberto, note preceding 51
Hamerani, Giovanni, 51

Guacialoti, Andrea, 24, note preceding 28

Altdorfer, Aibrecht, 185

Antico, 14, 157

Antonio da

Herclas,

Brescia, Fra, 9
Behain, Hans Sebaid, note preceding 138, 140
Belli, Valerio,

J.,

154

Hirschvogel, Augustin, note preceding 138

Hoehn, Johann, 128-130


Hohenauer, Michel, 93

52

Bernardi, Giovanni, 164

Blum, Johann, 124


Boldu, Giovanni di Pasqualino, 18

Holbein the Younger, Hans, note preceding 87, note


preceding 138
Holdermann, Georg, 98, 99
Hollande, Etienne de, 75

Bonzagna, Gian Federigo,

lO.F.F., see Master lO.F.F.

Bertinet, 85

Bertoldo di Giovanni, 24, 28

see

Parmense

Jamnitzer, Wenzel, note preceding 97


Januario, see Gennaro

Sandro, 28, note preceding 30


Braun, Johann Bartholomaeus, 125
Botticelli,

Brescia, Fra

Antonio de,

see

Antonio

Jonghelinck, Jacob, 142

Briosco, Andrea, see Riccio

Kitzkatz, Ruprecht Niclas, 116

Buchheim, Johann, 126

Kornmann, Johann

Camelio, see Gambello

Leclerc, Nicolas, 78

Candida, Giovanni di Salvatore Filangieri, 27

Leoni, Leone, 65-67, note preceding 68, note preced-

Caradosso, Cristoforo, 23
Castelbolognese, Giovanni Bernardi da, see Bernardi

Le

Cavino, Giovanni dal, 53-62


Cellini, Benvenuto, 36, 75, 79, note preceding 114
Cesati, Alessandro, see Grechetto

Cormano, Giovanni Jacopo,

see

Kornmann

Jacob, 120

ing 142
Pere, Jean

and Colin, 78

Lippi, Filippino, 15

Lutma, Jan

Filius, 147
Lysippus the Younger, 25, 26
Maler, Valentin, 97, no

Cranach, Lucas, note preceding 94, 94

Mantegna, Andrea, 158

Dadler, Sebastian, 117-119

Marescotti, Antonio, 5, 6
Master lO.F.F., 162

De Laune,

Etienne, 79
Deschler, Joachim, 90-92, 138

Memling, Hans, note preceding 27


Michelangelo, note preceding 28, note preceding 112

Donatello, note preceding 28

Drentwett, Balduin, no,


Duccio, Agostino

di,

in

Michelino,

Domenico

di,

35

Milicz, Nickel, 138-140

156

Diirer, Aibrecht, 86, 184

Mocetto, Girolamo, 158

Duerr, Ernst Caspar, note preceding 132


Dupre Guillaume, note preceding 43, 81-83,
preceding 84

Moderno, 137, 159-161

Elertz, Cornelius, note preceding 114

Mola, Gaspare, 43, 44, note preceding 49


Moro, Jacobo Antonio, note preceding 43
Morone-Mola, Gasparo, 49

Enderlein, Caspar, 112

Mueller, Philipp Heinrich, 131

Enzola, Gianfrancesco, 16

Muller, O. Wouter, 145, 146


Nuernberger, Paul Gottlieb, 134

Filangieri,

Giovanni di Salvatore, see Candida

i^ote

Foppa, Cristoforo Caradosso, see Caradosso

Omeis, Martin Fleinrich, 132


Padovano, see Cavino

Franceschi, Piero dei, 10

Parise, Erich, 153

Francia, Francesco, 22

Ghibellini, Orazio, note preceding 49

Parmense, Federigo, 47, 48, 165, 166


Pasti, Matteo di Maestro Andrea de', 10-13
Pastorino di Giovanni Michele de' Pastorini, 37, 38
Pfruendt, Anna Maria, note preceding 125
Pietro da Fano, 18
Pilon, Germain, 80

Goedecke, Paul Heinrich, 135

Pisanello, 1-4, 6

Fiorentino, Niccolo, see Spinelli

Galeotto, see

Romano,

Pietro Paolo

Gambello, Vettor di Antonio, 19, 159-161


Gennaro, Maria Antonio di, 133

Geremia, Cristoforo

di,

note preceding 25

Pisano, Antonio, see Pisanello

Bembo,

Poggini, Domenico, 40

Bentivoglio, Giovanni

Poggini, Gianpaolo, 39, 40


Pool, Jurriaan, 144

Bernhard of Saxe- Weimar, 124

Raibolini, Francesco, see Francia

Caesarius, Johann, 107

Rantwic, Bernard, 151


Reinhart the Elder, Hans, 94-96, 137
Riccio, 158
Robbia, Andrea della, 34

Caligula,

Romano,
Romano,

Giancristoforo, 15
Pietro Paolo, 41, 42, 73

Rull, K., 155


Saint-Priest, Jean de,

78

Sansovino, Jacopo, note preceding 64, 163


Schega, Franz Andreas, 136

Antonio, 45
Soldani-Benzi, Massimiliano, note preceding 45
Sperandio, 17
Spinelli, Andrea, 63
Selvi,

Spinelli,

Niccolo di Forzore, note preceding 27, 30-

34

Pietro, 15
II,

21

Borgia, Lucrezia, 15

Caracalla,

Roman emperor, 177


Roman emperor, 18

Caraffa, Antonio, 66, 68

Chamemilon, Euphrosina de, 104


Charles I, Count Palatine, 11
Charles V, Emperor, 42, note preceding 65, 67, 138
Charles VIII, King of France, 78

X Gustav, King of Sweden, 154


Charles Ferdinand, Bishop of Breslau, note precedCharles

ing 126
Christian

of Saxony, 116

Christian William of Brandenburg, 120

Queen

Christina,

of

Sweden, 50

Contughi, Fra Cesario, 17


Cornaro, Fra Giovanni, 20
Cortez, Hernan, 87

Titian, note preceding 65, 67

Dante, see Alighieri

Travani, Gioacchino Francesco, 50


Trezzo, Jacopo Nizzola da, 68

Delen, Nicholas van, 143


Dido, Queen of Carthage, 46
Dondi, Giovanni, 67

Vianen, Paul van, 114


Vicentino, see Belli
Vittoria, Alessandro,

64

Volpe, Vittoria della, see Vittoria

Warin, Jean, 84
Weiditz, Christoph, 87

Welcz, Concz, 137


Werner, Peter Paul, 134

INDEX OF PERSONS

REPRESENTED OR MENTIONED
Adrian VI, Pope, 150
Aelius, Roman emperor, 52
Agrippina Sr., Roman empress, 54
Alidosi, Francesco degli, 22
Alighieri, Dante, 35
Allgaeuer, Hieronymus, 109

Anne

of Brittany, 78

Donellus (Doneau), Hugo, 99


Doria, Andrea, note preceding 65
Diirer, Agnes, 86

Ehrenberg, Philipp Adolf von, 98


Elizabeth I, Queen of England, 152
Este, Alfonso II d', 38
Este, Lionello d', 3, 4
Evertsen, Cornells, 146

Farnese, Pierluigi, 47
Faustina Jr., Roman empress, 61, 157

Ferdinand
Ferdinand

I,

Emperor, 93, 138


Emperor, 123

III,

Fetzer, Matthaeus, 97

Fioriano, see Antonini

Francis

I,

Frederick

King of France, 180


III, King of Denmark and Norway,

Frederick V, King of

Denmark and Norway, 135

Antonini, Fioriano, 53
Ariosto, Lodovico, 37

Frederick Christian of Poland, 136


Frederick William I of Brandenburg, 134
Frundsberg, Anna von, 10

Astallia, Giulia, 14

Gabrielli, Trifone,

Augustus,

Roman

emperor, 167

Bandello, Matteo, 14
Barberini, Maffeo, 82

Behaim von Schwarzbach, Frederick, 105


Bellini,

Giovanni, 19

118,

153

70
Gamberia, Bernardino, 31
Gazzuolo, Giulia de, see Astallia
George III of Silesia, Liegnitz and Brieg, 126
Geraldini, Antonio, 30
Giovio, Paolo, 16

Gonzaga, Ippolita, 66, 68


Gonzaga, Vincenzo II, 49
Grimani, Marino, 74
Gritti, Andrea, 63, 169
Gustav II Adolf, King of Sweden, 121, 122, 155
Hanna, Daniel de, 65

Nale, Giovanni

Henry
Henry
Henry

II,

Panigarola, Francesco, 76

III,

Paumgartner, Hieronymus, 90
Perrenot, Antoine, 142

King of France, 79, note preceding 80


King of France and Poland, 80
IV, King of France, 81, 181

di, 69
Nero, Roman emperor, note preceding 30
Nerva, Roman emperor, 58

Neudoerfer, Johann, 91
Opdam van Wassenaer, Baron, 154
Otho, Roman emperor, 55

King

Hevelius, John, 130

Philip

Holzschuher, Sigmund Gabriel, 125


Innocent VIII, Pope, 30

Piantanida, Pietro, 75
Piccolomini, Alessandro, 36
Pisano, Antonio, 6

Innocent XII, Pope, 51

John Casimir, King of Poland, 128, 129


John Frederick of Saxony, 94
John George I of Saxony, note preceding 117, note
preceding 126

John George

III

of Saxony, 132

II,

of Spain, 39

Pius V, Pope, 48
Primislav, King of Bohemia, 133

Girolamo, 72
Rangoni, Tommaso, 64
Remo, Opizo, 9
Priuli,

Richelieu,

Armand

Khevenhueller, Johann, 112

Rinuccini,

Alamanno, 32

Leo X, Pope, note preceding 159


Leopold I, Emperor, 127
Le Tellier, Michel, 85
Louis II, King of Hungary, 93
Louis VI, Count Palatine, 115
Louis XII, King of France, 78
Louis XIV, King of France, note preceding

Rovere, Francesco Maria della, 22

Julius

II,

Pope, 22

Lucius Verus,

Roman

Rudolf

Emperor, 114

II,

Savonarola, Girolamo, 34
Savoy, Charles Emanuel I, 43
Schwarzbach, Frederick Behaim von, see
Sforza, Faustina, 41
84, 85

Sforza, Francesco, 2, 16
Sforza, Ludovico Maria, 23

emperor, 62

Lucretia, 86

Shelley, Sir Richard, 151

Luther, Martin, 88,

no

Sixtus IV, Pope, 24, 25, 168

Malatesta, Sigismondo Pandolfo, 10-13

Marciana,

Jean de, 84

sister of

Sophia of Brandenburg, 116

Roman

emperor, 59
emperor, 60

Trajan,

Marcus Aurelius, Roman


Maria of Aragon, 4
Maria of Burgundy, 27
Maria of Hungary, 93
Maximilian I, Emperor, 21, 27, 78
Maximilian II, Emperor, 112, 113, 139

Sophia Amalia of Brunswick, 153


Spinola de Serravalis, Battista, 77
Strozzi, Tito Vespasiano, 29

Suleiman

I,

Ottoman

sultan,

Tannhausen, Emerentiana von, 102


Tavelli, see Tossignano

Roman emperor,
Roman emperor, 57

Mazarin, Jean, 85

Tiberius,

Medici, Catherine de', note preceding 80

Titus,

Medici, Cosimo de'

Toledo, Eleonora de, 36


Torre, Gianello della, 67

Vecchio), note preceding 30

(II

Medici, Cosimo

Medici, Cosimo

II de',

de', 36, 40,

45

Medici, Lucrezia de', 38


Medici, Marie de. Queen of France, 81, 83

Melanchthon, Philipp, 89
Memmo, Marcantonio, 82

Menno van

of Ferdinand

Friesland, 88

Musso, Cornelio, 73
Mylius (Miler), Georg,

Tossignano, Giovanni Tavelli da, 5


Trajan, Roman emperor, 179
Trevisan, Marcantonio, 71
Trivulzio, Gianfrancesco, 42
Trivulzio, Giangiacomo, 22, 23, 42

and

Isabella, 30

Tromp, Martin Harpertszoon,

Unknown

persons:

Boy, 8

no

176

Toscani, Giovanni Alvise, 26

44

Medici, Lorenzo and Giuliano de', 28

Mendoza, Ambassador

93

Sybille of Saxony, 103

Humanist, 88, 107

144, 145

Behaim

Bo

Man, 7

fphff en, 15
Brisach fortis sed fortior deus fvit et weimarius 1638,

Mohammedan, io8
Patrician, loo, io6

Urban

124

Cap

pet plantanida aet an xxxvi, 75


Car d g CO pa rhe ba dv c v e s, 1 1
Carolvs eman d g dvx sab p p, 43

VIII, Pope, 82

Vecchietti, Alessandro di Gino, 33

Roman

Vespasian,
Virgil,

emperor, 178

Castellvm sismondvm ariminense mccccxlvi, 10

24

Visconti, Filippo Maria,

Castellvm sismvndvm ariminense mccccxlvi, 13

C caes

Roman

emperor, 56
Wolfgang, 106

Vitellius,
Vitil,

d, 177

Christum hat gott

furgestelt

Chrvs moritvr pro nobis

Waldstein, John Joseph, 133

Coelitus data, 132

William

131
Wladislas

ciat 46,

and Mary, King and Queen of England,

III

King

II,

Hungary, 93

of

zu einem gnadenstuel,

"7

Vondel, Joost van den, 147


Waldstein, John Frederick, 141
Waldstein, John Henry, 133

et resvrgit vt

nos ivstos

fa-

137

Comes de

waldstein, 141

Congiar p

r,

Consecratio

58
s

pq

r,

59

Consilio et indvstria, 127

INDEX OF INSCRIPTIONS
AD
Ad

(monogram), 86

Cornelivs mvssvs ep bitvnt, 73


floren et senar dvx

Cosmvs med

civitat ditionisq tvtel

mvnim

extrvctvm, 47

Danthes

florentinvs,

A deo et pro deo, 5


A d ianvario 133

Das hoeheste

Aet 39, 42

Devm

Aeternitati sacrvm, 53

m f mat c

caesaris avgvsti,

A iove et sorore genita,


A L (monogram), 112

54

D
D g georg dux

64

rinvccinvs philippi

f,

istr,

Dido

An

sp

f,

mdxci,

Antoninvs pivs avgvstvs, 18


Antonivs geraldinvs pontificivs logotheta fastorvm
vates, 30
Archi dvx avstri dvx bvrg marc mor 1566, 139
Armandvs ioannes cardinalis de richeliev, 84

A vitellivs german
Bap spinola d

imp avg p

serravallis,

Ber gamb innocentii


Bern rantwic ,151

nicolavs van delen, 143

tr,

rosettis,

131

56

il

praef admin-

mar bran dvc

sax ele, 116

46

concinit orbi, 73

Dominvs providebit, 153


Dominvs 1570 providebit, 113
Don ferdinando cortes mdxxix anno

Dvm spiritvs hos reget artvs,

an xxx 1485, 31

etatis xxxxii,

87

75

Dvrate, 142

Ego

sicvt oliva frvctificavi sva vitae

odo

do

di,

EP,i53
Etatis sve 30,

77

viii c s

Blum, 124

nat

basilissa,

Divinvm

poma

b supremae pers

D martinus lutherus, 88
D martinvs Ivtervs, no

63

florigeris succrescunt

&

Divi francisci mdxxxiiii, 63

1 1

Antonii perrenot epi atrebat, 142

Aurea

Diva avgvsta marciana, 59


Diva favstina, 157
Diva ivlia astallia, 14

Anno do mi

sil

126

D g Sophia

venet dvx, 169


Andreas griti dvx venetiar mdxxxiiii, 63
Anna georgi in frvntsperg vxor, loi
griti

16Z9, 121

Devotissimvs pavper pr d iohanes eps ferrarienm, 5


Dextera tva dom percvssit inimicvm 1571, 48
georgivs mylivs avg aet 31, no

32
Alessandro di gino vechietti anni Z6, 33
AH mein hofnvng zv got, 97
An Ab, 112

And

35

gut, 118

tvm sperne patriam defende

Aetatis svae 65 franciae orientalis dvx, 92

Alamannvs

40

D'eta di xxxiii anni mdxliiii, 69


cole avrvm contemne virtvtem sectare argen-

f,

Agrippina

ii,

Daniel de hanna, 65

Et

sicvt in

omnes

93

adam omnes morivntvr

ita et in

christvm

vivificabvntvr vnvs qvisqve in ordine svo,

95
Et victricibvs armis, 122

Evphrosina de chamemilon, 104

Hafnia daniae,

Exemplvm vnicvm

Hamera, 51

for et pvd, 14

Expvgnata alexandria deleto exercitv Ivdovicvm sf


mli dvc expellit reversvm apvd nova riam sternit
capit,

iteruin respirat libera leges, 131

schega

Favstina avg antonini avg pii

fil,

Ivdovico regnante

61

dvodecimo cesare

altero

gavdet omnis nacio, 78


Ferdinandvs d g romanor hvngari boemini infans

d g rom hvng bohem


tantvm infensvs, 49

iii

Feris

r "etc.,"

123

Firmavit omen, 114


Florianvs antoninvs andreae

f,

53

ac divi ver famosis predicator, 17

iii

in old

el,
si

136

hoist

& delm, 118

Fridericvs d g eps wircebvrg, 92


Frid wilh d g rex borvss el brand, 134
Fried v dg rex dan norv van go, 135
sfortia

vicecomes mli dvx

iiii

belli

pater et pacis

avtor mcccclvi, 16

Fvi

svm

t,

42
Gasp m, 43
G dupre 1615, 83
G dupre f 1612, 82
Giovanni di nale, 69
Gladivs domini svp teram
Gott

lies

f,

Hvgo

ad

astra,

donellvs

ic cl

prof aldorp aet svae 64 an 90, 99


cristi

ressvrexionem capitvlo Z, 137


lanellvs tvrrian cremon horolog architect, 67
I

B, 126

H,

128-130, 154

Imp caes maximil ii avg, 112


Imp nerva caes avg p m tr p cos ii p p, 58
Imp otho caesar avg tri pot, 55
Imp t caes vesp avg p m tr p p p cos viii, 57
Imp vii cos iii, 60

mvndo

corde, 70
mors omnia delet, 17
In vmbra alarvm rvarvm sperabo donee transeat
Inspice mortale genvs

citoet velociter,

iniqvitas,

34

90

hart entschla

nam

ein ripp a

s s

mdd

Makelos, 50
Gust adol d g suec got vand rex

loan casim d g rex pol & suec


d r prus, 129
loannes aloisivs tvsca avditor cam, 26
1

loannes bellinvs venet pictor op, 19


loannes bentivolvs ii bononiensis, 21

eva g z, 140
Greek inscriptions:
Karchedon, 46
Leon aretinos, 66

loannes casimirus d g poloniae


128

m prin

fin

dv eth

et

&

sueciae rex "etc.,"

loannes frideric archie prag, 141


loanns fridericvs elector dvx saxonie
loanns fridericvs elector dvx saxonie

car ig d, 155

Gvilielmvs et maria rex et regina britaniae, 131


Gvstavvs adolp d g svec goth wand q rex, 121, 122

lo cornelivs

Hac

lo fran

secvla ivbilant

22

lac trez, 68

Innocens manib et

49

adam

ris

HR 1536, 95

Indvstriam adivvat devs, 91


Innocen xii pont
a i, 51

et ero,

G moron

Heroica foecunditas, 133


Herois huius nomina in cuncta clarent secula, 124
Hier stryckt het britsch gewelt "etc.," 146

lanas qvi post tres dies de piste exivit designat

d g pr reg pol & lith dux sax &


d g dan norw got vand rex dux

Frideric christ

Fr

ii

His avibvs cvrrvq citodvce

Fr alidoxivs car papien ban romandiolae q c legat, 22


Francesco panigarola aeta anni xxviii, 76
Fr cesarivs fer ordins ser b
v divin
t exellen doc

com

dabvntvr olimpo, 25

"etc.,"

torvm, 34

Fp, 48
F parm, 47

dit

met triomf

everts

Hieronymvs allgoewer xviil iar alt a mdlvi, 109


Hieronymvs pavmgartner anno aetatis 56, 90
Hippolyta gonzaga ferdinandi fil an xvi, 66
Hippolyta gonzaga ferdinandi fil an xvii, 68

Pert, 43

Fridericus

Heer

Hieronimvs priol ve dvx, 72


Hieronx[!]mvs savo fer vir doctisss ordinis predicha-

hispa arc avs rex 1550, 138

Ferd

77

in terris aeterna

146
francor rex invictiss p p, 79
Henricvs 3 d g fran et pol rex 1575, 80
Henricvs iiii d g franc et navar rex, 81

Favstina sfortia march caravagii, 41


Felice

121, 122
us,

Hec damvs
Henricvs

136

f,

54

inscriptions:

Name of God,
Oh Lord, help

23

Externo male pressa iugo Britannia pridem in priscas

Fa

Hebrew

vmbra, 135

fieri fecit,

95

fieri fecit etatis

svae 32, 94
tri

mona

mar

cor casin colvmen, 20

vig co

mvso

ac val ren et stosa d,

42

Maximilianvs
Maximilianvs

lo fr enzolae parmensis opvs, i6

Johannes hevelius dantiscan "etc.," 130


lohann nevdorffer arithm aet sve Ivii, 91
loh georg

d sax

iii

lo iacobvs trivvls

mar

&

el,

etc rex,

Maximili

132

vig fra marescah

pavl pog

pv an

f,

me

viii

ii

di

iiii

obi a mdlxvii

n de

iiii,

72

eivs corro-

av, 113

5, 10, II,

13

zum

Mcccclvi, 16

Mcccclxxxi, 24
Mdxxxiiii, 63

vvarin 1630, 84
losegelt

beim himlischen

sund der gantzen welt,


van den vondel gest 5 feb 1679, 147
J pool, 144
L aelivs caesar, 52
dargestelt fur alle

vatter

Mdxxxv, 94
Mdxxxxiii, 89
Mdxiiiii, 69

Joost

Mdliiii, 71

Mdlvi, 109
Mdlix, 39

Lavrentivs medices, 28

Mdlxvii, 72

Leonellvs marchio estensis, 3


Leonelivs marchio estensis ge r ar d ferrarie regii

et

mvtine, 4

Mdxci, III
Mdcvi, 43
Mdclviii, 128

Leopoldvs d g rom imperator, 127


Lievtenant admiraal van holland "etc.," 144

mvt

Lvcretia borgia esten ferrariae

med

Lvcretia

Mcccclxxxxiiii, 21

medices, 28

Jesus hat sich

Mcccclxvi, 18

s c,

57
Ivdicivm dni apprehendit eos et fortitvdo
boravit brachivm mevm, 87
Ivlian\

rom

Mccccxlvii, 12

39

Ivdaea capta

139
ii

Mccccxlvi,

lo son fine, 18
I

ii

Mccccxliiii, 4

23

s,

dvx avstr bvrgvnd, 27


d g roma imperi sem avg ger hv bo

fr caes f

ferr princ a a

xiii,

Mdccxxxiii, 134
Mdcclxiii, 136

ac regii d, 15

38

Lvct\'s pvblicvs, 28

Memoriae agrippinae, 54
Micha ieteilier fr cancellarivs 1678, 85
Mijn hert en hant was voor het lant, 145

Lvd d g CO pa ele a d z, 115


Lvdovic vnga ec rex contra tvrca pvgnando occvbvit

Miserere nobis domine, 96

1526 etatis sve 30, 93


Lvdovicvs ariost poet, 37

Monograms:

vervs avg

Lvgdvn

arm parth max

tr

repvblica gavde te bis

sic fvi

p viiii, 62
anna regnante benigne

conflata 1499, 78
effigies,

124

Maiestas maior ab igne, 81

M antoninvs avg

tr p xxix, 60
p car barberin sig ivst prae bono leg, 82
Marcvs antonivs memmo dvx venetiarvm, 82
Marcvs antonivs trevixano dei gratia dvx venetiarvm
s r

etc vixitano

in principatv obit mdliiii, 71

Marcvs ant trevisano dvx


Marescotvs

AD,
A L,

86

1X2

M M, 27
et comedi ge z, 96
N, 134
Nat dresdae d 20 iun ao 1647 denat tubingae ao 1691
d 12 sept, 132
Nat 6 jun 1568 mor 7 dec 1622 pietas, 1 16
Nat 9 dec 1594 denat 6 nov 1632, 155

Mvlier dedit mihi

Magni ducis bernhardi saxon weim


Magnvs cosmvs medices p p p, 45

Maph

M M (monogram), 27

v,

71

f,

5
galliae et navarae regina, 83

Maria avg
Maria karoli f dvx bvrgvndiae avstriae barb c flan, 27
Maria regina ec qvos devs conivnxit homo non
seperet, 93

Marin grimanvs dvx venetiar, 74


Marten harpertsen tromp ridder, 144
Mathevs fetzer aet li 1576, 97
Maximiliani imperatoris mvnvs mcccclxxxxiiii, 21

Nostra medela, 119

Numinis auspicys

Nvnq

deficit,

et regis fortibus

armis

"etc.,"

128

67

Obiit V octobris mdcclxiii, 136

Of, 132
Oldenb dan tertia vice ivbilans d 28 oct 1749, 135
Omne vanvm, 65
Opizo remvs alfon esten dv iii secreta, 9

Op

ni fo sp

{\,

30

Oportvne, 43

Opvs pisani pictoris,


Opvs pisani pictoris
Opvs sperandei, 17

i,

mccccxliiii, 4

p, 38
Pace terra mariq composita, 39
Parcere svbiectis et debellare svperbos, 24
Parm invent, 165
Par vbiq potestas, 66
Patriarvm exvbitor opvm, 151

Seren d d ioh georg elect sax in matr chariss, 116

Pax aeterna ad gedan

Sigismvndvs pandvlfvs malatesta, 12


Sigismvndvs pandvlfvs malatesta pan
Sigm gabriel holzschvher ae 67, 125

a cisiDcix

iii

Serenitatis nvncia, 123

Servando dea

vxor saxoniae, 103


Sigismondvs pandvlfvs de malatestis s ro eclesie
generalis, 10,

maii condita, 129

PHG,i35
Philipp adolph d g eps wirceb fr or dvx, 98
Philippvs hispaniar et novi orbis occidvi rex, 39
Philippvsmaria anglvs dvx mediolani etcetera papie

comes ac genve dominvs, i


Philippvs meianthon anno aetatis svae xlvii, 89
anglerie qve

PHM,

manibus aug

Pivs V pont opt


loysivs f

Sixtvs papa

iiii,

168

Sixtvs

iiii

pon max

Sixtvs

iiii

pont

max

24

sacri cvlt,
sacri cvlt,

25
geb 17 nov 1587, 147

mea a domino, 126


Spe gloriae hvmilis, 125

parm

et plac

vi,

mea in deo, 1 53
mea in deo est, 95
mea in deo est anno

dvx

i,

Spes

48

Spes

47

adriaen van god ghekoren pavs van

romen

imp

P p a e, 168
P p Werner fee, 134
Privs mori qvam tvrpari, 33

Sydera cordis, 74

Te
sic

carolvs

ille

imperii caesar

Psal 36 svbditvs esto deo et ora

evm anno

mdxxxxiii,

89

Quorum memoriam

ioan ios

com

a waldstein "etc.,"

victa seqvor, 84

copia lavro et

fama bearvnt

nvia, 79
gvard d mar mag, 64
Thve recht fvrchte gott vnd niemants mehr, 120
Tiber caesar, 176

Thom

138

1,

54, 59

Tandem

Pro bono malvm, 37


Pro deo et milite, 134
Ivmina aet svae

philol raven phys eq

Titvs strocivs, 29

Tr p vii imp iiii cos iii p


Tryphon gabriel, 70

p,

62

Vespasian avg

133

Qvamvis occvmbas

felix

occvmbis

in ipso stare

tvam

c, 178
Vff der hochzeit zv cana verwandelt christvs wasse

effigiem sol oriente vides, 123

w io z,

140

Vggcwpabevsmvhpgmzbiph,

melior optabilior, 40

Victa iam nvrsia

Ren

Victor camelivs faciebat, 19

als in eren,

94

fatis agitvr,

d g dvx mant

26

m f v, 49

Ricardvs scelleivs prior angliae, 151

Vincen

Rvdolphvs ii rom imp avg rex hvng boe, 114


Sacrae romanae ecclesiae capitanvs generalis, 10, 11

Vinces virtvte viventis 1580, 115

Salvs pvblica, 28

Virtvti ac

Satiabor

cvm

formae pvdicitia praeciosissimvm, 15

in crvce exaltatvs et

resvscitatvs capvt serpentis contrivit salvaret cre-

Securitas britaniae restituta 1689, 131


r,

Virtvs, 67

formaeq praevia, 68
Vt moses erexit serpente ita chrs

117, 118

vii et

Virtvtis

52, 56-58, 61

Secvritas

ii

Virtvtis et ingenii, 19

apparverit, 31

dentes, 95

55

Seht wie der fried iez ziert die welt

120

Vic avg, 60

christina, 50

Religio sancta, 30

S C,
S D,

mdxxxv,

Stans acie pvgnans vincens moriensq trivmphat, 155


Svbditvs esto deo et ora evm anno mdxxxxiii, 89

mccccxlvii, 12

Progenies divvm qvintvs

nostri salvatoris

94

Spqr,

t'utrecht gheboren, 150

Regina

13

Sixte potes, 24

Spes

max anno

Pontificii exercitvs

Qvo

f,

Sors

magnanimi, 136

iii

Pisanvs pictor, 6

P
P

S'lants outste en grootste poeet

131

Pietas evangelica, 20
Piis

facta deos, 83

Sibila iohanni friderichi dvcis

"etc.,"

118

Vulner

christi,

Semper, 45

Waarom

Senats popls, 157

XXIV

119

doet muller tromp door kunst

filii

a patre ioan henrico

barone

"etc.,"
"etc.,"

145

133

GENERAL INDEX
Adam

Cannae,

and Eve, 35, 95, 96


Adoration of the Magi, see Christ
Adoration of the shepherds, see Christ

battle of, 164


Capitanus Generalis, title of Malatesta, 10, 11

Caritas, standing, 51

Carthage, view

Aeneas, sinking of his ship, 142


Alexandria, capture of, 23

Amor,

4, 15

Antwerp, Memhng, Portrait of

man

holding coin,

note preceding 27
Archer, see Astronomy, Sagittarius
Architecture and buildings,

10,

13,

holding birch rod,

Arms, coat

46

drawn by eagles, 22
drawn by Pegasus, 68
Fame, riding in, 79, 84
funerary, 54, 59

40, 46, 47, 53,

61, 63, 165, 166

Arm

of,

Chariot:

Poseidon

in,

Wisdom,

riding

142
182

in,

Chateau Cambresis, Peace


Checkers, 101-108

of:

treaty of,

39

Chiron, the centaur, 43

Este, 3
Fetzer, 97
Florence, 36

Christ:

Nativity, 148

Adoration of the shepherds, 165


Adoration of the Magi, 148

Gonzaga, 49
Holzschuher, 125
Liegnitz-Brieg, 126

Flight into Egypt, 185

Lyon, 78
Neudoerfer, 91
Paumgartner, 90

carrying the cross, 117, 119, 170, 183

Pope Adrian VI, 150

Pieta, 156

Richelieu, 84

Entombment,

Savoy, 43
Saxony, 94-96

Resurrection, 115, 137

Crucifixion, 95, 96, 159, 160


wearing the crown of thorns,

head of, 174, 175


Combat, Roman, 161, 164

Trivulzio, 23

Constantia, standing, 24

Van

Constellations, see

Copenhagen,
Cremona, 67

Vecchietti, 33
Visconti, i, 23

Wuerzburg, 92, 98
medal referring to, 76
Astronomy:

Astronomy
and relief of, 154

Cupid, see

Amor

Death, 17, 18

Denmark and Norway, medals made

Capricorn, 114

Comets, 130
Lunar maps, 130
Pisces, 22

to,

Sagittarius, 22, 43
in,

or referring

to,

87-89,

Eagle:
facing, holding globe,

Battle scenes, 48, 144, 145, 146, 154, 164


Bees surrounding a column, 37

flying towards Sun, 114

perched on

leafless tree,

13

Elephant:

Bolla, 168, 169

Bologna, medals

made

in,

or referring

to, 15,

23, 34, 82

Breisach, capture of, 124

Burgundy, medal made


Cachet, 143

Cana, marriage

or referring

Biga of eagles, 22

10, II I, 131

Aurora riding chariot drawn by Pegasus, 68

Biscione,

in,

118, 135, 153, 154

Diana, accompanied by three hunting dogs, 66


Dog, see Greyhound, Hound
Downs, battle of the, 145

Augsburg, medals made


1

siege

Crucifixion, see Christ

Asti,

106,

19

166, 171, 173, 184

Sforza, Francesco, 16

Delen, 143

for the

Court

of,

27

21, 22,

Order of the, 118


Seat formed by two,
England, medals made

140

in,

145, 146, 151, 152


Entombment, see Christ

Equestrian figures,
at,

Ermine, 78

i,

112

or referring

to,

131, 141,

Eve, creation of, 140, see also


Faith, standing, 75
Fail of

Man,

Adam

and Eve

Map:
lunar, see

Fame, riding

in quadriga, 79,

Ferrara, medals

made

in,

Marriage,

84

or referring

to, 3-9, 15, 17,

34.38
180

Fleur-de-lis, 36, 78,

Duomo

of, 28,

ring

to, 24, 28-45, 156)

Queen

made

in,

or refer-

Christina

to,

i, 2,

chained

to

quadriga, 84

in,

or referring

as,

50

made

France, medals and plaquettes

battle of,

4,

93

to, 4,

34, 133

Nativity, see Christ

Neptune:

to, 22, 23, 34, 78-85, 99, 180, 181


Frankfurt, coronation of Leopold I at, 127
to, i, 34,

Music,

Naples, medals referring

Fountain, see Sciences, fountain of

in chariot, 26,

40

sinking Aeneas' ship, 142

77

Low

God, the Father in clouds, 31, 159


Greyhound, seated, 16

Netherlands, see

Griffon, standing, 151

Niirnberg, medals and plaquettes

Noerdlingen, battle

Hand

with dagger, threatening from Heaven, 34


Hebe, the birth of, 64
Hound, Gonzaga device, 49; Hounds of Diana, 66
Horsemen, see Equestrian figures

ring

Countries

123

of,

made

in,

183-185
Oliva, Peace of, 129

Otranto, expulsion of the Turks from, 24


Owl, perched on branch, 19

Italy:

Padua, medals and plaquettes made

map

of, 22, 23,

to,

34

Minerva
Judgement of, 162
Parma, bird's-eye view of the

Jonas, the prophet, 137

Patientia, caressing lamb,

Judaea, capture of, 57

Pavia, battle of, 42

Judith, 158

Pax:

Paris,

seated,

on the Seven

Hills of

Rome, 62

of,

1 1

armaments, 39
Pazzi Conspiracy, note preceding 24, 28
Pelican, 20

48

Liberalitas, 58

Phoenix on pyre,

Liberty, seated, 131

Pieta, see Christ

Lion:

Pisa,

Mark, 74
rampant, 172
Low Countries, medals and plaquettes made
of St.

to,

Luetzen, battle

14, 50,

medals referring

152

to,

34

Poland, medals referring

to,

Pluto, seated, 66

learning to sing, 4

referring

citadel of, 47

in

setting fire to

wielding thunderbolt, in biga of eagles, 22


Lepanto, battle

or referring

Pallas Athena, see

34

Jupiter:

seated

in,

20, 52-62, 64, 158

Janus, the closed temple of, 39


Jason and the dragon, 9

of,

or refer-

86, 90, 91, 97-100, 105, 125, 132, 134,

to,

Innocence, washing her hands at spring, 70

French invasion

80, 128-130, 136

Poseidon, see Neptune


in,

or

Prague, Kreuzherrenkirche

at,

141

114, 131, 142-150, 154, 182

Purgatory, Dante before Mountain

of,

Ravenna, 64
Reformation, 88, 89,

155
Lyon, entry of Louis XII and

Anne

of Brittanv into,

no

Religion, standing, 30, 122

78

Mantua, medals and plaquettes made


to, 14, 15, 17,

16, 23,

in, 135

standing,

Mohacs,
33, 42;

Genoa, medals referring

or referring

in,

Modena, 15

167

Fortuna over waves,

140

Minerva:

35

Florence, medals and plaquettes

Fortitude, seated,

4, 27, 38, 78, 93,

Mars, striding, 56
Milan, medals made

26, 34, 41, 65-68, 75-77

Flight into Egypt, see Christ


Florence,

Astronomy

of Italy, 34

95, 96

49, 66, 68, 157

in,

or referring

Resurrection, see Christ

Rimini, castle

of, 10, 13

of,

35

Rocca Malatestiano, see Rimini


emperors and empresses,

Roman

i8, 52, 54-62, 157,

167, 176-179

Rome, medals and


Sagittarius, see
Sail,

plaquettes

made

or referring

impresa

of, see

Anthony, 25

St.

Francis, 25, 186

Vela

St.

George, spearing the dragon, 112

St.

Mark, 169;

St.

Paul, 168

lion of,

Savoy, medal

of,

river,

67

Triumphal car, see Chariot


Triumphal procession, Roman, 157
Turkish Wars, 24, 48, 93, 108
Vanity, standing, 65
Vela, Este device, 3

74

Venice, medals and plaquettes

123, 168, 187

Saul, anointing of,

154, 155

Tagus

Thirty Years' War, 118, 120-124, '55


Thorn, capture of, 128

Astronomy

St.

St. Peter,

in,

30, 31, 34, 46-51, 62, 82, 164-166, 168

to, 24, 25,

Sundial, 135
Swan with spread wings, 73
Sweden, medals referring to, 50, 121, 122, 124, 128,

to,

149

made

in,

or referring

18-20, 34, 63, 64, 65, 70-74, 82, 159-161, 163,

169-172

43

Sciences, Fountain of, 67

Venice, view of the church of San Francesco della

and Cachet
Shepherd with sheep, 20

Vesta:

Vigna, 63

Seals, see Bolla

seated, 59
statue of, in temple, 61

Ships:

Aeneas', 142

manned by
on raging

four

girls,

sea, 77,

Victory:

83

crowning France, 84

142

seated, 60

sea battles, 48, 144-146, 154

Siege of

city, 23, 24,

124, 128

Virgin, coronation of the, 163

Wax,

Sigillum, see Bolla

Spain, medals and plaquettes


to,

39, 67, 87, 186, 187

Stone models, 36, 109

made

in,

or referring

100

Westphalia, Peace

of, 118,

Wisdom, triumph

of,

123

182

Wiirzburg, medals referring

to, 92,

98

ONE THOUSAND

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