The Salton Collection: Renaissance & Baroque Medals & Plaquettes / Bowdoin College Museum of Art (Rev. Ed.)

THE SALTON COLLECTION
RENAISSANCE & BAROQUE

MEDALS & PLAQUETTES
BOWDOIN COLLEGE MUSEUM OF ART

MCMLXIX

RENAISSANCE & BAROQUE
MEDALS & PLAQUETTES
BOWDOIN COLLEGE MUSEUM OF ART

BRUNSWICK, MAINE
MCMLXIX
COPYRIGHT 1965 THE PRESIDENT & TRUSTEES OF BOWDOIN COLLEGE, BRUNSWICK, MAINE
REVISED EDITION, I969
LIBRARY OF CONGRESS CARD NO. 74-7725I
PREFACE
Few
any age have come down
artifacts of
medal.
their time as the Renaissance
Though
civilization
and
and
their learning, these
which produced them. They represent
prelates but poets
years by those
and scholars
who have
as
is
size,
they
facets of
embody
an
to
one of the chief glories of the Renais-
medals are a
microcosm of the
reflection in
world which celebrated not only princes
and they have been preserved down through the
as well,
them
cherished
diminutive in
relatively
exceptional degree that fusion of art and thought which

sance. Indeed, in their beauty
many
charged with the meaning of so
to us
enduring expressions of the Humanistic tradition.
The present collection, one of the finest of its kind in private hands, belongs to Mr. and Mrs.
Mark Salton of New York. The Salton Collection is particularly distinguished for the extremely
high level of quality of the specimens in it; many of them, indeed, have come from the illustrious
collections of the past.
No
fewer than seventeen examples are unique. While the origins of the
World War
Salton Collection date from before
II,
lected since that time. Mrs. Salton has taken as great
of the collection,
and her enthusiasm
tion to the Catalogue.
^ The
most of the pieces

an
and knowledge
for,
collection contains
of,
medals
now
it
is
Visconti,
Duke
(no. 4) has as
men
of
He
is
evident in her Introduc-
and
greatest
exemplar
represented by four medals, including his portrait of Filippo Maria
Milan (no.
and two of Lionello
i)
reverse the celebrated study of
its
formation
in the
masterworks by the most important medallists
of the Italian Renaissance, beginning in the Quattrocento with the founder

of the art, Pisanello.
contains were col-
husband
interest as her
Amor
of the portrait of Pisanello (no. 6) by Marescotti
is
d'Este,
Lord of Ferrara, one

Matteo
also included.]
trayed yet another Renaissance Prince, Sigismondo Malatesta,
Lord
of
which
of
[A superb
teaching a lion to sing.
speci-
de' Pasti 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
portrait of
an ancient Roman, the Emperor Caracalla,
(no. 18) usually attributed to the Venetian medallist, Boldu.
Among
may
be seen
the five medals in
the collection ascribed to Spinelli are exceptional specimens of his portraits of Vecchietti
Savonarola (nos. 33 and 34).

a
medal (no. 27) by Candida.
quality
and
by
a very large
tion
and
is
portrait of
Mary
of
Burgundy
is
on the reverse of
Unknown Boy
(no. 8), possibly by a Ferrarese artist,
one portraying the Florentine poet Tito Vespasiano Strozzi (no. 29), probably
among the medallists of the Italian Cinquecento are Leoni, da Trezzo,
Represented
Cesati, the last of
whom
^ The
was greatly admired by Michelangelo.
particularly rich in the productions of the master craftsmen of the
Salton Collec-
German
Renaissance,
including Christoph Weiditz, Friedrich Hagenauer, Joachim Deschler, and Valentin Maler,
whom
are
famous
for their intensely realistic portraits.
Reinhart the Elder,

medals.
tity
^ Happily,
of examples
and
medals, whose creators are unknown, are of extraordinary
a small rectangular bronze of an
a Florentine.
Belli,
most revealing
Two
Fra
who
is
best
known
in addition to
from the Baroque,
Another member
all
of
was Hans
for the strikingly three-dimensional effects of his silver
medals of the Renaissance,

a
of this school
much
less
known
this collection also contains a
period of medallic
art.
As
a result,
not deprived of the pleasure of such brilliantly executed portraits in gold as that of Charles
quan-
we are
Eman-
uel
Duke
of Savoy (no. 43) by Gaspare
Mola and Pope Innocent XII (no. 51) by Giovanni

Hamerani. In addition, we can enjoy the French medals of Guillaume Dupre, including his
I,
remarkable work (no. 82), the obverse of which
Doge
later
First
of Venice,
reverse,
a superb portrait of
is
Marcantonio
Memmo,
an almost equally fine likeness of Majfeo Cardinal Barberini,
Pope Urban VIII. In Germany, among the great medallists of the period is Sebastian Dadler,
Goldsmith to the Imperial Court; in Holland, O. Wouter MuUer, whose unforgettable por-
trait of
is
and the
Admiral Tromp
an elaborately
is
only half of a silver repousse medal (no. 145), the other side of which
engagement; and
pictorial naval
in
England, Bernard Rantwic, whose likeness
of Sir Richard Shelley (no. 151) holds an honored place
among
merly attributed
to
Agostino di Duccio, more recently
to
Thirty-two
medallic portraits.
plaquettes constitute a brilliant section of the Salton Collection. There
is
a Pietd (no. 156) for-
Bertoldo di Giovanni. L'Antico
is
rep-
resented by his portrait bust of the Empress Faustina (no. 157), and Riccio, by his Judith with the
Head
of
Holofernes (no. 158)
which apparently
(no. 166)
German
the
plaquettes
same
is
is
another
after
Mantegna. Also particularly outstanding
published here for the
Entombment
teenth century,
is
encased in
wood and
of four extraordinary pieces
Two
of the
Entombment
most striking of the
based on Diirer's composition of
is
The
last of the plaquettes, a St.
probably working about the turn of the seven-
has a gilded scrollwork frame, illustrating the
which plaquettes frequently were adorned

medals or of plaquettes.
artist
One
time.
which
subject in his "Kleine Passion" series of engravings.
Peter (no. 187) by an unidentified Spanish
made
first
(no. 184),
the
is
in earlier times.
which do
Finally, special
manner
in
mention must be
not, strictly speaking, fall into the category either of
are portraits in stone
one
of a nobleman, possibly
Cosimo
de'
Medici (no. 36), mounted as a bijou, and tentatively attributed to Benvenuto Cellini or his school;
and the other, of Hieronymus Allgaeuer (no. 109), by an unknown South German master,
The
dated 1556.
third
is
a painted
wax
portrait of superb quality of
an unidentified sixteenth-
century Niirnberg Patrician (no. 100) mounted in an elaborately decorated fire-gilded bronze
case of the
same
period.
The
last is a
gold bolla (no. 169), probably unique (the British Museum's

Andrea Gritti, Doge of Venice, 1523-38.
vast collection of seals contains only a sulphur cast), of
^^^
My
Several people have played an indispensable role in the production of this catalogue.
secretary,
Mrs. Kathryn
S.
Rumsey, performed the extremely
cate catalogue entries with a vigilant eye for inconsistency
and
difficult task of
error.
John
usually sensitive photographs of the originals. For the superb design of the
foundly indebted to Leonard Baskin.
Our
typing the
intri-
McKee made the uncatalogue, we are pro-
deepest 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
subject.
he produced the
was
his time,
to
The
Renaissance medal.
first
add further
first
Emperor
peror John VIII Palaeologus (born 1390,
^ The medal was one
1425-48)
of the arts
vehicle for propaganda, had,
commonly
Among
the early
commemoration
coined 480/479
b.c.
Greek examples
of the victory at
are the
Athenian
Marathon (490
coined during the reign of Octavianus Augustus (31
still
Roman
Emperor
or
members
and
as
medallions {dekadrachms)
wreath presented by the
when
she obtained
the practice of
imperial portrait medallions,
and
By
thereafter by
many
of his
the middle of the fourth
imperial medallions, the contorniates had no connection with the coinage.
They were
Sallust, Apuleius,
niates, glorifying
on the occasion of public games and ex-
On them we
some
Terence, and others.
of the great
men
it
is
ing Pisanello to depict in a similar fashion the

Pisanello after
Roman
(before he created his

those ancient works.
pieces,
made during
his
probable that they were instrumental in inspir-
men and women of his own time. Drawings by

first stay in Rome while working in the Lateran
the late Middle
Ages
there were a few isolated attempts at the
which throughout the Middle Ages had
to the tradition of classical learning, several
The
artist
medals were struck from engraved
about 1390, commemorating the recovery of that
portraits representing Francesco Carrara
are modelled after those
on
and contor-
a significant role in the
medal), have been preserved (Louvre), attesting to his interest in
first
^ During
by an unidentified
Milanese hands.
portrait medallions
no doubt played
revival of medallic portrayal. In Padua, a university city
been dedicated
find represented victorious ath-
and famous writers and poets such
The Roman
of antiquity,
development of the Renaissance medal, and
dies cut
The
b.c.-a.d. 14)
charioteers, mythological subjects, earlier emperors,
Horace,
in-
Greek and
hibitions for presentation or sale to the spectators.
as
worn
the contorniate. Unlike the
another type of medallion
large copper pieces with raised borders, probably struck
letes
were not primarily
Roman Empire
of his family.
made its appearance,
as a
pieces,
and the Demareteion medallions
the
extensively.
Italian
and
of exchange
commemorative
of the Syracusan tyrant Gelon,
was continued and developed
successors, portray exclusively the
century
silver
b.c.)
During the period of
for them.
to appeal for sup-
grace or tribute, which were sometimes
Queen Demarete, wife
more favorable peace terms
first
coin-like
by the Syracusans from the proceeds of the gold in
defeated Carthaginians to
issuing medallions
gifts of
Em-
to Ferrara to attend
in this case, in ancient coins.
medium
called medallions. These, although official issues of the mints,
decorations.
struck in
as a
on occasions, struck very large but
tended as money, but rather as rewards,
the
which served both
ancients, in addition to their coinage
in 1438,
which flourished during the
Renaissance because of the rebirth in Italy of interest in classical art
The
when,
person to be portrayed was the Byzantine
and Western Churches and
the council for the reconciliation of the Eastern
port against the Turks.
luster to his immortality
who had come
(c.
and one of the
1395-1455, ac. as a medallist 1438-49) called Pisanello, a Veronese of Pisan origin
most celebrated painters of
will find
^ Antonio Pisano
Roman
exist other medal-like struck
imperial bronze coins,
and
sestertii.
his son, both
From
the
city
from
Lords of Padua,
same period, there
examples, products of a Venetian family of die-engravers, the
Sesti.
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
two hollow
in
made
or most of
all
Roman and
Byzantine
important in the early history of Christianity. These medals
as well as other persons
are believed to have been
and chased medals (perhaps
subsequently joined together) depicting
shells
in the late fourteenth century
by Flemish-Burgundian goldsmiths
and, together with a lead impression of the forementioned medal of the elder Carrara, were con-
Due
tained in the inventories of the collections of the great connoisseur, Jean,

1416).
Old
two medals from
copies of only
this series of
Emperors Constantine the Great
traying the
both pieces
reflects
as conceived
Flemish-Burgundian
by Pisanello and
we know
as
general spirit of the age, with
288-337) and Heraclius
(c.
it
now, was a creation of the
humanistic aspirations and
its
(c.
end of the Middle Ages.
art at the
de Berry (1340-
mediaeval medallions have survived, por-
the
numerous
early patrons of the Renaissance
art-loving princes of northern Italy, the various smaller
the ambitious condottieri,

nello's
^ The
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
of society
to reach
an exchiefly
and
larger tyrants,
own
and
glorification. Pisa-
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
The
medal were
the history of the
artists;
style of
proper,
on individualism, must
have been very favorable to the development of the portrait medal, which was
tremely high degree of popularity.
The
Italian Renaissance.
stress
its
575-641).
^ The medal
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 enchantment to the eye
mind. As such they soon became objects of great

besides having
members
of their
own
of
some
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
interest to the collector.
and on occasions even ordered from
of their devoted servants.
^ Many
their
med-
other notables of that era: the
Gon-
King of Naples; Pope JuHus II; and the Medicis

(who outshone them all) formed extensive cabinets of medals, some of which are
preserved in 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
collections of medals and plaquettes.
As tokens of friendship and respect medals were presented to members of one's family or to friends; they were placed on tables, into vitrines, or pierced
zagas of Mantua; the Sforzas of Milan; Alfonso,
of Florence
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
were buried
It also
as
of the
in 1536; into
its
four medals representing Melchior himself as well as his three brothers, Sigmund,
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
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
embelUshed 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 to male and female
and
attire.
A number of paintings
114).
Lucas Cranach the Elder
1533 executed the portrait of a Saxonian gentleman wearing a double necklace from which
pended
medal of John Frederick the Magnanimous
(1503-54, Elector of
merly in the Wallraf-Richartz Museum, Cologne). In 1569, Ludger

trayed Gese Reiners of Brunswick, adorned by a necklace
Ulrich
^ As
Museum, Brunswick).
title
were inspired
Italian artists
cal
works of
Siena, or a
art as the ancient
and often
Museum).
accomplishments.
station, or
rules
It
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
its
soon developed into a personal emblem of a
men
were formulated by learned
as to
what
sort,
constituted a suitable impresa;
who knew enough
known
1555,
cast
went
into several editions within a
from wax models,
impose
limits
on the
about the
size of the
On
this the
differed according to artist
wax model was
built
up or carved out
The two
employed by
Pisanello.
The
model was then impressed into
salt,
and water. After the mold had been allowed
sides
than once;
new mold
this
over the
was repeated
first
due
to the
to
be
to all others.
a historian of
published in
medals were invariably

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-
in.
new molds
The
for
made
out of fine ashes,
two halves were removed from the
to dry, the
metal casting, as the
as often as desired.
could serve for the preparation of
first
employed
fine riny or into a paste
model, joined together, and the molten metal poured

a
its relief.
and period.
of a
had
sitter.
were modelled either on separate disks or on a single
ably
forming
early Italian
sometimes of wood, bone, or
one.
finished
The
medal or the height of
disk, usually of black slate, but
flat
Como,
and Amorous Devices,
years. 5**
a technique which, unlike the striking process
molding materials used

lows: a
few
it
The
bumpkin bothered him
inventor of such riddles was Paolo Giovio (1493-1552) of
considerable erudition whose Dialogue of Warlil{ê
sitter's life,
and numerous
humanist Angelo Poliziano (1454-94) reportedly complained that every

with requests for a secret device comprehensible only to his loved one, inscrutable
best
many
very popular reverse design on Italian Quattrocento medals
mysterious, while at the same time revealing to those
The
great
their reverse motifs from, such classi-
(ac. c. 197-159 b.c.)
a personal device, the so-called impresa,
with a legend, was chosen for
borrowed
group of the Three Graces now
Â
portrait, together
of the person represented, while the reverse usually
freely
group of horses from Athenion's
the giants (Naples
was
by,
medal (Herzog-Anton-
on German medals) heraldic design.
bears an allegorical, historical, or (especially
in
sus-
Saxony 1532-47) (forRing the Younger por-
medal shows the
a rule, the obverse of a
name and
with an inscription giving the
Tom
hung with
is
Additional specimens were made by

wax model could seldom be used more
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
deteriorate,
a late casting.
the early medallists. In this
The
method
and thus there
"lost
wax"
^ 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
molding material; then, by heating the mold, the

with molten metal.
is
mold was removed,
it
was usually necessary
to chase the sur-
face of the
medal
the like. If chasing
or
remove casting imperfections such
in order to
was done
to
an excessive degree, or by
"improvements" were attempted
if
the "trial proof,"
kept this
quent
was
owing
lead,
casts, the medallists of the
cast
cast
was considered
raw
were
in appearance.
with a lacquer or varnish to give
it
The
also used.
what
is
The
The
casting,
first
artist usually
prospective clients. For subse-
Quattrocento preferred bronze or related
silver
too
often used for the
skill to
artist's,
then the result was often
could be melted.
it
proof for future use and to demonstrate his
first
quecento onward gold and
when
^ A metal
with which
to the ease
hands than the
less qualified
to the point of re-engraving,
such as to destroy the quality of the original design.
edge ridges, and
as air bubbles,
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 brownish-
yellow 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
is
a masterpiece.
From
its
its
zenith during the Quattrocento, chiefly in Ferrara,
we owe
the medallists of that century
Pisanello's influence
greatest master. It
is
the finest por-
He was
was enormous.
remarkable that even
1438 to 1449 he produced a body of
not only
his 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
Ferrara (no. 6).
^ Matteo
which now
ascribed to Antonio Mare-
is
de' Pasti (ac. 1441-67/68)
lower of Pisanello, perhaps even a pupil of the master.
was an immediate
native of Verona, he accompanied
There
Pisanello to the court of Sigismondo Pandolfo Malatesta (1417-68) at Rimini.
made
number
of medals of the tyrant of Rimini
and of
Mantua was among
1504) of
pleased
many
patrons, judging by the
number who
Italy.
sat for
half of the Quattrocento, one of the foremost medallists
(ac. 1454-c. 1475),
wife.
woman
de' Pasti
of great in-
Sperandio
(c.
1425-
the most productive artists of the Quattrocento. For nearly forty
years he enjoyed great popularity throughout northern
ond
Isotta degli Atti, a
and personal charm who became Sigismondo's fourth
tellect
whose works
His vigorous
him.
style
must have
^ At Venice during
Pasqualino Boldu
^ The name
the sec-
was Giovanni
di
reveal a particularly strong affinity for antiquity.
of Niccolo di Forzore Spinelli, called Niccolo Fiorentino (1430-1514), epitomizes Florentine

dallic art at
its
his signature.
height.
No
^ Toward
fewer than 150 medals have been attributed

the
end of the Quattrocento there was
a result of the technical achievements of Gianfrancesco Enzola
Francia (1450/3-1517),
who experimented
similar to that of striking coins,
Medallic
from
this
art,
fol-
though
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
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
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 perfecCellini,
tion to which portrait cutting in stone and the art of the goldsmith could be carried.
in
together with the Milanese medallist Cristoforo Caradosso
Rome, did
settled in
much
to
Foppa
(ac. c. 1475-1
improve the process of striking medals.
Cinquecento, Leone Leoni (1509-90), whose
was
life
526/7)
who
in 1505
In Milan during the
as turbulent as that of his rival Cellini,
was
one of the most important medallists. Another Milanese, Jacopo Nizzola da Trezzo (1515/20-89),
worked
which much resembled Leoni's. The medal of Gianello
in a style
example, has variously been attributed

lently
to
number
of Cinquecento
human
in
the medal.
Giovanni Bernardi
Grechetto
(ac. 1538-64), also
II
engraving, and their style sometimes betrays a hand more accustomed to working
gem
hard materials. Cesati has been credited with some important advances in die-sinking, and
Michelangelo expressed a high opinion of Cesati's work.

art
may have authored
shape; yet he
medallists, like Valerio Belli (1468-1546),
da Castelbolognese (1496-1553), and Alessandro Cesati, called

practised
Torre (no. 67), for
Leoni and da Trezzo. Leoni appears to have fought vio-
with Gianello, calling him an ox in
^ Quite
della
when
developed
the final
work
the
wax model,
of art. Pastorino de'
hitherto just a
portraits
Â
very special branch of medallic
for producing the medal, itself
Pastorini (1508-92), Antonio Abondio (1538-91)
among
son Alessandro (ac. 1595-1640) were
some wax
means
which can hold
as well as his
medium and produced

of that period. Some of
the major creators in this
own
their
became
with the best miniatures
waxes are polychromed, and in their style they demonstrate a trend in sixteenth-century
toward more elaborate detail. P*" During the seventeenth century and beyond, the art of
these
art
making medals
remained rather stationary. However, some
in Italy
Among
flourished.
were Gaspare Mola
these
Medici families (no. 43)
the Hameranis,
years; as well as the Travanis,
(c. 1580-c.
who were
Girolamo Lucenti
(ac.
1640),
artists of distinction
who worked
for the
still
Savoy and
Papal medallists for almost two hundred

c.
1668-90),
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;
chronogrammic
inscriptions, commemorating the expulsion of the Engmost of these had long
lish from France at the end of the Hundred Years' War. But these pieces were entirely the work
als,
already cited,
tween 1451 and 1460 another
of coin engravers
coins.
^ During
and were struck from
proper came into being.

of France
dies,
From
on the occasions of
that period date pieces presented by cities to the kings
their royal visits.
cup containing 100 gold medals, presented

March,
1494,
based on designs borrowed from contemporary
the reign of Charles VIII (born 1470, King 1483-98), the French portrait medal
upon her
to
noteworthy example
is
golden
and queens
lion,
holding a
Anne
state entry into the city of
of Brittany (born 1477, Queen 1491-1514) in

Lyon accompanied by her husband, Charles VIII,
who was on his way to the Italian campaign. Another example of such homage medals is the one
offered to Anne at a later visit to Lyon, in March, 1500, this time accompanied by her second husband, Louis XII (born 1462, King 1498-1515) (no. 78).
had been
Spinelli
that of the late
Middle Ages, by
and Giovanni Candida
(c.
this
While
the style of the earlier medals
time Italian medallists, notably Niccolo di Forzore
1450-C.1495),
were employed
Burgundian Court
at the
Charles the Bold, where they introduced the style of the Italian Renaissance.
1494,
King
ian art
lesser
and
1515-47), the
first
Renaissance
attracted to his court
known
artists as
many
of
man on
its artists,
Matteo dal Nassaro
the French throne,
had
Francis
of
(born
a great passion for Ital-
among them Benvenuto
(ac. c. 1515-c. 1547)
Cellini, as well as
and Benedetto Ramelli
such
(ac. c. 1530-
Henry
37)-
(born 1519, King 1547-59), on the other hand, patronized native-born engravers;
II
was during
Monnaie du Mouhn opened and
his reign that the
Laune was appointed
(1552) to
it.
^ The most remarkable
who
1535-90),
lions,
some
of
in 1572
etc.
were
the sculptor
the French mint.
Henry
II,
Catherine de Medici, Charles IX, Elizabeth of Austria, Henry
him
In the
first
as 171
in diameter,
made between
half of the seventeenth century France ranked
was Guillaume Dupre
surface texture
is
(c.
1576-1643).
and superb technical
display an elegant style
cast, their
(c.
so fine that
period of Charles
it is
skill.
easy to mistake
The
(ac. c. 1630-54).
1573 and 1577, chiefly
medallic
first in
sixty or
The
more medals
Although nearly
them
art.
III
all his
for struck pieces.
num-
among whom were
The former probably was second
ex-
medals
Jean
only to
have been attributed some charming portraits of English subjects from the
art declined before
(born 1600, King 1625-49). After the seventeenth century French medallic
it
reached some prominence again during the Empire in the early nineteenth
In Germany the development of medallic art started with Hans Schwarz (ac. 1516The two most prominent centers were Niirnberg, the home of goldsmithry, and Augswhere metal casting was prevalent. Leipzig also deserves mention.
As Florence had
century.
c.
and Claude Warin
1604-72)
To Claude
Dupre.
medal-
cast
much
ber of other French medallists added luster to the seventeenth century,
Warin
Germain Pilon
These large
as
greatest medallist of the period
ecuted by
mm.
was
which measure
depict royalty such as
(No. 80),
became Controller-General of
French medals of the second
series of
half of the sixteenth century are the Valois medallions; their author
(c.
it
the French die-cutter Etienne de
1532).
burg,
its
Lorenzo
milian
de'
Medici (1449-92), so did the Germanic lands have an art-loving Emperor, Maxi-
(born 1459, Emperor 1493-1519), whose patronage of die-engravers and bronze
even while a young archduke, greatly contributed
As
early as 1477,
to furthering this
branch of the
Maximilian had himself portrayed on a medal by Giovanni Candida (no.
27), together with his
young
bride, the beautiful
Mary
of
^ While wax
Burgundy.
the material for the models of Italian medals, the models for the early
carved in boxwood, honestone, or

used.
From
these
medals were
them
all
cast,
wood and
and then
slate;
many
Italian artists frequently signed their
tials.
OPVS), German
The models were
alabaster
served as
German medals were
and mother-of-pearl were
also occasionally
stone models, through the intermediary of a negative mold, the

in
cases subsequently chased by the artists,
the meticulousness of detail so
by the proud
casters,
fine arts.
much admired
in
German
medals (during the early period
medallists usually
cut either directly
"imago ad vivam effigiem expressa" on
from
left their
life
as
who brought
their
name
often preceded
works unsigned or simply used
some
medal of Erasmus
to
Renaissance medals. While
ini-
scholars believe the inscription
indicates
or, as
was more
usual,
Hans Schwarz appears to have worked mainly

from sketches, 136 of which have been preserved, t** The boxwood model was used chiefly in
Augsburg, Ulm, and the Allgau; its masters were Hans Schwarz, Martin Schaffner (ac. c. 152230), Christoph Weiditz (ac. 1523-c. 1541), Friedrich Hagenauer (ac. 1525-c. 1544), 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
The extent to
Matthes Gebel (ac. c. 1526-c. 1555) and Joachim Deschler (ac. 1540-c. 1569).
which Albrecht Diirer (1471-1528) played a part in the history of the German medal has long
after portrait sketches.
The Augsburg
medallist
been a subject of controversy. There
however, general agreement and, in one case
is,
documentary evidence that several medals and plaquettes, even

certainly
were made
after his designs (see, for
wax
and wood
teenth century,
replaced stone
duced into Germany

into the
trait, to
by
his
^ Much
its
which the
German
their life-like portraits
own
hand,
After the middle of the
six-
modelling material. This technique was introartist
from Lombardy, who came
German
of the merit of the
Some
perfect technical execution.
and minuteness, with
as
by Antonio Abondio, an Italian
chiefly
employ of the Hapsburgs.
be found in
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
ruler, city
ject for portrayal
on
medal
by, the unflattering pictorial record of
sexton, or butter dealer,
(see, for
who
a petty
considered himself a suitable sub-
example, no. 90). There probably
^ After
many
no other medallic school
is
German medal had lasted

for about half a century taking the Augsburg Diet of 1518 with its first medals by Hans Schwarz
as the starting point it began to decline. Gradually the cast medal was eclipsed by the hammerwhich has
us such accurate likenesses.
left
struck medal. Portraiture

earlier medals.
place
At about
which was
to
no longer was
fired
the great age of the
by the same
vitality
and individuality
so typical of
the middle of the sixteenth century a development in technique took
have a profound impact on medallic
coin press at Augsburg.
It
considerable increase in production,
f*"
Dadler
die-cutters such as Sebastian

rich Mueller (1654-1719),
art: the
presented the art of the medal with
and
potentialities,
permitting a
Highly esteemed during the seventeenth century were
(ac. 1619-54),
number
invention of the mechanical
new
of others,
Johann Hoehn
some of
whom
(c.
1637-93), Philipp
were
also influenced
Heinby 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 medaUists of note
include Quentin Metsys
(c.
made
their
1466-1530), the blacksmith turned painter
skill;
vice of Floris of
Egmont, Count
Mercator was
work
at
Hsts like Jacob
and Michael Mercator
(c.
of Buren, in the dual capacity of artist
England, where he portrayed Henry VIII.
in
who
also
met with
Low
of a
and diplomat. In 1527

other medal-
^ There were
known
(ac. 1575-1602),
who was
representa-
and goldsmith.
active in
The Nether-
Yet with few exceptions the medallists working in
Countries during the sixteenth century were hesitant to assert themselves in an inde-
pendent native
linck,
Germany.
maker
medallist,
great success as a sculptor, seal-engraver,
Also prominent was the medallist Conrad Bloc

lands as well as in France and
Countries. These
who modelled in stone, wood, or

Venlo. The latter was in the ser-
Jonghelinck (1531-1606) of Antwerp, probably one of the best
tives of the school,
the
1490-1544) of
and
taste of
the beginning of the
Low
appearance in the
magnificent portrait medal of Erasmus; Jean Second (1511-36),
wax with equal
^ At
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),
Jan Filius
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 Muller
were Pieter
(ac. 1653-88), all
Dutch repousse medal. In this process the obverse and reverse o

formed by being hammered or pressed into relief, and then the two
skilled in the characteristically
the medal were separately

shells
were joined together by
a rim. In addition, Jurriaan
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

medal.
The plaquette is closely allied to the medal from which, however, it differs
respects;
design.
most obviously
The
in shape, subject,
shape of a plaquette
may
and (with
the struck
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 listed
among
round uniface bronzes of figures from the
179).
2, 7,
Roman world
and
8,
the plaquettes.
On
example)
29, for
although
the other hand, certain small
are regarded as plaquettes (see nos. 176-
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
aesthetic appeal
its
and
In their practical application, plaquettes served as decorations on functional or
religious objects; those with suitable representations
be kissed during mass. By far the greater

described previously.
number
were occasionally used
as a pax, a tablet to
of plaquettes were cast by the lost
Italy, the birthplace of the
wax
process
Renaissance medal, likewise was the cradle
and from there the art spread beyond the Alps to France, Flanders, and Germany. The development of the plaquette began about the middle of the fifteenth century, parallel
of the plaquette,
to that of the
medal, and flourished well into the sixteenth century.
often were the
same men who figured prominently
of Parma, Cristoforo Caradosso
Foppa
^ The
creators of plaquettes
in the art of the medal. Gianfrancesco
of Milan, Fra
Antonio da Brescia
(ac.
Enzola
1487-15 13),
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
mous, but
at
^ Unfortunately, many
as well.
times
stylistic
comparison with medals or other works of
graphical attribution. In the past, a

sculptor Donatello
tine master,
91).
number
more
the
sixteenth centuries
was
the
prolific artists
is
may
permits at least a geo-
art
a Pieta (no. 156), later
involved in this
Paduan Andrea Briosco
scholars believe that he
(c.
field
to
given to another Floren-
Bertoldo di Giovanni
during the
late fifteenth
(1486-1570), a Florentine by birth,

a
New
the choir, the
who
first
was
active in
Rome
St.
was Jacopo Sansovino
may
furnishings were collections of
favorite subjects for plaquettes
were scenes
Mark's, Sansovino did the door of the sacristy, the six
Four Evangelists on the balustrade of the

it
early
but settled about 1527 in Venice,
among whose
and medals. Sansovino's
Testament. For
In conclusion
and
long tradition in bronze casting. Here the prosperous Venetian merchants
statuettes, plaquettes,
from the
1420-
possibly also have been the author of plaquettes bearing the
vied with each other in building opulent palaces,
bronze
(c.
1470-1532), called Riccio ("Curly Haired").
signature Ulocrino (Greek for "Curly Haired"). Another prominent figure
which already had
of medals
of plaquettes have been ascribed to the Florentine
1386-1466); an example
Agostino di Duccio (1418-98), and more recently
^ Among
Some
(c.
number
of the plaquette artists have remained anony-
choir,
and
number
reliefs in
of other figures.
be said that the art of the medal and plaquette complements
many
of the
major
arts of the Renaissance.
situdes of time,
These
Medals
to the
of the
by virtue of their small
and have played an important
Renaissance and Baroque periods.
medals up
objects,
size,
role in contributing to
have withstood the
vicis-
our understanding of the
In the present catalogue, the arrangement of the Italian
time of Benvenuto Cellini follows the order of G. F. Hill, Corpus of Italian
Renaissance before Cellini. Those from the time of Cellini onward are grouped after
schools of artists.
Medals by unidentified
have been grouped according
artists follow.
to the order established
German medals
of the sixteenth century
by G. Habich, Die Deutschen Schaumiinzen
due
XVI. Jahrhunderts. The Baroque medals follow in chronological sequence.

Our thanks are
to Mr. Marvin S. Sadik, Director of the Bowdoin College Museum of Art, whose enthusiasm
for
medals and plaquettes
des
first
sparked the idea of
this exhibition.
He most generously gave of his
time and wide knowledge and also shouldered the burden of preparing
hoped
will be of interest to old friends of the
medal and plaquette and
this catalogue,
which
it is
will help to introduce others
to this fascinating field.
L.S.
and plaquettes
illustrated
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.
1395-1455
from 1438-49
Antonio Pisano was probably born at Pisa about 1395. In his younger
moved to Verona, where he was surnamed "Pisanello" (Little
man from Pisa). He already was a highly distinguished painter of fresyears he
coes, portraits,
and animals before 1438 when his first medal, marking

was executed.
the beginning of Renaissance medallic art,
In the history of art, Pisanello ranks as the founder of the cast

indeed, as the most celebrated of
was a painter, and he signs
work
rara,
his
all
medals
He was
of Pisano the painter).
medal and,
medallists; he never forgot that he
OPVS PISANI PICTORIS
(the
active especially in Verona, Fer-
Mantua, Milan, Rimini, Naples and Rome.
His medals reveal the trained eye of the painter in the clear and subtle
lines of the portraits; they combine realistic rendering, sometimes extraordinarily severe, with dignity of character.
observation of nature and a

of nos.
The
last
and
marked
The
reverses
show
keen
liking for animals (see the reverses
4).
medallic creations of this great master date from the year 1449;
he died 1455 in Rome. (For a portrait of Pisancllo see no. 6 by Marescotti.)

I
Duke of Milan 1412-47

mm. diam., c. 1441
PHILIPPVSMARIA ANGLVS DVX MEDIOLANI ETCETERA
PAPIE ANGLERIE QVE COMES AC GENVE DOMINVS
Filippo Maria Visconti 1392-1447,
Bronze medal, 100
(The Duke lost Genoa in 1435, but kept his title.) Bust right, wearing
cap with edge turned up all around and soft crown. Brocaded dress.
Plain linear border.
Hill, Pisanello, pp. 125
Habich,
fl.
pi. 11, i
Tresor, Pisano, pi. i, 3

Friedlaender, p. 36, 17
Rizzini, no. 20
Supino,
pi. via,
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 I Sforza 1401-66,
Duke
of Milan 1450-66
Octagonal bronze medal, H. 82 mm.,

Bust
left,
wearing
tall
W.
around; plate armor over shirt of mail.
No
cf.
reverse.
the following:
Hill, Corpus, no. 23, pi. 4
Armand,
i,
8,
22
Heiss, Pisano, p. 15, 3; pi. 11,

Hill, Pisanello, p. 127, pi. 32
Habich,
Rev. OPVS PISANI PICTORIS on a sunken band, below. Mountainous landscape with tops of buildings on one of which is a colossal female
statue holding sceptre. In the foreground, three horsemen. The Duke to
armor with biscione crest to helmet, lance erect, horse prancon right, small page on horseback much foreshortened from behind;
between them armed horseman to front. Plain linear border enclosing
upper part of design.
left
in full
ing;
Hill,
Corpus, no. 21,
Armand,
i, 8,
pi.
23
Heiss, Pisano, p. 11, 2; pi.
i,
pi.
11,
49
mm.,
c.
1441
cap with soft round crown and edge turned up
all
in
Lionello d'Este 1407-50,
Bronze medal, 69
mm.
Lord
of Ferrara 1441-50
background,
CCCC
square
tall
XLIIII; in
behind, perched on
diam.
LEONELLVS MARCHIO ESTENSIS
(words
separated
olive
'
leafless tree.
Corpus, no. 32,
Hill,
by
branches). Bust right, with short curly hair, wearing surcoat with scale
Armand,
i,
3,
pi. 6
Heiss, Pisano, p. 19, 11
decoration over mail.
Hill, Pisanello, pp. 148
Habich,
British
British
Rev.
pi. iv,
ff.,
pi.
39
pi. iii, i
Friedlaender, p. 34, 12;

Supino, no. 5
on
on which is a mast with inflated sail and|

background, on rocky hill, eagle seen fromj
pillar
left
pi. iv
Museum, Select Italian Medals,

Museum, Guide, p. 10, fig. 3
pi.
OPVS PISANI PICTORIS A mast with inflated sail; at its foot,

a nude old man seated facing right; on right, a nude young man
left,
seated facing
left,
seen from behind.
Armand,
i, 3, 5
Heiss, Pisano, p. 19, 6; pi.
Friedlaender,
p. 34,
The mast with
the
iii, i
10
the Este impresa
sail is
known
as the
Vela (see Hill,
Pisanello, p. 146)
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
Bust
left,
OPVS
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;
Rev.
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

onello
of Naples (April 1444)
Li-
GE(ner) R(egis) AR(agonum). The eagle probably is the

the Este arms. Musical pomps were a leading feature of the marcalled
is
eagle of
riage ceremony.
Provenance: Dr. Benno Geiger Coll.
ANTONIO MARESCOTTI
Little
that
is
known
he was
ac.
about Marescotti's
1444-62
believed, although not proven,
life. It is
a sculptor as well as a medallist.
bule of the Hospital of
St.
Anne
A terra-cotta bust of Giovanni
who
Tavelli of Tossignano, Bishop of Ferrara,
died in 1446, in the
at Ferrara, is generally attributed to
(For a portrait of Tavelli, see no.
vesti-
him.
5.)
Beato Giovanni Tavelli da Tossignano 1386-1446, Bishop of Ferrara

1432-46
Bronze medal,
RIENM
Bust
mm.
89.5
DEVOTISSIMVS
left,
diam., 1446
PAVPER
PR
lOHANES
tonsured, with rays issuing from
EPS
crown
FERRA-
of head, wear-
ing cloak. In front, mitre.

Rev.
I
EGO SICVT OLIVA FRVCTIFICAVI SVAVITAE ODO

DI In field left, MCCCC XLVI In field right, MARE SCO
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.),
Armand,
i,
29, 8
Oppenheimer, no.
13,
Heiss, Niccold, p. 22,
Koehler, xix,
Habich,
now Morgenroth
i;
pi.
11,
Rectangular bronze medal, H. 79.5 mm.,
Coll., no. 15
Male bust
No
73
p.
pi. xvii,
W.
57.5
mm.
wearing conical hat and robe with pleated front.
reverse.
Hill, Corpus, no. 126, pi. 27 (69
cf.
Friedlaender, p. 54, i; pi. x

Mazzuchelli, i, ix, 3
left,
Provenance: Luccardi
x 48
mm.)
Coll., pi. 42, no. 13
Rizzini, no. 55
The halo does not imply official beatification, but anticipation; the medal
must have been made immediately after the Bishop's death. He is described as Blessed in a biography written before 1501 (Gruyer,
i,
p. 261).
Un]{nown Boy
Rectangular bronze medal, H. 66.5 mm.,
Bust
Antonio Pisano called Pisanello
mm.
PISANVS PICTOR.
Bronze medal, 57
crumpled
diam.,
Bust
c.
left,
W.
53.5
mm.
with long hair, wearing round cap; bust loosely draped.
1395-1455, the medallist
1440-43
c.
left,
wearing brocaded dress and high,
soft,
beretta.
No
reverse.
Corpus, no. 140, pi. 27 (43 x 37 mm., erroneously given as 46 x 38

the Dreyfus specimen,
cf. Hill,
mm.),
cf.
Hill,
cf.
Hill
Dreyjus
x 37 mm.)
specimen mentioned)
Coll., no. 47, pi. xiv (43
and Pollard, no. 47
(this
Apparently the only specimen recorded.

smaller portrait and with
FERRARESE
molded border
A
is
variant with a considerably

in the
Dreyfus Collection.
Coll., pi. 42, no. 12
1500-30
c.
Opizo Refno Ducal Secretary

Bronze medal, 68
OPIZO
mm.
to Alfonso
REMVS ALFON ESTEN DV
with bobbed hair, wearing cap with back
PPT-
F S K I (spray)
wreath with spray rising from bottom.
Rev.
Hill,
Corpus, no. 87,
Armand,
i,
9,
pi.
20
25
Habich, pi. xi, 4

Supino, 19, pi. IX
Hill,
(spray) in conventional laurel
pi. i
PMIA, p. 31, 5; pi. xviii

British
pi. 13,
Heiss, Pisano, p. 9
Forrer, iv, 573 (attributed to Pisanello), this
G. F. Hill reads the
initials
on the reverse
specimen
as
meaning the seven
virtues:
Fides, Spes, Karitas, lustitia, Prudentia, Fortitudo, Temperantia.
Provenance: Loebbecke Coll., Munich 1908, no.

on the cover of the catalogue.
3, pi.
i,
also illustrated
FERRARESE OR OTHER NORTH ITALIAN ARTISTS,

1470-1500
7
Un]{nown
Man
1506-23
diam.
toned in front. Below, a
fig
flap
branch. Very high
III
SECRETA
turned up, and

relief.
Bust
gown
left
but-
Rev. (rosette) CASTELLVM

SISMONDVM
CCCC XLVI The castle of Rimini.
ARIMINENSE
Rev. Jason and the dragon (from Fra Antonio da Brescia's plaquette).
Corpus, no. 156,
Hill,
Armand,
De
Rev.
11,
Ricci,
hoebbeche
pi.
29
92, 15
Dreyfus
Coll.,
Coll., no. 116, pi.
Munich
xxxiv
1908, no. 26, pi. v (chased)
Provenance. Dr. Benno Geiger
Coll,
Corpus, no. 174,
Hill,
MATTEO
1
DE' PASTI (Matteo
di
Maestro Andrea
de' Pasti) ac.
44 1 -67/8
Malatesta. In 1454 he
is
referred to as "noble."
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'
Heiss, Alberti,
Fabriczy,
This accomplished Veronese architect, sculptor, painter, miniaturist, and

medallist is first heard of in 1441 at Venice, where he worked for Piero
di Cosimo de' Medici. In 1446 he was in Verona and in the same year settled in Rimini, soon becoming persona grata at the court of Sigismondo
Fasti's
pi.
33
Numismatic Chronicle (1917),
p. 308, no. 14
etc., p. 31, 10; pi. v,
pi. ix
Supine, no. 28
Hill, Pisanello, pi. 66
British
Museum,
Calabi
&
Select Italian Medals, pi. 11,
Cornaggia,
p.
95
Rimini Castle, 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.
Provenance: Luccardi Coll.
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
Obverse same
mm.
diam., 1446
preceding number.
as in
Rev. Fortitude, crowned, cuirassed, and in long tunic, seated facing front
meadow on
in a
a throne, the sides of
which are formed by foreparts of
elephants. She holds in both hands a broken column. Below: (rosette)
CCCC XLVI
(rosette).
Hill, Corpus, no. 179, pi. 33 (no. 174 obverse, no. 178 reverse)
Armand,
Tresor,
i,
11,
20, 10
pi. iii, i

Rizzini, no. 35
Metzler, no. 6, pi.
Calabi
Hill,
&
iii
Cornaggia,
Dreyfus
p. 39, no. 6
Coll., no. 61
Heiss, Alberti,
p. 309, no. 18
etc., p. 31,
and
p.
97
(same reverse),
no. 11; pi. vi,
pi. xviii
12
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,
The
Corpus, no. 182,

birch rod
is
pi.
34
the symbol of
command.
arm,
is-
Friedlaender, Berliner Blaetter in (1866), pp. 202-207,
13
xxxv
pi.
(attrib-
uted to Filippino Lippi)
mm.
Bronze medal, 80
SIGISMVNDVS PANDVLFVS
wearing plate armor over mail
XL VI The
castle of
Corpus, no. 184,
Hill,
8c
Cornaggia,
MALATESTA PAN F
Bust
left,
19, pi.
(1923/4), p.
iii,
Nanni, 1902
ARIMINENSE
CCCC
Rimini.
pi.
Arethuse
37
p.
Heiss, Nice. Spinelli, p. 43, no. 6, pi.
iv,
Litta, Este, no. 21
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:
34
Armand, i, 20, 12
Calabi
shirt.
SISMVNDVM
CASTELLVM
Rev.
Bode, Zeitschrift xv (1904),

Habich, pi. lxiv, 4
diam., 1446
'Tilippinus
12
p. 307,
Com.
p. 42, 12
PHilippi Filius Fecit
EN
BOnonia"; by Milanesi (Bibl.

fecit Ferrariae ENcenia" or
Hoc
Siena): "Bona Franciscus Panini
"Francesco Panini Horafo Ferrarese Fece."
Provenance: Elkan Coll. 1934, no. 21 (as "Maitre a
MANTUAN
manner
in the
ALARI BONACOLSI
called
of PIER JACOPO DI ANTONIO

L'ANTICO c. 1460-1528
GIANFRANCESCO ENZOLA
Enzola worked
Amour
captif")
1456-78
ac.
Parma and
chiefly at
1'
Ferrara. His early medals are
on a
small scale, and for a while he tried to strike his medals instead of cast-
14
ing them, but the struck products never attained the fineness of his cast
Giulia Astallia
ones, especially in the portraits. After about 1471 he took to casting large
mm. diam., c. 1485

DIVA IVLIA ASTALLIA Half -figure
Bronze medal, 63
medals.
of girl
left,
ward, hair in long braid knotted up and tied with

front,
bodice laced in
pyre, looking
up
Habich,
i,
at the sun's rays issuing
Corpus, no. 218,
Armand,
pi.
from
Phoenix on burning
38
Museum, Guide,
British
pi. iii,
in shirt of mail
On
(1890), p. 31
plate; across field
V F
lO FR ENZOLAE
greyhound seated left under
the Renaissance,
Museum, Guide,
pi. vii,
pi. xli,
Giulia Astallia
is
DVX
IIII
BELLI
Bust right, elderly,
Pearled border.
PARMENSIS OPVS
a fruit tree; a
hand
issu-
Habich,
f
pi. 11,
5
i; pi.
xxi
Supino, no. 51
Litta, Sforza, pi.
generally identified with Giulia of Gazzuolo, heroine
who, having been violated by a servant of
a statue erected to her.
close to
pi. lvii,
Rizzini, no. 71
Bishop Lodovico of Mantua (1483-1510), drowned herself; the Bishop
MANTUAN
45
fl.
no. 186
8,
pi.
Pearled border.
44, 6
Friedlaender, p. 115,
Simon, no. 128
i,
i,
tree.
Roville, p. 205
p. 16, fig. 13
Matteo Bandello's Nov.
Corpus, no. 281,
Armand,
Select Italian Medals, pi. 19, 5
Weimar, GoetheSammlung,
had
rocky ground, a
Hill,
dell' Arte III
Revue Numismatique (1892), pp. 485
of
under
ing from a radiant cloud touches him; below him, on the ground, a bridle
Museum,
11,
Rev. Artist's signature:
Burlington Magazine xx (Oct. 191 1), p. 23,

Tresor,
Milan 1450-66
of
attached by a chain to the
Simon, no. 123

Archivo Storico
of
Duke
mm. diam., 1456

FR SFORTIA VICECOMES MLI
PATER ET PACIS AVTOR M CCCC LVI
p. 16, fig. 13
Medals
16
(Biscione)
Fabriczy, p. 49
Supino, no. 96
Hill,
En-
several medals, bearing his signature (see the following
Bronze medal, 42.5
83.3
(1923/4), p. 17,
Friedlaender, p. 129
British
on
whom
various employers was Francesco Sforza,
artist's
Francesco I Sforza 1401-66,
Bode, Zeitschrijt xv (1904), p. 37

British
the
zola portrayed
a cloud.
pi. lv, i
Arethuse
Among
number).
Hill,
fillet,
a little for-
neck open.
EXEMPLVM VNICVM FOR ET PVD
Rev.
head bent
GIANCRISTOFORO ROMANO
c.
The
11,
reverse shows the Duke's impresa (motto:
pune
41; Friedlaender, p. 116.
SPERANDIO OF MANTUA
1465-
Quietum nemo me im-
Paolo Giovio, Dialogo dell'Imprese (Lyon 1574), p.
lacesset); cf.
c.
1425-1504
1425, Sperandio moved at an early age to

Ferrara, but always remained proud of his Mantuan citizenship. His
Mantua about
Probably born in
1512
15
Lucrezia Borgia 1480-1519, wife of Alfonso
d'Este
Bronze medal, 59.5 mm. diam., c. 1505

LVCRETIA (leaf) BORGIA (leaf) ESTEN FERRARIAE (leaf) MVT
AC REGII D Bust left, in high relief, heavy hair covering temples and
fame spread over the entire north of Italy as a goldsmith, sculptor, architect, medallist, and cannon-founder. He was mainly active in Ferrara,
Mantua, Faenza, Bologna, and Venice where he died in 1504.
Sperandio's style is characterized by vigorous portraiture. Goethe was especially fond of his works and ranked him first among the Italian med-
neck, with a braid
drawn from temples
across
and knotted behind,
allists.
at
beginning of which is seen; low dress

shoulder with ring; double cord with pendant on breast;
shoulders tied together in a pigtail,

fastened on left
straight truncation.
Rev.
VIRTVTI
AC FORMAL PVDICITIA PRAECIOSISSIMVM
(two leaves on stalk).
Nude Amor,
blindfolded, tied with hands behind
on which are suspended on left a broken quiver;

on right, a trophy-like arrangement of a tablet inscribed BO FPHFF
EN, a violin and its bow placed like a psaltery, a bundle of sheets of
music, and a bow with broken string.
his
back
to a laurel tree,
17
Fra Cesario Contughi, Servite 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
Elderly bust
wearing habit with hood over head.
left,
Hill,
Corpus, no. 233,
Armand,
i,
pi.
40
118, 3
Foville, Gazette des
Beaux
Arts, 39 (1908), p. 387
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.
Armand,
i,
67, 16
Heiss, Sperandio, p. 36, no. 16

Foville, p. 40, 6 (assigned to
Gruyer,
p.
c.
1467)
640
Weber, pp. 531-532
GIOVANNI (ZUAN) BOLDU
(Giovanni di Pasqualino Boldu)
ac. 1454-C.
1475
Although Boldu describes himself on
is
known
definitely
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 a special affection for classical subjects, and in the case of the
Caracalla medal (see the following number), the obverse was inspired by
a Roman coin.
18
Emperor Caracalla mi-iy

Bronze medal, 90.4
ANTONINVS
mm.
diam., 1466
AVGVSTVS
PIVS
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.
Armand,
Weber,
i,
p.
VETTOR
37, 4
530
Heiss, Venetian Medals, p. 107, pi.
Spitzer Coll., no. 1335,
Loebbecke
Coll.,
British
Revue
pi. n,
Munich
Supino, no. 48
British
pi.
35
N umismatique
is
called
CAMELIO
Camelio was employed as master of the dies at the Venetian mint from
1484 to 1510, and from 1516 until his death in 1537. He probably was active as a medallist already at an earlier stage. Like Enzola, Camelio also
experimented with the striking of medals. The two medals of Gentile
Bellini and his brother Giovanni are amongst the artist's most beautiful
3
Paris)
1908, no. 10, pi. in
xiv
(1895),
p.
is
creations. Before 1484, Camelio may have worked as an engraver at the

papal mint in Rome, a post he surely held from 1513 to 1516.
pi. xii, i
567
Corpus, no. 421. There
identical with that of the

is,
upon the fact that the

medal of himself. Hill,
however, no great resemblance in lettering;
addition, the style of the obverse
head of Caracalla
Emperor
ANTONIO GAMBELLO
generally attributed to Boldu, based
reverse composition
the
11,
(now

Museum, Guide, p. 19, fig. 18
This medal
DI
1455/60-1537
is
is
copied from a
facing right.
The
broader than
is
Roman
little
is
aureus,
usual with Boldu.

cf.
Cohen
genius on the reverse
96,
is
in
The
on which
after a de-
sign by Pietro da Fano.
19
Giovanni Bellini
Bronze medal, 58
c.
1430-1516, painter
mm.
diam.,
c.
1495
JOANNES BELLINVS VENET PICTOR OP
hair, plain cap, dress
with
stole
Bust
left,
with long
over right shoulder. Pearled border.
Rev. Owl perched left on fragment of a branch; above, VIRTVTIS ET

INGENII; below, VICTOR CAMELIVS FACIEBAT Pearled border.
Corpus, no. 438,

Armand, i, 115, 2
Hill,
Habich,
p.
83
94
Fabriczy, p. 78,
Hill,
pi.
Dreyfus
pi. xvi, i
Coll., p. 12, no. xii
Heiss, Venetian Medals, p. 123, pi. vii, 2
Friedlaender, p. 95, no. 4;

Hill,
The
PMIA.
last
p. 39, 14; pi.
pi. xvii
XX
two words of the obverse legend stand
OPTIMVS.
for
PICTORVM
BOLOGNESE,
FRANCIA
after
FRANCESCO RAIBOLINI
IL
called
22
Francesco degli Alidosi, Cardinal of Pavia 1505, Legate of Bologna
and Romagna, 1508-11

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.
Rev.
PIETAS EVANGELICA A
shepherd standing three-quarters
left,
looking to front; he carries crook in right hand, and a sheep on his
and drives
shoulders,
palm
a flock of sheep past a
tree
on which
is
pelican.
Hill,
Corpus, no. 527,
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,
Loehr, no. 311,

Hill,
Dreyfus
Select Italian Medals,
pi.
Coll., no. 168, pi.
IL
called
FRANCIA
1450/3-1517
1508 to his death, Francia was in control of the Bolognese
mint, working for Julius

city
xlhi
FRANCESCO RAIBOLINI
From about
pi. 38,
xxvii
from Giovanni
II
and Leo X,
after the
former had taken the
Bentivoglio in 1506. Prior to that, according to
II
Vasari, Francia cut dies for the Bentivoglio,
who
Emperor Maximilian,
the right of coinage by
to
had been granted

which event the follow-
in 1494
ing medal alludes. According to Hill, the medal possibly follows a design
may
by Francia, but
not be by his hand.
II Bentivoglio 1443-1509,
Lord
of
RIS
ADASTRA.
Jupiter,
hand, and holding an object of un-
certain nature in his right hand, standing
parted to
show
Hill,
Bologna 1462-1506
Bronze medal, 28 mm. diam., 1494

lOANNES BENTIVOLVS II BONONIENSIS
(in six lines)
Bust right, with long
the ear, wearing low cap with back flap turned up;
MCCCCLXXXXIIII
Corpus, no. 606,
Armand,
Herrgott,
i,
104,
i,
pi.
Litta, Bentivoglio,
Habich,
pi.
IMPERATORIS
Pearled border.
on
a car
drawn
to right along
lxx,
86
109
Bode, Zeitschrijt, xv (1904),

Habich, pi. lxx, 5
p.
40
Tresor, i, pi. xxxiii, 3

Saglio, L'Art, liv (1893), pp. 125-131
Fabriczy, p. 93
vi, 800
Venturi,
pi.
xxxiv
Simon, no. 132
Monete, no. 16
Rizzini, no. 135
pi.
xxxiv,
Supino, no. 228,
British
British
Supino, no. 222
Museum, Guide,
pi.
xxxi

Museum, Guide, p. 23, no. 50
pi. 42,
Cardinal Francesco degli Alidosi was a favorite of Pope Julius
Keary, no. 77
British
MVNVS
pi.
116, 45
Revue Numismatique (1914), pp. 98 fl.

Hill, Medals oj the Renaissance, pp. 64-65
xxxi, 2
Simon, no. 131
11,
Foville, p. 55
108
pi.
pi. xviii,
Mazzuchelli,
MAXIMILIANI
Corpus, no. 610,
Armand,
doublet and coat with open collar. Pearled border.
Hill,
left
border.
Giovanni
Rev.
CVRRVQ CITODVCE
HIS AVIBVS
wielding thunderbolt with his
clouds by two eagles. Below, signs of Pisces and Sagittarius. Pearled
21
hair,
Rev.
p. 22, fig.
Hill, Dreyjus Coll., no. 184, pi. xlvi

Migeon, Les Arts (August 1908), p.
12, no. xxiii
II.
After
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
the loss of Bologna to
24
him. Francesco Maria thereupon stabbed his accuser to death. According

to another version of the story, he suspected Ahdosi of treachery on be-
graved) and
half of the French.
a long scarf passing across her waist.
crouching Turkish captives, arms and banners; on
CRISTOFORO CARADOSSO FOPPA

One
known
second name, Caradossc, he worked chiefly in Milan until the
The motto
by his
fall
of
Moro, perhaps longer. In 1505 he settled in Rome, where he

found the guild of Roman goldsmiths in 1509 and died in
1526/7.
The square medal with
the portrait of the old warrior, Giangiacomo
Trivulzio, has been attributed to Caradosso by L.omazzo.
Giangiacomo Trivulzio 1441-1518, Marshal

Square bronze medal, H. 46 mm.,
MAR
10 lACOBVS TRIVVLS
of France 1499
Constancy, nude, standing to front, looking

column, her right on tall staff, and holds
fluted
At her
left
four shields: i) Trivulzio (paly of six), 2) cross pattee within a flaming
on a shield, 4) on a shield, three brands in pale, each

carrying two buckets. Double outer border interrupted by these shields.
circle, 3) biscione
Virgil (Aen. vi, 854).
Corpus, no. 751,
Hill,
Armand,
i,
50, 10
Bonanni,
i,
91, no.
Venuti,
on the
feet,
right, a
group of
galleys in the har-
left,
The medal commemorates
the
126
pi.
p. 36, no. vi
Jenaischen Literatur-Zeitung (1810), p. viii
p. 182
Heiss, Florentine Medals,
Fabriczy, p. 108,
Martinori, p. 29
W. 46 mm., 1499.
VIG FRA MARESCALVS
from
is
Programm zur
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
arm on
left
expulsion of the Turks from Otranto in 1481 by troops partly contributed

by the Pope.
il
helped to
SIXTE-POTES
she rests
bor. Pearled border.
1475-1526/7
ac. c.
of the best artists of the fifteenth century, generally
Lodovico
left;
Roman
Hill,
Habich,
52,
i,
Medallists, pp. 30
pi. xxxiii,
Friedlaender,
pi. iv, i
pi. xxi,
and
32, pi.
i,
Andrea
Guacialoti, p. 14, 8; pi.

Rizzini, no. 41
iii,
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. liii
Migeon, Les Arts (August 1908),

Forrer,
331
11,
LYSIPPUS ac. c. 1471-84

Known under the pseudonym
is
unknown. He was
Nearly
Roman
name
of Cristoforo di Geremia.
seem
to
have been connected with the Papal
University. His medals are disdnguished 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
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,
xi,
i,
Armand,
Habich,
Van
IV
Sixtus
Bronze medal, 42
SIXTVS
IIII
110, 11
i,
tiara, cope,
lxvi,
pi.
Mieris,
Koehler,
11,
i,
p.
and
Rev.
49
ill.
p. 139.
St.
Hill,
11,
62, i;
Bonanni,
p. 33, iii
Tresor,
i,
Coll., 1908, no. 59, pi. 6
ANDREA GUACIALOTI
or
GUAZZALOTTI
generally regarded as a
member
1435-95
Thurston,
of the Florentine School,
medals are directly or indirectly connected with

was a clerk in the Papal Curia until 1467, in which year he rein Prato.
There, besides attending to his
clerical duties,
he practised as a bronze founder, casting his own and other artists' works,
one of them the medal by Bertoldo on the Pazzi Conspiracy (see no. 28).
24
Bust
left,
wearing
Francis on
;
(who
left
holds a cross) and
both have the nimbus. Pearled
m,
pi.
132
180, a
p. 91, 3
xxiv, 3
p.
Hill,
Roman
Habich,
p. 179,
43
Medals, p. 35,
p.
280
pi. v,
pi. lxi, i
Simon, no. 338

Rizzini, no. 39
Rovere, Sisto IV, no. 2
Supino, no. 189
Sixtus
IV (Francesco
Bronze medal, 60
SIXTVS
IIII
mm.
PON
Rovere 1414-84) Pope 1471-84
della
26
diam., 148
MAX SACRICVLT
Bust
left,
wearing
tiara,
PARCERE SVBIECTIS ET DEBELLARE SVPERBOS; in the

CONSTANTIA Across the field: MCCCC-LXXXI (en-
exergue:
Giovanni Alvise Toscani

Bronze medal, 42.5
cope and morse. Pearled border.

Rev.
St.
holds a fire)
Burlington Magazine (1909),

Martinori, p. 26
Litta,
(who
all his
canonry
right
Corpus, no. 807,
Armand,
Venuti,
tired to a
facing front, wearing cope, hands joined in prayer;
placed on his head by
is
Anthony on
Provenance: Loebbecke
Rome. He
CVLT
condottiere that have been preserved.
is
border.
This specimen.
Commemorates the capture of Alessandria and Trivulzio's appointment

as Marshal of France. It is probably one of the best portraits of this great
although almost
SACRI
HEC DAMVS IN TERRIS AETERNA DABVNTVR OLIMPO
a tiara
Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 1400-
Guacialoti
MAX
large circular morse. Pearled border.
The Pope, enthroned
Litta, Trivulzio, no.
1600, no. 312,
diam.
328
p.
mm.
PONT
mm.
c.
1450-78, Milanese jurist, orator,
lOANNES ALOISIVS TVSCA

wearing round cap and
and
poet.
diam.
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, facing front in sea-car
Corpus, no. 8ii,
Hill,
Armand,
11,
pi.
drawn by two
sea horses. Pearled border.
Herrgott
British
pi. xix,
Dreyjus
and
pi.
xvni, 7
141
pi. i; pi. x, vi
11,
Vienna Jahrbuch, xxxi (1925),
p.
249
Museum, Guide,
30
p. 28, fig.
Supino, no. 155

Tresor, i, pi. xxxix, 5
Hill,
i,
Rizzini, no. 505
Rizzini, no. 443

i,
pi. xiv,
Mieris,
Baldass,
132
28, 13
Mazzuchelli,
Heraeus,
Van
BERTOLDO
DI
GIOVANNI
c.
1420-91
Bertoldo was Donatello's pupil and Michelangelo's master.
Coll., no. 220, pi. lvi
cast his
own medals
having made
but, after
his
models,
left
He
did not
the casting
to others.
GIOVANNI CANDIDA
(Giovanni di Salvatore Filangieri)
c.
1450-C. 1495
The
artist
The medal on
the Pazzi Conspiracy
was
cast
by Andrea Guacialoti in
1478.
descended from a noble Neapolitan family, and grew to disHe became secretary to Charles the
28
tinction in the diplomatic service.
Bold in 1472 and, after the latter's death, in 1477 ^^s made secretary to
Maximilian I and Mary of Burgundy at the Burgundian Court. Maximilian and the beautiful young
Mary were married
that
same
charming medal of the pair was executed on the occasion of
year.
their
The
wed-
ding.
The well-known painting by Hans Memling in the Antwerp Gallery of a

man holding a coin of Nero may possibly be the portrait of Giovanni
Candida, though some experts believe it to represent Niccolo Spinelli.
Lorenzo 1449-92 and Giuliano
de'
Medici 1453-78
mm. diam.
LAVRENTIVS MEDICES. Bust
Bronze medal, 63.5
almost in profile, to the right, placea

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.
Rev. 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:
LVCTVS PVBLICVS.
Hill,
Corpus, no. 915,
Armand,
i,
59,
pi.
148
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. 160, 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
The
bust of Giuliano
is
probably after a portrait by
Botticelli, that of
Lorenzo may be modelled from life. In the Pazzi Conspiracy of 1478

Giuliano was killed, Lorenzo escaped.
FLORENTINE, SECOND HALF OF THE FIFTEENTH
CENTURY
29
Tito
V espasiano
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
right,
Mary
of
Burgundy 1459-82
F.
open coat over doublet laced across
Below
the truncation:
W.
132
mm.
facing right, wearing round cap
TITVS. STROCIVS
reverse.
Hill, Corpus, p. 33, no. I25d, 1256

i, 11,
35 (175 x in mm.). Armand judges Strozzi on this medal
about 50 to 60 years of age, which would date it between 1470-80.
Armand,
1477
DVX. AVSTR. BVRGVND
with long hair confined by twisted
cf.
robe.
relief
fillet
and myrtle
to be
Bust
(?) wreath;
breast. Pearled border.
MARIA. KAROLI. F. DVX. BVRGVNDIAE. AVSTRIAE. BRAB.

FLAN: Bust right, hair drawn back and tied in loose knot; plain dress
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,
pi. lxii,
Only the pieces quoted by Hill as i25d (Paris-Armand, 175 x in 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.
pi.
134
The
present specimen
is
the fourth
known, and the
largest in size.
NICCOLO DI FORZORE SPINELLI

RENTINO 1430-1514
His
most famous name
the
is
Niccolo's skill
at
is
called
NICCOLO
33
Alessandro di Gino Vecchietti 1472-1532
in the history of the Florentine medal.
best in his splendid portraiture.
its
FIO-
Powerful
Bronze medal,
style
and bold
belief,
rather than petty details, are the artist's forte.
painting in the manner of Botticelli, in the UfEzi Gallery, of a young

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
man
mm.
DI
diam.,
c.
1498
GINO VECHIETTI
and below
bust,
ANNI
Z6. Bust right, curly long hair, wearing cap with back flap turned up,
77.3
ALESSANDRO
and plain
robe.
with Florentine long hair, holding
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
Rev.
SANCTA
RELIGIO
FO SP FL
NI
and, in arc below: the signature
(Opus Nicolai Forzori
figure of Religion facing
left,
laureate,
OP
Standing
Spinelli Florentini)
wears tunic and mantle, swings
censer in right hand, holds cornucopia in left hand.
Corpus, no. 924,
Hill,
Armand,
150
pi.
84, 2
i,
Bode, Jahrbuch der Preussischen Kunstsammlungen xxv (1904), p. 10;

B, 8
pi.
Habich,
xxxvi, 2
pi.
Tormo, xxv (1917),
p. 61
Friedlaender, p. 140, 3
Heiss, Spinelli, p. 13, 3; pi.
According
to
Bode,
i,
medal was made
this
he supposes Niccolo to have
made
Rome during
in
which
the stay
there in 1485-86. Geraldini
was
a col-
Rev.
Nude
Fortuna, three-quarters
left,
advancing over waves on dolsail, sheet of which she holds
Mendoza, Ambassador of Ferdinand and Isabella, in his embassy in i486. He was crowned Poet Laureate in 1479. Innocent VIII
made him protonotary (logotheta). Lancetti, Memorie Intorno ai Poeti
phin; holds aloft in right hand halyard of a
Laureati (1839), pp. 194
PRIVS
league of
fl.
on
right,
RENTINO,
called
NICCOLO
FIO-
on
i,
170
pi.
99, 4
Bode, Jahrbuch der Preussischen Kunstsammlungen xxv (1904),
Bernardino Gamberia, private chamberlain of Innocent VIII, Bishop

of Cavaillon, d. 1507
GAMB
AN
XXX 1485. Bust

S
with thick curly hair, wearing round cap and close-fitting dress.
BER
left,
Rev.
B,4
mm. diam., 1485

INNOCENTII VIII C
Bronze medal, 61.2
of the Vecchietti of Florence are five ermines rampant, silver
Corpus, no. 1027,
Armand,
31
blue.
Hill,
attributed to
a rock,
MORI QVAM TVRPARI
The arms
NICCOLO DI FORZORE SPINELLI
hand; in front of her, on the waves, radiant sun's face. On

an ermine, holding in its mouth a scroll inscribed
in her left
SATIABOR CVM APPARVERIT God

Supino, no. 118
p. 89; pi. xni, 6
i,
xxx
pi.
Archivo Storico
dell' Arte
Calvo y del Rivero,
the Father in clouds.
iii
pi. xvi,
(1890), p. 30
(Museo Arqueologico Nacional)

Hill,
Corpus, no. 933,
Armand,
Hill,
11,
pi.
152
64, 15
Dreyfus
Coll., no.
260
Bode, fahrbuch 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
Alamanno Rinuccini
1419-99, Florentine writer
mm. diam., 1493

ALAMANNVS RINVCCINVS PHILIPPI F
and historian
Bronze medal, 87
relief,
bareheaded and with long hair, wearing
Bust
left,
neath: 1493.
No
reverse.
Hill,
Corpus, no. loio,
Armand,
Cecchi,
iii,
171,
pi.
166 (this specimen illustrated)
ill.
i, 145
Burlington Magazine, xxn (1912), 132
Provenance: Baron C. A. de Cosson Coll.
in very
close-fitting dress.
high
Under-
p. 8, pi.
34
According
Girolamo Savonarola 1452-98, Dominican preacher
sons of Andrea della Robbia.
He
by the della Robbia
The
mm. diam.
HIERONX[!]MVS SAV"
Bronze medal, 93
PREDICHATORVM
Bust
to Hill, the design of this
artists.
medal
is
doubtless due to one of the
doubts, however, that the medal
Savonarola of the fate of Florence; the sword of the Lord
FER
left in
VIR
DOCTISSs
hood
habit with
ORDINIS
invasion,
itself is
reverse legend records predictions by

is
the French
which he foresaw.
raised.
FLORENTINE, LATE FIFTEENTH CENTURY

35
Dante Alighieri
Bronze medal, 52
mm.
265-1 321, Florentine poet
diam.
DANTHES FLOREN TINVS
Bust
falling point
No
and stringed
flaps
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 with
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, pi. 183
Armand,
Habich,
11,
pi.
11,
xlix,
Holbrook,
title
i,
125, i; pi. xvii,
page and pp. 240-241
Friedlaender, p. 154, no. 37;
pi.
xxx
Passerini, p. 43
Tresor, i, xiv, 3
Numismatic Chronicle (1913), p. 414, pi. xx, i

The reverse of this medal is based on the painting made in 1465 by Domenico di Michelino in the Duomo, Florence. Cf. the early Florentine engraving (Hind, A,
Rev.
GLADIVS
Hill,
Pisa,
Corpus, no. 1075,
Armand,
11,
Dreyjus
trait of
of Venice, Milan,
probably Bologna.
Coll., no.
CELLINI,
SCHOOL
OF,
SIXTEENTH CEN-
36
Unknown Nobleman,
8,
282
sale,
June
possibly
Cosimo
ried 1539 to Eleonora de Toledo;

17, 1929, no. 31
(92
mm.)
most powerful expression. The only medallic Savonarola por-
great merit.
BENVENUTO
TURY
179
Hofstede de Groot, ex Schulman

Portrait of
city,
46, 17
Heiss, Spinelli, p. 69, 3; pi. vii, i

Migeon, Les Arts, August 1908, p.
Hill,
cities
Rome, Naples, and another

pi.
23).
Divine hand holding dagger, threatening the
Genoa, Florence,
i,
TERAM CITOET VELOCITER
DOMINI SVP
Duke
of
Duke
de' Medici, 1519-74;
of Florence 1537-69,
mar-
Grand
Tuscany 1569-74
Octagonal bufl-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.
1*^
lions'
heads
Armand,
188, 2
i,
Tresor, u, xxxvi, 4
Van Mieris, n, 377
Koehler, xvii, 33
Loebbeckê Coll.,
Habich,
Munich
1908, no. 53
lxxxiv, 6
pi.
Ferrer, iv, 409 (ill.)

Mazzuchelli, i, lxvii, 4
38
Lucrezia de Medici 1545-61,
Lead medal, 69
mm.
wife of Alfonso
first
d'Este
II
diam., 1558
LVCRETIA MED FERR PRINC A A
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 sig-
Below truncation:
nature: P.
No
1558.
reverse.
Armand,
Made
195, 40
i,
probably on the occasion of Lucrezia's marriage to Alfonso
II
d'Este in 1558.
GIAMPAOLO POGGINI
Florence 1518-1582 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 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,
The
p. 127, no. 11 (this
specimen)
style of this piece, as well as the
of the enamelled
worked from 1545
to 1571 in Florence,
and
known
it is
The
that he cut
like honestone, slate, and crystal. Prof. Middeldorf (pricommunication) has suggested that the piece may possibly be close
to Antonio Abondio. The identity of the person represented also requires
futher confirmation (cf. the portraits of Cosimo I on the medals: Hill,
Medals oj the Renaissance, pi. xvi, no. 3, and Lanna iii, pi. 15, no. 233).
Another Italian honestone model, depicting Alessandro Piccolomini, is in
the Munich State Coll. (M. Bernhart, Nachtraege zu Armand, Archiv v,
in
hard materials
vate
1527-98,
Sotheby,
May
17, i960, no. 96, pi.
his family.
of Spain 1556-98
wearing
left,
cuirass.
Bare-
Below trunca-
horn of plenty,
Temple
sets fire to a pile of
of Janus. In the exergue:
Armand,
armaments
MDLIX
in front of the closed
Pearled border.
238, 5
i,
Van Loon,
i,
Cicognara,
11,
Habich,
lxxx,
pi.
28
lxxxv, 2
Le Maistre,
5,
Ramon,
Vidal Quadras y
no. 13609
no. 13
Betts, no. 3
iv,
633
obverse legend
the peace treaty of Chateau Cambresis.
King
cites Philip as
The remarkable
New World
and of the
of Spain
in the
West.
18
DOMENICO POGGINI
ITALIAN MEDALS FROM THE TIME OF
BENVENUTO CELLINI ONWARDS
1578 he devoted himself largely to the modelling of portraits in
first
artistic career
Cosimo
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
executed that at
and without
reverse.
His
wax and
Duke
Lodovico Ariosto 1474- 1533, poet
left.
prolific artist, his
I de'
Medici 1519-74, Duke of Florence 1537-69, Grand
Tuscany 1569-74
of
mm.
diam., 1567
right with short beard, wearing cuirass
and drapery.
II
On
Bareheaded bust
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.
Armand,
i,
261, 41
Litta, Medici, no. 31
diam.
cf.
LVDOVICVS ARIOST POET

facing
fifty pieces.
COSMVS MED FLOREN ET SENAR DVX
two
mm.
Rome
together with his brother Giampaolo.
Silver medal, 41.5
casts are so finely
glance they almost appear to be struck.
37
Bronze medal, 38
Florence 1520-1590
goldsmith, sculptor, die-engraver, and medallist, Poggini began his
40
PASTORINO DE' PASTORINI
casting them, usually in lead
medallic creations alone comprise about
FLORENTINE ARTISTS
Rev.
and
I
PAVL POG F Pearled border.
PACE. TERRA. MARIQ. COMPOSITA Standing Pax, holding
Rev.
Commemorates
Coll.,
II
Unique
Desmoni
King
headed bust with short beard facing
Forrer,
J.
medals of Philip
mm. diam., 1559

PHILIPPVS HISPANIAR ET NOVI ORBIS OCCIDVI REX
p. 82).
Provenance: Martin
for his fine
Silver medal, 42
tion, artist's signature:
workmanship
frame, would point toward an attribution to Benvenuto Cellini.

artist
known
39
Philip
of brown, white, and gold.
best
is
PIER
Pearled border.
PRO BONO MALVM
amidst flames. Pearled border.
Forrer,
iv,
629
Laureate and bearded head of the poet
Bees surrounding a column rising from
PAOLO GALEOTTI
ROMANO
A
called
IL
generally
ROMANO
known
as
PIER
PAOLO
1520-84
goldsmith, die-engraver, and medallist,
II
Romano,
a native of
Rome,
worked
and died there
in the north of Italy, settled at Florence in 1550,
in
House
of the
GASP
41
Rev.
Faustina Sjorza Marchesa of Caravaggio, married 1546
mm. diam.
FAVSTINA SFORTIA MARCH CARAVAGII.
and
richly draped,
vine
leaf.
cf.
Bust facing right, veiled

field, to
the right, a
the date
Forrer
The
MDCVI.
113
iv,
The
i,
On
body the
his
stole,
constellation Sagit-
beneath his hooves the planetary system. Below,
Original suspension loop.
(ill.)
centaur Chiron, son of Titan Chronos, ancestor of Achilles and AJax,

Jason, Asklepios,
wound he gave
ceived an incurable
234, 35
Foedere
signature:
centaur Chiron, bearded and with flying
was the famous teacher of
reverse.
Armand,
as:
artist's
("The Archer")
tarius
wearing double necklace. In the
OPORTVNE
prancing right, shooting his arrow.
Bronze medal, 72
No
whose meaning has been explained
of Savoy,
Et Religione Tenemur). Under the truncation, the
1584.
and Herakles.
When
he
re-
immortality to Prometheus.
his
Chiron became the constellation Sagittarius.

42
This medal, the
Gianfrancesco Trivulzio 1504-73, Marchese of Vigevano, Count of
unique in gold.
Mesocco 1518-49, Rheinwald and Stoss
44
Bronze medal,
59.5
The grandson
of
mm.
diam.,
c.
Cosimo
1543.
Giangiacomo Trivulzio, he lost his possession

of Pavia, but in 1535 was restored by Charles V.
battle
lO
(rosette)
FRAN
TRI
REN ET STOSA D
Rev. FVI
MAR
VIG
CO MVSO AC VAL
Bearded and cuirassed bust
tened on right shoulder.
On
the truncation:
SVM ET ERO. Nude
AET
39
and
tritons.
drapery
right,
fas-
II de'
590-1620,
No
sail
amidst a
Tuscany 1608-20
reverse.
Fabriczy, p. 183,
cf.
Habich,
xxxvi, 5
Lxxxn, 8
pi.
p. 119, pi.
ANTONIO FRANCESCO
Selvi
unknown Milanese
of
apparently
H. 48 mm., W. 40 mm.
cf.
Above and below, four
n, 302, 13
p. 135, pi. xcvi, 5 (as
Grand Duke
is
Unpublished and probably unique,
Forrer, n, 192
Habich,
by Mola,
Youthful bust right, with short hair and small moustache, wearing armor
with Maltese cross on breastplate.
blowing zephyrs.
Armand,
Medici
Silver oval medal,
finest
Fortuna, holding flowing
violent sea, surrounded by dolphins
in the
and probably the
earliest
master)
was one
of the
most
He
miliano Soldani-Benzi.
SELVI
679-1753
and
prolific Florentine artists,
said to
is
a pupil of Massi-
have resided in England for a while.
Provenance: Dr. Jacob Hirsch Estate

45
GASPARE MOLA
As
c.
Cosimo
1580-c. 1640
youth Mola was apprenticed to a Milan goldsmith. The bronze

were his first major commis-
gates of the Cathedral of Pisa, about 1601,

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

Tuscany 1569-74
I de'
Bronze medal, 85
and round
Rev.
SEMPER
Hill,
Corpus, no.
whom
minute
Mola had
contact."
Mola was
a master at depicting even the most
Armand,
P Bust
right,
wearing
gown
cap. Raised border.
in 1625, succeeding
Rome, and was appointed Papal mint engraver
diam.
Jacobo Antonio Moro. Habich writes about Mola: "His best works show
the influence of the brilliant French medallist Guillaume Dupre, with
in
mm.
MAGNVS COSMVS MEDICES
11,
25,
Mazzuchelli,
i,
Three interlinked
mo,
rings. Raised border.
pi. xx, 3
detail.
ROMAN
ARTISTS
ALESSANDRO CESATI
ac.
called
IL
GRECO or IL GRECHETTO
1538-64
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," Vasari 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
j
Dido, Queen of Carthage

Bronze medal, 45
mm.
j
'
diam.
Greek inscription: DIDO BASILISSA. Bust right, wreathed, hair in

coils and falling on neck, drapery fastened on right shoulder. Pearled
border.
Rev. Greek inscription:

lying in harbor before
Hill,
cf.
43
Charles
Emanuel
562-1 630,
Oval gold medal, H. 58 mm.,
W.
Duke
45.5
of Savoy 1580-1630
Bareheaded bust with

damascened
armor and drapery; around the neck an embroidered ribbon from which
a medallion is suspended. The ribbon doubly inscribed: FERT (the motto
beard and moustache to right, wearing ruff
collar, richly
Coll., no. 368, pi.
An
artist
of Carthage, with galleys
|[
1,
GIAN FEDERIGO BONZAGNA

ac.
View
lxxxvi
Burlington Magazine, February 191
MENSE
mm., 1606
CAROLVS EMAN D G DVX SAB
Dreyfus
KARCHEDON
it.
p. 267, pi.
called
11,
FEDERIGO PAR-
1547-75
of stature, practising as sculptor, goldsmith, medallist and die-
known after
Rome and also for
engraver. Medallic products by Bonzagna are not
though he was still alive in 1586. He worked

luigi and Ottavio Farnese in Parma.
in
1575,
Pier-
from
the ashes. In the exergue: 1665. Granulated field.
47
rising
Pierluigi Farnese 1503-47,
Hildebrand,
mm.
LOYSIVS
P(etrus)
Crona
and damascened cuirass with
AD
CIVITAT(is)
lion's
cation, the artist's signature:
Rev.
PARM(ae)
F(arnesius)
ET
Forrer,
PLAC(entiae)
De
no. 104a
i,
Coll., no.
129
vi,
260 (bronze)
(ill.)
Bildt, pi. vi, nos. 26
and 27
Bearded, bareheaded bust right, wearing mantle, shirt of mail,
Parma and Piacenza
of
diam.
Bronze medal, 39
DVX
Duke
head on right shoulder. Under trunLegend between pearled circles.
FARM
DITIONISQ(ue) TVTEL(am) MVNIM-
(entum) EXTRVCTVM Bird's-eye view of the citadel of Parma, with

gate opening on a stream. Legend between pearled circles.
GIOVANNI HAMERANI
1649-1705
Giovanni Hamerani, who in 1677 succeeded his father Alberto as Papal

medallist, was perhaps the most distinguished of the Hamerani family
Armand,
Dreyjus
Hill,
Forrer,
51
222, 6
i,
Farnese, n,
Litta,
Innocent XII (Antonio Pignatelli 1615-1700) Pope 1691-1700
lxxxvii
Coll., no. 375, pi.
INNOCEN
Provenance: Loebbecke Coll., Munich 1908, no. 87
Gutekunst
Coll., Stuttgart 1910, no. 60, pi. iv
Pius
PONT(ifex)
mm.
Bearded bust
God
Armand,
on
1571
an angel with cross and
a galley,
hurling lightning from above. Pearled border.
The
Coll., no.
on
this
medal
Pope
the last
is
is
Forrer,
402
11,
A nephew
taken from Exodus,
of Gaspare
The following
Emperor Aelius
have been canonized.
to
Mola
43
ff.),
adopted son of Emperor Hadrian
he entered into partnership
Upon
Rome.
piece belongs to the period of his earliest works.
medal, 46
VINCEN
Rev. Aelius seated on a podium, before
From
the series of the
Forrer,
mm.
Mantua 1626-27
diam.
D G DVX MANT
II
of
VII
ET
(Vin-
Dei gratia, dux Mantuac VII et Montisferratis V) Bareheaded bust with long hair and moustache facing left, wearing rufi collar
and adorned cuirass, neck chain with jewel. Under the truncation, the
centius secundus,
signature:
G MORON
F(ecit)
hair,
him
five
armed
soldiers
with
"Twelve Caesars" by Valerio
Belli.
158
i,
called
IL
PADOVANO
1500-70
Cavino is well known for his imitations of Roman large bronze coins
and medallions, numbering about 120. The portraits mostly belong to
the period of the "Twelve Caesars," though he does not neglect some
of their successors. His
bringing back to
life
work
typical of the spirit of the Renaissance,
is
the heritage of classical antiquity.
53
Pearled border.
TANTVM INFENSVS A hound standing to
FERIS
bearded and with curly
captive. In the exergue: S. C.
GIOVANNI DAL CAVINO

Gonzaga Duke
II
bust,
facing right.
1668
ac. 1627-c.
(cf. nos.
a.d. 138,
mm. diam.
AELIVS CAESAR Draped
Bronze medal, 36
49
Vincenzo
ranks as an engraver of crystal and
52
death, he was appointed engraver at the Papal mint in
his uncle's
Rev.
which
15, 6.
with his uncle and Orazio Ghibellini for the production of medals.
artist's
compromise, but soon
he abolished.
L(ucius)
left.
Pearled
Floriano Antonini
mm. diam.
FLORIANVS ANTONINVS ANDREAE F
Bronze medal, 38
border.
Corpus
Numm.
Forrer,
iv,
Ital., p.
359, 25
Bearded bust with short
hair right, wearing buttoned coat.
156
Rev. Below exerguel line:
GIOACHINO FRANCESCO TRAVANI
mid-seventeenth cen-
tury
AETERNITATI SACRVM
in front of a two-story building, the frieze of
which
is
Various persons
adorned with
bas-relief.
In 1655,
in
as a result of a
a stern reformer, especially regarding nepotism,
gems, but also cut dies for coins and medals.
the victorious Battle of Lepanto.
GASPARO MORONE-MOLA
Silver
facing front, holding
43
reverse legend
VALERIC BELLI c. 1468-1546

A native of Vicenza, Belli chiefly
Coll., no. 373, pi. lxxxvii
The medal commemorates

Pius
the truncation, the
i,
Dreyjus
Vogel
Bust right, with short
Under
PADUAN ARTISTS
226, 33
Tresor, Medailles Papules, pi. xv, 4
Bolzenthal, i, 291, 11
Hill,
I).
showed himself
of the Battle of Lepanto;
chalice;
Innocent XII was elected Pope
DEXTERA TVA DOM(ine) PERCVSSIT INIMICVM
View
VI
wearing skullcap and cape with hood. Below, the
cope.
Pearled border.
ANNO
MAX(imus)
signamre: F(edericus) P(armensis). Pearled border.
artist's
Rev.
left,
diam., 1571
OPT(imus)
MAI- (anno
camauro and embroidered
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
diam., 1691
PONT
HAMERA. Pearled border.

A DEO ET PRO DEO Caritas standing,
in her
PIVS
signature:
artist's
Rev.
Gilded bronze medal, 37.5
XII
beard, wearing
48
mm.
Gold medal, 32
214
i,
of die-cutters.
Travani was one of the three "Consuls" of the goldsmiths' guild

Among his best-known producdons is the medal of Queen
Rome.
Sweden, who after her abdication and conversion

Church had retired to Rome. Christina is represented
Christina of
to the
Catholic
as the
Mazzuchelli,
Armand,
lxiv, 5
54
Agrippina
"Pallas Nordica."
i,
179, 2
i,
Sr. d. a.d. 33,
daughter of Marcus Agrippa, wife of Ger-
manicus
50
mm. diam.
AGRIPPINA M(arci) F(ilia) MAT(er)
GVSTI Bust right, hair in club behind, tresses
Bronze medal, 36.5
Christina 1626-89,
Queen
of
Sweden 1632-54
Silver
mm. diam., 1665

CHRISTINA Head
medal, 61
REGINA
as Pallas
Athena facing
right.
Granu-
lated field.
Rev. S
MAKELOS
(Swedish: without peer). Phoenix
CAESARIS. AVdown neck, drapery
over shoulder.
Q R MEMORIAE
I
Rev. (in Greek letters)
C(aii)
falling
by two mules.
AGRIPPINAE
Funeral car drawn
Forrer,
Hill,
60
(ill.)
367
i,
Dreyjus
Coll., pi. xci, 401
(variant)
Emperor Marcus Aurelius
Cohen, i, 231, i
Lawrence, no. 7
M.
55
Emperor Otho
a.d.
CAESAR
AVG(ustus)
TRI(bunicia)
POT(estatis). Bust right, wearing undulated hairpiece.
SECVRITAS
P(opuli)
armed
ing his hand to four
an
R(omani)
Otho before an
Forrer,
altar extend-
Cohen,
i,
Forrer,
i,
Faustina
354 (note)
368
Marcus Aurelius
176, wife of
Jr. d. a.d.
mm.
Bronze medallion, 34
diam.
FAVSTINA AVG(usta) ANTONINI

medal were invented by Cavino. The Romans did not
types of this
issue Sestertii of
369
i,
Lawrence, no. 56
61
Lawrence, no. 23
The
right,
soldiers carrying military standards before
In the exergue: S C.
altar.
TR(ibunicia) P(otestatis) XXIX

wearing drapery over cuirass adorned
AVG(ustus)
Rev. IMP(erator) VII COS(ul) III Winged Victory seated to right

on armaments, holding a palm branch and a shield inscribed VlC(loria)
AVG(usti); in front of her, a military trophy.
diam.
OTHO
IMP(erator)
ANTONINVS
161-180
a.d.
diam.
Bearded and laureate bust

with aegis on breast.
69
mm.
Bronze medal, 36
Rev.
mm.
Bronze medal, 37
bust right, hair confined by
fillet
and
Rev. Sacrifice by the Empress and five
Otho.
AVG(usti)
PII FIL(ia).
Draped
in chignon.
women and
a child before a hex-
agonal temple containing a statue of Vesta (?). Below: S C.
56
Emperor
Cohen, iii, loi

Hill, Dreyjus Coll.,
Vitellius a.d. 69
Bronze medal, 35
mm.
Forrer,
diam.
VITELLIVS GERMAN(icus)
A(ulus)
IMP(erator) AVG(ustus) P(on-
M(aximus) TR(ibunus) Draped and
tifex)
laureate bust right.
carrying a transversal sceptre and a shouldered trophy of armaments.

In the
field,
Lawrence, no. 59
C.
Emperor Lucius Verus

Bronze medallion, 38
VERVS
L(ucius)
i,
Forrer,
i,
407
62
Rev. Helmeted Mars, his mantle flowing, striding toward the right,
Cohen,
pi. xcii,
369
i,
362, 80 (variant)
368
right,
161-169
diam.
AVG(ustus) ARM(eniacus)
TR(ibunicia)
(imus)
a.d.
mm.
Villi
P(otestatis)
wearing drapery over
PARTH(icus)
MAX
Laureate and bearded bust
cuirass.
Lawrence, no. 28
Rev. Jupiter seated right upon the seven
who
peror
57
holds Victory and
hills
TR(ibunicia) P(otestatis) VII. IMP(erator)
Emperor Titus
a.d. 79-81
Bronze medal, 34
mm.
P(ater)
diam.
IMP(erator) T(itus) CAES(ar) VESP(asianus) AVG(ustus) P(ontifex) M(aximus) TR(ibunicia) P(otestatis) P(ater) P(atriae) COS(ul)
VIII Laureate head
Rev.
P(atriae)
Cohen,
iii,
Forrer,
i,
IVDAEA CAPTA Under
a palm tree, a captive Judaean standing

and the seated Judaea in attitude of mourn-
ing. In the exergue: S C.
439, 114
Forrer,
i,
368
Em-
IIII
COS(ul)
III
197
369
Lawrence, no. 60
VENETIAN ARTISTS
ANDREA
SPINELLI
Spinelli, a native of
i,
receiving the
Virtus. In the exergue:
left.
beside captured armaments,
Cohen,
Rome,
of
crowned by
is
He
1508-72
Parma, was
a medallist
and mint engraver at Venice.

and was appointed
started his career in 1535 as assistant engraver
chief engraver 1540. In 1543 he ventured into business, together with his
Lawrence, no. 37
son Giacomo, and dealt in books and engravings.
58
63
Emperor Nerva
a.d.
Bronze medal, 35
mm.
96-98
Andrea
diam.
right.
Rev.
emperor holding
scroll seated facing right,
on
curule chair placed on a suggestum, presiding at a congiarium; before

him, a prefect distributing gifts to a citizen who is mounting the steps
mm.
diam., 1534
ANDREAS GRITI DVX VENETIAR MDXXIII

left,
Bearded bust
wearing ducal hat and robe. Legend between two pearled borders.
DIVI FRANCISCI MDXXXIIII
(leaf)
AN
signature:
SP
Armand,
i,
Tresor,
xxviii, 2
Cohen,
11,
Habich,
Forrer,
i,
Hill,
i,
pi.
View
of the church
Vigna at Venice. Below exerguel line, the

F Legend between two pearled borders.
of San Francesco della
of the suggestum; behind, soldiers and Liberalitas. In the exergue: S C.

4, 37
368
of Venice 1523-38
Rev. (leaf)
CONGIAR P R The
Doge
Bronze medal, 37
NERVA
CAES(ar) AVG(ustus) P(ontifex) M(aximus)

TR(ibunicia) P(otestatis) COS(ul) II P(ater) P(atriae) Laureate bust
IMP(erator)
Gritti
artist's
155, 4
lxxvi, 16
Dreyjus
Coll., no. 413, pi. xciii
Lawrence, no. 44
VITTORIA DELLA VOLPE
59
Marciana,
d. a.d. 114, sister of
Emperor Trajan
Medallion, silver core within a bronze rim, 39.5
DIVA AVGVSTA MARCIANA Draped

dem on
mm.
called
ALESSANDRO VITTORIA
Trieste 1525-1608 Venice
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).
to Sansovino's, Vittoria's name figures prominently among the Venetian artists of the sixteenth century. Forrer, in his Dictionary oj Med-
Next
allists,
writes: "In 1562, the year
when one
of the
Rangoni medals was
produced, Vittoria was received into the Confraternity of San Marco,

when (according to the inscription on the following medal) Rangoni
presided over the Brotherhood as a Guardian."
64
of Charles V.
Tommaso Rangoni
the
1493-1577, professor in Padua, physician in Ven-
to repair the
mm.
diam., 1562
THOM PHILOL RAVEN PHYS EQ GVARD D MAR MAG
Bareheaded and bearded bust

the
field, to
wearing
right,
tight-fitting
the breast of a reclining
Loebbec\e
Lanna
on
(the birth of Hebe).
1908, no. 42
LEONE LEON!
from which escape two
i,
most important
Hill,
and die-engraver, Leoni probably was

Milanese School during the sixteenth
artist of the
him
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 Titian, trying to rob him, when
the latter had come to Milan to collect a large sum of money.
to be
Leoni deserves great praise. His medals, retaining
many
of
the sculptural qualities of his predecessors of the fifteenth century, are
work of an artist of broad scope. Charles V was

work and, in recognition thereof, ennobled him in
certainly the
very fond
of Leoni's
1549, dur-
ing the
artist's
ob-
at Pavia.
CREMON
HOROLOG
ARCHITECT
jets
of water,
which various persons
in dif-
170, 38
xxxiv, nos. 8
pi.
Habich,
1509-90
century. His violent temper caused
artist,
The
asked him
and
pi. xciii, 8 (as

i,
pi.
9, p. 274
Jacopo da Trezzo)
xlix,
Herrera, 9 (1905), pp. 226-270

Fabriczy, pi. xxxix, 4
sculptor, goldsmith, medallist,
As an
refer.
who had
VIR TVS and, in the exergue: NVNQ:DEFICIT A female figure

(Fountain of the Sciences) standing, draped, holding on her head a ves-
Mazzuchelli,
the
medal may
border.
Plon,
MILANESE ARTISTS
A
TVRRIAN
of this
for Charles V,
Bust right, with short hair and beard, wearing tunic and cloak. Pearled
Armand,
lxxxvi, 6 (as Sansovino?)
p. 129, pi.
one by Giovanni Dondi
lANELLVS
sel
no. 164, pi. 12
iii,
made
ferent attitudes collect in vases below. Pearled border.
Munich
Coll.,
Coll.,
Habich,
woman
eagle places a child
196, 19
11,
which the reverse
Rev.
Armand,
gown. In the
1562.
left,
A lOVE ET SORORE GENITA An
Rev.
constructed a hydraulic machine to raise the level of

to
verse legend refers to a clock he
ice
Bronze medal, 40
He
Tagus River,
sojourn at Brussels.
Dreyjus
Lanna
Coll., no. 435, pi. xcvi
Coll., no. 227, pi. 15
Loebbec}{e Coll.,
Munich
JACOPO NIZZOLA DA TREZZO
called
JACOPO DA TREZZO
Milan 1515/20-1589 Madrid

Trezzo, a contemporary of Leone Leoni's and like him a distinguished
Milanese medallist, entered into the employ of the Emperor, as was customary for leading artists in that period. From 1555 to 1559 he was active
in
he
The Netherlands, where

left for
his
name appears
in the state records. In 1559
Spain and stayed there for the remainder of his
monarchs
for the Spanish
65
1908, no. 121, pi. viii
There also exists a painted portrait of Gianello by Titian (see: Jean BabeIon, Revue de I'Antiquite Ancienne, 1913, October, pp. 269-278).
in the
many
artistic crafts
life,
that
working
marked
his
versatility.
Hanna
Daniel de
d.
merchant family that
1580 (a
Bronze medal, 54
mm.
diam.
DANIEL
DE
(rose)
(rose)
member
settled in
of the
well-known Flemish
68
Venice in the early i6th century)
Ippolita
HANNA
Bust
beard, wearing cloak fastened with bulla on
left,
left
with short hair and
shoulder, over figured
underdress. Pearled border.
OMNE VANVM 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.
Armand,
169, 29 (52
i,
Cicognara,
iv,
mm.)
iii,
72, ee (53
11, 4,
mm.
diam., 1552
GONZAGA FERDINANDI
FIL
AN
XVII Bust
with upbound hair, wearing richly draped robe, earring, two
necklaces (one with pendant).
Below truncation:
AC TREZ.
Pearled
border.
mm.)
no. 11
Hauschild, Anhang, no. 363

T. Whitcombe Greene, no. 93 (53.5
Museum
Copenhagen
left,
1535-63, wife of Antonio Carafla
198
Venice, Correr: Bergman,
British
HIPPOLYTA
facing
Rev.
Gonzaga
Bronze medal, 68.5
mm.)
mm.)
mm.)
(53
(52.5
66
Gonzaga
Ippolita
Bronze medal, 68.6
1535-63, wife of Antonio Caraffa
mm.
diam.
HIPPOLYTA GONZAGA FERDINANDI FIL AN
the right field (in Greek)

into a chignon,
LEON ARETINOS.
Bust
left,
XVI, and
with hair
in
wound
wearing dress draped in the antique manner, double pearl
necklace with pendant. Pearled border.
Rev.
right,
PAR
with Cerberus at
Armand,
Habich,
Plon,
POTESTAS
VBIQ
Diana blowing her horn marching
holding an arrow, and accompanied by three hunting dogs. Pluto,
pi.
i,
his feet,
is
seated in a building to the
left.
163, 7
pi. xcii,
XXXII, 7
and
Provenance: Elkan
Rev.
Coll., no.
VIRTVTIS FORMAEQ PRAEVIA Aurora
and with her
Tone
Bronze medal, 80.8
Born
in
Armand,
1500-85
mm.
Hill,
241,
Rodocanachi,
diam.
Cremona, Della Torre was an engineer and
i,
Dreyjus
achitect in the service
left
hand,
right strewing flowers over the earth. Pearled border.
67
Gianello della
riding through the
heavens in a chariot drawn by Pegasus; holding a torch in her
78
Coll., no. 438, pi. xcvi

p.
220
Coll., no. 11, pi. 41
D'ETA DI XXXIII ANNI
Rev. Circle of inscription:
Armand,
This
iii,
XLIIII
specimen)
(this
known
the only
is
235,
M D
specimen.
Provenance: T. Whitcombe Greene Coll.
Lippman Coll.
Henry Oppenheimer
Coll.
VENETIAN, SIXTEENTH CENTURY

70
Trijone Gabrielli d. 1549, Venetian patrician and poet
mm.
Bronze medal, 44.5
diam.
TRYPHON GABRIEL
Rev.
Bareheaded bust
left,
wearing patrician robe.
INNOCENS MANIB ET MVNDO CORDE
Draped female
figure
(Innocence) washing her hands at a spring gushing from a high rock.
Armand,
126, 10
11,
71
Marcantonio Trevisan Doge of Venice 1553-54
mm.
Bronze medal, 63.5
UNIDENTIFIED ARTISTS
NORTH
ITALIAN, SIXTEENTH
diam., 1554
MARCVS ANT TREVISANO DVX V
CENTURY
VIXANO
NO
b. 151
mm.
Bearded bust with short curly hair facing

wearing plain robe with lace trim on round collar.
wear-
OBIT
TREVIXITA|
MDLIIII
Hill,
diam., 1544
GIOVANNI Dl NALE
IN PRINCIPATV
DVX
DEI GRATIA
Bronze medal, 65
right,
MARCVS
ANTONIVS
VENETIARVM ETC
Rev. Within an olive wreath:

69
Giovanni di Nale
Bearded bust
ing ermined robe and ducal cap.
cf.
left,
Dreyjus
Armand,
Coll., no. 504, pi. cviii
224,
11,
72
Girolamo Priuli Doge of Venice 1559-67
mm. diam., 1567

HIERONIMVS PRIOL VE DVX
Bronze medal, 42
gown and
caded
Rev.
PV
AN
VIII
ME
N DE IIII
Bearded bust
right,
wearing bro-
ducal hat.
DI
II
IIII
OBI
DLXVII
Armand,
225, 4
11,
Tresor, u, xxvii, 5
73
Cornelio Musso Franciscan, Bishop of Bitonto 1544, d. 1574
Bronze medal, 58
mm.
diam.
CORNELIVS MVSSVS EP BITVNT
His bearded bust
right,
wear-
ing habit with lowered hood.

Rev.
DIVINVM CONCINIT ORBI Swan
Armand,
11,
cf.
Habich,
cf.
Lanna
Forrer,
pi.
with spread wings.
xcv, 4
Coll., in, no.
312
192 (as Pier Paolo Galeotti,
11,
left,
212, 48
"II
Romano")
Francesco Cornelio Musso was called "the Isocrates of
Italy."
74
Marino Grimani Doge
mm.
Bronze medal, 39
MARIN. GRIMANVS
SYDERA
Armand,
Tresor,
Vogel
11,
11,
273,
595-1606
DVX VENETIAR
Bearded bust
CORDIS
and below exerguel
to left,
line:
holding crosslet orb.
xxvii, 3
Coll., no.
right,
wearing
hat.
Mark, rampant
lion of St.
diam., 1595
brocaded robe and ducal

Rev.
of Venice
56
MILANESE, SIXTEENTH CENTURY

75
Pietro Piantanida Milanese Captain
1595
The haloed
FRANCESCO
PANIGAROLA
AETA
ANNI
XXVIII between
and
three linear circles. Pearled border. Bareheaded bust with curly hair
short beard facing
No
gown with
wearing buttoned
left,
ruffled collar.
reverse.
Armand,
262, 3
xcvi, 2
11,
Mazerole,
i,
Coll., pi. 40, no. 5.
77
Battista Spinola de Serravalis b. 1537,
Genoese nobleman
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
CAP
right,
PET
mm.
diam.
PLANTANIDA AET AN XXXVI
raging
Bareheaded bust
with short hair and beard, wearing drapery over damascened
lion's
Hebrew
Rev.
sea,
Armand,
and
collar
inscription:
"Oh Lord,
help us."
two-masted ship on a
two zephyrs blowing from above. Pearled border.

209, 30
11,
(example seen
adorned with aegis and grifSn's head on right shoulder.
breast armor,
cuirass
Heiss Coll.)
in
FRENCH MEDALS
NICOLAS LECLERC
Lyon 1487-1507
ac.
JEAN DE SAINT-PRIEST
Lyon was
Lyon 1490-1516
ac.
by Louis XII and Anne of Brittany,

and to celebrate the occasion presented the Royal couple with a splendid
medal measuring about 4'/^ 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 Fere. 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.
In 1500 the city of
visited
78
Louis XII 1462-1515, King of France 1498-1515 and

tany 1477-1514, Queen of France 1491-1514
Rev.
DVM
ure, standing
in her left
SPIRITVS
towards the
HOS REGET ARTVS
left,
raising her right
Draped female
arm and holding
fig-
a chalice
hand (Faith?).
Cellini)
Simonis,
11,
pi. xxiii, 5
11,
collar of St. Michael; below, lion of
LVGDVN(ensi)
487, fig. 507a (as early Italian
Abondio)
work
Bronze medal, 61
diam.,
c.
1576
BIS
to
1499.
left,
Hill,
Forrer,
mm.
cap, robe
Medals of the Renaissance pi. xxiv, 3

Dreyfus Coll., no. 527, pi. cxiii
Hill,
of Antonio
Lyon.
SIC FVI CONFLATA

and ermine, bust of Anne
Francesco Panigarola 1548-94 Bishop of Asti 1587
crown over
CEsown with
REPVBLICA GAVDE(n)TE
Loebbeckê Coll., Munich 1908, no. 24,

76
a field
On a field sown with fleurs-de-lis

crowned and veiled; below, lion of Lyon.
xciv
(attributed to Etienne de Hollande)
2, p.
Coll., no. 423, pi.
Habich, Corpus,
REGNANTE DVODECIMO
ANNA REGNANTE BENIGNE
121
Regling, p. 93
Dreyfus
bust of Louis XII to right, wearing
fleurs-de-lis,
and
of Brit-
diam., 1499
Rev. (crosslet)
pi. lxxxiii, 4, p.
mm.
FELICE LVDOVICO
11, 179, 9 (49 mm.), after Cabinet de France

Burlington Magazine, October 1910, pi. ii, B (attributed to Benvenuto
Hill,
(crosslet)
SARE ALTERO GAVDET OMNIS NACIO On
Armand,
Habich,
Large bronze medal, 113
Anne
(ill.); v,
364; iv, 454

Mazerolle, cf. no. 27
Rondot,
iii,
pi. iv
(ill.)
p. 16
Rosenheim
Anne
303
Coll., no. 554, pi.
24
1488 from her father, Francis
inherited Brittany in
II.
Conse-
quently her hand was eagerly sought by a number of suitors. Archduke
Maximilian
(later
Emperor Maximilian
The French, however,

and
forced
Anne
I) in
to seek
1490 married her by proxy.

this marriage,
annulment of
was married to Charles VIII with the stipulation that in

was to marry his successor. Accordingly, in 1499 she
married Louis XII, who for the purpose had obtained a divorce from his
first wife. These developments led to the eventual incorporation of Britin 1491 she
case of his death she
tany into France.
ETIENNE DE LAUNE
In his youth
De Laune
engraver. Cellini's
tions,
151 8/9-83
exercised the trade of goldsmith, modeller,
work seems
to
have inspired some of
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.'cre
his early
are preserved at the Bibliotheque Nationale.
79
Henry
King
II 1519-59,
of France 1547-59
Bronze medal, 53
mm.
HENRICVS
FRANCOR REX
right,
II
diam.
INVICTISS P P Laureate
TE COPIA LAVRO ET KAMA 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.

Forrer, in, 337
Armand, in, 285, D

Tresor, Med. Franc,
xi, 5
i,
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
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 facing front,, wearing soft beret ornamented with feathers and jewels, ruff
3
chain over brocaded gown.
collar, triple
No
reverse.
Tresor,
Med.
Franc.,
xxiv,
pi.
Babelon, no. 167

Forrer,
iv,
542/3
GUILLAUME DUPR6
During
c.
1576-1643
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
is
so fine, their details so delicate, that they are a source of con-
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,
diam., 1604
D G FRANC ET NAVAR REX
Laureate bust
Roman Emperor, wearing
drapery over
bearded, dressed as a
Underneath:
cuirass.
Rev.
IIII
of France 1589-1610
1604
MAIESTAS MAIOR AB IGNE Henry
de Medici, joining hands over a flaming
altar.
IV and
his
wife Marie
In the exergue: 1604.
Marie de Medici 1573-1642, Queen of France 1600-10
Mazerolle, no. 283
Bronze medal, 63
Provenance: Loebbecke
Coll.,
Halle 1925, no. 76,
pi. vi
mm.
diam., 1615
MARIA AVG. GALLIAE ET NAVARAE REGINA
82
Bust right, wear-
ing diadem and earring, high lace collar closed with a cross on brocaded
Memmo
Marcantonio
Doge
of Venice 161 2-1 5
Barberini 1568-1644 later Pope
Bronze medal, 91.5
mm.
and Cardinal Majjeo
right,
Urban VIII 1623-44
Rev.
diam., 1612
four
wearing brocaded dress and ducal
DUPRE F
Rev.
MAPH
BONO LEG
R E P CAR
Med.
Forrer,
i,
Under
Bearded bust
the truncation:
DUPRE F
Franc., 15, 3
657
field.
ecclesiastical garb.
Un-
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
der the truncation: G.

Tresor,
hat.
1612 Pearled border.
gown. Below truncation,

cave
MARCVS ANTONIVS MEMMO DVX VENETIARVM

G.
83
Coll., no. 411
Loebbecke
Coll., no.
206 (Munich 1908)
Provenance: British
Museum
JEAN WARIN
1604-72
Duplicates (Sotheby, July
13, 1922, no.
39)
1612 Pearled border.

c.
Warin succeeded Jean Darmand,

the
mint
in 1646.
called Lorfelin, as engraver-general to
Together with Dupre, Jean Warin holds a most honored
place in the history of French medallic
art.
To
this talented artist
we owe
some
of France's most beautiful medals
tury.
His medallic productions bear the mark of his highly developed

and distinguish themselves by their boldness of relief.
and coins
technical skill
Little
is
known
about Warin's early
life.
He may
have been born
Liege, but he settled in France in 1627 and was naturalized in 1650.
at
He
enjoyed the all-powerful protection of Cardinal Richelieu, whom he portrayed on several medals. Warin was working on a series of historic
medals of Louis
XIV when
death cut his
life
Hill,
of the seventeenth cen-
short.
Medals
lieu
the Renaissance, p. 148, writes: "Jean's portrait of Richeits bold handling of the relief," pi. xxvi,
(British
oj
brilliant in
is
Museum
specimen, bronze with the date removed)

Bernhart, Medaillen und Plaêtten, p. 33
BERTINET
seventeenth century, worked for Louis
XIV
85
Michel Le Tellier 1603-85, French statesman, Minister under Louis

XIV and Mazarin, later Chancellor of France
84
mm. diam., 1678

LETELLIER (rosette) FR (rosette) CANCELLA1678 On granulated band. Bust right, wearing robe, skull-
Bronze medal, 132
Armand
Jean du Plessts 1585-1642, Cardinal de Richelieu 1622-42
Silver medal, 77
mm.
MICHA
diam., 1630
RIVS
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
all
within a laurel wreath.
reverse.
GERMAN MEDALS
ALBRECHT DtjRER
Only
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).
a
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,
1508; to the right, the Diirer
left:
almost
mono-
within A.
reverse.
Habich, Corpus,
Lanna
i,
i;
no. 14, pi.
Coll., no. 908, pi.
11,
2;
and
fig.
42
Will, p. 369
Sallet, p.
25
Sallet, Zeitschrijt j.
Numismati^
(Berlin),
11
(1875), p. 362
fl.
Erman, pi. i, i
Merzbacher Coll.,
Rev.
TANDEM VICTA SEQVOR
palm branch,
seated in a quadriga, driven to left by
ing trumpet to which

lieu.
Fortuna
is
flying overhead,
WARIN
Francia holding sword of justice and
Fama, who
is
blow-
1914, no. 37
Cabinet des Medailles, fig. 5
attached a banner with the coat of arms of Riche-
chained
to the
back of the quadriga, while Victory
crowning Francia. Under curved exerguel
1630
is
Paris,
Pearled border.
line:
is
I
CHRISTOPH WEIDITZ
A
ac. c. 1523-c.
1541
Augsburg
native of Strassburg, Weiditz settled in
there
made
various trips abroad.
He
modelled
his
in 1526,
and from
Cortez medal in Spain
Tresor,
Med.
Franc., xxi, 3
Loebbec}{e Coll., no. 215 (bronze)

Gullet Coll., no. 166 (bronze)
Forrer,
vi,
369
in 1529.
many other of his contemporaries, carved the models for

medals in boxwood. Many of his portraits show a marked affinity in
style to those of Hans Holbein the Younger.
Weiditz, like
his
Hernan Cortez
Bronze medal, 56
1485- 1547, Conquistador
mm.
diam., 1529
DON FERDINANDO CORTES MD XXIX ANNO
XXXXII
hair
and
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.
example
typical
is
the extraordinary portrait of the well-nourjshed, 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
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 the fifties 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
front, bald-headed
shirt. All
IVDICIVM DNI APPREHENDIT EOS
Rev.
CORROBORAVIT
EIVS
ET FORTITVDO
BRACHIVM MEVM
Divine arm
56
and with side-whiskers, wearing gown over
On
within border of leaves.
Bust
loose
truncation: 1553.
issuing
from clouds.
Habich, Corpus,
i,
no. 376, pi. xlix, 4

no. 100
i,
Domanig, Deutsche Medaille,

Berlin,
Amtliche Berichte,
p.
52
Babelon, no. 152
The
reverse refers to the Spanish victory over the Aztecs.
FRIEDRICH HAGENAUER
ac. c. 1525-c.
1544
Hagenauer was one of the most prolific of the classical German medallists. Born at Strassburg, he settled 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

face
and
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."
Rev. IN
VMBRA ALARVM TVARVM SPERABO DONEC
TRANSEAT INIQVITAS Helmeted coat of arms on drapery. Border
88
Unt{nown Humanist
(in the past tentatively identified as
Menno
Silver medal, 56
mm.
Bust facing
wearing beret and
left,
diam.,
Rev. Later engraving: D.
c.
Mieris,
11,
i,
i,
1539
ecclesiastical
gown. Granulated
MARTINUS. LUTHERUS. Open
Bible
field.
on
al-
Coll.,
no. 633, pi. lxxviii, ii
no. 121
1, pi.
50
89
Philipp Melanchthon 1497-1560, Reformation leader and humanist
Bronze medal, 38
PHILIPPVS
Bust
left,
mm.
signature:
Rev. In five lines:
ANNO
EVM
diam., 1543
MELANTHON ANNO AETATIS SVAE

hair,
XLVII
wearing gown. In the
FH.
PSAL
36
SVBDITVS ESTO
DEO ET ORA
M. D. XXXXIII.
Habich, Corpus,
bareheaded and bearded with long
field, artist's
i,
i,
no. 651, pi. lxxx,
Juncker, p. 145
Tresor, Med. All., xvi, 3
Lanna Coll., iii, no. 930
Loebbeclê Coll.,
no. 161
1, pi.
clxxiii, 7
Tresor,
Med.
All., pi.
Loebbec}{e Coll.,
iii,
Munich
10
1908, no. 297, pi. aIX
pi.
45
251
iii,
2,
Lanna Coll., in, no. 1015,

Rosenheim Coll., no. 433
Juncker, p. 535
Lanna
i,
Imhof, 608, 3
Koehler, xv, 137
tar.
Habich, Corpus,
of leaves.
Habich, Corpus,
van Friesland 1492-1559)
Van
Amsterdam
JOACHIM DESCHLER
1929, no. 246, pi. xvii
ac. as
Although Deschler spent two years
medallist 1540-c. 1569

as a
student in
Italy, his
medallic pro-
91
Johann Neudoerjer 1497-1563, "Schreib-und Rechenmeister" in
medal separately and, by soldering, joining them onto the design, in

order to achieve a three-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:
with long
On
gown
wearing
hair,
with small ruffled
ucts are considered masterpieces of craftsmanship.

j
SVE. LVII Bust

collar.
right,
Pearled border.
'
In 1539 Reinhart settled in Leipzig. Prior to that time, he may have been
a pupil of Lucas Cranach, whose influence is apparent in his work.
truncation: 1554.
INDVSTRIAM
Rev.
ADIVVAT
DEVS
Helmeted coat
of arms.
Pearled border.
94
John Frederic^ 1503-54, Elector of Saxony 1532-47
Habich, Corpus,
no. 1617, pi. cLxxiv, 4
2,
i,
Med. AIL, pi. xxxii, i

Domanig, Jahrbuch (Vienna),
Tresor,
xiv, 32, no. 22, pi.
Coll., Munich 1908, no. 305,

Lanna Coll., 111, no. 1016, pi. 45
Domanig, Deutsche Medatlle, no. 162
RIS
the collar of
SPES
Rev.
-
MEA
which
IN
is
11,
i,
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
biretta, fur-lined
-
pi. 7,
no. 1682,
2,
& L. Hamburger,
Provenance: Vogel
pi.
cloak over gown, and
clxxxi,
portrait on this medal is based on a woodcut by Lucas Cranach

(Gotha Landesmuseum), made about 1533 (cf. Geisberg, Einblattholz-
schnitte, no. xni, 14).
95
Fall oj
Man
Crucifixion
|
Coll., no. 140, pi. 15
half of the sixteenth century
in
The
Vienna.
artist's
date of death
is
believed to
is
ground,
II 1506-26,
ter of
Charles
King
of
Hungary
1516-26,
and
his wife Maria,
the foliage of which
from
Paradise. In
the electoral shield of Saxony, in the right, the ducal shield
SAXONIE FIERI
Louis
Wisdom,
the creation of Eve; right, the expulsion
left,
left field
lOANNS FRIDERICVS ELECTOR DVX
Underneath, on a ribbon:
93
soldered to the medal (typical of Reinhart's early work). In the back-
the
have been about 1558.
including a unicorn, under the Tree of
Probably a native of Prague, he held a variety of positions at the mint in
home town and
his
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
first
mm.
Silver medal, 68.5
1891, no. 1200
MICHAEL HOHENAUER,
xxxi
i,
pi.
The
three-quarters
ORIENTALIS DVX Under
AETATIS SVAE
Habich, Corpus,
and 3a
7Z.
65 FRANCIAE
three helmets, the quadripartite shield.
Rev.
in the center.
Domanig, Deutsche Medaille, no. 154

Munich 1908, no. 562,
Lanna Coll., iii, no. 861, pi. 40
Silver
Triple-helmeted large coat of arms with the
Loebbecl{e Coll.,
Wiirzburg 1558-73
EREN
no. 1935, pi. cciv, 3
Tentzel, Ernestine Line,
92
IN
(two crossed swords)
Habich, Corpus,
REN ALS
embroidered:
DEO EST ANNO NOSTRI SALVATO-
XXX
M- D-
electoral shield
JOACHIM DESCHLER, SCHOOL OF

FredericI^ von Wirsberg Bishop of
gown,
xx
pi.
ing the electoral sword and hat; wearing necklace and fur cloak over loose
Frankjttrter Miinzzeitung, 1903, p. 496, pi. 22, 8

Felix Coll., no. 187
Loebbecke
mm. diam., 1535

lOANNS FRIDERICVS ELECTOR DVX SAXONIE FIERI FECIT ETATIS SVAE 32 Bearded half-bust almost facing front, holdSilver medal, 66
Imhof, 849, 8
L.
Man medal (no. 95).

great praise. His prod-
the Fall oj
won him
skill
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,
compare
i;
11,
no. 1897, pi. cci,
(her bust to right)
Lanna Coll., iii, no. 659

Donebauer Coll., no. 980
Forrer, n, 518
duction;
(ill.):
it is
workmanship, of
Louis (Lajos)
II
'Tiala considers this
medal
executed with special care and
is
as the artist's best pro-
remarkable piece of
characteristic style."
was the
last
of the Jagiello Dynasty, ruling the
two king-
doms of Hungary and Bohemia. In the Batde 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.
father Wladislas
II,
Through
the crowns of
I,
who
used artillery in open battle

marriage treaty concluded by his
Hungary and Bohemia passed
to
Louis's brother-in-law, Ferdinand of Hapsburg, resulting in the union
which was to last

Hapsburg lands.
four centuries between Hungary, Bohemia, and the
Rev. VT MOSES EREXIT SERPETE ITA CHRS IN CRVCE

EXALTATVS ET RESVSCITATVS CAPVT SERPENTIS CONTRIVIT SALVARET CREDENTES Christ on the cross between
two
artist's
ac. as medallist
153574
thieves.
Below, Mary,
Church;
signature: H R and
the
left,
DEO EST
School.

the technique of casting various portions of the
John, and mercenaries. In the backUnder the cross, the
1536. Below,
on
a ribbon:
Habich, Corpus,
is
St.
right, the Resurrection.
Probably one of the best-known Renaissance medallists of the Saxonian
Reinhart's hallmark
the
ground,
HANS REINHART THE ELDER
11,
i,
no. 1968, pi. ccxi,

pi. viii,
no. 762
i,
and 4
SPES
MEA
IN
98
Philipp Adolf von Ehrenberg Bishop of Wiirzburg 1623-31
Oval
medal with old
silver
PHILIPP
fire-gilding,
ADOLPH D G
H. 37 mm., W.
EPS WIRCEB
and with long
three-quarters to right, bareheaded
31.5
mm., 1623
FR OR DVX
hair, square-cut
Bust
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
Coll., no.
2832
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,
Coll.,
Mieris,
mm., 1590
ruff collar,
1908, no. 567, pi. xxxi
447
Mueller-Lebanon Coll., no.
40
no. 1290, pi. 53
Munich
W.
HVGO DONELLVS IC CL PROF ALDORP AET SVAE

64 AN 90 Bust facing front, in very high relief, wearing skullcap,
and coat with fur
collar over
buttoned gown.
11,
Forrer, v, pp. 78, 79
88, pi. ix
(ill.)
96
Man
Fall of
Crucifixion
|
with old
Silver medal,
Similar to the
fire -gilding,
56
mm.
diam.
but without the circular legends. In the obverse
last,
MVLIER DEDIT MIHI ET COMEDI GE Z

MISERERE NOBIS DOMINE
11, i,
no. 1969, pi. ccviii, 2

Coll.,
Loebbec\e
field:
In the reverse field:
Habich, Corpus,
Lanna
iii,
Coll.,
pi. 8, 11
no. 1288, pi. 53
Munich
VALENTIN MALER
1908, no. 569, pi. xxxi
ac. c.
1563-93
No
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,
Wenzel Jamnitzer. Thanks
The number
hand is most impressive; yet in

poor man, leaving his widow 1 100 gulden
of medals by the artist's
spite of his diligence
in debt.
he obtained by special
Council the privileges of a mastership.
to this relationship,
Town
favor of the Niirnberg
he died a
His house was inherited by his son Christian, along with
its
Will,
Koehler,
vii,
Mazzuchelli,
i,
11,
no. 401,
III,
no. 2807, pi. cclxxiv, 12
385
i,
pi.
xcv, 7

Imhof,
II,
no. 245
715, no. 21
un-
paid mortgage of 1900 gulden.
97
NURNBERG(.?), SIXTEENTH
Matthaeus Fetzer
c.
1527-83, Niirnberg
mm. diam., 1576

MATHEVS FETZER AET LI
Silver
Councilman 1556
CENTURY
100
medal, 29
1576 Bearded bust, three-quarters fac-
gown with high
ing right, wearing

Rev.
reverse.
Habich, Corpus,
ruff collar.
ALL MEIN HOFNVNG ZV GOT
rounded by three smaller
Helmeted coat
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
collar.
Habich, Corpus,
Will,
IV,
11,
i,
no. 2509; pi. ccli, 6
299
elaborate scrollwork with putto in center. Outside case height: 157
Binder, 573, 20
Delbec\e
Coll., no.
Provenance: Trau
width: 90
822
GEORG HOLDERMANN
Niirnberg 1585-1629
and wax modeller, Holdermann's medallic work

dates from between 1610 and 1629. He also seems to have been conmedallist,
nected with the production of coins, as evidenced by a Niirnberg Council
ordinance of 1620.
mm.;
mm.
Habich, Corpus,
Coll., no. 1761, pi. ix
Gallet Coll., no. 105, pi.
A goldsmith,
In contemporary fire-gilded bronze case, adorned with fruit volutes,
11,
i,
no. 2820 (this specimen)
Sonderausstellung catalogue, 1939/40,

(this specimen)
Kunstmuseum
Bern, no. 42
Unique.
Coll., Paris 1890, v, p. 191, no. 10
Provenance: Spitzer
London
Spitzer Coll.,
Lanna
Pick
Coll.,
Coll.,
Delmar
11,
1893,
Budapest
Coll.,
11,
no. 187, pi. 18
Budapest
no. 2959, pi. lvi
(ill.)
SOUTH GERMAN
108
1530
c.
Portrait of an
lOI
Anna von Frundsberg Countess of Lodron, second wife

hauptmann Georg von Frundsberg
mm.
Checker, ground marble on light wood, 50
widow's
veil
Bust
gown
FRVNTSPERG
IN
mm.
diarh.
Bust right, wearing turban, earring, mantle with embroidered shoulder
VXOR
Un\notvn Mohammedan (probably a Turkish grand
vizier)
Checker, ground marble on ebony, 50
diam.
(her husband died in 1527) and wide
ANNA GEORGI
of Feld-
left,
wearing
over pleated
collar over pleated

cf.
Lanna
Coll.,
11,
gown.
no. 66, pi. 8
bodice.
cf.
Habich, Jahrbuch 28, 1907,
cf.
Lanna
Coll.,
11,
no. 65,
pi.
SOUTH GERMAN,
pi. J 8
model by Friedrich Hagenauer with Anna's
A wooden
corded in Habich, Corpus,
i,
1556
i,
no. 541,
portrait
is
re-
109
Hieronymus Allgaeuer
loi.
ill.
b.
Kehlheim stone model, 42
102
1509
mm.
diam., 1556 (in later
wooden frame)
Emerentiana von Tannhausen married 1521

Bust, three-quarters facing,
diam.
with shoulder collar over bodice,
der, cloak
cf.
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
SIBILA
lOHANNI
FRIDERICHI
diam.
VXOR SAXONIAE
Bust three-quarters facing, wearing wire cap, necklace with pendant,
gown with
pleated sleeves over bodice.
cf.
cf.
Lanna
Coll.,
11,
pi. J
no. 65, pi. 8
104
Euphrosina de Chamemilon
EVPHROSINA DE CHAMEMILON
net with
round ornament
mm.
in center, necklace
HIERONYMVS ALLGOEWER XVIIL lAR ALT A MDLVI
diam.
Bust facing
left,
wearing bon-
with pendant, and cloak
Provenance: Merzbacher
over embroidered bodice,

cf.
cf.
Lanna
Coll.,
11,
Neuburg
pi. J
no. 65, pi. 9
Coll.,
Munich
BALDUIN DRENTWETT
Frisian by birth, Drentwett's
Behaim von Schwarzbach 1491-1533, Niirnberg Council-
man
mm.
diam.
c.
cf.
Lanna
Coll., n, no. 66, pi. 8
portrait, cf.
Habich, Corpus,
2,
no. 936, pi. cxiv, 10.
Wolfgang
Vitil,
Augsburg
1495-
mm.
diam.
For
Coll.,
portrait, cf.
11,
Bronze medal with old gilding, 41
i,
i,
no. 485,
pi.
lxiv, 7.
Humanist
(possibly
Johann Caesarius, Ph.D. and M.D.,
born Juelich 1468)
mm.
Bust, three-quarters facing, with long hair
gown and
Rev.
D MARTINVS LVTERVS
field.
diam.
and beard, wearing
mm.
(as
Lanna
diam.,
31
c.
Caesarius
pus,
I,
I,
is
11,
1579
Bust of Luther three-quarters right;
Loebbec}{e Coll., Munich 1908, no. 369
Rosenheim
Coll., no.
The
scholastic
reverse of this
464
p. 188, pi. xv, 10
medal
is
by Valentin Maler, and was copied by Drent-
wett.
no. 66, pi. 8
portrayed on a medal, dated 1543, recorded in Habich, Cor-
no. 661, pi. Lxxxi,
8.
have
Bust with moustache and
hat.
Coll.,
still
Georg Miler), Professor
Ill
cf.
may
Cable border.
Archiv, 4 (1913/14),
to 1620
Habich, Corpus, 11, i, no. 2943

Delbecke Coll., no. 864
107
Portrait of a
is
ruff collar; granulated field. Cable border.
granulated
no. 66, pi. 8
Habich, Corpus,
He
small pointed beard, almost facing front, wearing high-closed robe with
moustache and square beard, wearing

brocaded coat over gown, and round wire cap.
Bust, three-quarters facing, with
Lanna
the early
10
Augsburg from
medals from the years 1612

workshop.
D GEORGI VS MYLIVS AVG AET
1540)
cf.
his
Georg Mylius born in Augsburg 1548

of Theology in Wittenberg, d. 1607
106
Portrait of a Patrician (probably
in
in the practice of his art.
lessened, but several
i,
1545-1627
home was
although he travelled widely
come from
with broad shoulder collar over high-closed, pleated gown,
For
iii
assumed to have employed a considerable number of assistants, including

some of lesser renown and ability. After 1612, Drentwett's productivity
with beard and moustache, wearing wire cap and mande
Bust right,
seventies,
1900, no. 346, pi.
Coll., no. 168, pi. xxii
105
Fredericks
Bearded bust facing front, bareheaded, wearing fur-lined coat with high
collar turned down. Around the neck, a chain with medallion.
Charles I 1560-1600, Count Palatine 1569-1600
Gold medal,
23.5
mm.
diam., 1591
CAR D G CO PA RHE BA DV C V E
S Bareheaded bust
with short beard and inoustache, three-quarters facing right, wearing ruff
and double chain.
collar
ANNO DO
MI MDXCI Minerva standing on a book,

palm branch and crowning Patientia who caresses a lamb; at
Rev.
holding
her feet a
mirror.
ii, i,
no. 2991, pi. cclxxxvii, 3
Spiess, IV,
fig. i
ANTONIO ABONDIO
Abondio was
Mounted
of
Lombard, perhaps Milanese,
origin.
His father, Ales-
wax modeller during
the
first
half of
and a pupil of Michelangelo. It was the elder

Abondio who introduced young Antonio into the art of modelling and
the sixteenth century,
undoubtedly imparted
In 1565 Antonio
we
artist
portrayed on a
find
much
left his
later
him
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
all
of his
life in
Fleece. In the lower left
George, helmeted and bearded, galloping to right,
St.
spearing the dragon.
Habich, Corpus,
III,
2,
11,
3412 note
3/4 (1921/22),
(this
specimen described and illustrated)
p. 91
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,
continued to bestow
II
secured the
many
favors
made around 1571. Minerva on the reverse of that medal wears

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 und
pi. Ill, 3),
a similar
das Edelzinn, Leipzig 1897)."
Unique
Prague and Vienna.
the death of Maximilian, Rudolf
like his father,
Golden
sentation of St. George, usually
1538-91
sandro Abondio, was a celebrated
Upon
Rev.
of the
AN:AB:
scribed
363
Streber, p. 7,
visits to
the artist's signature:
Dr. V. Katz in Berliner Munzblaetter, 1930, p. 17 (this specimen deand 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 repre-
144, no. 102
II,
and the sash
coat,
field,
Archil/,
Habich, Corpus,
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, 61
three chains ending in one ring.
Emperor 1564-76
mm.
diam.,
The frame
c.
ruff collar,
frame with
has the Viennese inspection
stamp used from the end of the sixteenth century

no. 5065) and the monogram AL.
IMP:CAES: MAXIMIL:II :AVG: Bust
1575, in
right,
to 1674
MAXIMILI
(Rosenberg
bareheaded and bearded,
Rev.
DOMINVS
AV
Bearded and laureate bust left, wearing

the sash with the Golden Fleece.
Coll.,
15
70
PROVIDEBIT
a globe.
Habich, Corpus,
Locbbcche
diam., 1570
armor and drapery, and
wings holding
Lanna
mm.
ROM
II
iii,
Coll.,
11,
2,
no. 3438, pi. cccxxi, 9
no. 721
Munich
1908, no. 560
Facing eagle with spread
2
L.
Hamburger,
Herrgott,
Donebauer
Oval
1922, no. 136
iii, pi. ix,
Coll., no.
silver
medal, H. 39 mm.,
W.
30 mm., 1622
D G SOPHIA NAT MAR BRAN DVC SAX ELE
41
1232
wearing ruff
left,
PAULUS VAN VIANEN
ac. c.
and jewel on
collar
Veiled bust
triple chain.
SEREN D D lOH GEORG ELECT SAX IN MATR

the field, under an angel's head: NAT: 6 JUN
1568
Rev.
592-161
CHARISS In
MOR: 7 DEC:
Born
near Utrecht into a family of
at or
together with his brother
artists,
received his early training from his father, an able gold-
Adam, Paulus
smith, and a certain Cornelius Elertz of Munich. Thereafter he con-
Rome. He was
tinued to develop his talents in

Inquisition
Upon
and imprisoned
his release,
falsely
denounced
to the
about 1596, Paulus
Munich where, according
left for
to a record in the goldsmiths' annals,
he was received as "Master" in
1622
Coll.,
Coll., no.
Munich
4688
1908, no. 698, pi.
xxxv
pi.
for a
artist's services were secured by 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
Paulus van Vianen's products have been compared to those of Cellini

because of their excellence of workmanship and finish. The artist died of
Hamburg, and Dresden. At Augsburg he held
the plague in 1613.
At
1599. In 1603, the
Rudolf
Oval
smith
at Strassburg,
to the
silver
Hapsburg 1552-1612, Emperor 1576-1612

medal with old fire-gilding, H. 38 mm., W. 46 mm.
II
ROM
IMP
AVG REX HVNG BOE
Bearded bust
the
title
of "First Gold-
Imperial Court," and there attained considerable celebrity.
a later stage in his career, Dadler
worked
for the Electoral
articles of plate in
repousse
Court of
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.
II of
RVDOLPHVS
the seventeenth century, Dadler
but was active chiefly at Augsburg, Niirnberg,
Saxony, where he executed various
114
PIETAS
xxn, 9
Berlin, Amtliche Berichte, no. 78
Engelhardt, no. 420
Tentzel,
for several months.
Schulthess-Rechberg
Loebbec\e
fac-
117
ing front, wearing laurel wreath, cuirass, ruff collar and sash with the
Christ
order of the Golden Fleece.
and
St.
Paul
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:
Rev.
S-
118
Frederic^ III 1609-70, King of
Oval
medal, H. 58 mm.,
silver
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.
Original loop for wearing.
Habich, Corpus,
11,
2,
Capricorn over globe; above, the Hapsburg
Hung
with pearl.
her feet resting on a globe.
Danslê Mynter og Medailler,
pi.
no. 329
Commemorates
i,
no. 5
the King's accession
and the conclusion of the Peace of
Westphalia.
no. 3555 (this specimen)
Unique.
Provenance: Trau
Coll., no. 615, pi.
Belli Coll., no.
SEBASTIAN DADLER, SCHOOL OF
iii
6389
119
UNIDENTIFIED ARTIST, SIXTEENTH CENTURY

"5
Rev.
VINCES
ADZ-
VIRTVTE
VIVENTIS
1580
The
Dresden,
ac. c.
1615-33
116
Sophia of Brandenburg 1568-1622, wife of Christian
Saxony
Christ,
wearing the crown of thorns, showing the
stigmata. Below: 1625.
Rev.
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
diam., 1625
Resurrection.
Pearled border. Suspension loop.

I,
mm.
right,
the Stigmata
VULNER CHRISTI
medal with old gilding, H. 35 mm., W. 31 mm., 1580

Bareheaded and bearded bust
D G CO PA ELE
wearing ruff collar and drapery. Pearled border.
Silver
Exter,
Showing
Silver medal, 36
Louis VI Count Palatine 1576-83
LVD
Christ
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
Christian William of Brandenburg 1 587-1 665, Archbishop of Magdeburg 1608-31, Bishop of Halberstadt
Oval
silver
medal, H. 41 mm.,
W.
mm., 1627
31
phalia, 1648.
JOHANN BLUM
VGGCWPABEVSM:VHP:GMZBIPH
Gnaden, Christian Wilhelm,
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
Rev. In four lines:
MANTS
THVE RECHT FVRCHTE GOTT VND

|
NIE-
MEHR
Amtliche Berichte,
H. Hauswaldt
This
p.
43, no.
in,
pi.
(specimen from the
13
Coll.)
mm. diam., 1638

HEROIS HUIUS NOMINA IN CUNCTA CLARENT SECULA.
Around
Magni
(in italics)
der the cartouche, the
the second recorded specimen.
is
Saxe-Weimar 1604-39
of
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.
Berlin,
124
Bernhard
RIUS
1638 View of the

system of fortifications.
121
Tentzel,
Rev. In six
lines,
DEVM COLE
ARGENTVM
VIRTVTEM SECTARE
shape of the divine eye:
in the
Un-
i,
Rhine, showing
its
xxxix, 3
pi.
Coll., no.
6372
201
Commemorates Bernhard's
and moustache, three-quarters facing right,

and military sash over cuirass. Broad foliate border.
arranged
effigies.
capture of Breisach.
Laure-
ate bust with pointed beard

collar
Weim.
Blum.
city of Breisach across the
Forrer,
mm. diam., 1629

GVSTAVVS ADOLP: D:G: SVEC: GOTH: WAND: Q: REX.
Silver medal, 63
wearing lace
Reimmann
Adolf 1594-1632, King of Sweden 161 1-32
II
signature:
BRISACH FORTIS SED FORTIOR DEUS FVIT ET WEIMA-
Rev.
UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY

Gustav
ducis Bernhardi Saxon.
artist's
Provenance: Crona
Coll., no. 189
JOHANN BARTHOLOMAEUS BRAUN
Niirnberg,
ac. c. 1636-
AVRVM CONTEMNE
PATRIAM DEFENDE
SPERNE
God
in
Hebrew
Hildebrand,
Oldenburg
16Z9,
all
under the glorified name
of
i,
letters.
Broad
foliate border.
no. 73
Coll., no.
The
artist was married to Anna Maria Pfruendt, the daughter of another

well-known medallist, and a medallist in her own right.
125
359
Sigmund
Schultze Coll., no. 82
Commemorates
1674
his victories in the
Gabriel Holzschuher 1575-1642, Niirnberg Councilman
1606
Thirty Years' War.
Provenance: Crona Coll., no. 75
Lead medal, 51 mm. diam., 1642

SIGM:GABRIEL HOLZSCHVHER AE:
122
right,
67 Bust three-quarters facing

bareheaded with square-cut beard, wearing large rufi collar and
Gustav
II
gown. The
Adolf
W. 27 mm., 1629
G SVEC GOTH
GVSTAVVS ADOLP
WAND Q
:
REX
Laureate bust to right, with short beard, wearing lace collar and drapery
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).
Rev.
The Hebrew name
victricibus armis"
Hildebrand,
i,
no. 87
Provenance: Crona
shows a large wart on the forehead.
SPE GLORIAE HVMILIS Helmeted
Rev.
Oval bronze medal, H. 45 mm.,
portrait realistically
Forrer,
Lanna
i,
shield, to the sides, 16-42.
269/270
Coll.,
Loebbec\e
iii,
no. 1123, pi. 48
Munich
Coll.,
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 of

Breslau, the Dukes of Silesia-Liegnitz-Brieg, and for John George of
Coll., no. 81
Saxony.
123
Ferdinand III of Hapsburg 1608-57, Emperor 1637-57, Victor of the

Battle of Noerdlingen 1634
Silver
medal with old
fire-gilding, 56
mm.
diam.,
c.
Oval
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.
126
George
QVAMVIS OCCVMBAS FELIX OCCVMBIS IN IPSO STARE

EFFIGIEM. SOL ORIENTE VIDES On a river in a moun:
silver
all
of Silesia, Liegnitz,
medal, H. 39 mm.,
GEORG
PRAEF
cuirass,
Duke
III
DUX
ADMINISTR:
with
lion's
SIL
and Brieg 1639-64
W. 37 mm.
L & B SUPREMAE
PER
which the sun
rises,
haloed
St.
Peter guides his
head on right shoulder. Below:
artist's
signature
Rev.
SORS
MEA A DOMINO
Under
three helmets
Hapsburg eagle perched on the
RENITATIS NVNCIA.
sceptre.
Above, SE-
Suspension loop.
This medal commemorates the short-lived Hapsburg successes in the
B,
and on baroque
cartouche the quadripartite Liegnitz-Brieg shield.
LoebbecXe
Coll.,
Munich
1908, no. 713
Friedensburg und Seger, no. 1827

Forrer,
i,
305/306
UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY
boat through the waves; before him, on the Bible the crossed keys and
the Papal tiara; the
within foliate frame.
TVAM
tainous landscape, over
SIL
Bust facing front, wearing wig, drapery over
127
Leopold
I 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.
LEOPOLDVS.
to right,
CONSILIO
Rev.
ET
INDVSTRIA The
divine eye, over a crowned
is a castle and a rock. To the sides, two arms extending

from heaven holding sword and sceptre. Granulated field. Original sus-
globe on which
pension loop.
und
Joseph
MUELLER
PHILIPP HEINRICH
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.
Commemorates
known all over Europe, and many

He was equally successful as
Mueller's medals became
Fellner, 1888
princes were portrayed by him.
the Emperor's coronation at Frankfurt.
The
graver.
Provenance: Dr. Paul Julius Coll.
some
dies for
of the
and
rulers
a coin en-
most beautiful coins of the seventeenth
century were cut by Mueller.
131
JOHANN HOEHN
The
artist
burg,
worked
Danzig
1637-93
Danzig mint, the
for the
and various other
c.
William
Electoral court of Branden-
courts.
III 1650-1702,
and Mary
1662-94,
King and Queen
busts conjoined to right. Below, artist's signature: P.
]ohn Casimir 1609-72, King of Poland 1648-68
Rev.
mm. diam., 1658

lOANNES CASIMIRUS D. G. POLONIAE & SUECIAE REX
medal, 69
reate bust
with long hair
Golden
of the
to right,
Under
Fleece.
Rev. (rosette)
the truncation, artist's signature:
View
of the city of
tree
1689.
EXTERNO MALE PRESSA lUGO BRITANNIA

PRIDEM, IN PRISCAS ITERUM RESPIRAT LIBERA LEGES.
Outer rim inscribed:
Thorn, under the glorious name of God. In the foreground, encamped

troops. Underneath, in a cartouche; M. D. C. LVIII. XXX DECEMBER.
Franks and Grueber, no. 60

Van Loon, in, 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-
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 Ime: SECURITAS BRITANIAE
under orange
RESTITUTA
H.
NUMINIS AUSPICYS ET REGIS FORTIBUS ARMIS.
H. M.
AUREA FLORIGERIS SUCCRESCUNT POMA ROSETTIS.
erty seated
etc. Lauwearing armor, drapery, and the sash
THORUNIUM PRISCO REDDITUR OBSEQUIO.
11,
Eng-
Silver medal, 55 mm. diam., 1689

GVILIELMVS ET MARIA REX ET REGINA BRITANIAE. The two
128
Silver
of
land 1688-94
as
King and Queen
of
Bahrfeldt, no. 9164
MARTIN HEINRICH OMEIS NQmberg
Raczinsky, no. 142

Vossberg, no. 358
Commemorates
Omeis was employed
the capture of
Dresden mint
1650- 1703 Dresden
with a
income of 124 gulden. Ernst Caspar Duerr taught him the art of
die sinking. On several medals executed before 1680 we find their joint
Thorn by John Casimir.
at the
as assistant engraver,
yearly
129
signatures.
John Casimir
Silver medal, 43
132
mm.
diam., 1660
JOAN CASIM D G REX POL. & SUEC
John George
M D
R PRUS
Laureate bust with long hair and moustache to right, wearing drapery
signature:
artist's
I.
the truncation,
mm.
Silver medal, 33.5
Under
over cuirass and the chain of the Golden Fleece.
III 1647-91, Elector of
Saxony 1680-91
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.
CIDIDCLX
olive
III
wreath over the
MAT!
city
On
the trtmcation, the artist's signature:
lion's
EL-
Bust right,
head on shoulder.
of
Danzig. In the exergue, crowned olive and laurel wreaths, and signa-
Rev.
COELITUS DATA
GATA
arch above; below,
A TERRA DENE-
Divine hand issuing from the clouds, holding crown over globe.
NAT DRESDAE D
D 12 SEPT
Outer rim inscribed:
ture: IH.
in
TUBINGAE A9
1691
20
lUN A9
1647.
DENAT

Fran){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 1713 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 signa-
Rev.
Coll., no.
MARIA ANTONIO DI GENNARO also known

DE JANUARIO ac. Naples and Vienna d. 1744
John Hevelius Astronomer in Danzig 1611-87
mm.
pi. lxix, 8
Dassdorj
and Sweden.
130
Silver medal, 52
Tentzel,
this
period belongs the interesting medal on Count Waldstein who, as
it
would appear, took no minor pride
in a prolific ancestor (no. 133).
133
John Joseph Count of Waldstein
ture:
Silver medal, 72
mm.
diam., 1716
H.
The Count's
Henry of Waldstein, offered in 1254 his

twenty-four sons to King Primislav of Bohemia for participation in the
ancestor, John
King's crusade against the pagans.

Coll. in the Marienburg, no. 8852
The Count and
Vossberg, no. 1105
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
Hevelius
made
valuable observations of the moon's surface, discovered
stars.
He
is
most
for his study of lunar topography, recorded in his Selenogra-
phia (1647), which
his twenty-tour sons arriving before the
artist's
signature:
King. Above the
D lANVARIO F
in the field
below:
four comets, and collected data for his catalogue of 1564
famous
exergue, the
is
noted for excellent lunar maps.
HOSTE REDUCES ET VITELLIIS SUPERIORES NON IN UNA

COLONIA SED IN NUMEROSA PROSAPIA SECULO NOSTRO
& EL
FA- SCHEGA
signature:
DONATA INDELEBILES
Outer rim inscribed: QUORUM MEMORIAM IOAN:IOS:COM:A
WALDSTEIN. S:C: ET C:M:CAMER: HOC NUMO RESTITUIT
LXIII
1716.
Dassdorf, no. 1510
Rev.
Forrer,
11,
On
Bust right, in elaborate baroque drapery.
artist's
PUS MANIBUS
AUG
III
the truncation, the
MAGNANIMI Statue in mausoleum,

OBIIT V OCTOBRIS MDCC-
topped by rising eagle. In the exergue:
cf.
241
Forrer, v, 377/8
Brettauer, no. 4902
Donebauer Coll., no. 4026

Domanig, Die Deutsche Medaille, no.
Neumann,
p. 668, 57; pi. Lxxiv,
PETER PAUL WERNER
BOHEMIAN MEDALS
735, pi. 83
639
CONCZ WELCZ St. Joachimsthal

There
Niirnberg 1689-1771
ac. c.
1527-53
information about the origin of Welcz.
is little
the beginning of the sixteenth century, of the rich
Werner worked
which
tivity
German
for several
and
started about 171 2
courts during his long period of aclasted until his death.
PAUL GOTTLIEB NURNBERGER

after,
but was able to retain his
The
name
their
may have
tains")
contributed to the
ac.
1709-46
office.
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.
The
style of
The
obverse
is
137
signed by Werner, the reverse by Niirnberger.
Prophet Jonas
|
134
Silver
Frederic/^ William I
688-1 740, Elector of Brandenburg,
King
of
medal with old
fire-gilding,
52
mm.
diam., 1537
CHRVS MORITVR PRO NOBIS ET RESVRGIT VT NOS
Prussia 1713-40
IVSTOS FACIAT
Very large
FRID
medal, 132.5
silver
mm.
diam., 1733
ner.
WILH D G REX BORVSS EL BRAND
wearing wig, plate armor with aegis on
PRO DEO ET MILITE
Under
formation. Underneath, on a ribbon:

field, to the right, the artist's
breast, ermine,
Werner
truncation, the artist's signature: P. P.
and
Bust right,
sash.
On
the
fee.
all-seeing eye, troops in
parading
In the
signature: N.
Katz, no. 226,
Henc\el
Coll., no.
1393
I,
obverse die for this medal burst
while being tempered, and only three specimens are
Hamburg
known
medallist,
a ban-
to the right, a tree; in the left back-
pi.
xxxvi, 3
obverse shows the influence of
Katz
180).
believes the
Moderno
medal possibly
(cf.
to be
the plaquette, Molinier,
from the workshop of the
Leipzig Master, Hans Reinhart.
NICKEL MILICZ
1730-64
worked
tomb and holding
to exist.
St.
Joachimsthal ac. 1544-70
Etchings and woodcuts by
Danish court.
He also executed several portrait medals of private persons. His medals
are signed: P. H. G.
Goedecke, a
the
Prophet Jonas, his hands raised in prayer, emerging from the whale's
mouth. In the left background, a castle and a ship.
The
ac.
two warriors;
the tomb,
from
11313
PAUL HEINRICH GOEDECKE
Christ rising
BEROL. M. DCCXXXIII.
The
46
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
Coll., no.
of the largest struck medals.
Around
ground, a tower.
Ampach
chiefly for the
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
Charles
FRIED. V. DG. REX. DAN. NORV. VAN. GO. Youthful
Rev.
silver mines
"Ore Moun-
ample medallic production.
artist's
representing corresponding scenes from the Old and
at
Resurrection
One
for
following Prussian medal represents the combined effort of the two
artists.
Rev.
German
to the "Erzgebirge,"
discovery, at
Especially popular with the local population were Biblical medals, often
Niirnberg from 1709-21; thereuntil his death in 1746, mint-master. In 1730 he went bankrupt,
Niirnberger was assistant mint-master
(which gave
The
Bohemian
On
wearing armor and drapery with ermine.
bust with wig
the truncation, the
H. G.
signature: P.
HAC SECVLA IVBILANT VMBRA
Under
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
of
Gilded
1500-1558, Emperor 1519-56 and Ferdinand 1 1503-64,

Bohemia 1527-62 and Hungary 1527-63 Emperor 1556-64
silver
medal, 60
diam., 1550
wearing plate armor, with Golden Fleece on

double
breast.
Legend between
circles.
FERDINANDVS D G ROMANOR HVNGARI BOEMINI INFANS HISPA ARC AVS REX 1550 Bareheaded and bearded bust right,
Rev.
House of Oldenburg.
Bernhart, Die Bildnismedaillen Karls 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
beginning in 1738 and was appointed medallist to the court in 1751.
Lanna
The
Katz, no. 318,
artist
mm.
PROGENIES DIVVM QVINT\'S SIC CAROLVS ILLE IMPERII

CAESAR LVMINA AET SVAE L Bareheaded and bearded bust right,
Herrgott,
d.
with long hair, wearing plate armor with Golden Fleece on

Legend between double circles.
Galster, no. 418
Commemorates 300
King
died blind.
Montenuovo
Crown Prince of Poland

mm. diam., 1763, commemorating his death
FRIDERIC CHRIST D G PR REG POL & LITH DUX SAX
pi.
i,
no
no. 649
iii,
pi.
lix
Coll., no.
pi.
portrait of
bich, Corpus,
i,
605
xlv, 3
Ferdinand
2,
is
after a
medal by Joachim Deschler,
no. 1616; pi. clxxiv, 3
Frederic^ Christian
139
Silver medal, 62
Maximilian
pi. xi
39
Markl, no. 1984,
The
136
Coll.,
breast.
II of
Hapsburg
1527-76,
Emperor 1564-76
cf.
Ha-
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.
DVRATE
Poseidon, in chariot
and sinking Aeneas'
his trident
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
HV BO ETC REX Laureate and bearded bust right, wearing cuirass
Silver medal, 53
and chain with the Golden

Rev.
Rev.
Double-headed imperial eagle under the crown of the Holy
Hapsburg
pire; in the center, the
Katz, no. 326,
Roman Em-
in
no. 465, pi. 26
iii,
1601
143
no. 230
Nicholas van Delen Dutch
Katalog der Mtienzen-tind Medaillen-Stempel-Sammlung des K.

pi. 8,
Coll.,
UNIDENTIFIED ARTIST
pi. xlvi, 8
Hauptmuenzamtes
3 (1920/21), no. 12, pi. vii
11,
Viscomte de Sartiges Coll.
1566
shield. Foliate border.
Domanig, Die Deutsche Medaille,
Herrgott,
Bernhart, Archiv.,
Provenance: Lanna
Fleece. Foliate border.
DVX AVSTRI DVX BVRG MARC MOR
ARCHI
11, 255, 37
Plon, p. 275, pi. xxxiv, 3 (reverse)
Simonis, p. 109, pi. ix, 2
Wien
1901, p. 45, no. 55; pi. xi,
Silver cachet,
i
17
Provenance: Merzbacher
Coll.,
Munich 1914,
patriciari
K.
B NICOLA VS
coat of arms,
no. 86, pi. x
H. 28 mm.,
W.
mm., 1601
41
VAN DELEN
Under elaborately crested helmet, the

two ram's heads on broad center bar. Dated: ANNO 1601.
The Van Delens were an
old
Dutch
patrician family.
140
Creation of Eve
Marriage
at
JURRIAAN POOL
Cana
Amsterdam, mid-seventeenth century
Silver
medal with old
GOTT
LIES
mm.
diam., 1552
ADAM HART ENTSCHLA NAM
A-SSMDD
next to
42
fire-gilding,
Very
him God
EVA G
Adam
in
EIN
tree,
the Father raising Eve.
Loebbec\e
pi. lvi,
Coll.,
Munich
is
Admiral Martin Harpertszoon Tromp 1597-1653
a cartouche, 1552.
Katz, no. 370,
tions
144
VFF DER HOCHZEIT ZV CANA VERWANDELT

CHRISTVS WASSE Z W lO Z The Marriage at Cana; below in
Rev.
1908, no. 510
67
HARPERTSEN
neath:
The Marriage at Cana is after an etching by Hans Sebald Beham. (G.

Hans Sebald Beham, Strassburg 1901, p. 36, no. 25)
UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY

141
J.
Waidstein Archbishop of Prague
Gold medal, 33 mm. diam., 1688

JOANNES FRIDERIC ARCHIE PRAG
COMES DE WALDSTEIN
TROMP
Bust right, wearing
ecclesiasti-
coat of
arms under
archi-
breast.
Under-
ANNO
1653
View
of a naval battle, with
two men-of-the-line
in close
action; in the foreground, sinking ship.
iv,
O.
11,
364
665,
(ill.)
where
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
united by a rim.
Donebauer, 4633 (silver)

Probably unique in gold.
cf.
Bareheaded bust
ADMIRAAL VAN HOLLAND VOOR

VAADERLAND GESNEVVELT DEN 10 AVGVSTI
This Dutch
Crowned
RIDDER
gown, and medallion on
LIEVTENANT
artist's
episcopal hat with infula. Underneath: 16*88
Commemorates
diam., 1653
HET
Rev.
Forrer,
1675-94
cal garb.
Rev.
POOL.
Van Loon,
of
mm.
Silver medal,
MARTEN
facing front, wearing high-closed
Pauli,
]ohn rederic\
of the
the Utrecht
RIPP
deep slumber below a
known
life of Pool. He may have been employed at

mint as an engraver. Among his excellent medallic producthe medal of Admiral Tromp, which bears his signature.
little is
The Dutch
himself; he injects into
them
legends possibly are composed by Muller

his
own name and
states that they are the
art of Muller.
the consecration of the Kreuzherrenkirche in Prague.
MEDALS OF THE LOW COUNTRIES

JACOB JONGHELINCK Antwerp
1531-1606
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.
In 1556,
when
only twenty-five years old, Jonghelinck engraved the seal
of the Order of the
Golden Fleece. In 1572 he became master of the mint

Antwerp. In addition to these assignments he also was active as a goldsmith and medallist; a document dated 1598 records a payment to him
at
of 148
for
and 9 deniers
livres, 15 sous,
Archduke
for four gold
medals he had executed
Albert.
Jonghelinck during his early career was a pupil of Leone Leoni in Milan,
which explains the
Italian influence in his style.
142
Antoine Perrenot 1517-86, Cardinal Granvella, Bishop of Arras 1540,

Archbishop of Malines 1560, Cardinal 1561, Archbishop of Besan900 1584
Silver medal,
Admiral Martin Harpertszoon Tromp

Silver repousse medal,
58
mm.
diam.
ANTONII PERRENOT
bust right, wearing
gown
EPI
70
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
hij d'ijzer
MuUer Tromp door kunst van gout en

eew door krijgsdeugd heeft verdreven."
naval engagement, with two men-of-war at close range in the fore-
ground. At top: "den lo. Aug. 1653."
Franks and Grueber, p. 403, no. 34

Van Loon, 11, 364, no. 3 (ill.)
Loebbeclê
Coll.,
Munich
Tromp's crushing of
marked
1908, no. 195
the passing of Spanish sea
On the left, the Virgin seated holding the Child, behind her St.
Joseph standing, before her the Three Kings, the foremost figure kneelRev.
a Spanish fleet in the lee of the
power
Downs
in
1639
in the seventeenth century.
ing,
and three children; on the
ground, a building; above, the
right, the
ox and the
ass; in
the back-
star.
146
Apparently unpublished. Probably unique.
'
Admiral Cornelis Evertsen i6io-66

79
mm.
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 11
On
trophies.
Junii.
Bust in high
relief,
three-quarters right,
on naval
CORN EVERTSEN-ADMIRAAL VAN
the truncation:
ZEEL(and).
HIER STRYCKT HET BRITSCH GEWELT VOOR NEDERLANT DE VLAGH DE ZEE HEEFT NOIT GEWAEGHT VAN
ZULT EEN ZWAEREN SLAGH. Sea battle 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
Joost van den
Vondel 1587-1679, Dutch poet
Draped bust facing
DEN VONDEL, gest.

Rev.
66
mm.
diam., 1679
front, within
5 Feb.
an olive wreath inscribed:
JOOST
VAN
1679
Swan with open wings within an
olive
wreath inscribed: S'lants
Outste en Grootste Poeet, geb. 17 Nov. 1587.
Anointing
Van Loon,
Silver repousse medal, 53
iii,
283, 2
Koehler, xiv, 193
of
Saul
Biblical Scene
mm.
diam.
Saul kneeling in front of Samuel. Saul in wide shepherd's garb, holding
Forrer, in, 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
The Virgin and
St.
Magi
mm. diam.
0} the
Silver repousse medal, 83
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 Bust left, wearing tiara and cope closed
Oval silhouetted suspension medal of
H. 57.5 mm., W. 46.5
silver,
left,
other of the City of Utrecht.
Rev.
Crowned
No
bolizing the Queen's virginity). Broad foliate wreath.
with a medallion. In the
two
coats of arms,
one of the Pope, the
reverse.
Van
cf.
field,
An
Mieris, n, 158, 3
Tresor,
Med. des Papes,
note
p. 7, no. 6,
ENGLISH, DANISH,
BERNARD RANTWIC d. c.
1596
phia Amalia
worked
in
London. Very few
151
Sir
Copenhagen,
King
Frederick^ 111 1609-70,

also
Museum.
in the British
is
ERICH PARISE
153
1513-c. 1589 Prior of the English
c.
Nation of the
Denmark
of
of
mm. diam.,
PROVIDEBIT
DOMINVS
mm. diam.
SCELLEIVS PRIOR
1658
c.
King's bust to right, laureate, draped and
Under
the truncation:
IN
EP
DEO
ANGLIAE
Bearded half-bust
BERN. RANTWIC.
cross.
F.
the artist's signature:
italics,
Queen's bust
Dans\e Mynter og Medailler,
wearing armor, the breastplate adorned with the Maltese
right,
MEA
tion, in italics:
Knights of Malta
Bronze medal, 71
RICARDVS
SPES
1648-70 and his wife So-
Brunswicl^
Silver medal, 41
Rev.
half of the seventeenth century
first
armored. Under the truncation, in
Richard Shelley
from the ashes (sym-
royal cypher over Phoenix rising
identical piece
AND SWEDISH MEDALS
Rantwic was of Flemish origin and

medals have been attributed to him.
mm.
with elaborately arranged hair, wearing ruff collar, richly

brocaded dress with puffed sleeves and jewel. Broad foliate wreath.
Bust
left,
draped.
Under
EP
the trunca-
pi. xviii, 4, var.
Galster, no. 81
J.
HERCLAS
Copenhagen,
ac.
mid-seventeenth century
154
The
of
Relief of Copenhagen by a Dutch Fleet

Cronenborg
mm.
Silver medal, 46.5
View
on
Three
battle.
United Provinces
ships-of-the-line, flying the
flags, in close
Kronborg
age, the artist's initials:
Dans\e Mynter og Medailler,

Ossbahr,
430, 2
11,
Dutch, Swedish, and
combat; a sinking ship
In the right background:
Van Loon,
ships at anchor. Above,
HAFNIA DANIAE.
a ribbon:
Rev. Naval
diam., 1658
and harbor of Copenhagen with
of the city
Naval Victory
after the
pi.
Castle.
On
in the
foreground.
a floating piece of
wreck-
xx, no. 2
(ill.)
p. 87, no. 21, pi. vi
After Copenhagen had been besieged for two months by the land and
X Gustav of Sweden, a Dutch fleet of thirty-five

mounting 1170 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
their way into the port of Copenhagen and landed food supplies and
naval forces of Charles
ships,
troops.
Rev.
PATRIARVM EXVBITOR OPVM A
standing
left in
winged
griffon,
crowned,
mountainous landscape.
Franks and Grueber,
i,
Forrer, v, 28
K.
RULL
Sweden,
half of the seventeenth century
first
155
127, 75
^^^^^^^^
Gustav
II
Adolf
Silver medal, 28
\'~,()ii^-\(3iî.
mm.
GUST ADOL D
FIN
DV
ETH
and bearded bust
King
of
Sweden
161 1-32
diam., 1632
G SUEC GOT
ET CAR IG D
right,
NOV: 1632
Rev.
STANS ACIE
and the legend:
VAND REX M PRIN
Within
a quadrilobe, laureate
NAT
DEC:
1594
DENAT
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
BERTOLDO
DI
GIOVANNI
c.
1420-91
156
UNIDENTIFIED ENGLISH ARTIST, SIXTEENTH CEN-
TURY
Rectangular bronze plaquette, H. 128 mm.,
152
Elizabeth I 1533-1603,
Pieta
W.
198
mm.
In the center, the veiled Virgin, across her knees the
Queen
of
England 1558-1603
supported by grief-stricken female figures.
To
Body
of Christ,
the right, Joseph of Arima-
thea carries
tlie
crown
of thorns.
To
the
left,
Nicomedes holds the
nails
of the cross.
cf.
Molinier, no. 83 (the Louvre specimen, formerly in the His de
la
De
Ricci, Dreyjus Coll., no. 121 (reverse as Antico)

Bange, Reliefs und Plaketten, no. 492 (as Moderno)
Salle
ANDREA BRIOSCO called IL RICCIO
Coll.)
Bode, Bertoldo, pp. 61/2,

Molinier attributed
this
plaquette to Agostino di Duccio, Florence 1418-
Bode more
recently
it to Bertoldo and notes that the figure of Christ depends from the
Lamentation on one of Donatello's two pulpits in San Lorenzo, Florence.
Pope-Hennessy, Kress Bronzes, no. 45, remarks that the attribution to
the artist is contingent on its relationship to a Crucifixion with Saints in
gave
Museo Nazionale,
Florence, ascribed to Bertoldo in the 1492 inventory
Among
name holds an honored place. As an

Church of Santa Giustina at Padua, as a bronze
worker he created some unrivalled objects of decorative art, his masterpiece being the Paschal Candlestick in Sant'Antonio at Padua,
1507 and
set
up
right hand. Raised base line.
157
Faustina
c.
125-176
mm.
British
diam.
Bust facing front, her head slightly inclined to left,

two strands of hair falling over her shoulders, wearing softly draped
gown. Two incised border lines. High relief.
triumphal procession, marching towards the
right, a warrior 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.
letter
On
an oval
c.
1500,
manner
of
Molinier, no. 516 (obverse), no. 640 (reverse as
TuUio Lombardi)
anonymous beginning
sixteenth century)
Paris,
High
relief.
(T.
W. Greene
specimen), no. 97
no. 493
Cabinet des Medailles (Armand-Valton bequest no. 2529)
Bange, Reliefs und Plaketten, no. 356

Florence (Carrand Coll.), no. 400
De Ricci, Dreyfus Coll., no. 125
Migeon, Les Arts, no. 80 (August 1908),
p.
25
Detroit Institute of Arts, Decorative Arts of the Italian Renaissance 14001600, no. 325 (this specimen)
Bode, Die Italienischen Bronzen, no. 683
Planiscig, Riccio, p. 436, no. 490, fig. 521
After a
composition by Mantegna, engraved by Girolamo Mocetto
(Bartsch i).
156
shield, the
M.
Planiscig, no. 403 (as Venetian

cf.
Museum
Musee Jacquemart-Andre,
DIVA FAVSTINA
SENATS POPLS A
mm.
Molinier, no. 218
Circular bronze plaquette, 39
Rev.
83
is
front view, the head of Holofernes, which she holds by the hair in her
1460-1528
Roman Empress
W.
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
Judith
called
in
158
ANTONIO ALARI BONACOLSI
begun
in 1516.
c.
1470-
the sons of Padua, Riccio's
Judith
L'ANTICO
c.
architect he built the
of the Medici Collection.
PIER JACOPO DI
(the curly-haired)
(the Bargello specimen)
ill.
98, other early scholars to Donatello or his school.
the
cf.
MODERNO
161
"Moderno" was only a cognomen, and Molinier identifies the artist as

Vettor di Antonio Gambelio, called "Camelio," a Venetian, 1455/60-1537.
Other scholars have advanced names like Caradosso, Coreto Cagnoli, Giovanni Guerino, Galeazzo Mondella and several others, as possibly being
concealed beneath Moderno's pseudonym.
Roman Combat
Circular concave bronze plaquette (perhaps the decorative bottom of a
bowl), 1 10 mm. diam.
Around an ornamented
soldiers,
some
cuirassed
and helmeted. Raised
border.
159
Apparently unpublished and unique.
Crucifixion
Rectangular
silver plaquette
(bronze frame), H. 235 mm.,
W.
128
mm.
On
a tall cross, Christ 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
The
is
plaquette
columns,
soldiers
set in a
armed with halberds and
ecclesiastical designs; at the
bottom, on each
two
Ricci,
field, in
Dreyfus
very high
relief,
God
216 and 217
Coll., nos.
MASTER
10. F. F. North Italian
c.
1500
162
of Paris
mourn-
Paris seated left
putti.
The
top border
the Father facing front, blessing.
who
on
a rock
under
Cupid
Venus
it.
flying. Plain linear border.
Bange, Reliefs und Pla\etten, no. 652

Molthein Coll., no. 55
no. 454
vi
Louvre, no. 301 (gift of Gustave Dreyfus, 1875)

Paris, Cabinet des Medailles (Armand-Valton), nos. 2510 and 2539
Detroit Institute of Arts, Decorative Arts 0} the Italian Renaissance 1400p. 141 (this
specimen)
JACOPO SANSOVINO, SCHOOL OF, SIXTEENTH CEN-
TURY
163
Coronation
of the
ing Mary, veiled,
160
Virgin

Christ, enthroned
W.
Rectangular bronze plaquette, H. 125

detail
mm., W. 88 mm.
and without frame.
Coll., no. 330, pi.
Bode, Die Italienischen Bronzen, no. 1273

Bange, Reliefs und Plalêtten, no. 944
Locbbcc\e
Molthein
Coll.,
87
mm.
on clouds, lowering the crown on the head of the kneeland surrounded by nine winged putti.
Molinier, no. 573
Crucifixion
As before, but with different
diam.
Behind her Juno and Minerva

holding a dagger (?), a spear, and a shield. Above,
extends her right hand to receive
standing, the latter
mm.
a tree, presenting the apple to
Molinier, no. 134
Migeon, Les Arts, no. 80 (August 1908), p. 20,

Florence (Carrand Coll.), nos. 47 and 48
Oxford (Ashmolean Museum), nos. 58 and 59
Provenance: Gutekunst
Dreyfus
side, three
British
ill.
Ricci,
Circular bronze plaquette with traces of gilding, 56.7
Molinier, no. 171
1600, no. 329A,
De
the side
Coll., no. 170
Museum, no. 38
Bange, Reliefs und Plal{etten,
style, cf.
Provenance: Luccardi Coll.
On
bears five medallions, the center one depicting the Dove. In the upper
half-round
For
Judgement
shields.
rectangular frame with rounded top.
ing angels; in the center, floral garland and
De
many-figured battle scene be-
circular shield,
tween horsemen and foot
Munich
Coll., no. 90, pi.
1908, n. 836, pi.
xxxx
159
GIAN FEDERIGO BONZAGNA
MENSE ac.
FEDERIGO PAR-
called
1547-75
165
Adoration
Shepherds
of the
W.
148 mm., 1561
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 1561. Beyond the arch, a round tower and a tall building.
In a basket placed
To
the
the sky, the star. Raised border.
left in
Bange, Reliejs una Plaketten, no. 42 note.

Braun, p. 406
cf.
Faure Coll., no. 665, pi. xxiv

Molthein Coll., no. 64, pi. 8
GUGLIELMO DELLA PORTA

The artist had come
for many years until
(making the lead
d.
1577
Rome from Lombardy
to
his death,
seals for
he held the
papal bulls).
by way of Genoa. In
office of
He had
obtained that post in
competition with Cellini, and had become a lay brother; hence he
known
tomb
as
Fra Guglielmo del Piombo. Guglielmo's principal work
of Paul
Rome
Piombatore Apostolico
is
also
is
the
III.
166
Entombment
Two
men
bearded
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.
in the standard literature. Prof. Middeldorf (pricommunication) notes that there exists a contoured silver plaquette
(Walters Art Gallery, Baltimore), and a silver plaquette from a smaller
mold (Middeldorf Collection), attributed to Guglielmo della Porta. Prof.
Gramberg, author of Die Diisseldorjer Skjzzenbiicher des Guglielmo
Apparently unrecorded
vate
i63
Middeldorf and Goetz, Morgenroth
background of
this
Coll., no.
185, explain the historic
della Porta, Berlin 1964, supports the attribution of the present piece, es-
plaquette
on Guglielmo's extensive work in rendering Lamentation

and Deposition. Gramberg (private communication) points to the affinity
between this plaquette and a number of Guglielmo's sketches, notably
numbers 75, 77, 85, 96 and 152 of the Skjzzenbiicher. He believes the
present piece to have originated in the artist's Roman workshop, and the
almost equally large Walters piece to be a workshop repetition, presumably by another hand that also copied Guglielmo's Metamorphosis reliefs
(W. Gramberg, Jahrbuch der Hamburger Kunstsammlungen vol. 5,
pecially based
NORTH-ITALIAN
1520/30, in the manner of the
ANGHIARI
MASTER
164
Roman Combat
(Battle at
Cannae?)
Circular convex silver badge, 41.4
mm.
diam.
fierce battle scene
between mounted troops, helmeted and cuirassed
and armed with spears and swords.

Bange, Reliefs
cf.
und
Pla\etten, no. 730 (bronze)

the closely related representation by the so-called Anghiari Master
"Battle
ill.
between Romans and Gauls at the Allia" (Pinacoteca Turin,
i960, pp. 31
fT.,
Gramberg also quotes a smaller specimm., W. 125 mm.), formerly in the von
especially fig. 17).
men in gilded bronze (H. 150

Rho Collection, Vienna (E. W. Braun, Die Bronzen
von Rho, Vienna 1908,
pi.
der
xlvii d.), present location
Sammlung Guido
unknown.
in Schubring, Cassoni, pi. xix, no. 107)
Apparently unpublished in
silver.
ITALIAN PLAQUETTES BY UNIDENTIFIED

ARTISTS
FLORENTINE, FIFTEENTH CENTURY
167
Emperor Augustus
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
mantle; on breast, aegis.
cf.
De
Ricci,
Dreyjus
Coll., no. 53, pi. xviii (as Florentine, fifteenth cen-
tury)
cf.
Bange, Reliejs und Plaketten, no. 202 (as
cf.
Oxford (Ashmolean Museum),
nos. 17
c.
and
1500)
18
Museum, Catalogue
British
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
317 (this specimen)
p. 132, no.
Probably unique.
Provenance: said to have been in the possession of the Ruzzini family of

Venice.
Bolle (seals) were attached to documents, much as seals are today. Mostly
they are of lead, in rare cases of silver, in bearing with the importance of
the document or treaty to which they were attached. Golden bulls (bolla
d'oro or sigillum aureum) are great rarities, since they were used only in
exceptional cases. Very few have come down to us.
170
Christ Carrying the Cross
W.
88
mm.
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.
Prof.
Middeldorf (private communication) believes this plaquette to be

origin, cf. Bange, Die Bildu/er/ê des Deutschen Museums, 11,
of
German
p.
140/
nos. 1934, 7649/50, pi. 25.
1,

171
Entombment
W.
70
mm.
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.
In a rocky landscape, the
Provenance: Imbert Coll.

170
172
Ornamental Plaquette
ROMAN, FIFTEENTH CENTURY
Mandorla-shaped bronze plaquette, H. 174 mm.,
168
IV (Francesco
Sixtus
(crosslet)
Rev.
della
Rovere 1414-84), Pope 1471-84
37 mm. diam.
PAPA
SIXTVS
AE In high relief, the
Lead papal
IIII
St.
Paul, haloed. Between them, a
This bolla
still
retains the cord with
tall
cross rising
which
it
from
was attached
orb.
to a papal
to the left,
NORTH
Doge
CENTURY
ITALIAN, MID-SIXTEENTH
Gritti standing,
from haloed
St.
36
mm.
S(anctus) M(arcus)
of Christ, supported by
Mary
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-
diam.
VENET(iarum)
wearing wide gown and ducal

Mark, who holds the Bible.
mm., W.
mm.
of the cave.
of Venice 1523-38
bolla (sigillum),
GRITI
reverse.
in silhouette.
173
The body
Gritti
Gold ducal
surrounded by elaborate scrollwork,
other specimen of this ornamental applique seems to be recorded.
140
169
AND
mm.
Shield-shaped bronze plaquette with old fire-gilding, H. 188
VENETIAN, SIXTEENTH CENTURY

Andrea
57
Entombment
document.
No
rampant
W.
to be affixed to a piece of furniture. In the center, a lion
Probably unique.
Pearled border.
three-quarters facing heads of St. Peter
and
made
No
bolla,
PP
Probably
DVX
veiled, St.
mettos.
Andrea
cf.
hat, receiving the
is
banner
Kris, Goldschmiedearbeiten, no. 108 (silver after a similar but altered
design, as South-German, Augsburg,
rived probably
from
Provenance: Molthein
first
half seventeenth century "de-
a not yet identified, Italian?,
model")
Coll., no. 108, pi. 7
174
Head
of Christ
Oval bronze plaquette, H. 48 mm.,
Head
of Christ wearing the
W.
34
crown of
mm.
thorns.
Within elaborate Renais-
sance frame with foliate motifs,

cf.
Bange, Reliefs und Plalêtten, no. 926
175
Head
of Christ
Square bronze plaquette, H. 46.5 mm.,
W.
36
mm.
Head
of Christ to
left.
Gallerie Nazionali Italiane,
no. 131
iv,
Kunstsammlung,
Planiscig, Estensische
no. 427
CENTURY
ITALIAN, SIXTEENTH
176
Emperor Tiberius
a.d. 14-37
mm.
CAESAR
TIBER
diam.
Laureate bust right, with hair to nape of neck.
Raised border.
Kunstsammlung,
cf.
no. 330
177
Emperor Caligula
a.d.
37-41
Oval bronze plaquette, H. 106.5 mni.,

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
mm.
VESPASIAN AVG C
diam.
Laureate bust right, with hair to nape of neck.
Raised border.
cf.
Kunstsammlung,
no. 337
179
Emperor Trajan
98-117
a.d.
Oval bronze plaquette, H. 56.5 mm.,
W.
44
mm.
Laureate bust right, hair to nape of neck, on granulated
field.
Very high
relief.
cf.
Kunstsammlung,
no. 328
fl.
FRENCH AND FLEMISH PLAQUETTES

FRENCH, EARLY SIXTEENTH CENTURY

180
King
Francis I 1494-1547,
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
portrait to right,
fish-tailed
mermaids supporting
the upper part of the frame
with the French fleur-de-lis in center. At the bottom,

with antique mask in the center.
floral
ornaments

FRENCH
c.
1600
181
Henry IV
1553-1610,
King
of France 1598-1610
Oval bronze plaquette, H. 59 mm.,

Half-bust
left,
W.
47
mm.
bearded and with long hair, wearing ruff
cross o\'er striped
gown. Granulated
collar, sash
with
field.
Apparently unpublished.
cf.
Kris, Goldschmiedearbeiten
of
Dupre or
no. 92 (silver, repoussee "in the
manner
his school")
FLEMISH, SIXTEENTH
CENTURY
182
The Triumph
of
the
Church
Rectangular bronze plaquette, H. 63
mm., W. 124 mm.

186
On
man and drawn
four-wheeled chariot, driven by an old
corns, are seated four female figures.
holding
a sceptre
(and perhaps
One
a bird), the third
with crossed hands, the
De
Dieyjus
to the right, a grotto; to the left, a city.
Entombment by Albrecht
After the
line.
Diirer Nurenbergensi, effigiata
cxx
Diirer,
cf.
Kleine Passion.
Willi Kurth, Albrecht Diirer, sdmtliche Holzschnitte, Miinchen 1927, no.

250 (from the Kletne Passion 151 1, entitled: Passio Christi ab Alberto
fourth (Church) holding a bunch of keys; above her head, the Holy
Ghost. Raised base
background,
ing. In the
by two uni-
bearing a yoke, the second
Flemish)
cum
variis
carminibus Fratris Benedicti
Molinier, no. 665 (as Italian, sixteenth century)
Chelidonii Musophili, Nurenberg 1511).

A companion piece, "Descent from the Cross,"
Cabinet des Mcdailles, no. 2474

Bange, Die Bildwerl^ê des Deiitschen Museums,
(Middeldorf and Goetz, no. 378). A series of plaquettes after

Diirer's Kleine Passion, of square shape (Bange, Die Bildwerê des Deut-
Ricci,
Coll., no. 428, pi.
(as
11,
p. 133, no.
1490 (as
schen Museums,
Flemish)
Kunstsammlung,
in the
is
Morgenroth Col-
lection
Paris,
no. 458 (Flemish or
p. 95, nos. 5715-5735, pi. 14)
11,
is
signed H.L. and has
been tentatively attributed to Hans Leitmaier, Niirnberg
German)
Padua, Rizzoli, no. 78
also
cf.
J.
W.
Fredericks,
Dutch
Silver,
The Hague
(d. 1531).
1952, pp. 172
of plaquettes by Master A.V.B., possibly Arent van Bolten,
October-December, i960
c-
cf.
GERMAN PLAQUETTES
(series
ff.
Exhibited: Detroit Institute of Arts, "Flanders in the Fifteenth Century,"
c.
1573-
1633)
H. E. van Gelder, Een teruggevonden Meesterwer\ van Paulus van

Oud Holland 1947, pp. 68 ff.
Vianen, in
Apparently unique.
UNIDENTIFIED ARTIST, NURNBERG(?), SIXTEENTH
Provenance: Gutekunst Coll., no. 374

Viscomte de Sartiges Coll.
CENTURY
183
SOUTH GERMAN, END OF THE SIXTEENTH CENTURY
Christ Carry in g the Cross
Bronze plaquette with old
On
fire-gilding,
H. 161 mm.,
W.
123
185
mm.
Flight into Egypt
stony ground with a serpent and a tree stump in the foreground,
Christ carrying the Cross. Behind
him
to left, veiled
Mary and
St.
John
Rectangular bronze plaquette with old fire-gilding, H. 169 mm.,
standing.
Upper part
silhouetted.
Middeldorf and Goetz, Morgenroth
Mary, the Child

Coll., no. 381 as
unique
ox,
is
with
Second specimen known.
GERMAN, SIXTEENTH CENTURY

DURER)
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
who
the
left,
dense woods; to the right, some
ALBRECHT
(after

In the style of Albrecht Altdorfer (1488-1538).
Farewell
Entombment
W.
97
mm.
cf.
To
lowering the body of Christ into the tomb.
the
left,
the
cf.
woman and Mary and
oj
much
Molthein
simplified variant, as
Coll., no.
1600
c.
186
St.
Francis
Rectangular bronze plaquette with traces of old
90
silver,
H. 122 mm.,
W.
mm.
St. Francis, haloed, his head turned upward in echands with the stigmatas raised in prayer. In the background,
Before the crucifix,

stasy, his
rocky landscape. At the foot of the
crucifix, a skull.
187
Peter
St.
Rectangular bronze plaquette in wooden frame with gilded scrollwork
and
on
angel's head
Half-bust of
St.
top,
H. 197 mm.,
W.
148
mm.
Peter under a tree, his hands clasped in prayer, looking
towards heaven; in front of him, the keys.
which the cock
is
crowing.
Braun, Archiv, iii (1921/22), 15

Imbert Coll., no. 215
fl.,
no. 5
Loebbecke Coll., Munich 1908, no. 854

Molthein Coll., no. 166
To
the
left,
11,
p. 121, no.
7651 (a
378 (repousse after similar, but altered design)
SPANISH PLAQUETTES
Baldass 1941, p. 297,
Augsburg)
Provenance: Commerzienrat Bauer Coll.
John stand-
cf.
the Disciples, and landscapes, pp. 300-301.
Bange, Die Bildwerkê des Deutschen Museums,

smaller,
kneeling Magdalene placing the ointment vessel on the edge of the

grave; behind her, a second kneeling
trees.
ground, a village. On the upper left, emerging from the clouds, are seven
angels looking down at the Holy Family.
184
men
126
Stony ground with grass and flowers in the foreground. In the back-
Provenance: Commerzienrat Bauer Coll.
Three
W.
mm.
column on
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and London 1893
Foppa, Cristoforo Caradosso, see Caradosso
Trau, Franz. Egger Vienna 1904

Vogel, Geheimrat Hermann. Hamburger Frankfurt
Franceschi, Piero dei, 10

Francia, Francesco, 22
Galeotti, see
1924
Whitcombe-Greene, T. Sotheby London 1932
Romano,
Gambello, Vettor
di
Pier Paolo
Antonio, 19, note preceding 159
Gennaro, Maria Antonio
INDEX OF ARTISTS
Geremia, Cristoforo
Abondio, Alessandro, note preceding 112

Abondio, Antonio, 36, 75, 112, 113
Alari Bonacolsi, Pier Jacopo di Antonio, see Antico
Altdorfer, Albrecht, 185
Anghiari Master, 164
Antonio da Brescia, Fra, 9

Belli, Valerio,
133
Goedecke, Paul Heinrich, 135

Grechetto, 46
Guacialoti, Andrea, 24, note preceding 28
Guerino, Giovanni, note preceding 159
Hagenauer, Friedrich, 88, 89, loi
Hamerani, Alberto, note preceding 51

Hamerani, Giovanni, 51
Antico, 14, 157
Beham, Hans Sebald, note preceding
di,
note preceding 25
Ghibellini, Orazio, note preceding 49
di,
138, 140
52
Herclas,
J., 154
Hirschvogel, Augustin, note preceding 138
Bertinet, 85
Hoehn, Johann, 128-130
Bertoldo di Giovanni, 24, 28, 156
Holienauer, Michael, 93
Blum, Johann, 124

Boldu, Giovanni di Pasqualino, 18
Bolten, Arent van, 184
Bonzagna, Gian Federigo, see Parmense
Holbein the Younger, Hans, note preceding 87, note

preceding 138
Holdermann, Georg, 98, 99
Hollande, Etienne de, 75
lO.F.F., see Master lO.F.F.
Sandro, 28, note preceding 30

Braun, Johann Bartholomaeus, 125
Botticelli,
Jamnitzer, Wenzel, note preceding 97

Januario, see Gennaro
Antonio da, see Antonio

Briosco, Andrea, see Riccio
Buchheim, Johann, 126
Kitzkatz, Ruprecht Niclas, 116
Cagnoli, Coreto, note preceding 159
Kornmann, Johann
Camelio, see Gambello
Leclerc, Nicolas, 78
Brescia, Fra
Candida, Giovanni
di Salvatore Filangieri,
Jonghelinck, Jacob, 142
27
Caradosso, Cristoforo, 23, note preceding 159
Leitmaier, Hans, 184
Leoni. Leone, 65-67, note preceding 68, note preceding 142
Cavino, CJiovanni dal, 53-62

Cellini,
Benvenuto, 36, 75, 79, note preceding 114
Jacob, 120
Le
Pere, Jean
and Colin, 78
Lippi, Filippino, 15
Titian, note preceding 65, 67
Lombardi, Tullio, 157

Lutma, fan Filius, 147
Lysippus the Younger, 25, 26
Travani, Gioacchino Francesco, 50

Trezzo, Jacopo Nizzola da, 68
Maler, Valentin, 97,
Vicentino, see Belli
Vianen, Paul van, 114, 184
10
Mantegna, Andrea, 158
Vittoria, Alessandro, 64
Marescotti, Antonio, 5, 6
Volpe, Vittoria della, see Vittoria
Master lO.F.F., 162
Warin, Jean, 84
Memling, Hans, note preceding 27
Weiditz, Christoph, 87
Michelangelo, note preceding 28, note preceding ri2

Michelino, Domenico di, 35
Welcz, Concz, 137

Werner, Peter Paul, 134
Milicz, Nickel, 138-140
Mocetto, Girolamo, 158
INDEX OF PERSONS
Moderno, 137, 157, 159-161

Mola, Gaspare, 43, 44, note preceding 49
Mondella, Galeazzo, note preceding 159
Moro, Jacobo Antonio, note preceding 43

Morone-Mola, Gasparo, 49
Mueller, Philipp Heinrich, 131
Muller, O. Wouter, 145, 146
REPRESENTED OR MENTIONED
Adrian VI, Pope, 150
Aelius, Roman emperor, 52
Agrippina Sr., Roman empress, 54
Alidosi, Francesco degli, 22
Nuernberger, Paul Gottlieb, 134

Omeis, Martin Heinrich, 132
Alighieri, Dante, 35
Padovano,
Anne
see
AUgaeuer, Hieronymus, 109
Cavino
Parise, Erich, 15^
Parmense, Federigo, 47, 48, 165

Pasti, Matteo di Maestro Andrea
de',
10-13
Pastorino di Giov anni Michele de' Pastorini, 37, 38

Pfruendt, Anna Maria, note preceding 125
Pietro da Fano, 18
Pilon,
of Brittany, 78
Antonini, Floriano, 53
Ariosto, Lodovico, 37
Astallia, Giulia, 14
Roman
Augustus,
emperor, 167
Bandello, Matteo, 14
Barberini, Maffeo, 82
Behaim von Schvvarzbach, Frederick, 105
Germain, 80
Pisanello, 1-4, 6
Bellini,
Giovanni, 19
Pisano, Antonio, see Pisanello

Poggini, Domenico, 40
Bembo,
Pietro, 15
Bentivoglio, Giovanni
Poggini, Giampaolo, 39, note preceding 40
Bernhard of Saxe-Weimar, 124
Pool, Jurriaan, 144
Porta,
Guglielmo
della,
II,
21
Borgia, Lucrezia, 15
166
Caesarius, Johann, 107
Roman emperor, 177

Roman emperor, 18
Raibolini, Francesco, see Francia
Caligula,
Rantvvic, Bernard, 151
Caracalla,
Reinhart the Elder, Hans, 94-96, 137
Caraffa, Antonio, 66, 68
Riccio, 158
Robbia, Andrea della, 34
Chamemilon, Euphrosina
Charles I, Count Palatine,
Romano,
Romano,
Giancristoforo, 15
Pier Paolo, 41, 42, 73
Charles V, Emperor, 42, note preceding 65, 67, 138

Charles VIII, King of France, 78
Roll, K.,
155
Charles
Saint-Priest, Jean de, 78
Sansovino, Jacopo, note preceding 64, 163
Schega, Franz Andreas, 136

Selvi,
Antonio Francesco, 45
Soldani-Benzi, Massimiliano, note preceding 45

Sperandio, 17
Spinelli,
Spinelli,
34
Andrea, 63
Niccolo di Forzore, note preceding 27, 30-
de, 104
11
X Gustav, King of Sweden, 154

Charles Ferdinand, Bishop of Breslau, note preceding 126
Christian
of Saxony, 116
Christian William of Brandenburg, 120

Christina,
Queen
of
Sweden, 50
Contughi, Fra Cesario, 17

Cornaro, Fra Giovanni, 20
Cortez, Hernan, 87
Dante, see Alighieri

Delen, Nicholas van, 143
Dido, Queen of Carthage, 46
Dondi, Giovanni, 67
Julius
Donellus (Doneau), Hugo, 99

Doria, Andrea, note preceding 65
Diirer, Agnes, 86
II d',
II, King of Hungary, 93

Louis VI, Count Palatine, 115
Louis XII, King of France, 78
Louis XIV, King of France, note preceding 84, 85

Lucius Verus, Roman emperor, 62
Lucretia, 86
38
Luther, Martin, 88,
Este, Lionello d', 3,

4
Evertsen, Cornelis, 146
Jr.,
Ferdinand
Ferdinand
Roman
Marciana,
empress, 61, 157
Emperor, 93, 138

III, Emperor, 123
I,
Fetzer, Matthaeus, 97
I,
Frederick
King of France, 180

III, King of Denmark and Norway,
153
Frederick V, King of
Trajan,
sister of
Roman
118,
Mazarin, Jean, 85
Medici, Catherine
Denmark and Norway, 135
Frederick Christian of Poland, 136

Frederick William I of Brandenburg, 134
Frundsberg, Anna von, 10
Frundsberg, Georg von, Feldhauptmann, loi

Gabrieili, Trifone,
70
Gamberia, Bernardino, 31
Gazzuolo, Giulia de, see Astallia
George III of Silesia, Liegnitz and Brieg, 126
Geraldini, Antonio, 30
Giovio, Paolo, 16
note preceding 80
de',
Medici, Cosimo de'
Vecchio), note preceding 30
(II
Medici, Cosimo
Medici, Cosimo
II de',
de', 36, 40,
Medici, Lorenzo and Giuliano de', 28

Medici, Lucrezia de', 38
Medici, Marie de. Queen of France, 81, 83
Melanchthon, Philipp, 89
Memmo, Marcantonio, 82
Mendoza, Ambassador of Ferdinand and
Menno van
Friesland, 88
Musso, Cornelio, 73
Mylius (Miler), Georg,
no
Nale, Giovanni
Henry
Henry
Henry
Panigarola, Francesco, 76
King of France, 79, note preceding 80

III, King of France and Poland, 80
IV, King of France, 81, 181
II,
69
Nero, Roman emperor, note preceding 30
Nerva, Roman emperor, 58
Neudoerfer, Johann, 91
Opdam van Wassenaer, Baron, 154
Otho,
Roman
di,
emperor, 55
Paumgartner, Hieronymus, 90
Perrenot, Antoine, 142
King
Hevelius, John, 130
Philip
Holzschuher, Sigmund Gabriel, 125

Innocent VIII, Pope, 30, 31
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
John George
III
of Saxony, 132
45
44
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
preceding 126
emperor, 59
Marcus Aurelius, Roman emperor, 60

Maria of Aragon, 4
Maria of Burgundy, 27
Maria of Hungary, 93
Maximilian I, Emperor, 21, 27, 78
Maximilian II, Emperor, 112, 113, 139
Floriano, see Antonini
Francis
no
Malatesta, Sigismondo Pandolfo, 10-13
Farnese, Ottavio, 47
Farnese, Pierluigi, 47
Faustina
Pope, 22
Louis
Ehrenberg, Phihpp Adolf von, 98

Elizabeth I, Queen of England, 152
Este, Alfonso Id', 15
Este, Alfonso
II,
Khevenhueller, Johann, 112

Leo X, Pope, note preceding 159
Leopold I, Emperor, 127
Le Tellier, Michel, 85
II,
of Spain, 39
Pius V, Pope, 48
Primislav, King of Bohemia, 133
Priuli, Girolamo, 72
Rangoni, Tommaso, 64
Remo, Opizo, 9
Isabella,
30
Richelieu,
Armand
Rinuccini,
Alamanno, 32
INDEX OF INSCRIPTIONS
Jean de, 84
AD
Rovere, Francesco Maria della, 22
Rudolf
Emperor,
II,
Ad
14
Savonarola, Girolamo, 34
Savoy, Charles Emanuel I, 43
Schwarzbach, Frederick Behaim von, see
(monogram), 86
civitat ditionisq tvtel
mvnim
extrvctvm, 47
A deo et pro deo, 51

A d ianvario 133
f,
Behaim
Aet 39, 42
Sforza, Faustina, 41
Aetatis svae 65 franciae orientalis dvx, 92
Sforza, Francesco, 2, 16
Aeternitati sacrvm, 53
Sforza, Ludovico Maria, 23
Agrippina
m f mat c caesaris avgvsti,
Sixtus IV, Pope, 24, 25, 168
A iove et sorore genita,

A L (monogram), 112
Sophia of Brandenburg, 116
Alamannvs
Shelley, Sir Richard, 151
Sophia Amalia of Brunswick, 153

Spinola de Serravalis, Battista, 77
Strozzi, Tito Vespasiano, 29
Suleiman
I,
Ottoman
sultan,
93
rinvccinvs philippi f, 32
Alessandro di gino vechietti anni Z6, 33
All mein hofnvng zv got, 97
An Ab, 112
And griti m
venet dvx, 169

dvx venetiar mdxxxiiii, 63
georgi in frvntsperg vxor, loi
Sybille of Saxony, 103
Andreas
Tannhausen, Emerentiana von, 102

Tavelli, see Tossignano
Anna
Anno do mi mdxci,
Roman emperor,
Roman emperor, 57
Tiberius,
Titus,
54
64
An
sp
griti
1 1
63
Antonii perrenot epi atrebat, 142
176
f,
Toledo, Eleonora de, 36

Torre, Gianello della, 67
Antoninvs pivs avgvstvs, 18

Antonivs geraldinvs pontificivs logotheta fastorvm
Toscani, Giovanni Alvise, 26
vates, 30
Archi dvx avstri dvx bvrg marc mor 1566, 139
Armandvs ioannes cardinalis de richeliev, 84
Tossignano, Giovanni Tavelli da, 5

Trajan, Roman emperor, 179
Trevisan, Marcantonio, 71
Trivulzio, Gianfrancesco, 42
Trivulzio, Giangiacomo, 22, 23, 42
Tromp, Martin Harpertszoon,
Unknown
144, 145
persons:
Aurea
florigeris succrescunt
Blum, 124
B nicolavs van delen, 143

Bo fphff en, 15
Mohammedan,
Brisach fortis sed fortior deus fvit et weimarius 1638,
108
124
Patrician, 100, 106
Urban
Cap
VIII, Pope, 82
Vecchietti, Alessandro di Glno, 33
Vespasian,
Roman
emperor, 178
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
Castellvm sismondvm ariminense mccccxlvi, 10
Virgil, 24
Visconti, Filippo Maria,
Roman
emperor, 56
Vitil, Wolfgang, 106
Vondel, Joost van den, 147
Vitellius,
Castellvm sismvndvm ariminense mccccxlvi, 13
caes
d, 177
Christum hat gott
furgestelt
Chrvs moritvr pro nobis
Waldstein, John Joseph, 133
Coelitus data, 132
III
131
Wladislas
II,
and Mary, King and Queen of England,
King
of
Hungary, 93
zu einem gnadenstuel,
"7
Waldstein, John Frederick, 141

Waldstein, John Henry, 133
William
131
56
spinola d serravallis, 77
Her gamb innocentii viii c s an xxx 1485, 31
Bern rantwic f, 151
Humanist, 88, 107

7
rosettis,
tr,
Bap
Boy, 8
Man,
poma
A vitellivs german imp avg p m
ciat 46,
137
Comes de
waldstein, 141
Congiar p
r,
Consecratio
58
s
pq
r,
59
Consilio et indvstria, 127
et resvrgit vt
nos ivstos
fa-
Cornelivs mvssvs ep bitvnt, 73

Cosmvs med floren et senar dvx
Florianvs antoninvs andreae

ii,
f,
53
Fp,48
40
Daniel de hanna, 65
F parm, 47
Danthcs florentinvs, 35
Das hoeheste gut, 1 1
Fr alidoxivs car papien bon romandiolae q c legat, 22

Francesco panigarola aeta anni xxviii, 76
Fr cesarivs fer ordins ser b
v divin 1 t exellen doc
ac divi ver famosis predicator, 17
D'eta di xxxiii anni mdxliiii, 69

cole avrvm contemne virtvtem sectare argen-
Devm
tvm sperne patriam defende
Frideric christ
16Z9, 121
Devotissimvs pavper pr d iohanes eps ferrarienm, 5

Dextera tva dom percvssit inimicvm 1571, 48
georgivs mylivs avg aet 31, no
D
D g georg dux sill & b supremae pers
istr,
praef admin-
126
D g Sophia
Dido
il
nat
basilissa,
mar bran dvc
Fridericus
iii
com
in
dit
lith
dux
sax
&
vicecomes mli dvx
sfortia
iiii
pater et pacis
belli
Fsk p
Divi francisci mdxxxiiii, 63
Divinvm
G
G
D
D martinvs Ivtervs, no
Gladivs domini svp teram citoet velociter, 34
Dvm spiritvs hos reget artvs,
Gott
etatis xxxxii,
87
75
Ego
sicvt oliva frvctificavi sva vitae
EP,
153
odo
do
di,
adam omnes morivntvr
ita et in
christvm
vivificabvntvr vnvs qvisqve in ordine svo,
23
Externo male pressa iugo britannia pridem

iterum respirat libera leges, 131
f,
in priscas
pii
fil,
61
Favstina sfortia march caravagii, 41

Felice Ivdovico regnante dvodecimo cesare altero
gavdet omnis nacio, 78

Ferdinandvs d g romanor hvngari boemini infans
hispa arc avs rex 1550, 138
Ferd
Feris
d g rom hvng bohem

tantvm infensvs, 49
iii
Pert, 43
Firmavit omen, 114
hart entschla
nam
r "etc.,"
123
ein ripp a
s s
d d
140
m prin
fin
dv eth
et
car ig d, 155
Gvilielmvs et maria rex et regina britaniae, 131

Gvstavvs adolp d g svec goth wand q rex, 121, 122
secvla ivbilant
Hamera,
Hebrew
vmbra, 135
54
51
inscriptions:
Name of God,
Oh Lord, help
121, 122
us,
77
Hec damvs
in terris aeterna
Heer
met triomf
everts
dabvntvr olimpo, 25
"etc.,"
146
francor rex invictiss p p, 79
Henricvs 3 d g fran et pol rex 1575, 80
Henricvs
136
Favstina avg antonini avg
z,
Hafnia daniae,
Exemplvm vnicvm for et pvd, 14

Expvgnata alexandria deleto exercitv Ivdovicvm sf
mli dvc expellit reversvm apvd nova riam sternit
a schega
49
Greek inscriptions:
Karchedon, 46
Leon aretinos, 66
Hac
Et victricibvs armis, 122

Evphrosina de chamemilon, 104
eva g
f,
adam
lies
Makelos, 50
Gust adol d g suec got vand rex
93
95
capit,
dupre 1615, 83
G moron
Dvrate, 142
omnes
t,
dupre f 1612, 82
Giovanni di nale, 69
Dominvs providebit, 153

Dominvs 1570 providebit, 113
Don ferdinando cortes mdxxix anno
sicvt in
svm et ero, 42
Gasp m, 43
Fvi
concinit orbi, 73
martinus lutherus, 88
Et
136
hoist
avtor mcccclvi, 16
46
Diva avgvsta marciana, 59

Diva favstina, 157
Diva ivlia astallia, 14
Etatis sve 30,
el,
si
Fridericvs d g eps wircebvrg, 92

Frid wilh d g rex borvss el brand, 134
Fried v dg rex dan norv van go, 135
Fr
sax ele, 116
d g pr reg pol &
d g dan norw got vand rex dux

old & delm, 118
ii
Henricvs
iiii d g franc et navar rex, 81

Heroica foecunditas, 133
Herois huius nomina in cuncta clarent secula, 124
Hier stryckt het britsch gewelt
"etc.,"
146
Hieronimvs priol ve dvx, 72

Hieronx[!]mvs savo fer vir doctisss ordinis predichatorvm, 34
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
His avibvs cvrrvq citodvce
ad
ris
Lavrentivs medices, 28
Leonellvs marchio estensis, 3
68
xvii,
Leonellvs marchio estensis ge
22
astra,
HR 1536, 95
Hvgo
donelivs
ic cl
prof aidorp aet svae 64 an 90, 99
lac trez, 68
lanas qvi post tres dies de piste exivit designat
cristi
ressvrexionem capitvlo Z, 137

lanellvs tvrrian cremon horolog architect, 67
I
B, 126
H,
r ar
med
Lvcretia
ferr princ a a xiii,
38
Lvctvs pvblicvs, 28
Lvd d g CO pa
ele a d z, 115
Lvdovic vnga ec rex contra tvrca pvgnando occvbvit
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
Indvstriam adivvat devs, 91

Innocen xii pont
a i, 51
Magni ducis Dernhardi saxon weim

Magnvs cosmvs medices p p p, 45
15Z6 etatis sve 30, 93

Lvdovicvs ariost poet, 37
Innocens manib et
mvndo
iniqvitas,
md
suec
prus, 129
loannes aloisivs tvsca avditor cam, 26
&
fieri fecit,
mona
cor casin colvmen, 20
vig co
mvso
ac val ren et stosa d,
42
lo fr enzolae parmensis opvs, 16
lohannes hevelius dantiscan
"etc.,"
130
lohann nevdorffer arithm aet sve Ivii, 91

iii d sax i c
a & w el, 132
loh georg
lo iacobvs trivvls
mar
pavl pog
pv an
f,
viii
me
obi a mdlxvii
n de
iiii,
72
boravit brachivm
mevm, 87
zum
pool, 144
beim himlischen
vatter
sund der gantzen welt, 117

den vondel gest 5 feb 1679, 147
dargestejt fur alle
aelivs caesar,
dvx avstr bvrgvnd, 27

d g roma imperi sem avg ger hv bo
fr caes f
Maximilianvs
ii
139
rom
ii
52
Mcccclvi, 16
Mcccclxxxi, 24
Mdxxxv, 94
Mdxxxxiii, 89
Mdxliiii,
69
Mdliiii, 71
Mdlvi, 109
Mdlix, 39
av, 113
5, 10, II,
Mdxxxiiii, 63
losegelt
71
Maximiliani imperatoris mvnvs mcccclxxxxiiii, 21
Mcccclxxxxiiii, 21
warin 1630, 84
v,
Mcccclxvi, 18
et fortitvdo eivs corro-
Ivlianvs medices, 28
Joost van
in principatv obit mdliiii, 71
Maximilianvs
etc rex,
s c,
Jesus hat sich
93
Mccccxiiiii, 4
iiii
p xxix, 60
Marin grimanvs dvx venetiar, 74

Marten harpertsen tromp ridder, 144
Mathevs fetzer aet li 1576, 97
vig fra marescalvs, 23
57
Ivdicivm dni apprehendit eos
tr
Mccccxlvii, 12
di
124
Maria avg galliae et navarae regina, 83

Maria karoli f dvx bvrgvndiae avstriae barb c flan, 27
Maria regina ec qvos devs conivnxit homo non
Mccccxivi,
ii
effigies,
car barberin sig ivst prae
f,
Maximili
39
Ivdaea capta
r e
lo son fine, 18
I
62
bono leg, 82
Marcvs antonivs memmo dvx venetiarvm, 82
Marcvs antonivs trevixano dei gratia dvx venetiarvm
s
seperet,
95
fieri fecit etatis
svae 32, 94
mar
Maph
Marescotvs
loanns fridericvs elector dvx saxonie
tri
M antoninvs avg
etc vixitano
sueciae rex "etc.,"
loannes frideric archie prag, 141

loanns fridericvs elector dvx saxonie
lo cornelivs
viiii,
conflata 1499, 78
Marcvs ant trevisano dvx
loannes bellinvs venet pictor op, 19

loannes bentivolvs ii bononiensis, 21
loannes casimirus d g poloniae
128
Maiestas maior ab igne, 81
corde, 70
mors omnia delet, 17

In vmbra alarvm tvarvm sperabo donee transeat
&
tr
repvblica gavde te bis anna regnante benigne
sic fvi
Inspice mortaie genvs
90
loan casim d g rex pol
arm parth max
vervs avg
Lvgdvn
lo fran
ferrarie regii et
mvtine, 4
Leopoldvs d g rom imperator, 127
Lievtenant admiraal van holland "etc.," 144
Lvcretia borgia esten ferrariae mvt ac regii d, 15
13
P
P
Mdlxvii, 72
Mdxci, III
Mdcvi, 43
parm
et plac
dvx
i,
47
imp
Pontificii exercitvs
Mdccxxxiii, 134
Mdcclxiii, 136
Memoriae agrippinae, 54
Micha letellier fr cancellarivs 1678, 85
Mijn hert en hant was voor het lant, 145
Miserere nobis domine, 96
M M (monogram), 27
mccccxlvii, 12
P p a e, 168
P p Werner fee, 134
Privs mori qvam tvrpari, 33
Pro bono malvm, 37
Pro deo et milite, 134
Progenies divvm qvintvs
Ivmina aet svae
sic
carolvs
ille
evm anno
Quorum memoriam
112
loan ios
com
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
Qvamvis occvmbas
Nostra medela,
Ricardvs scelleivs prior angliae, 151
19
auspicys et regis fortibus armis "etc.," 128
deficit,
67
Qvo
in ipso stare
Ren
als in eren,
94
Rvdolphvs ii rom imp avg rex hvng boe, 1 14

Sacrae romanae ecclesiae capitanvs generalis,
Satiabor
cvm
Securitas britaniae restituta 1689, 131

Secvritas
Opvs pisani pictoris,

Opvs pisani pictoris
Opvs sperandei, 17
P,38
r,
55
"etc.,"
3
mccccxliiii, 4
Senats popls, 157

Seren d d ioh georg
elect sax in
matr
chariss, 116
Serenitatis nvncia, 123
Servando dea facta deos, 83
Parcere svbiectis et debellare svperbos, 24
Sibila iohanni friderichi dvcis
Farm
Sigismondvs pandvlfvs de malatestis
invent, 165
generalis, 10,
Par vbiq potestas, 66
Patriarvm exvbitor opvm, 151

Pax aeterna ad gedan a c'obci-x.
iii
maii condita, 129
Sigismvndvs pandvlfvs malatesta, 12

Sigismvndvs pandvlfvs malatesta pan
Sigm
135
Philipp adoiph d g eps wirceb
fr
or dvx, 98
iiii
pon max
comes ac genve dominvs, i

Philippvs melanthon anno aetatis svae xlvii, 89
Sixtvs
iiii
pont
manibus aug
iii
magnanimi, 136
iiii,
168
max
sacri cvlt,
24
sacri cvlt,
25
en grootste poeet geb 17 nov 1587, 147
a domino, 1 26
mea
max anno
mea in deo, 153

mea in deo est, 95
Spes mea in deo est anno
Spes
Spes
Pisanvs pictor, 6
Pivs V pont opt
13
Spe gloriae hvmilis, 125
Pietas evangelica, 20
Piis
f,
S'lants outste
Sors
131
ro eclesie c
Sixte potes, 24
Sixtvs
H M,
gabriel holzschvher ae 67, 125
Sixtvs papa
anglerie qve
vxor saxoniae, 103
Philippvs hispaniar et novi orbis occidvi rex, 39

Philippvsmaria anglvs dvx mediolani etcetera papie
118
Semper, 45
i,
Pace terra mariq composita, 39
HG,
10, 11
apparverit, 31
Seht wie der fried iez ziert die welt
Oportvne, 43
tvam
christina, 50
S C, 52, 56-58, 61
S D, 117, 118
30
occvmbis
Religio sancta, 30
Of, 132
Oldenb dan tertia vice ivbilans d 28 oct 1749, 135
Omne vanvm, 65
Opizo remvs alfon esten dv iii secreta, 9
fl,
felix
melior optabilior, 40
Regina
Salvs pvblica, 28
"etc.,"
effigiem sol oriente vides, 123
Obiit V octobris mdcclxiii, 136
ni fo sp
waldstein
133
Mvlier dedit mihi
Op
mdxxxxiii,
89
86
M M, 27
Nvnq
imperii caesar
138
1,
Psal 36 svbditvs esto deo et ora
Monograms:
Numinis
romen
adriaen van god ghekoren pavs van
t'utrecht gheboren, 150
Mdclviii, 128
AD,
A L,
loysivs f
vi,
48
94
nostri salvatoris
mdxxxv,
Sp q
r,
Liegnitz-Brieg, 126
54. 59
Stans acie pvgnans vincens moriensq trivmphat, 155
Svbditvs esto deo et ora
evm anno
mdxxxxiii, 89
Sydera cordis, 74
Tandem
Te
victa seqvor,
84
fama bearvnt
Lyon, 78
Neudoerfer, 91
Paumgartner, 90
Pope Adrian VI, 150
nvia, 79
gvard d mar mag, 64
Thve recht fvrchte gott vnd niemants mehr, 120
Tiber caesar, 1 76
Richelieu, 84
Titvs strocivs, 29
Trivulzio, 23
copia lavro et
Thorn
philol raven phys eq
Tr p vii imp iiii cos iii p

Tryphon gabriel, 70
p,
Van
62
Vespasian avg
c, 178
Vff der hochzeit zv cana verwandelt christvs wasse
w io z,
140
120
Vic avg, 60
fatis agitvr,
Comets, 130
Lunar maps, 130
Pisces, 22
26
Victor camelivs faciebat, 19
d g dvx mant
vii et
m v, 49
Vinces virtvte viventis 1580, 115

Virtvs,
Sagittarius, 22, 43
Augsburg, medals made
67
Virtvti ac
Wuerzburg, 92, 98
medal referring to, 76
Astronomy:
Capricorn, 114
Victa iam nvrsia
ii
Delen, 143
Vecchietti, 33
Visconti, i, 23
Asti,
Vggcwpabevsmvhpgmzbiph,
Vincen
Savoy, 43
Saxony, 94-96
Sforza, Francesco, 16
formae pvdicitia praeciosissimvm, 15
Virtvtis et ingenii, 19
formaeq praevia, 68
Vt moses erexit serpente ita chrs
Virtvtis
in crvce exaltatvs et
106,
Biscione,
dentes, 95
Bolla, 168, 169
Vulner
christi,
made
Breisach, capture of, 124
and Eve,
35, 95, 96
Adoration of the Magi, see Christ
Cannae,
4,
Carthage, view
man
holding coin,
note preceding 27
Archer, see Astronomy, Sagittarius
61, 63, 165, 166
Arm holding birch rod, 12
Arms, coat
of:
Este, 3
Fetzer, 97
Florence, 36
Gonzaga, 49
Holzschuher, 125
10,
title
of Malatesta, 10,
of,
46
Chariot:
15
Architecture and buildings,
164
Caritas, standing, 51
Aeneas, sinking of his ship, 142

Alexandria, capture of, 23
Antwerp, Memling, Portrait of
13,
27
140
at,
battle of,
Capitanus Generalis,
Adoration of the shepherds, see Christ
Amor,
of,
Cachet, 143
Cana, marriage
Adam
40, 46,
47, j^,
87-89,
or referring to, 15, 21, 22,
in,
23, 34, 82
Burgundy, medal made for the Court
GENERAL INDEX
to,
Bologna, medals
19
or referring
Aurora riding chariot drawn by Pegasus, 68

Batde scenes, 48, 144, 145, 146, 154, 164
Bees surrounding a column, 37
resvscitatvs capvt serpentis contrivit salvaret cre-
Waarom doet muller tromp door kunst "etc.," 145

XXIV filii a patre ioan henrico barone "etc.," 133
in,
10, II I, 131
drawn by eagles, 22
drawn by Pegasus, 68
Fame, riding in, 79, 84
funerary, 54, 59
Poseidon
in,
Wisdom,
riding
142
in,
182
Chateau Cambresis, Peace

Checkers, 1 01-108
treaty of,
Chiron, the centaur, 43

Christ:
Nativity, 148
Adoration of the shepherds, 165
Adoration of the Magi, 148
39
carrying the cross, 117, 119, 170, 183

Crucifixion, 95, 96, 159, 160
Genoa, medals referring to, i, 34, 77

God, the Father in clouds, 31, 159
Greyhound, seated, 16
wearing the crown of thorns,
Griffon, standing, 151
Flight into Egypt, 185
ig
Hand
with dagger, threatening from Heaven, 34

of, 64
Hound, Gonzaga device, 49; Hounds of Diana, 66
Horsemen, see Equestrian figures
Innocence, washing her hands at spring, 70
Pieta, 156
Entombment,
Hebe, the birth
166, 171, 173, 184
Resurrection, 115, 137
head
of, 174, 175

Church, Triumph of, 182
Combat, Roman, 161, 164

Constantia, standing, 24
Constellations, see Astronomy
Copenhagen, siege and relief of, 154
Cremona, 67
Janus, the closed temple of, 39

Jason and the dragon, 9
Crucifixion, see Christ
Jonas, the prophet, 137
Cupid, see
Italy:
French invasion
map
Amor
in,
or referring
Diana, accompanied by three hunting dogs, 66
Greyhound, Hound
battle of the,
Rome, 62
wielding thunderbolt, in biga of eagles, 22
Lepanto, battle
of,
48
Liberalitas, 58
145
Liberty, seated, 131
Eagle:
Lion:
Biga of eagles, 22
learning to sing, 4
facing, holding globe, 113
Mark, 74
rampant, 172
Low Countries, medals and plaquettes
of St.
flying towards Sun, 114
perched on
leafless tree,
Elephant:
Order of the, 118

Seat formed by two,
England, medals made
referring
in,
or referring
to,
131, 141,
Adam
of,
155
in,
into,
or referring
49, 66, 68, 157
and Eve
lunar, see
Astronomy
of Italy, 34
Marriage,
in quadriga, 79,
Ferrara, medals
made
in,
84
or referring
to, 3-9, 15, 17,
4, 27, 38, 78, 93,
Mars, striding, 56
Milan, medals made
in,
140
or referring to,
26, 34, 41, 65-68, 75-77
34,38
Minerva:
Fleur-de-lis, 36, 78, 180
Queen Christina
Flight into Egypt, see Christ
Duomo
to, 24, 28-45, 156,
Fortitude, seated,
standing,
of, 28,
35
Florence, medals and plaquettes
made
in,
or refer-
Music,
33, 42;
chained to quadriga, 84
made
as,
50
135
11,
battle of,
4,
93
15
Naples, medals referring
to, 4,
Nativity, see Christ
Fountain, see Sciences, fountain of

France, medals and plaquettes
Modena, 15
Mohacs,
167
Fortuna over waves,
in,
or referring
23, 34, 78-85, 99, 180, 181

Frankfurt, coronation of Leopold I at, 127
to, 22,
or
Map:
of, 140, see also
Faith, standing, 75
Fall of Man, 95, 96
Florence,
in,
Lyon, entry of Louis XII and Anne of Brittanv
to, 14, 15, 17,
Ermine, 78
Fame, riding
made
114, 131, 142-150, 154, 182
78
Mantua, medals and plaquettes made
Equestrian figures, 1,112

Eve, creation
to,
Luetzen, battle
11
145, 146, 151, 152

Entombment, see Christ
ring
Jupiter:
seated on the Seven Hills of
10,118,135,153,154
see
34
Judith, 158
Denmark and Norway, medals made
Downs,
of, 22, 23,
34
Judaea, capture of, 57
Death, 17, 18
Dog,
of,
Neptune:
in chariot, 26,
40
sinking Aeneas' ship, 142
34, 133
i, 2,
16, 23,
Netherlands, see
Low
Noerdlingen, battle
Countries
St.
made
Niirnberg, medals and plaquettes
ring
to,
in,
or refer-
86, 90, 91, 97-100, 105, 125, 132, 134,
183-185
Oliva, Peace
168, 187
Saul, anointing of, 149
Savoy, medal of, 43

Sciences, Fountain of,
Seals, see Bolla
129
of,
Otranto, expulsion of the Turks from, 24

Owl, perched on branch, 19
Padua, medals and plaquettes

to,
Paul, 168
St. Peter, 123,
123
of,
made
in,
or referring
Pallas Athena, see
Shepherd with sheep, 20

Ships:
Aeneas', 142
manned by
20, 52-62, 64, 158
on raging
Minerva
Paris, Judgement of, 162

Parma, bird's-eye view of the
67
and Cachet
four
girls,
sea, 77,
83
142
sea battles, 48, 144-146,

citadel of, 47
Siege of
city, 23, 24,
154
124, 128
Patientia, caressing lamb, iii
Sigillum, see Bolla
Pavia, battle of, 42
Spain, medals and plaquettes
Pax:
to,
armaments, 39
setting fire to
Phoenix on pyre,
14, 50,
152
i54> 155
Pieta, see Christ
Tagus
medals referring
to,
34
Poland, medals referring
to,
80, 128-130, 136
Poseidon, see Neptune
Prague, Kreuzherrenkirche
at, 141
Purgatory, Dante before Mountain
of,
35
to,
Rocca Malatestiano, see Rimini

Roman emperors and empresses,
made
in,
or referring
24, 25, 30, 31, 34, 46-51, 62, 82, 164-166, 168
impresa
Astronomy
of, see
Vela
Vesta:
seated, 59
statue of, in temple, 61
Victory:
crowning France, 84
seated, 60
St.
Anthony, 25
Virgin, coronation of the, 163
St.
Francis, 25, 186
Wax,
St.
George, spearing the dragon, 112
Westphalia, Peace
St.
Mark, 169;
Wiirzburg, medals referring
lion of,
74
in,
Vigna, 63
18, 52, 54-62, 157,
167, 176-179
Sail,
made
or referring
18-20, 34, 63, 64, 65, 70-74, 82, 159-161, 163,
169-172
Venice, view of the church of San Francesco della
of, 10, 13
plaquettes
Triumphal car, see Chariot

Triumphal procession, Roman, 157
Turkish Wars, 24, 48, 93, 108
Venice, medals and plaquettes
Resurrection, see Christ
Sagittarius, see
67
Vanity, standing, 65
Vela, Este device, 3
Ravenna, 64
Reformation, 88, 89, 110
Religion, standing, 30, 122
Rome, medals and
river,
Thirty Years' War, 118, 120-124, 155

Thorn, capture of, 128
Pluto, seated, 66
to,
or referring
Sundial, 135
Swan with spread wings, 73
Sweden, medals referring to, 50, 121, 122, 124, 128,
Pazzi Conspiracy, note preceding 24, 28

Pelican, 20
Rimini, castle
in,
Stone models, 36, 109
seated, 118
Pisa,
made
39, 67, 87, 186, 187
100
of, 118,
123
to, 92,
98
ONE THOUSAND
HUNDRED COPIES OF
THIS CATALOGUE HAVE BEEN PRINTED AT
THE MERIDEN GRAVURE COMPANY, MERIDEN, CONNECTICUT. COMPOSITION BY THE
ANTHOENSEN PRESS, PORTLAND, MAINE.
PHOTOGRAPHY BY JOHN MCKEE. DESIGN
BY LEONARD BASKIN. JANUARY MCMLXX.
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The Salton Collection: Renaissance & Baroque Medals & Plaquettes / Bowdoin College Museum of Art (Rev. Ed.)

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The Salton Collection: Renaissance & Baroque Medals & Plaquettes / Bowdoin College Museum of Art (Rev. Ed.)

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THE SALTON COLLECTION

RENAISSANCE & BAROQUE

BOWDOIN COLLEGE MUSEUM OF ART