The Salton Collection: Renaissance & Baroque Medals & Plaquettes / Bowdoin College Museum of Art

THE SALTON COLLECTION
RENAISSANCE 6- BAROQUE
MEDALS & PLAQUETTES
BOWDOIN COLLEGE MUSEUM OF ART

MCMLXV

RENAISSANCE & BAROQUE
MEDALS & PLAQUETTES
BOWDOIN COLLEGE MUSEUM OF ART

BRUNSWICK, MAINE
MCMLXV
COPYRIGHT 1965 THE PRESIDENT & TRUSTEES OF BOWDOIN COLLEGE, BRUNSWICK, MAINE
PREFACE
Few
any age have come down
artifacts of
their time as the Renaissance medal.
Though
relatively
exceptional degree that fusion of art and thought which

sance. Indeed, in their beauty
civilization
and
and scholars
years by those
Mark
who
as well,
reflection in
world which celebrated not only princes
kind in private hands, belongs
its
York. The Salton Collection
high level of quality of the specimens in
No
collections of the past.
it;
many
come from
of them, indeed, have
World War
II,
lected since that time. Mrs. Salton has taken as great
and her enthusiasm
tion to the Catalogue.
^ The
for,
most of the pieces

an
Duke
(no. 4) has as
men
is
the illustrious
collection contains
of,
medals
formation
in the
evident in her Introduc-
is
masterworks by the most important medallists
and
exemplar
greatest
represented by four medals, including his portrait of Filippo Maria
Milan (no.
of
its
He
Mr. and Mrs.
contains were col-
husband
interest as her
and knowledge
now
it
of the Italian Renaissance, beginning in the Quattrocento with the founder

of the art, Pisanello.
to
particularly distinguished for the extremely
is
fewer than seventeen examples are unique. While the origins of the
Salton Collection date from before
Visconti,
microcosm of the
have cherished them as enduring expressions of the Humanistic tradition.
New
of the collection,
size,
one of the chief glories of the Renais-
and they have been preserved down through the
present collection, one of the finest of
Salton of
diminutive in
is
medals are a
their learning, these
which produced them. They represent
prelates but poets
^ The
and
many facets of
they embody to an
charged with the meaning of so
to us
i)
and two of Lionello
reverse the celebrated study of
d'Este,
Amor
of the portrait of Pisanello (no. 6) by Marescotti
Lord of Ferrara, one
teaching a lion to sing.
is
Matteo
also included.]
trayed yet another Renaissance Prince, Sigiswondo Malatesta,
Lord
of
of
which
[A superb
speci-
de' Fasti has por-
Rimini (nos.
10-13).
These
medals, because of their acutely perceptive characterization of personality and the ineluctable
appropriateness of their design, convey a sense of the Renaissance Prince unsurpassed by any
other record.
^ Also
present
Cesario Contughi (no. 17).
on
work
is
a piece by Goethe's favorite Italian medallist, Sperandio, of Fra
portrait of
an ancient Roman, the Emperor Caracalla, may be seen
(no. 18) by the Venetian medallist, Boldu.
Among
the five medals in the collection
ascribed to Spinelli are exceptional specimens of his portraits of Vecchietti
33 and 34).
by Candida.
most revealing portrait of Mary
Two
of
medals, whose creators are
rectangular bronze of an
Unknown Boy
Burgundy
unknown,
is
and Savonarola
on the reverse of
medal (no. 27)
are of extraordinary c]uality
(no. 8), possibly by a Ferrarese artist,
(nos.
small
and a very large
one portraying the Florentine poet Tito Vespasiano Strozzi (no. 29), probably by a Florentine.
Represented among the medallists of the Italian Cinquecento are Leoni, da Trezzo, Belli, and
Cesati, the last of
whom
was
greatly
admired by Michelangelo.
ticularly rich in the productions of the
master craftsmen of the
^ The
Salton Collection
German
Christoph Weiditz, Friedrich Hagenauer, Joachim Deschler, and Valentin Maler,
famous
for their intensely realistic portraits.
the Elder,
f**
who
is
best
known
Another member of
this
is
par-
Renaissance, including
all
of
whom
are
school was Hans Reinhart
for the strikingly three-dimensional effects of his silver medals,
Happily, in addition to medals of the Renaissance,
much
known
this collection also contains a
quantity of
we
are not de-
prived of the pleasure of such brilliantly executed portraits in gold as that of Charles
Emanuel I,
examples from the Baroque,
less
period of medallic
art.
As
a result,
Duke
Savoy (no. 43) by Gaspare Mola and Pope Innocent XII (no. 51) by Giovanni Hamewe can enjoy the French medals of Guillaume Dupre, including his remarkable
of
rani. In addition,
work
ice,
(no. 82), the obverse of
and the
reverse,
which
is
an almost equally
a superb portrait of
fine likeness of
Marcantonio
Memmo, Doge
Majfeo Cardinal Barberini,
ban VIII. In Germany, among the great medallists of the period
is
later
of
Ven-
Pope Ur-
Sebastian Dadler, First Gold-
smith to the Imperial Court at Augsburg; in Holland, O. Wouter Muller, whose unforgettable
portrait of
which
Admiral Tromp
an elaborately
is
is
only half of a silver repousse medal (no. 145), the other side of
pictorial naval
engagement; and
in
England, Bernard Rantwic, whose
likeness of Sir Richard Shelley (no. 151) holds an honored place
among
medallic portraits.
Thirty-two plaquettes constitute a brilliant section of the Salton Collection. There
is
a Pieta (no.
156) by Agostino di Duccio, which is the only known specimen other than the one in the Louvre.
L'Antico is represented by his portrait bust of the Empress Faustina (no. 157), and Riccio, by
Head of Holofernes (no. 158) after Mantegna. Also particularly outstanding is

Entombment (no. 166), which is apparently unique and is here published
One of the most striking of the German plaquettes is another Entombment
his Judith with the
Federigo Parmense's
for the first time.
(no. 184),
which
is
engravings.
ries of
based on Diirer's composition of the same subject in his "Kleine Passion"
The
last
probably working about the turn of the seventeenth century,

scrollwork frame, illustrating the
times.
strictly
stone
Finally, special
speaking,
one
tributed to
by an
manner
in
wood and
encased in
has a gilded
in earlier
mention must be made of four extraordinary pieces which do
of a nobleman, possibly
Benvenuto
is
which plaquettes frequently were adorned

medals or of plaquettes.
into the category either of
fall
se-
of the plaquettes, a St. Peter (no. 187) by an unidentified Spanish artist
Cosimo
Cellini or his school;
unknown South German
and the
master, dated 1556.
other, of
The
third
are portraits in
as a bijou,
Hieronymus Allgaeuer
is
a painted
wax
quality of an unidentified sixteenth-century Niirnberg Patrician (no. 100)

orately decorated fire-gilded bronze case of the
Two
Medici (no. 36), mounted
de'
same period. The
last is a
not,
and
at-
(no. 109),
portrait of superb
mounted
in
an elab-
gold bolla (no. 169),
probably unique (the British Museum's vast collection of seals contains only a sulphur cast), of
Andrea
Gritti,
Doge
of Venice, 1523-39.
role in the production of this catalogue.
extremely
sistency
difficult task of
and
error.
^
My
Several people have played an indispensable
secretary,
Mrs. Kathryn
S.
Rumsey, performed the
typing the intricate catalogue entries with a vigilant eye for incon-
McKee made the unusually sensitive photographs of the originals. For the
catalogue, we are profoundly indebted to Leonard Baskin. Our deepest
John
superb design of the
thanks must, however, be reserved for the Saltons themselves for their vast knowledge of medallic
art as
manifested in the catalogue and for their great generosity in making their magnificent
collection available to the public for the first time.
Marvin
Director
S.
Sadik
INTRODUCTION
The aim
of this introduction
is
broad outHnes the development of the medal
to sketch in very
and the plaquette. The serious student who wishes

body of specialized
that a very extensive
more profoundly
to explore the field
literature exists
on the
^ Antonio Pisano
subject.
he produced the
was
his time,
to
The
Renaissance medal.
first
peror John VIII Palaeologus (born 1390,
add further
first
Emperor
^ The medal was one
port against the Turks.
who had come
of the arts
which served both
ancients, in addition to their coinage
vehicle for propaganda, had,
commonly
as a
on occasions, struck very large but
in
to appeal for sup-
medium
and
of exchange
commemorative
coin-like
struck in
commemoration
coined 480/479
b.c.
Greek examples
the early
of the victory at
Athenian
Marathon (490
worn
coined during the reign of Octavius Augustus (63

cessors, portray exclusively the
still
Emperor
or
made
another type of medallion
Roman
members
its
as
imperial portrait medallions,
By
some
niates, glorifying
men
of the great
the middle of the fifth cen-
on the occasion of public
On them we
it
ing Pisanello to depict in a similar fashion the

Pisanello after
Roman
(before he created his

those ancient works,
pieces,
his
During the
late
The
men and women of his own time. Drawings by

first stay in Rome while working in the Lateran
Middle Ages there were
on
Owing
few
isolated attempts at the
medals were struck from engraved
about 1390, commemorating the recovery of that
Roman
exist other medal-like struck
to his interest in
which throughout the Middle Ages had
portraits representing Francesco Carrara
are modelled after those
ERRATA
artist
and contor-
significant role in the
probable that they were instrumental in inspir-
to the tradition of classical learning, several
by an unidentified
Milanese hands.
portrait medallions
no doubt played a
revival of medallic portrayal. In Padua, a university city
been dedicated
ex-
find represented victorious ath-
medal), have been preserved (Louvre), attesting
first
c-*"
made during
is
They were
games and
and famous writers and poets such
The Roman
of antiquity,
development of the Renaissance medal, and
first
his suc-
appearance, the contorniate. Unlike the Greek and
Terence, and others.
Sallust, Apuleius,
more
the practice of issu-
and thereafter by many of
of his family.
charioteers, mythological subjects, earlier emperors,
Horace,
dies cut
The
she obtained
imperial medallions, the contorniates had no connection with the coinage.
hibitions for presentation or sale to the spectators.
and
when
Roman Empire
b.c.-a.d. 14)
large copper pieces with raised borders, probably struck
letes
and the Damareteion medallions
b.c.)
the period of the
ing medallions was continued and developed extensively.
the
as
medallions {del{adrachms)
of the Syracusan tyrant Gelon,
During
favorable peace terms for them. P*'
tury
silver
in-
by the Syracusans out of the gold in a wreath presented by the defeated Car-
Queen Damarete, wife
thaginians to
are the
as a
pieces,
were not primarily
tended as money, but rather as rewards, gifts of grace or tribute, which were sometimes
Among
Italian
this case, in ancient coins.
called medallions. These, although official issues of the mints,
decorations.
Em-
to Ferrara to attend
which flourished during the
Renaissance because of the rebirth in Italy of interest in classical art
The
in 1438,
person to be portrayed was the Byzantine
and Western Churches and
the council for the reconciliation of the Eastern
when,
luster to his immortality
1425-48)
(c.
and one of the
1397-1455, ac. as a medallist 1438-49) called Pisanello, a Veronese of Pisan origin
most celebrated painters of
will find
imperial bronze coins,
and
sestertii.
his son,
From
city
from
both Lords of Padua,
the
same
period, there
examples, products of a Venetian family of die-engravers, the
to editorial, not author's, errors, the following corrections
should be
Sesti.
made
in
the Introductiox.
Page
[I],
Ime
17:
For out of
the gold in a wreath read out of the proceeds
from
gold wreath
[5]) înes 31-34: Read A noteworthy example is a golden lion holding a cup containing a hundred gold medals presented to Anne of Brittany (born
1477, Queen 1491-1514) in March,
P^ge
1494,
upon her
on
his
state entry into the city of
way
to the Italian
campaign.
Lyon accompanied by her husband, Charles
VIII,
who was
These
perhaps to an even greater extent than the Carrara medals, imitate ancient coins.
pieces,
^ Also
of pre-Renaissance origin are a series of cast
them made
emperors
in
two hollow
made
or
all
Roman and
subsequently joined together) depicting
shells
most of
Byzantine
important in the early history of Christianity. These medals
as well as other persons
are believed to have been
and chased medals (perhaps
in the late fourteenth century
by Flemish-Burgundian goldsmiths
and, together with a lead impression of the forementioned medal of the elder Carrara, were contained in the inventories of the collections of the great connoisseur, Jean,
1416).
Old
two medals from
copies of only
this series of
traying the Emperors Constantine the Great
both pieces
reflects
as conceived
Flemish-Burgundian
by Pisanello and
its
it
de Berry (1340-
mediaeval medallions have survived, por-
280-337) ^"<^ Heraclius
(c.
The
The medal
575-641).
end of the Middle Ages.
art at the
we know
as
general spirit of the age, with
(c.
Due
now, was a creation of the
humanistic aspirations and
the
numerous
all
of
whom
saw
in
it
another means for their
example was followed almost immediately by other
^ Soon
modern times had begun.

statesmen, poets,
artists, scholars,
persons from
all classes
to reach
an ex-
medal were
chiefly
and
larger tyrants,
own
of the
medal in
crowned heads, renowned

shared in the de-
prosperous merchants, beautiful ladies,
etc.
reproduced in "bronze eternal" and thus be immortalized. But
sire to see their features
and
glorification. Pisa-
artists; the history
of society
The
on individualism, must
early patrons of the Renaissance
art-loving princes of northern Italy, the various smaller
the ambitious condottieri,

nello's
^ The
proper,
Italian Renaissance.
its stress
have been very favorable to the development of the portrait medal, which was
tremely high degree of popularity.
style of
it
was
not vanity alone which caused medals to be made; perhaps more important, medals were meant
to be,
and were treasured
as,
objects of art, offering
mind. As such they soon became objects of great
members
besides having
of their
own
of
some
to the eye
interest to the collector.
and stimulus
The
to the
Estes of Ferrara,
family portrayed on medals, arranged for the exchange of
those bronze marvels with other reigning houses,

allists portraits
enchantment
and on occasions even ordered from
of their devoted servants.
^ Many
their
med-
other notables of that era: the
Gon-
zagas of Mantua; the Sforzas of Milan; Alfonso, King of Naples; Pope Julius
II;
and the Medicis
(who outshone them all) formed extensive cabinets of medals, some of which are
museums today. But collecting was not confined to Italy: Jean, Due de Berry in
France; Konrad Peutinger (1465-1547) and his wife Margareta (Welser) in Germany; Erasmus
in The Netherlands; to cite but a few illustrious examples, took pride and pleasure in assembling
As tokens of friendship and respect medals were precollections of medals and plaquettes.
sented to members of one's family or to friends; they were placed on tables, into vitrines, or pierced
of Florence
preserved in
and suspended from
a chain
on the wall; medals were employed
as
ornaments on objects such
boxes and book covers and, notably in Germany, on tankards and other similar
best surviving
cover are
Seifridt,
als
set
examples
is
a splendid golden chalice Melchior Pfinzing
vessels.
had made
and Martin (Germanisches National-Museum, Niirnberg). As
also
its
four medals representing Melchior himself as well as his three brothers, Sigmund,
were buried
It
of the
in 1536; into
in the foundations of buildings, as
is
historic
documents, med-
evidenced by examples found in the walls
of the Rocca Malatestiana at Rimini, the Palazzo Strozzi, the Palazzo di Venezia,
One
as
was fashionable on
festive occasions to
wear medals of
and
others.
suitable size as personal adorn-
ment; during the second part of the sixteenth century they sometimes had loops or chains
at-
tached, were
hung with
embelhshed with
pearls or
fine
enamelled scrollwork. Three such "Bijoux"
or "Gnadenpfennige" are in the present collection (nos. 36, 112,
prominently record the luster medals lent
male and female
to
and
attire.
114).
A number of paintings
Lucas Cranach the Elder in
1533 executed the portrait of a Saxonian gentleman wearing a double necklace from which
pended
medal of John Frederick the Magnanimous
is
sus-
(1503-54, Elector of Saxony 1532-47) (for-
merly in the Wallraf-Richartz Museum, Cologne). In 1569, Ludger Tom Ring the Younger portrayed Gese Reiners of Brunswick, adorned by a necklace hung with a medal (Herzog-AntonUlrich
Museum, Brunswick).
As
5*'
name and
with an inscription giving the
title
were inspired by, and often
cal
works of
Siena, or a
art as the ancient
the giants (Naples
was
(ac.
accomplishments.
It
its
many
great
in the library of the Cathedral of
gem
of Jupiter thundering against
an innovation of Pisanello. The impresa, usually
symbolic meaning, often obscure, alluding to the
emblem
soon developed into a personal
men
were formulated by learned
rules
now
197-159 b.c.)
c.
their reverse motifs from, such classi-
very popular reverse design on Italian Quattrocento medals
a personal device, the so-called impresa,
station, or
borrowed
group of the Three Graces
Museum).
with a legend, was chosen for
of the person represented, while the reverse usually
freely
group of horses from Athenion's
portrait, together
on German medals) heraldic design.
bears an allegorical, historical, or (especially

Italian artists
medal shows the
a rule, the obverse of a
as to
what constituted
of a sort,
a suitable impresa;
who knew enough
mysterious, while at the same time revealing to those
sitter's life,
and numerous
it
about the
had
to
sitter.
humanist Angelo Poliziano (1454-94) reportedly complained that every bumpkin bothered
with requests for a secret device comprehensible only
The
best
known
considerable erudition whose Dialogue of Warlilê

1555,
cast
went
into several editions within a few years.
from wax models,
impose
limits
On
flat
this the
on the
size of the
differed according to artist
disk, usually of black slate, but
wax model was
built
ably employed by Pisanello.
up
^ The
The two
and water. After the mold had been allowed
was repeated
due
to the
published in
for coins, did not
The kinds of waxes and other

The early method was as fol-
mass of wax. The
glass,
latter
formed the
base.
method was prob-
new molds
The
for
made
out of fine ashes,
two halves were removed from the
to dry, the
Additional specimens were made by

wax model could seldom be used more
in.
metal casting, as the
as often as desired.
could serve for the preparation of
others.
medals were invariably
employed
into fine clay or into a paste
model, joined together, and the molten metal poured

first
first
all
a historian of
were modelled either on separate disks or on a single
sides
model was then impressed
forming a new mold over the
its relief.
and period.
or carved out of a
salt,
this
early Italian
sometimes of wood, bone, or
The
finished
Como,
and Amorous Devices,
medal or the height of
one.
than once;
loved one, inscrutable to
a technique which, unlike the striking process
molding materials used

lows: a
to his
inventor of such riddles was Paolo Giovio (1493-1552) of
be
The
him
resulting second-generation casts in turn
still
further specimens,
and
so on.
However,
shrinkage of most metals in cooling, each successive cast became smaller. Sharpness
of detail also
would gradually
tween an early and a
late casting.
the early medallists. In this
molding material;
deteriorate,
The
method
and thus there
"lost
wax"
S*"
When
the
process also
marked
difference in quality be-
was used, though probably not by
wax model was embedded in heat-resistant

wax was melted out and the vacant space filled
the complete
then, by heating the mold, the
with molten metal.
is
mold was removed,
it
was usually necessary
to chase the sur-
medal
face of the
or
remove casting imperfections such
in order to
the like. If chasing
was done
an excessive degree, or by
to
"improvements" were attempted
if
the "trial proof,"
kept this
quent
was
owing
lead,
cast
was considered
cast
with which
too
were
raw
also used.
in appearance.
to give
it
what
is
^ The
The
artist's,
The
first
casting,
artist usually
prospective clients. For subse-
skill to
Quattrocento preferred bronze or related
silver
with a lacquer or varnish
often used for the
could be melted.
it
proof for future use and to demonstrate his
first
casts, the medallists of the
quecento onward gold and
when
to the ease
^ A metal
hands than the
then the result was often
to the point of re-engraving,
such as to destroy the quality of the original design.
edge ridges, and
as air bubbles,
less qualified
From
alloys.
the Cin-
reddish color which bronze acquires
artist
would, therefore,
The
usually called "patina."
treat the finished
recipes for produc-
ing a patina were legion, producing tones ranging from light to deep brown, from brownishyellow to green, and occasionally near-black. Sometimes medals were gilded or silvered; but
unlike a patina to which age can only add beauty, such gold and silver coverings sometimes
wore
off.
In
Italy,
medallic art reached
Mantua, Venice, Florence, and Rome.
To
medals the Renaissance produced.
trait
the founder of medallic art but also

ation
a masterpiece.
is
From
its
its
zenith during the Quattrocento, chiefly in Ferrara,
the medallists of that century
Pisanello's influence
greatest master. It
is
we owe
was enormous.
the finest por-
He
was not only
remarkable that even his
1438 to 1449 he produced a body of
first cre-
work which has never been
sur-
passed in grandeur of conception and power of composition. There exists a portrait of Pisanello
on
a medal, formerly believed to be a self-portrait, but
scotti (ac. 1444-62) of
^ Matteo
Ferrara (no. 6).
which now
ascribed to Antonio Mare-
is
was an immediate
de' Pasti (ac. 1441-68)
lower of Pisanello, perhaps even a pupil of the master.
Pisanello to the court of Sigismondo Pandolfo Malatesta (died 1468) at Rimini.
made
c.
number
of medals of the tyrant of Rimini
and of
Isotta degli Atti, a
and personal charm who became Sigismondo's fourth
tellect
1504) of
Mantua was among
the
most productive
ond
many
patrons, judging by the
number who
whose works
There De'
woman
Sperandio
Pasti
of great in(ac.
1466-
Quattrocento. For nearly forty
His vigorous
style
must have
^ At Venice during
was Giovanni
Pasqualino Boldu
^ The name
him.
sat for
half of the Quattrocento, one of the foremost medallists
(ac. 1454-C. 1477),
wife.
artists of the
years he enjoyed great popularity throughout northern Italy.
pleased
the sec-
di
reveal a particularly strong affinity for antiquity.
of Niccolo di Forzore Spinelli, called Niccolo Fiorentino (1430-1514), epitomizes Florentine

dallic art at its height.
his signature.
No
^ Toward
fewer than 130 medals have been attributed

the end of the Quattrocento there
a result of the technical achievements of Gianfrancesco
Francia
(c.
1450-c. 1517),
who experimented
similar to that of striking coins,
Medallic
from
this
art,
though
was
Enzola
to
him, of which
change
(ac.
in medallic style, as
1456-78)
and Francesco
with medals struck from engraved dies
artistically
more
allied to
me-
five bear
a process
engraving precious stones.
formerly so intimately associated with sculpture and even painting, did not benefit
more mechanical
process. Fortunately, the best artists continued to favor casting,
continued into the Cinquecento, and indeed

medallists of the Cinquecento
in
fol-
native of Verona, he accompanied
was Benvenuto
is still
occasionally used.
Cellini (1500-71).
He
is
which
^ Foremost among
known
to
the
have engraved
hard materials, and the honestone portrait (no. 36) in an enamelled frame shows the perfec-
tion to
which
portrait cutting in stone
and the
art of the
goldsmith could be carried.
Cellini,
Foppa
together with the Milanese medaUist Cristoforo Caradosso
Rome, did much
settled in
Cinquecento, Leone Leoni (1509-90), whose
was
life
in a style
lently
human
with Gianello, calling him an ox in
who
475-1 527)
in 1505
In Milan during the
was
as turbulent as that of his rival Cellini,
which much resembled Leoni's. The medal of Gianello
example, has variously been attributed to Leoni and
f'*'
Jacopo Nizzola da Trezzo
the most important medallist. Another Milanese,
worked
(ac.
improve the process of striking medals,
to
Da
della
(1515/20-89),
Torro (no.
67), for
Trezzo. Leoni appears to have fought vio-
shape; yet he probably authored the medal.
Quite a number of Cinquecento medallists, like Valerio Belli (1468-1546), Giovanni Bernardi
da Castelbolognese
practised
gem
(1496-c. 1555),
and Alessandro
Cesati, called
in hard materials. Cesati has
developed
the final
when
work
of
son Alessandro
art.
(c.
wax model,
the
hitherto just a
means
Â
for
in their style they
waxes are polychromed, and
century art toward more elaborate detail.
making medals
flourished.
itself
became
among the major creators in this medium and

own with the best miniatures of that period.
Some
of these
very special branch of medallic
Pastorino de' Pastorini (1508-92), Antonio Abondio (1538-91) as well as his
1570-1648, ac. 1595-1640) were
their
still
(ac. 1538-53), also
producing the medal,
produced some wax portraits which can hold
art of
Grecchetto
been credited with some important advances in die-sinking, and
Michelangelo expressed a high opinion of Cesati's work.

art
II
engraving, and their style sometimes betrays a hand more accustomed to working
in Italy
Among
remained rather stationary. However, some
Mola
these were Gaspare
Medici families (no. 43)
demonstrate a trend in sixteenth-
During the seventeenth century and beyond, the
(c. 1580-c.
who were
the Hameranis,
Girolamo Lucenti
years; as well as the Travanis,
1640),
of distinction
artists
who worked
for the
Savoy and
Papal medallists for almost two hundred
(ac.
1668-90),
c.
and
number
of others.
In
France, medallic art goes back to the close of the Middle Ages, and includes that group of med-
made by Flemish-Burgundian goldsmiths in the late fourteenth century. Beseries of medals commemorating historic events was produced;
already cited,
als,
tween 1451 and 1460 another
most of these had long chronogrammic

lish
from France
of coin engravers
coins.
^ During
and were struck from
commemorating
dies,
Eng-
the expulsion of the
based on designs borrowed from contemporary
the reign of Charles VIII (born 1470,
proper came into being.

of France
inscriptions,
end of the Hundred Years' War. But these pieces were entirely the work
at the
From
King
1483-98), the
French
portrait
that period date pieces presented by cities to the kings
on the occasions of
their royal visits.
noteworthy example
Anne
in
of
VIII,
of Brittany (born 1477, Queen 1491-1514)

Lyon accompanied by her husband, Charles
March,
1494,
is
upon her
who was on
his
medal
and queens
medal presented
to
state entry into the city
way
cam-
to the Italian
paign; the medal depicts a golden lion holding a cup containing a hundred gold medals. An-
homage medals
other example of such
March,
1500, this time
1515) (no. 78).
by
this
the one offered to
Anne
at a later visit to
While the
style of the earlier
medals had been that of the
1462,
late
Lyon,
King
duced the
style of the Italian
Renaissance
many
were employed
man on
of
at the
Middle Ages,
Burgundian Court of Charles the Bold, where they
Renaissance.
the French throne,
its artists,
had
Francis
among them Benvenuto
Cellini, as well as
such
and
lesser
(c.
intro-
(born 1494, King 1515-47), the
a great passion for Italian art
in
1498-
time Italian medallists, notably Niccolo di Forzore Spinelli and Giovanni Candida
1450-C. 1494),
court
is
accompanied by her second husband, Louis XII (born
first
attracted to his
known
artists as
Matteo dal Nassaro
King
(1515-c. 1547)
and Benedetto Ramelli
Monnaie du Mouhn opened and
the
(1552) to
it.
(ac. c. 1530-37).
on the other hand, patronized native-born engravers;
1547-59),
his reign that
French medals of the second half of the sixteenth
series o
century are the Valois medallions; their author was the sculptor Germain Pilon
who
in 1572
became Controller-General
which measure
as
much
such as Henry
alty
In the
etc.
first
were
him
mm.
in diameter,
made between
(c.
period was Guillaume
surface texture
is
Dupre
(c. 1574-c.
and superb technical
so fine that
it is
1535-90),
some of
cast medallions,
1573 and 1577, chiefly depict roy-
half of the seventeenth century France ranked
display an elegant style
cast, their
French mint. These large
Catherine de Medici, Charles IX, Elizabeth of Austria, Henry
II,
est medallist of the
cuted by
as 171
of the
(born 1519,
II
Laune was appointed
the French die-cutter Etienne de
^ The most remarkable
Henry
was during
it
1643).
skill.
easy to mistake
in
first
The
medaUic
sixty or
The
great-
more medals
Although nearly
them
III (no. 80),
art.
for struck pieces.
exe-
medals
his
all
num-
among whom were Jean

The former probably was second
ber of other French medallists added luster to the seventeenth century,
Warin
To Claude
only to Dupre.
the period of Charles

lic art
and Claude Warin
(ac. 1627-c. 1672)
it
reached some prominence again during the Empire in the early nine-
Germany the development of medallic art started with Hans Schwarz

1516-c. 1530). The two most prominent centers were Niirnberg, the home of
In
teenth century.
(born 1492,
have been attributed some charming portraits of English subjects from
(born 1600, King 1625-49). After the seventeenth century French medal-
declined before
(ac. c. 1630-54).
ac.
goldsmithry, and Augsburg, where metal casting was prevalent. Leipzig also deserves mention.
^ As Florence had
its
Lorenzo
loving Emperor, Maximilian

ers
and bronze
casters,
of the fine arts.
Candida (no.
wax
As
Medici (1449-92), so did the Germanic lands have an
(born 1459,
Emperor
early as 1477,
casionally used.
young
bride, the beautiful
From
boxwood, honestone, or
Mary
of Burgundy.
brought
to
While
them
all
slate; alabaster
^ While
cast,
and then
in
many
Italian artists frequently signed their
much admired
left their
as
in
German
also oc-
negative
some
medal of Erasmus
who
Renaissance med-
medals (during the early period
OPVS), German medallists usually

The models were cut either directly from life
"imago ad vivam efligiem expressa" on
German
cases subsequently chased by the artists,
the meticulousness of detail so
ceded by the proud

initials.
and mother-of-pearl were
these wood and stone models, through the intermediary of
mold, the medals were
branch
this
Maximilian had himself portrayed on a medal by Giovanni
served as the material for the models of Italian medals, the models for the early
in
art-
1493-1519), whose patronage of die-engrav-
even while a young archduke, greatly contributed to furthering
27), together with his
medals were carved
als.
de'
their
name
pre-
works unsigned or simply used

scholars believe the inscription
indicates
or, as
was more
usual,
Hans Schwarz appears to have worked mainly

5*' The boxwood model was used chiefly in
Augsburg, Ulm, and the AUgiiu; its masters were Hans Schwarz, Martin Schaffner (ac. c. 152230), Christoph Weiditz (ac. 1523-c. 1533), Friedrich Hagenauer (ac. 1525-46), Hans Kels (ac.
1527-C. 1554), and his younger brother Veit Kels (ac. 1536). Their work encompasses the period
of the boxwood model. In Niirnberg the stone model was predominant due chiefly to the work of
Matthes Gebel (ac. c. 1526-c. 1555) and Joachim Deschler (ac. 1540-c. 1569). 5*" The extent to
which Albrecht Diirer (1471-1528) played a part in the history of the German medal has long
after portrait sketches.
from
sketches, 136 of
The Augsburg
medallist
which have been preserved.
been a subject of controversy. There
however, general agreement and, in one case
is,
documentary evidence that several medals and plaquettes, even

were made
certainly
teenth century,
wax
after his designs (see, for
into the
by
his
which the
German
Italian artist
their life-like portraits
hand,
six-
from Lombardy, who came
German
of the merit of the
Some
perfect technical execution.
its
and minuteness, with

trait, to
Much
own
After the middle of the
modelling material. This technique was intro-
as
by Antonio Abondio, an
chiefly
employ of the Hapsburgs.
be found in
wood
replaced stone and
duced into Germany
example, no. 184).
at least, also
not executed by his
if
Renaissance medal
is
to
of the early productions are marvels of delicacy
and
skillfully
Italian medallist lent refinement
and
designed heraldic reverses.
ideality,
counterpart whose style did not conceal the
was modelled more
The
por-
realistically
possible lack of dignified ap-
sitter's
pearance. Faithfulness to reality was his goal, and he succeeded to an unprecedented degree.
Thus we sometimes can
and be amused
see,
councilman, church sexton, or butter dealer,
ruler, city
ject for portrayal
which has
on
medal
(see, for
as the starting point
began
At about
which was
to
to decline.
was
many
a petty
considered himself a suitable sub-
no other medallic school
is
German medal had lasted

first medals by Hans Schwarz
After the great age of the
taking the Augsburg Diet of 1518 with
it
struck medal. Portraiture no longer

earlier medals.
who
example, no. 90). There probably
us such accurate likenesses.
left
for about half a century
place
by, the unflattering pictorial record of
its
Gradually the cast medal was eclipsed by the hammerfired
by the same
vitality
and individuality
so typical of
the middle of the sixteenth century a development in technic]ue took
have a profound impact on medallic
coin press at Augsburg.
It
die-cutters such as Sebastian
rich Mueller (1654-1719),
Dadler
and
new
^ Highly esteemed during
considerable increase in production.
(ac. 1619-54),
number
of others,
of
permitting a
potentialities,
the seventeenth century were
Johann Hoehn
some
mechanical
art: the invention of the
presented the art of the medal with
whom
1637-93), Philipp
(c.
were
Hein-
also influenced by the
simultaneously developing Dutch school. In the almost microscopic detail of their medals unfold historic events
the
Baroque
is
peace
battles,
treaties, coronations,
and weddings. The sumptuous
expressed in their elaborate and ornamental designs.
sixteenth century several medallists of note
made
their
At
the beginning of the
Low
appearance in the
taste of
Countries. These
include Quentin Metsys (1460-1530), the blacksmith turned painter and medallist,
maker
of a
who modelled in stone, wood,

Venlo. The latter was in the serv-
magnificent portrait medal of Erasmus; Jean Second (151 1-36),

or
wax with
equal
ice of Floris of
Mercator was
lists
at
skill;
and Michael Mercator (1491-1539) of
Egmont, Count
work
in
t^*'
hke Jacob Jonghelinck (1531-1606) of Antwerp, probably one of the
tives of the school,
who
also
met with
lands as well as in France and
Low
known
Germany.
(ac. 1575-1602),
^ Yet with few
who was
representa-
and goldsmith.
active in
The Nether-
exceptions the medallists working in
Countries during the sixteenth century were hesitant to assert themselves in an inde-
pendent native
linck,
best
great success as a sculptor, seal-engraver,
Also prominent was the medallist Conrad Bloc
the
and diplomat. In 1527

There were other medal-
of Buren, in the dual capacity of artist
England, where he portrayed Henry VIII.
it is
style; their
works usually show strong foreign
the Milanese; in the case of Mercator
Dutch medallic school did not emerge

van Abeele
(ac. 1622-77), J^*^
FiUus
and
Bloc, the
influence. In the case of Jonghe-
German
schools.
well-defined
until the seventeenth century. Its chief masters
Lutma
(c.
1605-85),
and O. Wouter MuUer
were Pieter
(ac. 1653-88), all
skilled in the characteristically
Dutch repousse medal. In
shells
were joined together by
a rim. In addition, Jurriaan
obverse and reverse of
this process the
medal were separately formed by being hammered or pressed
the
and then the two
into relief,
Pool (ac. mid-seventeenth century) and
Jan Roettiers (1631-1703), whose descendants and relatives became coin and medal engravers in
The
Netherlands, England, and France, contributed significantly to the development of the struck
medal.
^ The
respects;
design.
plaquette
most obviously
The
is
closely allied to the
in shape, subject,
shape of a plaquette
may
medal from which, however,
and (with
it
differs in various
few exceptions) the absence of a reverse
be square, oblong, oval, circular, shield-like,
etc.
Subjects
include religious, mythological, allegorical, and historical scenes, as well as themes based on
Greek and Roman

its
portrait,
some
art or classical literature. Since
likenesses of
one of the principal features of most medals
shapes other than round, are classified as medals (nos.

others (nos. 180
and 181) are
among
listed
round uniface bronzes of figures from the

179).
Roman
and
On
described previously.
By
and from there the
many. The development

to that of the
far the greater
number
art spread
of the plaquette
were occasionally used
beyond the Alps
as a pax, a tablet to
wax
process
and Ger-
to France, Flanders,
began about the middle of the
same men who figured prominently
and
on functional or
Renaissance medal, likewise was the cradle
fifteenth century, parallel
The
medal, and flourished well into the sixteenth century.
often were the
aesthetic appeal
its
of plaquettes were cast by the lost
Italy, the birthplace of the
although
as plaquettes (see nos. 176-
In their practical application, plaquettes served as decorations
be kissed during mass.
of the plaquette,
example)
29, for
the other hand, certain small
world are regarded
religious objects; those with suitable representations
of
8,
2, 7,
the plaquettes.
In the main, the plaquette was an object of art to be enjoyed for
artistic qualities.
is
contemporary persons on bronzes which, though uniface, have
creators of plaquettes
in the art of the medal. Gianfrancesco
Parma, Cristoforo Caradosso Foppa of Milan, Fra Antonio da Brescia
(ac.
Enzola
1487-151^),
and
others were skilled in both crafts. Valerio Belli, Giovanni Bernardi da Castelbolognese, though
primarily engravers of crystal and precious stones, produced a considerable
and plaquettes
as well.
mous, although
^ Unfortunately, many
at times stylistic
tine sculptor
Donatello
(c.
number
1386-1466); an example
field
during the
late fifteenth
and
art
permits at least
of plaquettes have been ascribed to the Florenis
^ Among
the
early sixteenth centuries
Briosco (1470-1532), called Riccio ("Curly Haired").
more
a Pieta (no. 156),
another Florentine master, Agostino di Duccio (1418-98).

volved in this
of medals
of the plaquette artists have remained anony-
comparison with medals or other works of
a geographical attribution. In the past, a
number
It is
recently given to
more
prolific artists in-
was the Paduan Andrea
believed that he
may
also
have been the
author of plaquettes bearing the signature Ulocrino (Greek for "Curly Haired"). Another prom-
was Jacopo Sansovino (1486-1570), a Florentine by birth, who

Rome but settled about 1527 in Venice, which already had a long tradition
inent figure
Here
first
in
was
active in
bronze casting.
the prosperous Venetian merchants vied with each other in building opulent palaces,
whose furnishings were
collections of
vorite subjects for plaquettes
and
number
statuettes, plaquettes,
were scenes from the
did the door of the sacristy, the six

the choir,
bronze
New
Testament. For
reliefs in the choir, the
of other figures.
In conclusion
and plaquette complements many of the major
among
and medals. Sansovino's

St.
fa-
Mark's, Sansovino
Four Evangelists on the balustrade of

it
may
be said that the art of the medal
arts of the Renaissance.
These
objects,
by virtue
of their small size, have withstood the vicissitudes of time, and have played an important role in
contributing to our understanding of the Renaissance and Baroque periods.

catalogue, the arrangement of the Italian medals
up
to the
5-*^
In the present
time of Benvenuto Cellini follows the
order of G. F. Hill, Corpus of Italian Medals of the Renaissance before Cellini.
German medals
of the sixteenth century have been grouped according to the order established by G. Habich, Die
Deutschen Schaumunzen des XVI. Jahrhtmderts.

Director of the
first
Bowdoin College Museum
sparked the idea of
this exhibition.
of Art,
He
^ Our thanks
are
due
whose enthusiasm
for
most generously gave of
edge and also shouldered the burden of preparing

interest to old friends of the
nating
this catalogue,
medal and plaquette and
to
Mr. Marvin
his time
which
S.
Sadik,
medals and plaquettes
it
is
and wide knowlhoped
will be of
will help to introduce others to this fasci-
field.
L.S.
medals and plaquettes have been reproduced

to exact size.
Bibliography and indexes
follow the catalogue.
ITALIAN MEDALS TO THE TIME OF
BENVENUTO CELLINI
ANTONIO PISANO
Medallist
called
PISANELLO
c.
1397-c. 1455
from 1438-49
Antonio Pisano was probably born at Pisa about 1397. In his younger
moved to Verona, where he was surnamed "Pisanello" (Little
years he
He already was a highly distinguished painter of fresand animals before 1438 when his first medal, marking
the beginning of Renaissance medallic art, was executed.
man from
Pisa).
coes, portraits,
In the history of art, Pisanello ranks as the founder of the cast
indeed, as the most celebrated of
was
a painter,
work
and he
all
medal and,
medallists; but he never forgot that he
signs his medals
OPVS PISANO PICTORIS
(the
of Pisano the painter)
His medals reveal the trained eye of the painter in the clear and subtle
they combine realistic rendering, sometimes ex-
lines of the portraits;
traordinarily severe, with dignity of character.
and
observation of nature
mals (see the reverses of
The
The
reverses
show a keen
and ani-
liking for rocky landscapes

4).
medallic creations of this great master date from the year 1449;
last
he died
marked
nos. i and
a
c.
1455. (For a portrait of Pisanello see no. 6 by Marescotti.)
Filippo Maria Visconti 1392-1447,
Bronze medal, 100 mm. diam., c.

PHILIPPVSMARIA ANGLVS
PAPIE ANGLERIE
(The Duke lost Genoa
of
Milan
1441
DVX MEDIOLANI ETCETERA

QVE COMES AC GENVE DOMINVS
in 1435, but kept his title.) Bust right,
up
:ap with edge turned
Duke
all
around and
soft
wearing
crown. Brocaded
dress.
Plain linear border.
Hill, Pisanello, pp. 125
Habich,
pi. 11,
ff.
Tresor, Pisano,
pi.
i,
Friedlaender, p. 36, 17
Rizzini, no. 20
Supino,
pi. VIII,
Venice, Correr
17
Museum,
The dragon on
no. 18
the Duke's helmet appears in the coat of
arms of the
Viscontis.
Provenance; Count Trivulzio Coll.

2
Francesco
Sforza 1401-66,
Duke
of
Octagonal bronze medal, H. 82 mm.,

Bust
left,
wearing
tall
No
reverse.
the following:
Hill,
Corpus, no. 23,

i, 8, 22
pi.
Armand,
Heiss, Pisano, p. 15, 3; pi. 11,

Hill, Pisanello, p. 127, pi. 32
Habich,
Rev.
OPVS PISANI PICTORIS
on a sunken band, below. Mountainon one of which is a colossal female

In the foreground, three horsemen. The Duke to
3us landscape with tops of buildings

itatue
holding sceptre.
armor with biscione crest to helmet, lance erect, horse prancpage on horseback much foreshortened from behind;
jetween them armed horseman to front. Plain linear border enclosing
left
ing;
in full
on
right, small
ipper part of design.
Corpus, no. 21,
\rmand,
i,
8,
êiss, Pisano,
pi.
23
11,
2; pi.
i,
pi.
11,
49
mm.,
c.
1441
cap with soft round crown and edge turned up
around; plate armor over shirt of mail.
cf.
Milan 1450-66
W.
all
on which is a mast with inflated sail and

background, on rocky hill, eagle seen from
in background, tall square pillar
Lionello d'Este 1407-50, Lord of Ferrara 1441-50
Bronze medal, 69
mm.
CCCC
XLIIII; in
behind, perched on
diam.
LEONELLVS MARCHIO ESTENSIS
(words
separated
by
olive
branches). Bust right, with short curly hair, wearing surcoat with scale
leafless tree.
Hill, Corpus, no. 32, pi. 6
Armand,
i,
3,
Heiss, Pisano, p. 19, 11; pi. iv, 2

Hill, Pisanello, pp. 148 ff., pi. 39
decoration over mail.
Habich,
pi. iii, i
Friedlaender, p. 34, 12;

Supino, no. 5
British
British
Rev.
on
OPVS PISANI PICTORIS A
seated
Hill,
nude old man seated facing

facing left, seen from behind.
a
left,
left
mast with
right;
on
inflated sail; at
right, a
pi. iv
Museum, Select Italian Medals,

Museum, Guide, p. 10, fig. 3
pi.
foot,
its
nude young man
Corpus, no. 25
Armand,
i,
3, 5
Heiss, Pisano, p. 19, 6; pi.
iii, i
The mast with
the
sail is
the Este impresa
known
as the Vela.
Lionello d'Este
Bronze medal, 100
mm.
diam., 1444
LEONELLVS MARCHIO
ESTENSIS in two lines across field;
above,
GE R AR
below,
D FERRARIE REGII ET MV
TINE
Rev.
Bust
OPVS
left,
with short curly
PISANI
hair,
PICTORIS
wearing richly brocaded
dress.
Above, on rocky ground, a lion
standing right, singing from a scroll of music held by nude Cupid
left;
The reverse. Amor teaching the lion (Lionello) to sing is one of the most
humorous and one of the finest of Pisano's compositions. The medal with
its poetic charm commemorates the marriage of Lionello with Maria of
Aragon, the natural daughter of Alfonso of Naples (April 1444) Lionello
;
is
GE(ner) R(egis) AR(agonum). The eagle probably is the eagle

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

1431-46
Bronze medal,
mm.
89.5
diam., 1446
PAVPER
PR
lOHANES
DEVOTISSIMVS
RIENM
tonsured, with rays issuing from
Bust
left,
EPS
crown
FERRA-
of head, wear-
ing cloak. In front, mitre.

Rev.
I
EGO SICVT OLIVA FRVCTIFICAVI SV A VITAL ODO

DI In field left, MCCCC XLVI In field right, MARE SCa
DO
TVS
- The Bishop, in loose undergarment, kneeling left in adorapouring on him from heaven; an olive tree sprouting from his
head; in front of him, his shoes; behind him, his cloak.
-
tion, rays
Brescia (Brozzoni Coll.), (illustrated in Hill, Corpus)
Armand,
i,
29, 8
^snheimer, no. 13,
Heiss, Niccolo, p. 22,
now
i
Morgenroth
in
pi.
11,
FERRARESE OR OTHER NORTH ITALIAN ARTISTS,
Coll.
1470-1500
xoehler, xlx, p. 73
Habich,
pi. xvii,
-riedlaender, p. 54, i; pi. x
Mazzuchelli,
i,
ix,
Un}{notvn
Rizzini, no. 55
British
British
Man
W.
Rectangular bronze medal, H. 79.5 mm.,
Male bust

pi. 13,
left,
57.5
mm.
wearing conical hat and robe with pleated
front.
No
rhe halo does not imply an official beatification, but is an anticipation; the
nedal must have been made immediately after the Bishop's death. He is
described as Blessed in a biography written before 1501
(Gruyer,
i,
cf.
reverse.
Hill, Corpus, no. 126 (69
Provenance: Luccardi
x 48
mm.)
Coll., pi. 42, no. 13
p.
:6i).
Unknown Boy
Rectangular bronze medal, H. 66.5 mm.,
Antonio Pisano called Pisanello

Bronze medal, 57
PISAN\'S
.rumpled
mm.
diam.,
PICTOR.
Bust
c.
c.
Bust
1397-c. 1455
left,
with long
hair,
W.
53.5
mm.
wearing round cap; bust loosely draped.
1440-43
wearing brocaded dress and high,
left,
soft,
beretta.
No
reverse.
Hill, Corpus, no. 140, pi. 27 (46 x 38

Hill,
Dreyfus
Coll., pi. xiv,
FERRARESE
c.
mm.)
47
Coll., pi. 42, no. 12
1500-30
Remo Ducal Secretary to Alfonso I

mm. diam.
OPIZO REMVS ALFON ESTEN DV
Opizo
1505-34
Bronze medal, 68
with bobbed hair, wearing cap with back

toned in front. Below, a
Rev.
(spray)
(spray) in conventional laurel
wreath with spray rising from bottom.

Hill,
Corpus, no. 87,
Armand,
i,
9,
pi.
20
25
Tresor, 1,1,1
Habich,
pi. xi, 4
Rizzini, 22
Supino, 19,
pi. i
pi. IX
PMIA, p. 31, 5; pi. xvni

British Museum, Select Italian Medals,
Hill,
pi. 13,
Heiss, Pisano, p. 9
Ferrer, iv, 573 (attributed to Pisanello), this
G. F. Hill reads the initials
on the reverse
specimen
as
meaning
Fides, Spes, Karitas, lustitia, Prudentia, Fortitude,
Provenance: Loebbecke
Coll.,
on the cover of the catalogue.
Munich
1908, no.
the seven virtues:
Temperantia.
3, pi.
i,
also illustrated
fig
flap
branch. Very high
III
SECRETA
turned up, and

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

SISMONDVM
CCCC XL VI The castle of Rimini.
ARIMINENSE
Rev. Jason and the dragon (from Fra Antonio da Brescia's plaquette).
Armand,
De
Rev.
11,
92, 15
Ricci, Dreyjtis Coll., no. 116, pi.
Loebbec\e
Munich
Coll.,
xxxiv
1908, no. 26, pi.
v (chased)
MATTEO
DE' PASTI (Matteo
di
Maestro Andrea
de' Pasti) ac.
1441-68
This accomplished Veronese architect, sculptor, painter, miniaturist, and
medallist
di
heard of in 1441 at Venice, where he worked for Piero

he settled in Rimini, soon becoming perthe court of Sigismondo Malatesta. In 1454 he is referred to
is first
Cosimo
de' Medici. In 1446
sona grata at
Hill, Corpus, no. 174, pi.

33 (London)
Numismatic Chronicle (1917), p. 308, no.
Heiss, Alberti,
Fabriczy,
etc., p. 31, 10; pi. v,
pi. ix
Supino, no. 28
Hill, Pisanello, pi.
66
as "noble."
British
Museum,
medals of Sigismondo were made between 1446 and 1450. The

castle of Rimini on the reverse ranks as one of the finest representations
of a building on any medal. De' Pasti's versatility and reputation as an
artist were enormous; it may be said that, as a medallist, he took up the
Calabi
&
mantle of Pisanello.
Provenance: Luccardi Coll.
De'
Pasti's
14
Select Italian Medals, pi. 11,
Cornaggia,
p.
95
Rimini Casde, the "Rocca Malatestiana," begun in 1438, was finished in

1446. This reverse is copied in Piero dei Franceschi's fresco of Sigismondo
kneeling before his patron saint in San Francesco, Rimini.
10
Sigismondo Pandolfo Malatesta 1417-68, Lord of Rimini 1432-68
II
83.5 mm. diam., 1446

SIGISMONDVS PANDVLFVS DE MALATESTIS S
RO ECLESIE C GENERALIS Bust left, wearing cuirass and surcoat. The abbreviations stand for: SACRAE ROMANAE ECCLESIAE
CAPITANVS GENERALIS.
Sigismondo Pandolfo Malatesta
Bronze medal,
(rosette)
Bronze medal, 82
mm.
diam., 1446
Obverse same as in preceding number.

Rev. Fortitude, crowned, cuirassed, and in long tunic, seated facing front
in a
meadow on
a throne, the sides of
which are formed by foreparts of
elephants. She holds in both hands a broken column. Below: (rosette)
Hill,
CCCC XL VI
(rosette).
Corpus, no. 179,
Armand,
Tresor,
i,
11,
pi.
33 (no. 174 obverse, no. 178 reverse)
20, 10
pi. iii, i
Numismatic Chronicle (1917),
p. 309, no. 18
Rizzini, no. 35
Metzler, no. 6, pi. ni
& Cornaggia, p. 39, no. 6 (London, George III) and

Dreyjus Coll., no. 61 (same reverse), pi. xviii
Calabi
Hill,
Heiss, Alberti,
etc., p. 31,
no. 11; pi.
vi,
p.
97
12
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.

The
birch rod
is
the symbol of
command.
arm,
is-
Friedlaender, Berliner Blaetter
(1866), pp. 202-207,
iii
pi.
xxxv
(attrib-
uted to Filippino Lippi)
mm.
Bronze medal, 80
SIGISMVNDVS PANDVLFVS
wearing plate armor over mail
CASTELLVM
Rev.
XL VI The
Armand,
Bust
left,
ARIMINENSE
M CCCC
(1923/4), p.
EN BOnonia"; by Milanesi (Bibl.

"Bona Franciscus Panini Hoc fecit Ferrariae ENcenia" or
"Francesco Panini Horafo Ferrarese Fece."
34
Com.
Xuniismatic Chronicle (1917),

& Cornaggia, p. 42, 12
19, pi. iii, 4
In 1503 Lucrezia wrote to Bembo asking him to suggest a motto for this
medal. The lettering on the tablet has been analyzed by Friedlaender:
PHilippi Filius Fecit
"Filippinus
pi.
20, 12
i,
Arethuse
Nanni, 1902
Rimini.
Corpus, no. 184,
Hill,
MALATESTA PAN
shirt.
SISMVNDVM
castle of
Bode, Zeitschrift, p. 37
Habich, pi. lxiv, 4
diam., 1446
p. 307, 12
Siena)
Provenance: Elkan Coll. 1934, no. 21 (as "Maitre a I'Amour captif")
Calabi
GIANFRANCESCO ENZOLA
MANTUAN
in the
manner
ALARI BUONACOLSI
of
called
PIERO JACOPO DI ANTONIO

L'ANTICO c. 1460-c. 1528
1456-78
ac.
Ferrara. His early medals are
on a
small scale, and for a while he tried to strike his medals instead of casting them, but the struck products never attained the fineness of his cast
Among
Giulia Astallia
Rev.
left,
Hill,
head bent a
fillet,
bodice laced in
at the sun's rays issuing
from
Phoenix on burning
a cloud.
Habich,
(1923/4), p.
Friedlaender, p. 129
i
On
p. 16, fig. 13
17, pi. ni, 2
Hill,
Medals
Hill,
Habich,
dell' Arte III (1890), p. 31
pi. xli,
p. 23, pi.
11,
i,
8,
who, having been violated by
Mantua (1483-1510), drowned
Bishop
(leaf)
d.
left, in
high
relief,
(leaf)
AC FORMAL PVDICITIA PRAECIOSISSIMVM
(two leaves on stalk). Nude Amor, blindfolded, tied with hands behind
lis back to a laurel tree, on which are suspended on left a broken quiver;
>n right, a trophy-like arrangement of a tablet inscribed
iN, a violin and

nusic,
-fill,
its
bow
string,
Corpus, no. 233
Vrmand,
-oville.
i,
BO
ac.
1466-1504
118, 3
Gazette des Beaux Arts, 39 (1908), p. 387
became too
feeble to continue his
work, and
a year
he died in Venice, where he had been active as a cannon-founder.
pecially
fond of
is
his
characterized by vigorous portraiture. Goethe was
works and ranked him
first
among
the Italian
es-
med-
allists.
17
Fra Cesario Contughi of Ferrara

Bronze medal, 84 mm. diam., First Ferrarese period (1462-77)
FR CESARIVS FER ORDINS SER B M V(rose)DIVIN
L T EXELLEN DOC AC DIVI VER FAMOSIS PREDICA
TOR
FPHFF
Elderly bust
wearing habit with hood over head.
left,
placed like a psaltery, a bundle of sheets of
and a bow with broken
1504, Sperandio
Sperandio's style
MVT
heavy hair covering temples and
which is seen; low dress

shoulder with ring; double cord with pendant on breast;
VIRTVTI
SPERANDIO OF MANTUA
later
straight truncation.
Rev.
11,
reverse
fame spread over the entire north of Italy as a goldsmith, sculptor, architect, medallist, and cannon-founder. He was mainly active in Ferrara,
Faenza, and Bologna.
1512
with a braid drawn from temples across and knotted behind, at

left
xxi
41; Friedlaender, p. 116.
By
mm. diam., c. 1505

BORGIA (leaf) ESTEN FERRARIAE
Bust
p. 115, i; pi.
Probably born in Mantua about 1425, Sperandio moved at an early age to

Ferrara, but always remained proud of his Mantuan citizenship. His
ihoulders tied together in a pigtail, beginning of
on
Pearled border.
tree.
45
a servant of
herself; the
15
fastened
pi.
Lucrezia Borgia 1480-15 19
.leck,
shows the Duke's impresa (motto: Quietum nemo me impune lacesset) cf. Paolo Giovio, Dialogo dell'I mprese (Lyon 1574), p.
The
erected to her.
Bronze medal, 59.5
pi. lvii,
ff.
MANTUAN close to GIANCRISTOFORO ROMANO
REGII
border.
PARMENSIS OPVS
44, 6
Litta, Sforza, pi.
generally identified with Giulia of Gazzuolo, heroine
is
Bishop Lodovico of
Supino, no. 51
Matteo Bandello's Nov.
LVCRETIA
BELLI
Rizzini, no. 71
p. 16, fig. 13
liad a statue
FR ENZOLAE
IIII
right, elderly,
Simon, no. 128
Weimar, GoetheSammlung no. 186

Giulia Astallia
i,
Friedlaender,
Select Italian Medals, pi. 19, 5

of the Renaissance, pi. vii, 2
Revue Numismatique (1892), pp. 485

11,
field
LVI Bust
F Pearled
Corpus, no. 281,
Armand,
Burlington Magazine xx (Oct. 1911),

Tresor,
Roville, p. 205
Museum, Guide,
British
rocky ground,
attached by a chain to the
Museum,
British
lO
M CCCC
greyhound seated left under a fruit tree; a hand issuing from a radiant cloud touches him; below him, on the ground, a bridle
Fabriczy, p. 49
Supino, no. 96
Simon, no. 123

Archivo Storico
mail under plate; across
Rev. Artist's signature:
Museum, Guide,
Arethuse
in shirt of
Bode, Zeitschrift, p. 37
British
Duke of Milan 1450-66

mm. diam., 1456
SFORTIA VICECOMES MLI DVX
Bronze medal, 42.5
83.3
i,
pi. lv,
16
(Biscione) FR
PATER ET PACIS AVTOR
Corpus, no. 218
Armand,
En-
Francesco I Sforza 1401-66,
EXEMPLVM VNICVM FOR ET PVD

up
whom
little for-
neck open.
pyre, looking
various employers was Francesco Sforza,
artist's
the following number).

of girl
ward, hair in long braid knotted up and tied with

front,
the
zola portrayed on several medals, the earliest bearing his signature (see
Bronze medal, 63 mm. diam., c. 1485

DIVA IVLIA ASTALLIA Half -figure
A.C
Parma
Parma and
chiefly at
ones, especially in the portraits.
14
of
Enzola worked
Rev.
INSPICE
MORTALE GENVS MORS OMNIA DELET
and in arc below: OPVS SPERANDEI Fra Cesario, wearing long tunic,
and scapular with hood over his head, seated on rock three-quarters right,
resting head on left hand, and contemplating a death's head on the
ground to right.
Corpus, no. 363,
Hill,
Armand,
61
pi.
67, 16
i,
Heiss, Sperandio, p. 36, no. 16

Foville, p. 40, 6 (assigned to 1467)
Gruyer, p. 640
Weber, pp. 531-532
GIOVANNI (ZUAN) BOLDtJ

ac. 1454-C.
(Giovanni
Although Boldu describes himself on

is
di
Pasqualino Boldu)
1477
definitely
known
medals as a painter, nothing

may, however, have worked in
his
He
of his paintings.
Venice, both as a painter and as a medallist.
Boldu had
and in the case of the

number), the obverse, except for
taken from a Roman coin. He doubdess was
a special affection for classical subjects,
Caracalla medal
(see the following
minor alterations, is directly

one of the most important Venetian
medallists.
18
Emperor Caracalla 211-17
mm.
Bronze medal, 90.4
ANTONINVS
PIVS
diam., 1466
AVGVSTVS
youthful Caracalla facing
Laureate and draped bust of the
left.
Rev. 10 SON FINE in an arc

CCCC LXVI The youthful artist
above. Below, in a sunken arc,

Boldu seated on a rock. To the right
the winged genius of death, seated on the ground, holding a flame (symbol of the soul) in his left hand and resting his right elbow on a human
skull. Pearled border over upper part of design.
VETTOR
1455/60-1537
Armand,
i,
37, 4
530
Heiss, Venetian Medals, p. 107, pi. 11, 3
Spitzer Coll., no. 1335, pi. 11, 35 (now Paris)
Weber,
Loebbec\e
Coll.,
Munich
1908, no. 10, pi. ni
pi.
xiv

Revue Numismatique (1895), p. 567
British
ANTONIO GAMBELLO
called
CAMELIO
Camelio worked as engraver to the Venetian mint from 1484 to 1523, but
probably was active as a medallist at an earlier stage. He also experimented with struck medals, but his cast pieces are doubtless the finer
ones. The two medals of Gentile Bellini and his brother Giovanni are
among Camelio's most beautiful creations. He died in Rome, where he
was employed as Superintendent of the Papal mint. During his last
decade he did very little work.
p.
Supino, 48
DI
pi. xii, i
British
This medal
is
generally attributed to Boldu, based
reverse composition
is
no resemblance
broader than
Roman
little
is
aureus,
is
upon the
fact that the
identical with that of Hill, Corpus, no. 421.
There
in lettering; in addition, the style of the obverse
is
The head of Caracalla is taken from a

which the Emperor is facing right. The
usual with Boldu.

cf.
Cohen
genius on the reverse
96, in
is
after a design
by Pietro da Fano.
Provenance: Count Trivulzio Coll.
19
Giovanni Bellini
c.
1430-1516
mm. diam., c. 1495

lOANNES BELLINVS VENET PICTOR OP
Bronze medal, 58
hair, plain cap, dress
Rev.
Owl perched
left
Hill,
Corpus, no. 438,

i,
with long
pi.
FACIEBAT
ET
Pearled border.
83
115, 2
Habich, p. 94
Fabriczy, p. 78,
Hill,
left,
on fragment of a branch; above, VIRTVTIS
INGENII; below, VICTOR CAMELIVS

Armand,
Bust
with stole over right shoulder. Pearled border.
Dreyjus
pi. xvi, i
Coll., p. 12, no. xii
Heiss, Venetian Medals, p. 123, pi. vn, 2
Friedlaender, p. 95, no. 4;

Hill,
The
PMl. l,
last
p. 39, 14; pi.
pi. xvii
XX
two words of the obverse legend stand
OPTIMVS.
Provenance: Count Trivulzio Coll
for
PICTORVM
BOLOGNESE, after FRANCESCO RAIBOLINI

FRANCIA c. 1450-C.1517
IL
called
22
Francesco degli Alidosi, Cardinal Legate of Bologna and Romagna,

1508-1
Bronze medal, 61 mm. diam.

FR ALIDOXIVS CAR PAPIEN BON ROMANDIOLAE Q C
LEGAT
Bust right, wearing a bishop's cape and beret. Pearled border.
VENETIAN, EARLY SIXTEENTH CENTURY

20
Fra Giovanni Cornaro Venetian Benedictine of the Abbey of Pra-
Abbot of Santa Giustina of Padua 1507-14
glia,
mm. diam.
CORNELIVS MONA COR CASIN COLVMEN Aged
Bronze medal, 44
10
bust
left,
tonsured and almost entirely bald, wearing Benedictine habit with small
hood.
PIETAS EVANGELICA A
Rev.
shepherd standing three-quarters
left,
looking to front; he carries crook in right hand, and a sheep on his

shoulders,
and drives
a flock of sheep past a
palm
on which
tree
is
pelican.
Corpus, no. 527,
Hill,
Armand,
Habich,
96
pi.
70, 5
11,
pi. lxviii, 8
Simon, no. 285

Rizzini, no. 495
Heiss, Venetian Medals, p. 180, pi. xii, 7
Keary, no. 73
British
Museum,
Select Italian Medals, pi. 38, 5
Loehr, no. 311, pi. xxvii

Hill, Dreyjus Coll., no. 168,
pi. xliii
FRANCESCO RAIBOLINI
called
IL
FRANCIA
c.
i45o<. 1517
From about
1508 until his death Francia was in control of the Bolognese

mint, working for Julius II, after the Pope had taken the city from Gio-
vanni
Bentivoglio in 1506. Prior to that, according to Vasari, Francia
II
who in 1494 had been granted the right of

coinage by Emperor Maximilian. Francia was also a goldsmith and
Rev.
painter.
certain nature in his
cut dies for the Bentivoglio,
The following medal
has been attributed to Francia.
Duke
Bentivoglio 1462-1506,
II
Hill,
of
Bologna 1494-1506
mm. diam., 1494

lOANNES BENTIVOLVS II BONONIENSIS
hair, parted to
show
the ear, wearing
doublet and coat with open

(in six lines)
Corpus, no. 606,
Armand,
Herrgott,
i,
104,
pi.
pi.
IMPERATORIS
ADASTRA.
Jupiter,
i,
pi.
lxx,
108
MVNVS
Habich,
pi.
lxx, 5
xxxni, 3
Saglio, L'Art, liv (1893), pp. 125-131
Tresor,
i,
pi.
Fabriczy, p. 93
Venturi,
vi,
800
Friedlaender,
p. 176, pi.
xxxiv
Simon, no. 132
Monete, no. 16
Rizzini, no. 135
pi.
xxxiv,
Supino, no. 228,
pi.
xxxi
British
Simon, no. 131

Supino, no. 222
British

Museum, Guide, p. 23, no. 50
pi. 42, 2
Cardinal Francesco degli Alidosi was a favorite of Pope Julius
Keary, no. 77
Museum, Guide,
Dreyjus
109
Revue Numismatique (1914), pp. 98 ff.

Hill, Medals oj the Renaissance, pp. 64-65
xxxi, 2
Friedlaender, p. 173,
British
turned up;
pi.
116, 45
Zeitschrijt, xv (1904), p. 40
11,
Foville, p. 55
Litta, Bentivoglio,
Habich,
xvni, 86
Mazzuchelli,
flap
Pearled border.
Pearled border.
pi.
Bode,
Bust right, with long
low cap with back
MAXIMILIANI
MCCCCLXXXXIIII
collar.
Corpus, no. 610,
Armand,
Bronze medal, 28
Hill,
RIS
hand, and holding an object of unright hand, standing on a car drawn to right along
left
border.
Giovanni
Hill,
CVRRVQ CITODVCE
clouds by two eagles. Below, signs of Pisces and Sagittarius. Pearled
21
Rev.
HIS AVIBVS
wielding thunderbolt with his
Coll., no. 184, pi.
Vligeon, Les Arts
24
xlvi
p. 22, fig.
(August 1908),
p. 12, no. xxiii
II.
After
the loss of Bologna to Giangiacomo Trivulzio, the Marshal of France,

Alidosi was careless enough to accuse the Pope's nephew, Francesco
Maria della Rovere, of misconduct and to blame the military reverses on
him. Francesco Maria thereupon stabbed his accuser to death. According
he suspected Ahdosi of treachery on be-
to another version of the story,
half of the French.
graved) and
SIXTE-POTES
arm on
Constancy, nude, standing to front, looking
column, her right on tall staff, and holds

At her feet, on the right, a group of
crouching Turkish captives, arms and banners; on left, galleys in the harleft;
she rests
left
fluted
a long scarf passing across her waist.
bor. Pearled border.
CRISTOFORO CARADOSSO FOPPA

One
ac.
of the best artists of the fifteenth century,
The motto
1475-1527
Foppa
is
generally
known
by his second name, Caradosso; he worked chiefly in Milan until the

of Lodovico
il
remainder of
Moro. In 1505 he
his
settled in
Rome, where he
fall
stayed for the
life.
His square medal with the portrait of the old warrior, Giangiacomo
Trivulzio, is indeed unusual for its shape.
from
is
Virgil (Aen. vi, 854).
Hill,
Corpus, no. 751,
Armand,
i,
50, 10
Bonanni,
i,
91, no. 9
Venud,
p. 36, no. vi
Programm zur
Jenaischen Literatur-Zeitung (1810), p. viii
p. 182
Giangiacomo Trivulzio 1441-1518, Marshal of France 1499

Square bronze medal, H. 46 mm., W. 46 mm.
Heiss, Florentine Medals,
MAR VIG FRA MARESCALVS
Fabriczy, p. 108,
Martinori, p. 29
Laureate
with long hair, wearing plate armor over gorget of mail. Inscription between two outer and one inner circles; in the four corners are
bust
left
four shields: i) Trivulzio (paly of six), 2) cross pattee within a flaming

circle, 3) biscione on a shield, 4) on a shield, three brands in pale, each
carrying two buckets. Double outer border interrupted by these shields.
the
126
pi.
23
10 lACOBVS TRIVVLS
The medal commemorates
expulsion of the Turks from Otranto in 1481 by troops partly contributed

by the Pope.
Hill,
Roman
Habich,
52,
i,
Medallists, pp. 30
pi. xxxiii,
and
32, pi.
i,
Andrea
Friedlaender,
pi. iv, i
pi. xxi,
Guacialoti, p. 14, 8; pi. in, 7

Rizzini, no. 41
xxiv
pi.
Rovere, Sisto IV, no. 4

pi. xiv
Litta,
Supino, no. 61,
Keary, no. 311
Museum, Guide,
British
26
p. 24, fig.
Louvre, Catalogue des Bronzes (Paris 1904), no. 466

Hill, Dreyjus Coll., no. 209, pi. lui
Migeon, Les Arts (August 1908),

Forrer, n, 331
LYSIPPUS ac. 1471-84

Known under the pseudonym
is
unknown. He was
Nearly
the
Roman
name
of Cristoforo di Geremia.
seem
to
have been connected with the Papal
University. His medals are distinguished by their fine
and the preference
lettering, their sense of proportion,
EXPVGNATA ALE XANDRIA:

DELETO EXERCITV LVDOVI CVM SF MLI DVC EXPELLIT. REVER SVM APVD NOVA RIAM STERNIT CAPIT BeRev. Nine lines of inscription: 1499
of "Lysippus the Younger." His real
nephew
the artist's clients
all
Curia or
p. 11, no.
(ill.)
leaf or pair of leaves as
for the use of a
an ornament (see no. 26).
25
low:
Raised linear border.
leaf.
Tresor,
i,
Armand,
Bronze medal, 42
xi, 3
SIXTVS
no,
i,
IV
Sixtus
11
tiara, cope,
Habich,
Van
pi. lxvi, i
Mieris,
Koehler,
11,
i,
p.
Rev.
328
p.
49
ill.
p. 139.
It is
and Trivulzio's appointment
probably one of the best portraits of
this great
condottiere that have been preserved.
Coll., 1908, no. 59, pi. 6
ANDREA GUACIALOTI
Guacialoti
is
or
GUAZZALOTTI
generally regarded as a
SACRI
CVLT
Bust
left,
wearing
facing front, wearing cope, hands joined in prayer;
placed on his head by
is
Anthony on
right
(who
St.
Francis on
holds a fire)
member
Hill,
left
(who
holds a cross) and
both have the nimbus. Pearled
Corpus, no. 807
Armand,
n, 62, i; ni, i8o, a
Bonanni,
p. 91, 3
Venuti,
p. 33,
Tresor,
i,
in
xxiv, 3

1435-95
Thurston,
of the Florentine School,
medals are directly or indirectly connected with

Rome. He was a clerk in the Papal Curia until 1467, in which year he retired to a canonry in Prato. There, besides attending to his clerical duties,
he cast his own and other artists' medals, one of them the medal by
although almost
MAX
large circular morse. Pearled border.
border.
This specimen.
the capture of Alexandria
as Marshal of France.
St.
diam.
HEC DAMVS IN TERRIS AETERNA DABVNTVR OLIMPO
a tiara
Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 1400-
Commemorates
and
The Pope, enthroned
Litta, Trivulzio, no.
1600, no. 312,
mm.
PONT
IIII
all his
Bertoldo on the Pazzi Conspiracy (see no. 28).
p.
Burlington Magazine (1909),

Martinori, p. 26
Hill,
Roman
Habich,
p. 179, i
43
Medals, p. 35,
p.
280
pi. v,
pi. lxi, i
Simon, no. 338

Rizzini, no. 39
Litta,
24
Rovere, Sisto IV, no. 2
Supino, no. 189
IV (Francesco della Rovere 1414-84) Pope

mm. diam., 1481
SIXTVS IIII PON MAX SACRICVLT Bust
Sixtus
1471-84
26
Bronze medal, 60
left,
wearing
tiara,
Bronze medal, 42.5
cope and morse. Pearled border.

Rev.
PARCERE SVBIECTIS ET DEBELLARE SVPERBOS; in the

CONSTANTIA Across the field: MCCCC-LXXXI (en-
exergue:
Giovanni Alvise Toscani
mm.
lOANNES ALOISIVS
wearing round cap and
d. 1475,
Milanese
jurist, orator,
and
poet.
diam.
TVSCA
close-fitting
AVDITOR CAM
Bust facing
gown. Pearled border.
left,
Rev. (two leaves on stalk)
VICTA lAM NVRSIA FATIS AGITVR
Nep-
tune nude, mantle arched over his head, holding trident in right, dolphin
in
left,
Hill,
facing front in sea-car
Corpus, no. 8ii,
Armand,
11,
pi.
drawn by two
sea horses. Pearled border.
pi. xix,
i,
and
pi. xviii,
141
pi. i; pi. x, vi
11,
Baldass, xxxi (1925), p. 249
Rizzini, no. 565

British Museum, Guide, p. 28,
28, 13
i,
pi. xiv,
Mieris,
Herrgott
132
Rizzini, no. 443
Mazzuchelli,
Heraeus,
Van
fig.
30
Supino, no. 155

Tresor,
Hill,
i,
xxxix, 5
Coll., no. 220, pi. lvi
pi.
BERTOLDO
Dreyjus
Bertoldo
GIOVANNI CANDIDA
more
is
GIOVANNI
(Giovanni di Salvatore Filangieri)
c.
a noble Neapolitan family,
Candida grew
to distinction
in the diplomatic service. In 1477, after the death of Charles the Bold,
Candida became secretary to Maximilian I and Mary of Burgundy at the

court in Ghent. Maximilian and the beautiful young Mary were married
that same year. The charming medal which Candida executed of the pair
on the occasion of their marriage is among the artist's notable produc-
c.
1420-91
remembered
often
own
having made his
angelo's master than for his
1450-C. 1495
Descended from
DI
as Donatello's pupil
productions.
He
and Michel-
did not cast his
own
medals but, after

models, left the casting to others.
The medal on the Pazzi Conspiracy was cast by Andrea Guacialoti. Bertoldo's medals are low relief, usually crowded with many small figures
and rather
restless.
28
Lorenzo 1449-92 and Giuliano de Medici 1453-78

Bronze medal, 63.5
mm.
diam.
tions.
The well-known
man
Hans Memling in
Nero may possibly be
painting by
holding a coin of
Candida, though some experts believe
it
the
Antwerp Gallery
LAVRENTIVS MEDICES.
of a
the portrait of Giovanni
to represent Niccolo Spinelli.
Bust almost in profile, to the right, placed

above the octagonal enclosure of the choir in the Duomo of Florence.
Within it, priests are celebrating Mass; outside, conspirators are attacking
Lorenzo. Below the bust:
SALVS PVBLICA.
IVLIANVS MEDICES Bust almost in profile, to the left, placed

above the choir of the Duomo where Mass is being celebrated. Outside,
conspirators killing Giuliano who lies on the ground. Below the bust:
Rev.
LVCTVS PVBLICVS.
Hill,
Corpus, no. 915,
Armand,
i,
pi.
148
59,
Vasari, edizione Milanesi,
iii, 297
Keary, no. 33
Bode, Florentiner Bildhauer der Renaissance p. 259
Fabriczy, p. 112
,
Hill,
Medals
Habich,
of
the Renaissance, p. 75
xxxiv, 4
Bode, Bertoldo, p. 26
pi.
ff.
Friedlaender, p. i6o, i; pi. xxxi

Rizzini, nos. 84 and 85
Mazzuchelli, i, pi. xxx, 2
Supino, no. 66,
pi.
xvi
Litta, Medici, no. 3

Heiss, Spinelli, p. 60
ff., pi. vi,
Louvre, Catalogue des Bronzes (Paris 1904), no. 469
FLORENTINE, SECOND HALF OF THE FIFTEENTH
CENTURY
29
Tito Vespasiano Strozzi 1422-1505, Florentine poet

Rectangular bronze medal, H. 185 mm.,
Bust with long hair in very high
and pleated
No
27
Maximilian
of
Austria 1459-1519 and
mm. diam., c.
MAXIMILIANVS. FR. CAES.
Bronze medal, 48.4
Mary
of
Burgundy 1457-82
1477
F. DVX. AVSTR. BVRGVND Bust

with long hair confined by twisted fillet and myrtle (?) wreath;
open coat over doublet laced across breast. Pearled border.
right,
MARIA. KAROLI. F. DVX. BVRGVNDIAE. AVSTRIAE. BRAB.

FLAN: Bust right, hair drawn back and tied in loose knot; plain dress
robe.
relief
W.
132
mm.
facing right, wearing round cap
Below the truncation: TITVS.
STROCIVS
reverse.
cf. Hill,
Corpus,
p. 33, no. i25d,
i25e
11, 35 (175 x in mm.). Armand judges Strozzi on this medal

to be about 50 to 60 years of age, which would date it between 1470-80.
Armand,
i,
Hill, in his Corpus, no. 125, erroneously
combines
this
medal with an-
other from the Ferrarese School (the specimen in Oxford illustrated in
Corpus), which, however, portrays another person.
Rev.
C.
with insertion in front; behind, two M's interlaced and surmounted by

crown. Pearled border.
Hill,
Corpus, no. 831
Armand,
Habich,
11,
80, i
pi. lxii, 7
Only the piece quoted by Hill as i25d (Paris-Armand, 175 x iii mm.)
and i25e (Turin, no size given) are similar to the present. Another specimen (183 x 128 mm.) was recorded in the Elkan Coll. (Catalogue 1934),
no. 70.
The
present specimen
is
the fourth
known, and the
largest in size.
29
NICCOLO
RENTINO
His
is
FORZORE SPINELLI
DI
called
NICCOLO
FIO-
1430-15 14
the most
Niccolo's skill
Alessandro di Gino Vecchietti 1472-1532
famous name
at
is
its
33
in the history of the Florentine medal.
best in his splendid portraiture.
Powerful
Bronze medal, 77.3
style
and bold
relief,
rather than petty details, are the arUst's forte.
manner
painting in the
ALESSANDRO
mm.
DI
diam.,
c.
1498
GINO VECHIETTI
and below
bust,
ANN!
Z6. Bust right, curly long hair, wearing cap with back flap turned up,
of Botticelli, in the Uffizi Gallery, of a
young
and plain
robe.
man
holding a medal of Cosimo Vecchio, probably represents Niccolo.

Some experts have also recognized him in Memling's famous painting at
the Antwerp Gallery, showing a man with Florentine long hair, holding
a
bronze coin of Emperor Nero.
30
Antonio Geraldini 1457-88
mm.
Bronze medal, signed, 66.7
diam.
ANTONIVS GERALDINVS PONTIFICIVS LOGOTHETA FASTORVM VATES Bust right with curly hair, wearing round cap and
gown.
pleated
RELIGIO SANCTA and, in arc below: the signature OP

NI FO SP FL (Opus Nicolai Forzori Spinelli Florentini) Standing
Rev.
figure of Religion facing
left,
laureate,
wears tunic and mande, swings
censer in right hand, holds cornucopia in
left
hand.
Armand,
84, 2
i,
Bode, Jahrbuch xxv,
Habich,
p. 10; pi. B, 8
xxxvi, 2
pi.
Tormo, xxv (1917),
p. 61
Heiss, Spinelli, p. 13, 3;
According
to
Bode,
this
pi.
i,
medal was made
in
Rome
during the stay which
have made there in 1485-86. Geraldini was a colleague of Mendoza, Ambassador of Ferdinand and Isabella, in his embassy in i486. He was crowned Poet Laureate in 1479. Innocent VIII
he supposes Niccolo
made him
to
Memorie Intorno
protonotary (logothea). Lancetti,
Laureati (1839), pp. 194
ai Poctt
Rev. Nude Fortuna, three-quarters left, advancing over waves on dolphin; holds aloft in right hand halyard of a sail, sheet of which she holds
in her left hand; in front of her, on the waves, radiant sun's face. On
right,
on
PRIVS
ff.
a rock,
NICCOLO DI FORZORE SPINELLI

RENTINO 1430-1514, attributed to
called
NICCOLO
FIO-
Armand,
BER GAME
mm. diam., 1485

INNOCENTII VIII
AN XXX
1485. Bust
Rev.
SATIABOR CVM APPARVERIT God

11,
the Father in clouds.
64, 15
Dreyfus Coll., no. 260

Bode, ]ahrbuch der Preussischen Kunstsammlungen xxv (1904),
p. 10, pi.
B, 10
Simon, no. 175

Gamberia, here "cubicularius secretus,"
Burckhardt from 1485 onwards.
is
mentioned frequently by
32
Bronze medal, 87
mm.
1419-99, Florentine writer
relief,
and historian
diam., 1493
ALAMANNVS RINVCCINVS
bareheaded and with long
PHILIPPI
hair,
wearing
Bust
left,
reverse.
Hill, Corpus, no. loio, pi. 166 (this
Armand,
Cecchi,
iii,
171,
specimen illustrated)
ill.
i,
145
Burlington Magazine, xxii (1912), 132
Provenance: Baron C. A. de Cosson Coll.
in very
close-fitting dress.
neath: 1493.
No

Supino, no. 118
pi.
high
Under-
8, pi.
xxx
dell' Arte iii

pi. xvi, 3
(1890), p. 30
(Museo Arqueologico Nacional)
Hill,
Alamanno Rinuccini
99, 4
Calvo y del Rivero,
Armand,
i,
pi. xlvi, i
Archivo Storico
with thick curly hair, wearing round cap and close-fitting dress.
left,
of the Vecchietti of Florence are five ermines rampant, silver
Bode, Jahrbuch der Preussischen Kunstsammlungen xxv,

Heiss, Florentine Medals, i, p. 89; pi. xiii, 6
Bishop of Cavaillon
Bronze medal, 61.2
a scroll inscribed
blue.
Habich,
d. 1507,
mouth
31
Bernardino Gamberia
its
The arms
on
an ermine, holding in
MORI QVAM TVRPARI
B, 4
According
34
Girolamo Savonarola 1452-98
mm. diam.
HIERONX[!]MVS SAVo
Bust
The
doubtless due to one of the
is
reverse legend records predictions by
FER
left in
VIR
habit with
DOCTISSs
hood
is
the French
which he predicted.
invasion,
design of this medal
Savonarola of the fate of Florence; the sword of the Lord
Bronze medal, 93
PREDICHATORVM
to Hill, the
sons of Andrea della Robbia.
ORDINIS
raised.
FLORENTINE, LATE FIFTEENTH-EARLY SIXTEENTH

CENTURIES
35
Dante AUghieri 1265-1321
mm.
Bronze medal, 52
diam.
DANTHES FLOREN TINVS
falling point
No
and stringed
flaps
Bust
left,
wearing laureate cap with

gown with small lapels.
covering ears;
Dante before the Mountain of Purgatory. Wearing

left, holding book in
his left hand, raising his right, and gazing at the mountain on summit
of which is the Earthly Paradise, with Adam and Eve under the Tree of
Knowledge; in a cavity at base of mountain, two figures; halfway up,
an arch; to the left, a lesser mountain with two entrances to Hell w'ith
demons, etc., about them; above, seven circles of Heaven.
Rev.
inscription.
cap as on obverse, and long robe, he stands at the
Hill,
Corpus, 1092
Armand,
Habich,
11,
pi.
11,
xlix,
i,
125, i; pi. xvii,
page and pp. 240-241

Friedlaender, p. 154, no. 37; pi. xxx
Holbrook,
title
Passerini, p. 43
Tresor, i, xiv, 3
Numismatic Chronicle (1913), p. 414, pi. xx, i

reverse of this medal is based on the painting made in 1465 by Domenico di Micheiino in the Duomo, Florence. Cf. the early Florentine en-
The
graving (Hind, A,
Rev.
GLADIVS
DOMINI SVP
i,
23).
TERAM CITOET VELOCITER
Divine hand holding dagger, threatening the cities of Venice, Milan,

Genoa, Florence, Pisa, Rome, Naples, and another city, probably Bologna.
BENVENUTO
TURY
CELLINI,
SCHOOL
OF,
SIXTEENTH CEN-
Armand,
11,
36
46, 17
Unl^noivn Nobleman, possibly Cosimo de' Medici, 1519-74; married

1539 to Eleonora de Toledo; Duke of Florence 1537-69, Grand Duke
Heiss, Spinelli, p. 69, 3; pi. vii, i

Migeon, Les Arts, August 1908, p. 8, v
Dreyfus Coll., no. 282

Hofstede de Groot, 17, 6, 1929, no. 31 (92
Hill,
Portrait of
trait of
of
mm.)
most powerful expression. The only medallic Savonarola por-
great merit.
Tuscany 1569-74
Octagonal buff-colored honestone bijou, H. 56 mm.,
W.
42
mm.
Bareheaded bust with short beard to left, wearing armor with

on both shoulders, over shirt with turned-down collar.
lions'
heads
Armand,
Tresor,
Van
188, 2
i,
xxxvi, 4
Mieris, 11, 377
11,
Koehler, xvii, 33
Loebbec\e
Habich,
Munich
Coll.,
1908, no. 53
lxxxiv, 6
pi.
Forrer, iv, 409 (ill.)

Mazzuchelli, i, lxvii, 4
38
Lucrezia de Medici 1545-61,
Lead medal, 69
mm.
first
wife of Alfonso
LVCRETIA MED FERR PRINC A A
II
diam., 1558
XIII
Bust
left,
hair
wound
back and ornamented with string of jewels, wearing richly embroidered

robe, earring and necklace with pendant. Above truncation, artist's signature: P. Below truncation: 1558.
No
reverse.
Armand,
Made
195, 40
i,
probably on the occasion of Lucrezia's marriage to Alfonso
II
d'Este in 1558.
GIANPAOLO POGGINI
Florence 1518-c. 1582 Madrid
Poggini was born into a family of
His father Michele was a gem-
artists.
engraver, his younger brother Domenico, like himself, a medallist of
He
renown.
Rev. Painted with interlacing scrolls and leaf patterns centered by a
fleur-de-lis, in tones
The
p. 127, no. 11 (this
specimen)
style of this piece, as well as the
in
worked from 1545
hard materials
to 1571 in Florence,
like honestone, slate,
and
and
(M. Bernhart, 'Nachtraege
zii
it is
crystal.
stone model, depicting Alessandro Piccolomini,

Coll.
of the enamelled
known
The
Another
is
in the
Armand, Archiv
that he cut
Italian
hone-
Munich
State
v, p. 82).
Unique
Provenance: Martin
Desmoni
J.
Coll.,
Sotheby,
for his fine medals of Philip
King
May
17, i960, no. 96, pi.
and
his family.
1559
ET NOVI ORBIS OCCIDVI REX
headed bust with short beard facing
wearing
left,
cuirass.
Bare-
Below trunca-
I
PAVL POG F Pearled border.
PACE. TERRA. MARIQ. COMPOSITA Standing Pax, holding
Rev.
horn of plenty,
Temple
i,
armaments
of
sets fire to a pile
MDLIX
in front of the closed
Pearled border.
238, 5
Van Loon,
i,
Cicognara,
11,
Habich,
lxxx,
pi.
of Janus. In the exergue:
Armand,
28
lxxxv, 2
5,
Ramon,
Vidal Quadras y
Le
18
II
of Spain 1556-98
mm. diam.,
PHILIPPVS HISPANIAR
Silver medal, 42
tion, artist's signature:
workmanship
frame, would point toward an attribution to Benvenuto Cellini.

artist
known
39
Philip 11 1527-98,
of brown, white, and gold.
The stone panel is set in a contemporary octagonal gold frame with openwork border, enamelled in red, white, green, and blue. Original suspension loop. Outside dimension of frame: H. 87 mm., W. 63 mm.
Otrange-Mastai,
best
is
no. 13609
Maistre, no. 13
Betts, no. 3
Forrer,
ITALIAN MEDALS FROM THE TIME OF
BENVENUTO CELLINI ONWARDS
glance they almost appear to be struck.
artistic career
a popular one as well. Vasari says of him, "he copied

.
."
He
portrayed with great
all
skill
the world,
many
the Italian Renaissance. His highly developed feeling for grace
nute detail
in the presentation of their likenesses
is
and
ladies of
Cosimo
together with his brother Gianpaolo.
1 de'
mm.
diam., 1567
Rev.
and drapery.
Bareheaded bust
II
On
the breast: 1567.
Pearled border.
Rev.
QVO MELIOR OPTABILIOR
In a hexagonal basin, fed by
aqueduct, stands Neptune, brandishing his trident, on a chariot drawn by

sea horses. Pearled border.
i,
261, 41
cf.
Forrer,
iv,
629
Laureate and bearded head of the poet
PIETRO PAOLO GALEOTTI
Pearled border.
PRO BONO MALVM
right with short beard, wearing cuirass
Litta, Medici, no. 31
LVDOVICVS ARIOST POET
amidst flames. Pearled border.
prolific ardst, his
Medici 1519-74, Duke of Florence 1537-69, Grand
COSMVS MED FLOREN ET SENAR DVX
Armand,
Lodovico Ariosto 1474-1533

Bronze medal, 38 mm. diam.
fifty pieces.
Tuscany 1569-74
of
Silver medal, 41.5
two
left.
in the
40
and mi-
evident (see no. 38).
37
facing
New World
Rome
Florence 1520- 1590
medallic creations alone comprise about
kinds.
and of the
of Spain
goldsmith, sculptor, die-engraver, and medallist, Poggini began his
Duke
Judging by the number of medals by Pastorino, it would appear that he

was not only one of the most prolific artists of the sixteenth century, but
all
King
Philip as
DOMENICO POGGINI
Siena 1508-1592 Florence
Although a native son of Siena (his father was a shoemaker at, or from
the neighborhood of, Siena), Pastorino worked in the Florentine tradition. His early years were spent on glass painting, but from 1540 to
1578 he devoted himself to the modelling of portraits in wax and casting
them, usually in lead and without reverse. His casts are so finely exe-
persons of
The remarkable
the peace treaty of Chateau Cambresis.
cites
West.
PASTORINO DE' PASTORINI
first
633
obverse legend
FLORENTINE ARTISTS
cuted that at
iv,
Commemorates
Bees surrounding a column rising from
PAOLO ROMANO
A
called
IL
generally
ROMANO
goldsmith, coin engraver, and medallist,
II
d.
known
as
PIETRO
1584
Romano,
a native of
Rome,
worked
and died there
in the north of Italy, settled at Florence in 1550,
in
1584.
II
Romano's medals are executed with much care and
in a
manner
at
of the House of Savoy, whose meaning has been explained as: Foedere
Et Religione Tenemur). Under the truncation, the artist's signature:
GASP
OPORTVNE
Rev.
once graceful and expressive.
The
centaur Chiron, bearded and with flying
prancing right, shooting his arrow.

41
tarius
Faustina Sforza Marchesa of Caravaggio, married 1546
the date
mm. diam.
FAVSTINA SFORTIA MARCH CARAVAGII.
Forrer
Bronze medal, 72
and
richly draped,
vine
No
cf.
Bust facing right, veiled
wearing double necklace. In the
field, to the right, a
("The Archer"); beneath
MDCVI.
iv,
113
body the constellation
his
stole,
Sagit-
hooves the planetary system. Below,
Original suspension loop.
(ill.)
centaur Chiron, son of Titan Chronos, ancestor of Achilles and Ajax,
The
was the famous teacher
of Jason, Asklepios,
wound he gave
ceived an incurable
leaf.
his
On
Chiron became the constellation
and Herakles.
When
he
re-
immortality to Prometheus.
his
Sagittarius.
reverse.
Armand,
This gold medal

i,
the earliest
is
and probably the
finest
by Mola.
234, 35
44
42
Gianfrancesco Trivulzio d. 1573, Marchese of Vigevano and Castel-
nuGvo
Bronze medal,
mm.
H. 48 mm.,
Duke
of
Tuscany 1608-20
W. 40 mm.
with Maltese cross on breastplate.
of
in the
FRAN TRI MAR VIG CO MVSO AC VAL

(rosette) lO
REN ET STOSA D Bearded and cuirassed bust right, drapery fastened on right shoulder. On the truncation: AET 39
Rev. FVI SVM ET ERO. Nude Fortuna, holding flowing sail amidst a
de Medici 1590-1620, Grand
II
Youthful bust right, with short hair and small moustache, wearing armor
diam.
Giangiacomo Trivulzio, he lost his possession

of Pavia, but in 1535 was restored by Charles V.
The grandson
battle
59.5
Cosimo
Silver oval medal,
No
reverse.
Unpublished and probably unique,
cf.
Fabriczy, p. 183,
cf.
Habich,
xxxvi, 5
pi.
p. 119, pi. lxxxii, 8
and
violent sea, surrounded by dolphins
tritons.
ANTONIO SELVI
Selvi
blowing zephyrs.
Armand,
Forrer,
11,
11,
Habich,
pi. xcvi,
is
said to
a pupil of Massi-
have resided in England for a while.
45
Cosimo
GASPARE MOLA
Duke
Medici 1519-74, Duke of Florence 1537-69, Grand

Tuscany 1569-74
I de'
of
mm.
c.
Milan goldsmith. The bronze

were his first major commission. During his early period of activity he worked at Florence, and from
1613-14 at the mints of Guastalla and Mantua. In 1623 the artist settled
in Rome, and was appointed Papal mint engraver in 1625, succeeding
Jacobo Antonio Moro. Habich writes about Mola: "His best works show
the influence of the brilliant French medallist Guillaume Dupre, with
whom Mola had contact." Mola was a master at depicting even the most
youth Mola was apprenticed
diam.
MAGNVS COSMVS MEDICES
1580-c. 1640
to a
gates of the Cathedral of Pisa, about 1601,
minute
and
prolific Florentine artists,
He
302, 13
192
Bronze medal, 85
1755
was one of the most
miliano Soldani-Benzi.
Provenance: Dr. Jacob Hirsch Estate
As
d.
Above and below, four
detail.
and round
Rev.
SEMPER
11,
25,
Mazzuchelli,
ROMAN
Three interlinked
i,
mo,
right,
wearing
gown
rings. Raised border.
xx, 3
pi.
ARTISTS
ALESSANDRO CESATI called

ac.
cap. Raised border.
Hill, Corpus, no.
Armand,
P P Bust
IL
GRECO or IL GRECHETTO
1538-53
was born on Cyprus about 1500, the son of an Italian father and a
He is mentioned by Vasari as the first medallist of his
age. "Far beyond others," Vâsari says, "has gone Alessandro Cesati,
called II Greco, by whom every other artist is surpassed in the grace and
Cesati
Cypriote mother.
perfection as well as in the universality of his productions."
46
Dido, Queen of Carthage

Bronze medal, 45
Greek
coils and
mm.
inscription:
falling
diam.
DIDO
BASILISSA. Bust
right,
wreathed, hair in
on neck, drapery fastened on right shoulder. Pearled
border.
Rev. Greek inscription:

lying in harbor before
K.'^RCHEDON View
Hill, Dreyjiis Coll., no. 368, pi.

cf.
lxxxvi
Burlington Magazine, February 191
1,
GIAN FEDERIGO BONZAGNA

43
Charles
MENSE
Emanuel
I 1562-1630,
Oval gold medal, H. 58 mm.,
W.
Duke
45.5
CAROLVS EMAN D G DVX
of Savoy 1580-1630
mm., 1606
SAB P P
artist of stature of the
alive in 1586.
called
11,
FEDERIGO PAR-
second half of the sixteenth century, medallic
He worked
at the
and Ottavio Farnese
especially fine plaquettes by
in
known
after 1575,
Papal mint in
though he was
Rome and
still
also for Pier-
Parma.
luigi
Two
166.
p. 267, pi.
ac. 1547-75
products by Bonzagna are not
Bareheaded bust with

beard and moustache to right, wearing ruff collar, richly damascened
armor and drapery; around the neck an embroidered ribbon from which
a medallion is suspended. The ribbon doubly inscribed: FERT (the motto
An
of Carthage, with galleys
it.
Parmense
will be
found
as nos. 165
and
from the
47
rising
Pierluigi Farnese 1503-47,
Hildebrand,
mm.
LOYSIVS
P(etrus)
DVX
and damascened
Crona
AD
F(arnesius)
PARM(ae)
ET
PLAC(entiae)
De
cuirass with lion's
head on right shoulder. Under trun-
F PARM Legend between pearled circles.

CIVITAT(is) DITIONISQ(ue) TVTEL(am) MVNIM
Armand,
260 (bronze)
(ill.)
and 27
Bildt, pi. vi, nos. 26
Dreyjus
11,
1649-1705
Giovanni Hamerani, who in 1677 succeeded his father Alberto as Papal

medallist, was perhaps the most distinguished of the Hamerani family
of die-cutters.
Innocent XII (Antonio Pignatelli 1615-1700) Pope 1691-1700
lxxxvii
Coll., no. 375, pi.
INNOCEN
Coll.,
Gutekunst
Munich
mm.
Gold medal, 32
214
i,
GIOVANNI HAMERANI
51
222, 6
i,
Litta, Farnese,
Forrer,
129
vi,
(entum) EXTRVCTVM Bird's-eye view of the citadel of Parma, with

gate opening on a stream. Legend between pearled circles.
Hill,
Coll., no.
Forrer,
cation, the artist's signature:
Rev.
Parma and Piacenza
of
field.
Bearded, bareheaded bust right, wearing mantle, shirt of mail,
Duke
diam.
Bronze medal, 39
Granulated
ashes. In the exergue: 1665.
no. 104a
i,
1908, no. 87
I
(anno I). Bust right, with short
camauro and embroidered cope. Under the truncation, the
beard, wearing
Coll., Stuttgart 1910, no. 60, pi. iv
diam., 1691
PONT M A
XII
signature: HAMERA. Pearled border.

A DEO ET PRO DEO Caritas standing,
artist's
facing front, holding
48
Rev.
Pius
arms a child, and flanked by two others who are bearing urns
from which flow streams of coins. At her feet, an urn spilling coins.
(Michele Ghislieri 1504-72) Pope 1566-72
mm.
Gilded bronze medal, 37.5
PIVS
PONT(ifex)
Bearded bust
MAX(imus)
DEXTERA TVA DOM(ine) PERCVSSIT INIMICVM
View
VI
1571
chalice;
Armand,
Forrer,
402
11,
he abolished.
PADUAN ARTISTS
226, 33
Tresor, Medailles Papales, pi. xv, 4
VALERIC BELLI
Bolzenthal,
i,
291, 11
i,
Dreyfus Coll., no. 373,

Vogel Coll., no. 43
Hill,
The
on
reverse legend
this
pi.
lxxxvii
medal
The medal commemorates

Pius
is
an engraver of
A nephew
Emperor Aelius
his
The following
1668
ac. 1627-c.
Papal mint in Rome.
at the
piece belongs to the period of his earliest works.
a.d. 138,
adopted son of Emperor Hadrian
mm. diam.
AELIVS CAESAR Draped
of
Mantua 1626-27
Silver medal, 46
mm.
VINCEN
From
the series of the
D G DVX MANT
II
VII
dux Mantuae VII
ET
et Montisferratis
V
V)
Rev.
signature:
FERIS
G MORON
F(ecit)
with
"Twelve Caesars" by Valerio
Belli.
known
called
PADOVANO
IL
Roman
1500-70
large bronze coins
Bare-
of their successors. His
bringing back to
life
for his imitations of
work
is
typical of the spirit of the Renaissance,
the heritage of classical antiquity.
53
left.
Pearled
Floriano Antonini
mm. diam.
FLORIANVS ANTONINVS ANDREAE F
Bronze medal, 38
Corpus,
p. 359,
iv,
25
hair right,
156
wearing buttoned
Rev. Below exerguel line:
GIOACHINO FRANCESCO TRAVANI
mid-seventeenth cen-
In 1655, Travani was one of the three "Consuls" of the goldsmiths' guild
Among
Rome.
best-known productions
his
Christina of Sweden,
Catholic
Bearded bust with short
coat.
AETERNITATI SACRVM
in front of a two-story building, the frieze of
which
is
Various persons
adorned with
bas-relief.
tury
in
soldiers
(Vin-
border.
Forrer,
armed
Pearled border.
TANTVM INFENSVS A hound standing to
five
Cavino is
and medallions, numbering about 120. The portraits mostly belong to
the period of the "Twelve Caesars," though he does not neglect some
headed bust with long hair and moustache facing left, wearing ruff collar
and adorned cuirass, neck chain with jewel. Under the truncation, the
artist's
him
158
i,
well
diam.
centius secundus, Dei gratia,
bearded and with curly hair,
bust,
Rev. Aelius seated on a podium, before
GIOVANNI DAL CAVINO

Gonzaga Duke
II
Chiefly
and medals.
captive. In the exergue: S. C.
Forrer,
49
Vincenzo
artist.
facing right.
(cf.
and Orazio
uncle's death, he was appointed engraver
his uncle
Paduan
also cut dies for coins
Bronze medal, 36
nos. 43 ff.), he entered into partnership

Ghibellini for the production of medals. Upon
Mola
of Gaspare
and gems, he
15, 6.
the victorious Battle of Lepanto.
GASPARO MORONE-MOLA
crystal
52
taken from Exodus,
the last Pope to have been canonized.
is
1468-1546
native of Vicenza, Belli ranks, however, as a
L(ucius)
with
on
God hurling lightning from above. Pearled border.
of the Battle of Lepanto;
Innocent XII was elected Pope as a result of a compromise, but soon

showed himself a stern reformer, especially regarding nepotism, which
an angel with cross and
a galley,
wearing skullcap and cape with hood. Below, the
left,
Pearled border.
ANNO
signature: F(edericus) P(armensis). Pearled border.
artist's
Rev.
diam., 1571
OPT(imus)
in her
Church had
who
after her abdication
retired to
of
Queen
and conversion
to the
is
Rome. Christina
the
is
medal
Mazzuchelli,
Armand,
i,
i,
lxiv, 5
179, 2
54
represented as the
Agrippina
"Pallas Nordica."
Sr. d. a.d. 33,
daughter of Marcus Agrippa, wife of Ger-
manicus
50
Christina 1626-89,
Queen
of
Sweden 1632-54
mm. diam., 1665

CHRISTINA Head
REGINA
as Pallas
Athena facing
mm.
AGRIPPINA
GVSTI Bust right,
hair in club behind, tresses falling
right.
Granu-
lated field.
Rev. S
MAKELOS
(Swedish: without peer). Phoenix
MAT(er)
C(aii)
CAESARIS. AVdown neck, drapery
over shoulder.
Q R MEMORIAE
I
Rev. (in Greek letters)
diam.
M(arci) F(ilia)
Silver medal, 61
Bronze medal, 36.5
by two mules.
AGRIPPINAE
Funeral car drawn
Forrer,
60
(ill.)
367
i,
Hill, Drcyjtis Coll., pi. xci, 401 (variant)
Emperor Marcus Aurelius
Cohen, i, 231, i
Lawrence, no. 7
ANTONINVS
M.
55
Emperor Otho
a.d.
Bronze medal, 36
IMP(erator)
mm.
Bronze medal, 37
mm.
CAESAR
AVG(ustus)
TR(ibunicia) P(otestatis) XXI3<

wearing drapery over cuirass adornec
right,
Rev. IMP(erator) VII COS(ul) III Winged Victory seated to righi

on armaments, holding a palm branch and a shield inscribed VlC(toria)
AVG(usti) in front of her, a military trophy.
diam.
OTHO
AVG(ustus)
Bearded and laureate bust

with aegis on breast.
69
161-180
a.d.
diam.
TRI(bunicia)
POT(estatis). Bust right, wearing undulated hairpiece.

Forrer,
Rev.
SECVRITAS
an
R(omani)
P(opuli)
ing his hand to four
armed
Otho before an
altar extend-
soldiers carrying military standards before
61
In the exergue: S C.
altar.
Cohen,
i,
Forrer,
i,
Faustina
354 (note)
368
mm.
diam.
FAVSTINA AVG(usta) ANTONINI
types of this
issue Sestertii of
Marcus Aurelius
176, wife of
Jr. d. a.d.
Bronze medallion, 34
Lawrence, no. 23
The
369
Lawrence, no. 56
i,
medal were invented by Cavino. The Romans did not
Otho.
bust right, hair confined by
and
fillet
AVG(usti)
Draped
PII FIL(ia).
in chignon.
Rev. Sacrifice by the Empress and five
women and
a child before a hex-
agonal temple containing a statue of Vesta (?). Below: S C.

56
Cohen,
Emperor
Vitellius a.d. 69
mm. diam.
VITELLIVS GERMAN(icus)
Forrer,
Bronze medal, 35
A(ulus)
IMP(erator) AVG(ustus) P(on-
M(aximus) TR(ibunus) Draped and
tifex)
laureate bust right.
In the
Forrer,
field,
Emperor Lucius Verus

Bronze medallion, 38
C.
VERVS
L(ucius)
362, 80 (variant)
i,
i,
Coll., pi. xcii,
407
369
Lawrence, no. 59
i,
62
Rev. Helmeted Mars, his mantle flowing, striding toward the right,
carrying a transversal sceptre and a shouldered trophy of armaments.
Cohen,
loi
iii,
Dreyfus
Hill,
368
61-169
Villi
P(otestatis)
wearing drapery over
right,
Lawrence, no. 28
diam.
AVG(ustus) ARM(eniacus)
TR(ibunicia)
(imus)
a.d.
mm.
Emperor Titus
holds Victory and
TR(ibunicia)
a.d.
Bronze medal, 34
79-81
mm.
P(ater)
diam.
IMP(erator) T(itus) CAES(ar) VESP(asianus)

fex)
who
peror
M(aximus) TR(ibunicia)
VIII
Laureate head
Rev.
IVDAEA CAPTA Under
P(otestatis)
AVG(ustus) P(ontiP(ater) P(atriae) COS(ul)
P(otestatis)
palm
tree, a captive
Judaean standing
mourn-
ing. In the exergue: S C.
439, 114
Forrer,
i,
368
Cohen,
iii,
Forrer,
i,
Emperor Nerva
a.d.
Bronze medal, 35
mm.
Em-
IIII
COS(ul)
III
197
Lawrence, no. 60
VENETIAN ARTISTS
ANDREA
SPINELLI
d.
1572
Parma, was a medallist and mint engraver
at
Venice
Andrea
diam.
Doge 1523-39
mm. diam., 1534
Gritti
Bronze medal, 37
right.
left,
NERVA
CONGIAR P R The
emperor holding
scroll seated facing right,
on
curule chair placed on a suggestum, presiding at a congiarium; before
him, a prefect distributing
and engravings.
in books
63
96-98
CAES(ar) AVG(ustus) P(ontifex) M(aximus)

TR(ibunicia) P(otestatis) COS(ul) II P(ater) P(atriae) Laureate bust
gifts to a citizen
who
is
mounting
the steps
ANDREAS GRITI DVX VENETIAR MDXXXIIII
Bearded bust
wearing ducal hat and robe. Legend between two pearled borders.
San Francesco
signature:
AN
SP
i,
Cohen,
Tresor,
xxviii, 2
11,
Forrer,
i,
37
368
(leaf)
View
of the church
Vigna at Venice. Below exerguel line, the

F Legend between two pearled borders.
della
Armand,
i,
DIVI FRANCISCI MDXXXIIII
Rev. (leaf)
of
of the suggestum; behind, soldiers and Liberalitas. In the exergue: S C.
artist's
155, 4
4,
Habich,
Hill,
Lawrence, no. 44
pi.
lxxvi, 16
Dreyjns
Coll., no. 413, pi. xciii
VITTORIA DELLA VOLPE
59
Marciana,
d. a.d. 114, sister of
Trieste
Emperor Trajan
Medallion, silver core within a bronze rim, 39.5
DIVA AVGVSTA MARCIANA Draped

dem on
IMP(erator)
VII.
the
Virtus. In the exergue:
369
Giacomo, and dealt
58
Rev.
Rome, receiving
during the middle of the sixteenth century. He started his career in 1535
as assistant engraver at the Venice mint, and was appointed chief engraver in 1540. In 1543 he ventured into business, together with his son
Lawrence, no. 37
IMP(erator)
of
P(atriae)
Spinelli, a native of
i,
hills
crowned by
is
left.
beside captured armaments, and the seated Judaea in attitude of
Cohen,
MAX
PARTH(icus)
cuirass.
Rev. Jupiter seated right upon the seven
57
Laureate and bearded bust
mm.
diam.
bust right, wearing triple dia-
elaborately arranged hair.
Rev. CONSECRATIO Marciana, as Vesta, seated on a car drawn by

four elephants. In the exergue: S(enatus) P(opulus) Q(ue) R(omae).
Next
called
ALESSANDRO VITTORIA
525-1 608 Venice
to Sansovino's, Vittoria's
name
figures prominently
among
the Ve-
MedRangoni medals was

produced, Vittoria was received into the Confraternity of San Marco,
when (according to the inscription on the following medal) Rangoni
netian artists of the sixteenth century. Forrer, in his Dictionary of
allists,
writes: "In 1562, the year
when one
of the
presided over the Brotherhood as a Guardian."
He
of Charles V.
Tornmaso Rangoni
mm.
Bronze medal, 40
the
physician and professor in Padua
d. 1577,
diam., 1562
to repair the
Re\
left,
tight-fitting
woman
the breast of a reclining
Loebbecke
L^nna
In the
eagle places a child
on
(the birth of Hebe).
196, 19
11,
Ferrer, vi, 289
TVRRIAN
HOROLOG
from which escape two
jets
Munich
1908, no. 42
Armand,
Plon,
i,
of water,
which various persons
and
274
da Trezzo)
9, p.
8 (as Jacopo
pi. xciii,
LEONE LEONI
called
ARETINUS
sculptor, goldsmith, medallist,
1509-90
and die-engraver, Leoni probably was
most important artist of the Milanese School during the sixteenth

century. His violent temper caused him to be committed to the galleys
in 1540, and it was to the Genoese Admiral Andrea Doria that he owed
his liberadon. Even with old age the artist did not mellow, and on one
occasion he nearly murdered the son of Tidan, trying to rob him, when
the latter had come to Milan to collect a large sum of money.
the
Leoni deserves great praise. His medals, retaining
many
of
i,
pi. xlix,
Hill, Dreyjtis Coll., no. 435, pi. xcvi
Lanna
Coll., no. 227, pi. 15
Loebbec}{e Coll.,
Munich
1908, no. 121, pi. viii
There also exists a painted portrait of Gianello by Titian (see: Jean BabeIon, Revue de VAnttqiiite Ancienne, 1913, October, pp. 269-278).
JACOPO NIZZOLA DA TREZZO
called
JACOPO DA TREZZO
Milan 1515/20-1589 Madrid
the sculptural qualities of his predecessors of the fifteenth century, are
work of an artist of broad scope. Charles V was very fond

work and, in recognition thereof, ennobled him in 1549, dur-
certainly the
artist's
sojourn at Brussels.
65
Daniel de
Hanna
in dif-
170, 38
XXXIV, nos. 8
pi.
Herrera, 9 (1905), pp. 226-270

Fabriczy, pi. xxxix, 4
ing the
ARCHITECT
VIR TVS and, in the exergue: NVNQ:DEFICIT A female figure

(Fountain of the Sciences) standing, draped, holding on her head a ves-
Mazzuchelli,
of Leoni's
ob-
ferent attitudes collect in vases below. Pearled border.
Coll., in, no. 164, pi. 12
ardst,
The
asked him
Rev.
^MILANESE ARTISTS
As an
refer.
who had
at Pavia.
CREMON
medal may
this
for Charles V,
Bust right, with short hair and beard, wearing tunic and cloak. Pearled
Habich,
made
one by Giovanni Dondi
lANELLVS
sel
(ill.)
Coll.,
which the reverse of
border.
.\rmand,
gown.
1562.
A lOVE ET SORORE GENITA An
Bareheaded and bearded bust right, wearing

held, to the
constructed a hydraulic machine to raise the level of

to
verse legend refers to a clock he
THOM PHILOL RAVEN PHYS EQ GVARD D MAR MAG
Tagus River,
member
(a
of the well-known Flemish merchant
Trezzo, a contemporary of Leone Leoni's and
like
him
a distinguished
Milanese medallist, entered into the employ of the Emperor, as was cus-
tomary for leading

in
The
he
left
artists in that
Netherlands, where his
From 1555 to 1559 he was active

appears in the state records. In 1559
period.
name
and stayed there for the remainder of

monarchs in the many artistic crafts
for Spain
for the Spanish
his
life,
working
marked
that
his
versatility.
family that settled in Venice)
Bronze medal, 54
mm.
diam.
D.A.N'IEL (rose)
DE
(rose)
68
HANNA
Bust
beard, wearing cloak fastened with bulla
on
left,
left
with short hair and
shoulder, over figured
underdress. Pearled border.
OMNE VANVM
Armand,
i,
Cicognara,
169, 29;
iv,
iii,
1535-63, wife of Antonio Caraffa
Bronze medal, 68.5

facing
left,
mm.
diam., 1552
GONZAGA FERDINANDI
HIPPOLYTA
Female figure (Vanity), wearing tunic girt high

and mantle, standing to front, looking left, holding in both hands a vase
from which smoke emerges. Pearled border.
Rev.
Gonzaga
Ippolita
FIL
AN
XVII Bust
with upbound hair, wearing richly draped robe, earring, two
necklaces (one with pendant). Below truncation:
AC TREZ.
Pearled
border.
72, ee
198
Venice, Correr: Bergman,
11,
4,
no.
11
Hauschild, Anhang, no. 363

T. Whitcombe Greene, no. 93
Bridsh
Museum
Copenhagen
The
present piece
is
the largest of the recorded specimens.
66
Gonzaga
Ippolita
Bronze medal, 68.6
1535-63, wife of Antonio Caraffa
mm.
diam.
FIL AN XVI, and in

Greek) LEON ARETINOS. Bust left, with hair wound
into a chignon, wearing dress draped in the antique manner, double pearl
necklace with pendant. Pearled border.
HIPPOLYTA GONZAGA FERDINANDI
the right field (in
Rev.
right,
PAR
with Cerberus
Armand,
Habich,
Plon,
POTEST AS
VBIQ
Diana blowing her horn marching
holding an arrow, and accompanied by three hunting dogs. Pluto,
i,
at his feet,
is
seated in a building to the
left.
163, 7
pi. xcii,
pi. XXXII,
and
Provenance: Elkan
Rev.
Coll., no. 78
VIRTVTIS FORMAEQ PRAEVIA Aurora
heavens
in a chariot
and with her
drawn by Pegasus; holding
Armand,
Bronze medal, 80.8
Born
in
mm.
Hill,
241,
Rodocanachi,
diam.
Cremona, Delia Torre was an engineer and
i,
Dreyjus
achitect in the service
her
left
hand,
right strewing flowers over the earth. Pearled border.
67
Gianello della Torre d. 1583
riding through the
a torch in
Coll., no. 438, pi. xcvi

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

70
Trifone Gabrielli d. 1549, Venetian patrician and poet
mm. diam.
TRYPHON GABRIEL Bareheaded
Bronze medal,
44.5
bust
left,
wearing patrician robe.
INNOCENS MANIB ET MVNDO CORDE
Rev.
Draped female
figure
(Innocence) washing her hands at a spring gushing from a high rock.
Armand,
126, 10
11,
71
Marcantonio Trevisan Doge 1553-54
NORTH
ITALIAN, SIXTEENTH
CENTURY
VIXANO
NO
diam., 1544
GIOVANNI DI NALE
wearing plain robe with
Bearded bust
right,
wear-
DVX
DEI GRATIA
TREVIXITA
b. 151
mm.
MARCVS
ANTONIVS
VENETIARVM ETC
Rev. Within an olive wreath:
Giovanni di Nale
shoulders.
diam., 1554
MARCVS ANT TREVISANO DVX V
ing ermined robe and ducal cap.
69
Bronze medal, 65
mm.
Bronze medal, 63.5
UNIDENTIFIED ARTISTS
on round
collar, loose
left,
cf.
OBIT
MDLIIII
Hill,
Bearded bust with short curly hair facing

lace trim
IN PRINCIPATV
Dreyjus
Armand,
cvni
Coll., no. 504, pi.
224,
11,
drapery over
72
Girolamo Priuli Doge 1559-67
mm. diam., 1567

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

Rev.
DIVINVM CONCINIT ORBI Swan
Armand,
cf.
Habich,
cf.
Lanna
Forrer,
left,
with spread wings.
212, 48
11,
pi.
xcv, 4
iii, no. 312
Coll.,
192 (as Pietro Paolo Galeoti,
11,
II
Romano)
Francesco Cornelio Musso was called "the Isocrates of
Italy."
74
Marino Grimani Doge 1595-1606
mm.
Bronze medal, 39
MARIN. GRIMANVS
diam., 1595
DVX VENETIAR
brocaded robe and ducal

Rev.
SYDERA
lion of St.
Armand,
Tresor,
Vogel
CORDIS and
Mark, rampant
11,
273,
Bearded bust
right,
wearing
hat.
to left,
below exerguel
line:
holding crosslet orb.
xxvii, 3
Coll.. no. 56
11,
MILANESE, SIXTEENTH CENTURY

75
Pietro Piantanida Milanese Captain
1595
The
haloec
FRANCESCO
PANIGAROLA
AETA
ANNI
XXVIII between
three linear circles. Pearled border. Bareheaded bust with curly hair
short beard facing
No
gown
wearing buttoned
left,
with ruffled
and
collar.
reverse.
Armand,
262, 3
xcvi, 2
11,
Mazerole,
i,
Coll., pi. 40, no. 5, this
specimen
77
Battista Spinola
de Serravalis
Genoese nobleman
b. 1537,
mm. diam.
BAP SPINOLA D SERRAVALLIS
Bronze medal,
47.5
Bareheaded and bearded bust left,

adorned with standing female figure and,
head. Around, granitura.
wearing ruff
on shoulder,
Bronze medal, 50.5
right,
diam.
raging
Bareheaded bust
with short hair and beard, wearing drapery over damascened
adorned with aegis and
breast armor,
grifiBn's
lion's
Hebrew
Rev.
PLANTANIDA AET AN XXXVI
PET
CAP
mm.
collar
cuirass
inscription:
"Oh Lord,
help us."
two-masted ship on a
two zephyrs blowing from above. Pearled border.
sea,
Armand,
and
209, 30 (example seen in Heiss Coll.)
11,
head on right shoulder.
FRENCH MEDALS
NICOLAS LECLERC
ac.
Lyon
JEAN DE SAINT-PRIEST
1487- 1508
Lyon
ac.
c.
1500
by Louis XII and Anne of Brittany,

celebrate the occasion presented the Royal couple with a splendid
Lyon was
In 1500 the city of
visited
and to
medal measuring about ^Vi inches in diameter. The medal was modelled
by Nicolas Leclerc (who in a document is referred to as "tailleur
d'images" in 1499) and Jean de Saint-Priest. The casting was done by the
brothers Jean and Colin Le Pere. The medal (no. 78), with its lingering
touch of the Gothic, is one of the most admirable examples of French art
from the waning Middle Ages.
78
Louis XII 1462-1515, King of France 1498-1515 and Anne

tany 1477-1514, Queen of France 1491-1514
Rev.
DV\I
SPIRITVS
ure, standing
in her left
towards the
HOS REGET ARTVS
left,
raising her right
Draped female
arm and holding
Large bronze medal, 113

(crosslet)
On
11,
Coll., no. 423, pi.
pi. xxiii,
Habich, Corpus,
11,
xciv
5 (attributed to Etienne de Hollande)

487, fig. 507a (as early Italian work of Antonio
2, p.
Abondio)
The
present piece
crowned and
Hill,
Medals
Hill,
Dreyjus
the largest of the recorded specimens.
76
Mazerolle,
Francesco Panigarola Bishop of Asti 1548-94
mm.
diam.,
c.
1576
p. 207,
Rondot,
cap, robe
Lyon.
BIS
1499.
to
left,
Lyon.
pi. xxiv, 3
Munich
iv,
454
no. 27
1908, no. 24, pi. iv
(ill.); v,
303
(ill.)
p. 16
Rosenheim
Anne
364;
cf.
Coll., no. 527, pi. cxiii
Loebbechj: Coll.,
111,
fleurs-de-lis
the Renaissance,
crown over
CEsown with
SIC FVI CONFLATA

and ermine, bust of Anne
veiled; below, lion of
of
Friedlaender,
is
Forrer,
Bronze medal, 61
sown with
a field
a field
REPVBLICA GAVDE(n)TE
LVGDVN(ensi)
Regling, p. 93
Simonis,
collar of St. Michael; below, lion of
ANNA REGNANTE BENIGNE
lxxxiii, 4, p. 121
Dreyjus
bust of Louis XII to right, wearing
fleurs-de-lis,
and
Rev. (crosslet)
Cellini)
Hill,
11, 179, 9 (49 mm.), after Cabinet de France

Burlington Magazine, October 1910, pi. 11, B (attributed to Benvenuto
pi.
DVODECIMO
SARE ALTERO GAVDET OMNIS NACIO On
hand (Faith?).
Armand,
Habich,
mm. diam., 1499

FELICE LVDOVICO REGNANTE
fig-
cup
of Brit-
Coll., no. 554, pi.
24
1488 from her father, Francis II. Consequently her hand was eagerly sought by a number of suitors. Archduke
Maximilian (later Emperor Maximilian I) in 1490 married her by proxy.
inherited Brittany in
forced Anne to seek annulment of this marriage,

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

and
in 1491 she
first
wife.
These developments led
to the eventual incorporation of Brit-
tany into France.
ETIENNE DE LAUNE
In his youth
De Laune
engraver. Cellini's
tions,
c.
1518-c. 1583
exercised the trade of goldsmith, modeller,
work seems
to
have inspired some of
ere
office
etc.,
and
produc-
which are most graceful and pleasing. In 1552, upon the establishII of the "Monnaie du Moulin," in which coins no longer
struck by hammer but by machine, De Laune was elected to the
of engraver. Several drawings by the artist's hand of medals, coins,
ment by Henri
v.
his early
are preserved at the Bibliotheque Nationale.
King
ricfiry II 1519-59,
Bronze medal, 53
mm.
HENRICVS
FRANCOR REX
right,
II
diam.
INVICTISS P P Laureate
TE COPIA LAVRO ET FAMA BEARVNT NVIA
Rev.
bust
wearing armor. Pearled border.
Fama,
holding trumpet, driving a quadriga to right in which Pax and Abun-
dance are seated. Pearled border.

Ferrer,
iii,
337
Armand,
in, 285,
Tresor,
xi,
i,
5
Mazerolle, no. 103
GERMAIN PILON
the eminent French sculptors
of the second half of the sixteenth century.
lists
is
1535-90
c.
among
Pilon takes his place

[
of France 1547-59
the
monument
Henri
to
II
One
and medal-
of his masterpieces
and Catherine de Medici
at St. Denis.
His
medallic productions are conspicuous for their very large size, a purely
French fashion which has no equivalent elsewhere.

80
Henry
King
III 1551-89,
of France 1574-89, elected
King
of
Poland
1573
Bronze medal, 154
HENRICVS
mm.
diam., 1575
D G FRAN ET POL REX
1575 Bust almost fac-
ing front, wearing soft beret
ornamented with feathers and

chain over brocaded gown.
collar, triple
No
jewels, ruff
reverse.
Tresor,
Med. Franc,
pi.
xxiv,
Babelon, no. 167

Forrer,
iv,
542/3
(ill.)
GUILLAUME DUPR
During
c.
1574-c. 1643
French medal found its highest

Although Dupre's products may not rival those
masters in their conception and composition, their
this celebrated artist's life the
technical achievement.
of the great Italian
execution
so fine, their details so delicate, that they are a source of con-
is
tinuous enjoyment.
Dupre was comptroller-general of the French mint from 1604-39, but his
influence on coinage was negligible. He was one of the last representatives of the French Renaissance and one of France's greatest medallists.
81
Henry IV 1553-1610, King
mm.
Bronze medal, 57
HENRICVS
right,
D G FRANC ET N.WAR REX
Laureate bust
Roman Emperor, wearing
drapery over
bearded, dressed as a
cuirass.
Rev.
IIII
of France 1589-1610
diam., 1604
Underneath:
1604
MAIOR AB IGNE
M.\IESTAS
de Medici, shaking hands over a flaming
Henry IV and
altar.
his
wife Marie
In the exergue: 1604.
Mazerolle, no. 283
Marie de Medici 1573-1642, Queen
of France 1600-31
mm. diam., 1615

MARIA AVG. GALLIAE ET NAVARAE REGINA
Bronze medal, 63
Pro venance: Loebbecke
Coll.,
Halle 1925, no. 76,
pi. vi
82
Bust right, wear-
ing diadem and earring, high lace collar closed with a cross on brocaded
Marcantonio
Memmo
Doge of Venice
Pope Urban VIII
Barberini later
Bronze medal, 91.5
mm.
16 12-15
and Cardinal Maffeo
right,
Rev.
diam., 1612
four
wearing brocaded dress and ducal
DUPRE F
Rev.
MAPH
BONO LEG
hat.
Under
Bearded bust
the truncation:
1612 Pearled border.
R E P CAR
Tresor,
Med. Franc.,
Forrer,
i,
DUPRE F
15, 3
657
field.
artist's
signature: G.
Tresor,
DUPRE
1615. All in con-
Pearled border.
SERVANDO DEA FACTA DEOS

girls.
Marie
in a ship
manned by
Above, two blowing zephyrs.
Med. Franc.,
pi. v,
Mazerolle, no. 680
Lanna
BARBERIN SIG IVST PRAE
Bust with short beard to right, in ecclesiastical garb. Un-
der the truncation: G.
gown. Below truncation,

cave
MARCVS ANTONIVS MEMMO DVX VENETIARVM

G.
83
Coll., no. 411
Loebbecke
Coll., no.
Provenance: British
206 (Munich 1908)
Museum
Duplicates (Sotheby, July
13, 1922, no.
39)
1612 Pearled border.
JEAN WARIN
in 1646.
ac. 1627-c.
1672
called Lorfelin, as engraver to the mint

Together with Dupre, Jean Warin holds a most honored place
Warin succeeded
Jean
Darmand,
in the history of
French medallic art. To this talented artist we owe

most beautiful medals and coins of the seventeenth cen-
some
of France's
tury.
His medallic productions bear the
Little
known about Warin's
is
mark
and distinguish themselves by
technical skill
early
life.
He may
have been born
Liege, but he settled in France in 1627 and was naturalized in 1650.
medals of Louis
XIV when
Warin was working on

death cut his
whom
is
the Renaissance, p. 148, writes: "Jean's portrait of Richeits bold handling of the relief," pi. xxvi,
7 (British
0}
brilliant in
Museum
specimen, bronze with the date removed)
und
Bernhart, Medaillen
at
He
he por-
a series of historic
life short.
84
BERTINET
Pla\etten, p. 33
seventeenth century, worked for Louis
XIV
85
Michel Le Tellier 1603-85, French statesman, Minister under Louis

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

LETELLIER (rosette) FR (rosette) CANCELLA-I
1678 On granulated band. Bust right, wearing robe, skull-
Bronze medal, 132
Armand
Jean
Du
Silver medal, 77
Medals
lieu
of his highly developed
their boldness of relief.
enjoyed the all-powerful protection of Cardinal Richelieu,

trayed on several medals.
Hill,
Plessis 1586-1642,
mm.
Cardinal de Richelieu 1622-42
MICHA
RIVS
diam., 1630
ARMANDVS lOANNES CARDINALIS DE RICHELIEV
Bust with
short beard in very high relief to right, wearing skullcap. Pearled border.
(rosette)
(rosette)
cap and decoration,
No
within a laurel wreath.
all
reverse.
GERMAN MEDALS
ALBRECHT DURER
1471-1528
few medals have been attributed to Diirer, but a number of others

as well as some plaquettes are based on his designs. An outstanding example is a plaquette of The Entombment (no. 184).
Only
86
Agnes
Lucretia, formerly described as
Lead medal, 55
mm.
diam., 1508
Female head with open flowing

facing front. In the field, to the
gram:
No
Diirer, the artist's wife
hair, slightly inclined to left,
left:
1508; to the right, the Durer
almost
mono-
within A.
reverse.
Habich, Corpus,
Lanna
i,
i;
no. 14, pi.
Coll., no. 908, pi.
11,
and
2;
fig.
42
Will, p. 369
Sallet, p.
25
Sallet, Zeitschrijt j.
Numis>nat!/{,
11,
362
Erman, pi. i, i
Merzbacher Coll.,
Rev.
TANDEM VICTA SEQVOR
palm branch,
attached a banner with the coat of arms of Richechained to the back of the quadriga, while Victory is
ing trumpet to which

lieu.
Fortuna
is
flying overhead,
WARIN
Tresor,
1630
vi,
Pearled border.
line:
1914, no. 37
Cabinet des Medailles, fig. 5
CHRISTOPH WEIDITZ
A
ac. 1523-c.
native of Strassburg, Weiditz
there
made
various trips abroad.
1533
settled in
He
Augsburg
modelled
his
in 1526,
and from
Cortez medal in Spain
xxi, 3
215 (bronze)
no. 166 (bronze)
Coll., no.
Gullet Coll.,
Forrer,
is
crowning Francia. Under curved exerguel
Med. Franc,
Loebbeche
Francia holding sword of justice and

Fama, who is blow-
seated in a quadriga, driven to left by
Paris,
369
in 1529.
Weiditz, like
many
other of his contemporaries, carved the models for
medals in boxwood. Many of his portraits show a marked

style to those of Hans Holbein the Younger.
his
Hernan Cortez
Bronze medal, 56
485-1 547
mm.
diam., 1529
DON FERDINAND CORTES MD
XXXXII
hair
and
affinity in
XXIX
ANNO
ETATIS
Bust facing front, slightly turned towards the right, with long
short, straight-cut beard,
wearing loose
gown and
flat biretta.
ductions are thoroughly
German
in every respect.
typical
example
is
the extraordinary portrait of the well-nourished, Niirnberg sexton, Hi-
eronymus Paumgartner, which
German
medallic art (no. 90).
Little
known about
is
possesses all the realism so characteristic of
Deschler's place of birth.
He became
a Niirnberg
citizen in 1537, attended various "Reichstag" sessions in order to practice his art
and worked
there,
for
Archduke Maximilian,
the future
Emperor. In the latter part of 1550 he went to Vienna and entered into
the permanent employ of the art-loving Emperor, who raised him to the
rank of "Imperial sculptor."
90
Hieronymus Paumgartner 1497-1565, Niirnberg church-warden

Bronze medal,
66.5
mm.
diam., 1553
HIERONYMVS PAVMGARTNER ANNO AETATIS
Bust
56
bald-headed and with side-whiskers, wearing gown over loose
All within border of leaves. On truncation: 1553.
front,
shirt.
IVDICIVM DNI APPREHENDIT EOS ET FORTITVDO
Rev.
EIVS
CORROBORAVIT BRACHIVM MEVM
Divine arm issuing
'
from clouds.
Habich, Corpus,
i,
no. 376,
i,
pi.
Domanig, Deutsche Medaille,

Berlin,
Amtliche Berichte,
p.
xlix, 4
no. 100
52
Babelon, xrv, 6
FRIEDRICH HAGENAUER
ac. c.
1525-46
Hagenauer was one of the most prolific of the classical German medallists. Born at Strassburg, he setded in Augsburg in 1527. His success
aroused the jealousy of the guild of painters and sculptors of Augsburg,
and since he was not a member of the guild, they attempted to restrict
his activity. He contended, however, that medallic art was a free art, and
therefore not subject to guild law. It would appear that the guild won
out, for by 1532 he was working again in Strassburg.
Hagenauer was an
craftsman and his medals portray the
efficient
with remarkable precision. Great care
and
face
dress.
Although
own
medallist and, in his
is
sitter
taken to show every detail of
a sculptor as well,
he
is
known mainly
as a
terms, "sought to earn his bread as a medallist."
88
Unknown Humanist
Menno
(in the past tentatively identified as
Silver
medal, 56
Bust facing
left,
Habich, Corpus,
mm.
diam.
wearing beret and
Rev. Later engraving: D.
ecclesiastical
gown. Granulated
MARTINUS. LUTHERUS. Open
field.
Bible on
al-
Mieris,
11,
251
Coll.,
According
to
iii,
no. 121
Habich,
1, pi.
this
50
medal dates from about
1539.
89
Philipp Melanchthon 1497-1560, Reformation leader and humanist
Bronze medal, 38
PHILIPPVS
Bust
left,
mm.
signature:
Rev. In five lines:
EVM
I
diam., 1543
MELANTHON ANNO AETATIS SVAE
bareheaded and bearded with long
field, artist's
ANNO
Habich, Corpus,
hair,
XLVII
wearing gown. In the
FH.
PSAL
36
SVBDITVS ESTO
DEO ET ORA
M. D. XXXXIII.
i,
i,
no. 651, pi. lxxx,
Juncker, p. 145
Tresor, Med. All., xvi, 3
Lanna Coll., iii, no. 930
Loebbec\e
no. 161
1, pi.
clxxiii, 7
Tresor,
Med.
All., pi. ni, 10
Coll.,
1908, no. 297, pi. xix

pi.
45
Juncker, p. 535
Lanna
2,
Munich
Lanna Coll., iii, no. 1015,
Rosenheim Coll., no. 433
no. 633, pi. lxxviii, ii
i,
i,
i,
Imhof, 608, 3
Koehler, xv, 137
Loebbeche
tar.
Habich, Corpus,
of leaves.
van Friesland 1492-1559)
Van
Rev. IN
VMBRA ALARVM TVARVM SPERABO DONEC
TRANSEAT INIQVITAS Helmeted coat of arms on drapery. Border
Coll.,
Amsterdam
JOACHIM DESCHLER
1929, no. 246, pi. xvii
ac. 1540-c.
Although Deschler spent two years
1569
as a student in Italy, his medallic pro-
91
]ohann Neudoerfer 1497-1563, "Schreib-und Rechenmeister"
in
medal separately and, by soldering, joining them onto the design, in

order to achieve a tbree-dimensional effect. An example of this method
Wisdom on
are the leaves of the Tree of
Niirnberg
Reinhart's extraordinary technical
medal with old
Silver
mm.
fire-gilding, 24
diam., 1554
lOHANN NEVDORFFER ARITHM AET:

:
gown
with long hair, wearing
On
with small ruffled
ucts are considered masterpieces of craftsmanship.
SVE. LVII Bust

collar.
right,
Pearled border.
In 1539 Reinhart setded in Leipzig. Prior to that time, he
Lucas Cranach, whose influence
a pupil of
is
may have been
apparent in his work.
truncation: 1554.
INDVSTRIAM
Rev.
ADIVVAT
DEVS
Helmeted coat of arms.
Pearled border.
94
John Fredericl^ Elector of Saxony 1532-37
Habich, Corpus,
i,
no. 1617, pi. clxxiv, 4
2,
mm.
Silver medal, 66
Imhof, 849, 8
diam., 1535
lOANNS FRIDERICVS ELECTOR DVX SAXONIE FIERI

CIT ETATIS SVAE 32 Bearded half-bust almost facing front,
Med. AIL, pi. xxxii, i

Domanig, ]ahrbuch (Vienna),
Tresor,
xiv, 32, no. 22, pi.
Fratikjmter Miinzzeitung, 1903,
Coll., Munich 1908, no. 305,

Lanna Coll., iii, no. 1016, pi. 45
Domanig, Deutsche Medaille, no. 162
Loebbecke
pi.
gown,
the collar of
Rev.
xx
SPES
MEA
electoral shield
IN
Wiirzburg 1558-73
Silver medal with old fire-gilding, 27 mm. diam., 1572

FRIDERICVS D G EPS WIRCEBVRG Bust facing
with long hair, wearing
right,
jewelled chain. In the field: 15
Rev.
AETATIS SVAE
cloak over gown, and
EREN
Triple-helmeted large coat of arms with the

in the center.
and 3a
i,
pi.
xxxi
95
Man
Crucijixion
Habich, Corpus,
Provenance: Vogel
IN
schnitte, no. xin, 14).
Silver medal, 68.5
no. 1682, pi. clxxxi,
2,
portrait on this medal is based on a woodcut by Lucas Cranach

(Gotha Landesmuseum), made about 1533 (cf. Geisberg, Etnblattholz-
three helmets, the quadripartite shield.

i,
REN ALS
embroidered:
(two crossed swords)
Fall oj
& L. Hatnbtirger,
is
7Z.
FRANCIAE ORIENTALIS DVX Under
65
biretta, fur-lined
-
FE-
hold-
The
three-quarters
DEO EST ANNO NOSTRI SALVATO-

Loebbecke Coll., Munich 1908, no. 562,
Lanna Coll., ni, no. 861, pi. 40
92
of
no. 1935, pi. cciv, 3

Tentzel, Ernestine Line, pi. 7, i
JOACHIM DESCHLER, SCHOOL OF

Von Wirsberg Bishop
which
M-D X X-X-V
RIS
Habich, Corpus, u,
Frederick
ing the electoral sword and hat; wearing necklace and fur cloak over loose
p. 496, pi. 22, 8
Felix Coll., no. 187
L.
Man medal (no. 95).

great praise. His prod-
the Fall oj
won him
skill
mm.
diam., 1536
ET SICVT IN ADAM OMNES MORIVNTVR ITA ET IN

CHRISTVM OMNES VIVIFICABVNTVR VNVS QVISQVE IN
ORDINE SVO Adam and Eve, surrounded by the animals of Paradise
1891, no. 1200
Coll., no. 140, pi. 15
MICHAEL HOHENAUER,
half of the sixteenth century
first
Probably a native of Prague, he held a variety of positions

his
home town and
in Vienna.
The
artist's
at the
date of death
is
including a unicorn, under the Tree of
mint
in
believed to
is
ground,
the
have been about 1558.
II 1506-26,
ter of
Charles
King
of
Hungary
and
1516-26,
his wife Maria,
from
Paradise. In
the electoral shield of Saxony, in the right, the ducal shield.
lOANNS FRIDERICVS ELECTOR DVX
a ribbon:
SAXONIE FIERI
Louis
the foliage of which
the creation of Eve; right, the expulsion
left,
left field
Underneath, on
93
Wisdom,
soldered to the medal (typical of Reinhart's early work). In the back-
FECIT
sis-
V
mm.
Silver medal, with old fire-gilding, 41
diam., 1526
LVDOVIC VNGA EC REX CONTRA TVRCA PVGNANDO

OCCVBVIT Bust left, with long hair and short beard, wearing broad
rimmed
Golden
Rev.
mantle over pleated gown, and the sash with the
hat, fur-lined
Fleece. In the field:
Z6
ETATIS - SVE
30
MARIA REGINA EC QVOS DEVS CONIVNXIT HOMO
NON SEPERET
Bust
left,
wearing wire cap and double necklace over
bodice.
Habich, Corpus,
11,
i;
compare
no. 1897, pi. cci,
(her bust to right)
Lanna Coll., ni, no. 659

Donebauer Coll., no. 980
Forrer,
11,
duction;
518
it
(ill.):
is
workmanship,
Louis (Lajos)
II
"Fiala considers this
medal
executed with special care and
is
as the artist's best pro-
remarkable piece of
of characteristic style."
was the
last
of the Jagiello Dynasty, ruling the two king-
doms of Hungary and Bohemia. In the Battle of Mohacs, 1526, commemorated by this medal, his army was utterly destroyed and he was
killed
by the Turks under Suleiman
for the first time in history.
Through
I,
who
used artillery in open battle

marriage treaty concluded by his
father Wladislas II, the crowns of Hungary and Bohemia passed to

Louis's brother-in-law, Ferdinand of Hapsburg, resulting in the union
which was to last four centuries between Hungary, Bohemia, and the
Hapsburg
VT MOSES EREXIT SERPETE ITA CHRS IN CRVCE

EXALT ATVS ET RESVSCITATVS CAPVT SERPENTIS CONTRIVIT SALVARET CREDENTES Christ on the cross between
Rev.
the
two
artist's
HANS REINHART THE ELDER
ac. c.
1530-80
left,
signature:
DEO EST
Below, Mary,
R and
1536. Below,
on
a ribbon;
Habich, Corpus,
Tentzel, Ernestine Line,

the technique of casting various portions of the
St.
School.
is
John, and mercenaries. In the backthe Church; right, the Resurrection. Under the cross, the
thieves.
Probably one of the best-known Renaissance medallists of the Saxonian
Reinhart's hallmark
ground,
lands.
11,
i,
no. 1968, pi. ccxi,

pi.
vni,
no. 762
i,
and
SPES
MEA
IN
98
Philipp Adolf von Ehrenberg Bishop of Wiirzburg 1623-31
Oval
medal with old
silver
PHILIPP
H. 37 mm.,
fire-gilding,
ADOLPH D G
EPS WIRCEB
and with long
three-quarters to right, bareheaded
W.
31.5
mm., 1623
FR OR DVX
Bust
hair, square-cut
beard
and moustache, wearing broad-collared brocaded gown, buttoned
in
center.
Rev. Without legend. Helmeted shield, quadripartite with the coats of
arms of Ehrenberg and the Diocese of Wiirzburg; above, 1623. Original

suspension loop.
Habich, Corpus,
i,
11,
Schulthess-Rechberg
no. 2799, pi. cclxxiv, 3
2832
Coll., no.
GEORG HOLDERMANN, SCHOOL OF

99
Hugo
Donellus (Doneau) 1527-91, famed law scholar
Oval lead medal, H. 52 mm.,
Lanna
Coll.,
Loebbecê
Van
iii,
no. 1290,
pi.
Munich
Coll.,
W.
40 mm., 1590
HVGO DONELLVS IC CL PROF ALDORP AET SVAE

64 AN 90 Bust facing front, in very high relief, wearing skullcap,
53
ruff collar,
1908, no. 567, pi. xxxi
and coat with fur
collar over
buttoned gown.
Mieris, n, 447
Mueller-Lebanon
Ferrer,
v,
Coll., no. 88, pi. ix

(ill.)
pp. 78, 79

96
Man
Fall of
Crucifixion
|
Silver medal, with old fire-gilding, 56
Similar to the
mm.
diam.
but without the circular legends. In the obverse
last,
MVLIER DEDIT MIHI ET COMEDI GE

MISERERE NOBIS DOMINE
Loebbec\e
field:
In the reverse field:
11,
i,
no. 1969, pi. ccviii, 2
Tentzel, Ernestine Line,
m,
Coll.,
Habich, Corpus,
Lanna
Coll.,
pi. 8, 11
no. 1288, pi. 53
Munich
VALENTIN MALER
1908, no. 569, pi. xxxi
c.
1568-1603
native of Moravia, Maler's chief center of activity for 35 years was

Niirnberg. He was the son-in-law of the famous Niirnberg goldsmith,
No
Wenzel Jamnitzer. Thanks
Will,
favor of the Niirnberg
The number
Town
he obtained by special
Koehler,
hand is most impressive; yet in

poor man, leaving his widow 11 00 gulden
Mazzuchelli,
he died
His house was inherited by his son Christian, along with
its
un-
vii,
i,
11,
no. 401,
III,
Council the privileges of a mastership.
of medals by the artist's
spite of his diligence

in debt.
to this relationship,
reverse.
Habich, Corpus,
no. 2807, pi. cclxxiv, 12
385
i,
pi.
xcv, 7

Imhof,
II,
no. 245
715, no. 21
paid mortgage of 1900 gulden.
97
NURNBERG(.?), SIXTEENTH
Matthaeus Fetzer 1527-83, Niirnberg Councilman 1556

Silver medal, 29
mm.
gown
ing right, wearing
Rev.
LI 1576 Bearded bust, three-quarters

with high ruff collar.
:
ALL MEIN HOFNVNG ZV GOT
rounded by three smaller

Habich, Corpus,
Will,
100
diam., 1576
MATHEVS FETZER AET
IV,
11,
i,
CENTURY
Helmeted coat
fac-
of arms, sur-
shields.
Portrait of a Patrician
Oval wax medallion, H. 95 mm.,
W.
72
mm.
Portrait of a Niirnberg patrician almost facing front, with short hair
and
long broad beard, wearing black embroidered coat with white ruff
no. 2509; pi. ccli, 6
299
collar.
In contemporary fire-gilded bronze case, adorned with fruit volutes,
Binder, 573, 20
Delbeck,e Coll., no. 822
Provenance: Trau
elaborate scrollwork with putto in center. Outside case height: 157
width: 90
Coll., no. 1761, pi. ix
Gallet Coll., no. 105,
GEORG HOLDERMANN
A goldsmith,
pi.
Niirnberg 1585-1629
and wax modeller, Holdermann's medallic work

dates from between 16 10 and 1629. He also seems to have been connected with the production of coins, as evidenced by a Niirnberg Council
medallist,
ordinance of 1620.
mm.;
mm.
Habich, Corpus,
11, i,
no. 2820 (this specimen)
Sonderausstellung catalogue, 1939/40,

(this specimen)
Provenance: Spitzer
Bern, no. 42
Coll., Paris 1890, v, p. 191, no. 10
Spitzer Coll.,
Lanna
Kunstmuseum
London
1893,
Prague
Pick Coll., Budapest
Delmar Coll., Budapest
Coll.,
11,
no. 2959, pi. lvi
(ill.)
SOUTH GERMAN
108
1530
c.
Portrait of an
lOI
Anna von Frundsberg Countess
Lodron
of
mm.
Checker, ground marble on light wood, 50
VXOR
Bust
gown
widow's
veil
Checker, ground marble on ebony, 50
diam.
(her husband died in 1527) and wide
ANNA GEORGI
IN
FRVNTSPERG
left,
wearing
over pleated
cf.
Habich, JaJtrbuch 28, 1907,
Lanna
Coll.,
11,
pi. J 8
collar over pleated
medal by Friedrich Hagenauer with Anna's
A wooden
corded in Habich, Corpus,
i,
i,
Lanna
no. 541,
ill.
portrait
is
re-
diarh.
gown.
Coll., n, no. 66, pi. 8
SOUTH GERMAN,
no. 65, pi. 9
mm.
Bust right, wearing turban, earring, mantle with embroidered shoulder
cf.
bodice.
cf.
Unl^nown Mohammedan (probably a Turkish grand
vizier)
1556
109
loi.
Hieronymus Allgaeuer
102
b.
Kehlheim stone model, 42
1509
mm.
diam., 1556 (in
wooden frame)
Emerentiana von Tannhausen married 1521

Bust, three-quarters facing,
diam.
with shoulder collar over bodice,
der, cloak
cf.
Habich, jahrbuch 28, 1907,
cf.
Lanna
For
mm.
wearing pleated bonnet with plain wide bor-
Coll.,
portrait, cf.
11,
pi. J 8
no. 65, pi. 9
Habich, Corpus,
i,
no. 1315, pi. cxlviii,
2,
103
Saxony married 1527,
Sybille of
d.
1554
mm.
DVCIS
lOHANNI
SIBILA
FRIDERICHI
diam.
VXOR SAXONIAE
Bust three-quarters facing, wearing wire cap, necklace with pendant,
gown with
pleated sleeves over bodice.
cf.
Habich, fahrbucfi 28, 1907,
cf.
Lanna
pi. J 8
Coll., n, no. 65, pi. 8
104
Euphrosina de Chamemilon
EVPHROSINA DE CH.\MEMILON
round ornament
over embroidered bodice,
net with
cf.
Habich, ]ahrbuch
cf.
Lanna
Coll.,
11,
mm.
Bust facing
in center, necklace
HIERONYMVS ALLGOE'WER XVIIL lAR ALT A MDLVI
diam.
left,
wearing bon-
with pendant, and cloak
Bearded bust facing front, bareheaded, wearing fur-lined coat with high
collar turned down. Around the neck, a chain with medallion.
Provenance: Merzbacher
28, 1907, pi.
Neuburg
no. 65, pi. 9
Coll.,
Munich
BALDUIN DRENTWETT
c.
105
Frisian by birth, Drentwett's
Frederick^
Behaim von Schwarzbach 1491-1533, Niirnberg Council-
man
mm.
with broad shoulder collar over high-closed, pleated gown,

cf.
Lanna
For
Coll.,
portrait, cf.
11,
i,
2,
no. 936, pi. cxiv, 10.
Augsburg from
Wolfgang
Vitil,
Augsburg
1495-
renown and ability. After 1612, Drentwett's productivity

though several medals from the years 1612 to 1620 may still
have come from his workshop.
of lesser
lessened,
in
Augsburg 1548
Bronze medal with old gilding, 41
mm.
D GEORGIVS MYLIVS AVG AET
1540)
Bust, three-quarters facing, with
mm.
(as
Georg Miler), Professor
Lanna
Coll.,
portrait, cf.
11,
moustache and square beard, wearing
i,
i,
Rev.
no. 485, pi. lxiv, 7.
107
Portrait of a
Humanist
(possibly
Johann Caesarius, Ph.D. and M.D.,
born Juelich 1468)
mm.
Bust, three-quarters facing, with long hair
gown and
D MARTINVS LVTERVS
field.
diam.
and beard, wearing
31
Bust with moustache and
Habich, Corpus, u, i, no. 2943

Delbecke Coll., no. 864
Loebbec\e Coll., Munich 1908, no. 369
Rosenheim Coll., no. 464
The
scholastic
Bust of Luther three-quarters right;
Cable border.
Archiv, 4 (1913/14), p. 188,
ruff collar; granulated field. Cable border.
granulated
no. 66, pi. 8
Habich, Corpus,
diam.
small pointed beard, almost facing front, wearing high-closed robe with
diam.
brocaded coat over gown, and round wire cap.
wett.
pi. xv,
10
medal is by Valentin Maler, and was copied by DrentHabich dates the medal c. 1579.
reverse of this
hat.
1 1
cf.
Lanna
Caesarius
pus,
the early
of Theology in Wittenberg, d. 1607
Portrait of a Patrician (probably
For
in
although he travelled widely in the practice of his art. He is

assumed to have employed a considerable number of assistants, including
Georg Mylius born
106
cf.
1545-1627
home was
no
no. 66, pi. 8
Habich, Corpus,
111
seventies,
some
diam.
Bust right, with beard and moustache, wearing wire cap and mantle
1900, no. 346, pi.
xxn
Coll., no. 168, pi.
I,
I,
Coll.,
is
11,
no. 66, pi. 8
portrayed on a medal, dated 1543, recorded in Habich, Cor-
no. 661, pi. Lxxxi,
8.
Charles I
560-1 600,
Gold medal,
23.5
mm.
Count
Palatine
diam., 1591
569-1 600
CAR D G CO PA RHE BA DV C V E
S Bareheaded bust
with short beard and moustache, three-quarters facing

collar and double chain.
right,
wearing ruff
ANNO DO
MI MDXCI Minerva standing on a book,

palm branch and crowning Patientia who caresses a lamb; at
Rev.
Habich, Corpus,
II,
ii,
i,
1538-91
Lombard, perhaps Milanese, origin. His father, Alessandro Abondio, was a celebrated wax modeller during the first half of
the sixteenth century, and a pupil of Michelangelo. It was the elder
Abondio who introduced young Antonio into the art of modelling and
much
undoubtedly imparted
left his
we
artist
portrayed on a
visits to
find
of his genius to his son.
and travelled across the Alps. A year

employ of Emperor Maximilian II, whom the
native land
in the
number of medals. With the exception of occasional

The Netherlands, Spain, Bavaria, and Northern Italy, Antonio
spent nearly
Upon
him
all
of his
life in
George, helmeted and bearded, galloping
St.
(this
to
right,
specimen described and illustrated)
p.
17 (this specimen de-
and illustrated): "A work by Antonio Abondio, hitherto unknown, which is different from the other reverses of his medals, but
which does not hide the artistic hand of this master. The bearded representation of St. George, usually shown as a young man, is perhaps connected with the portrait of the Emperor on the obverse. The medal is
undated, but is close to the one on Johann Khevenhueller (Fiala no. 25,
pi. Ill, 3), made around 1571. Minerva on the reverse of that medal wears
a similar armor as St. George here. As Maximilian's portrait also appears
on another medal together with that of Maria dated 1575 (Fiala no. 38,
pi. II, 3), this present Maximilian medal with the St. George reverse
originated probably between the years 1571 and 1575. The tinsmith,
Caspar Enderlein, has used this St. George design by Abondio on a tin
plate (illustrated in H. Demiani, Francois Briot, Caspar Enderlein, and^
continued to bestow
II
secured the
many
favors
the Tin, Leipzig 1897)."
Unique.
Prague and Vienna.
the death of Maximilian, Rudolf
like his father,
Fleece. In the lower left
scribed
of
later
Golden
Dr. V. Katz in Berliner Miinzblaetter, 1930,
In 1565 Antonio
Mounted
Habich, Corpus, 11, 2, 3412 note

Archiv 3/4 (1921/22), p. 91
no. 2991, pi. cclxxxvii, 3
ANTONIO ABONDIO
Abondio was
Rev.
of the
AN:AB:
her feet a
Spiess, IV, 363

7, fig.
and the sash
the artist's signature:
spearing the dragon.
144, no. 102
Streber, p.
coat,
field,
holding a
mirror.
Exter,
wearing armor,
artist's services
and,
Provenance: Dr. Viktor Katz Coll.
on him.
113
Antonio Abondio occupies a rank of honor among the medallists of

age. His medals show a blend of Italian and German art.
his
Maximilian
II
Silver medal, 24.5
112
Maximilian
Silver
II of
Hapsburg
medal with old
1527-76,
fire-gilding, 6x
three chains ending in one ring.
Emperor 1564-76
mm.
The frame
]MP:CAES: MAXIMIL:II :AVG:
ruff collar,
diam., 1575, in frame with

has the Viennese inspection
stamp used from the end of the sixteenth century

no. 5065) and the monogram AL.
to 1674
MAXIMILI
(Rosenberg
Rust right, bareheaded and bearded.
Rev.
diam., 1570
I
AV
Bearded and laureate bust left, wearing

sash with the Golden Fleece.
armor and drapery, and the
DOMINVS
wings holding
Coll.,
15
70
PROVIDEBIT
a globe.
Habich, Corpus,
Lanna
mm.
ROM
II
iii,
hocbbccl{e Coll.,
11,
2,
no. 3438, pl. cccxxi, 9
no. 721
Munich
1908, no. 560
Facing eagle with spread
L.
Hamburger,
Herrgott,
Oval
1922, no. 136
iii, pi. ix,
silver
D G
41
Donebauer
Coll., no.
1232
left,
PAULUS VAN VIANEN

Born
at or
and
Upon
to a
together with his brother
artists,
from his father, an able goldCornelius Elertz of Munich. Thereafter he contalents in Rome. He was falsely denounced to the
received his early training
a certain
tinued to develop his

Inquisition
Rev.
1592-1612
near Utrecht into a family of
Adam, Paulus
smith,
ac. c.
and imprisoned
his release,
for several months.
about 1596, Paulus
left for
Munich where, according
record in the goldsmiths' annals, he was received as "Master" in
medal, H. 39 mm.,
SOPHIA
wearing ruff
W.
mm., 1622
30
NAT MAR BRAN DVC SAX ELE
collar
and jewel on
Veiled bust
triple chain.
SEREN D D lOH GEORG ELECT SAX IN MATR
CHARISS In
MOR: 7 DEC:
1622
Schulthess-Rechberg
Coll.. no.
Munich
Tentzel,
pi. xxii,
NAT:
JUN
:
|
1568
PIETAS
Loebbeclê Coll.,
Berlin,
the field, under an angel's head:
4688
1908, no. 698, pi.
xxxv
Amtliche Berichte, no. 78
Engelhardt, no. 420
Emperor Rudolf II,

monthly salary of twenty gulden (most other artists in the Imperial
employ received only ten gulden). His principal works belong to this
SEBASTIAN DADLER ac. 1619-54

A goldsmith and a foremost medallist of
Imperial period in Prague.
was born
1599. In 1603, the artist's services were secured by
for a
Paulus van Vianen's products have been compared to those of Cellini

because of their excellence of
workmanship and
The
finish.
artist
died of
the plague in 161 3.
Oval
II of
silver
medal with old
ROM
II
the title of "First Goldsmith to the Imperial Court," and there attained considerable celebrity.
a later stage in his career, Dadler worked for the Electoral Court of
Saxony, where he executed various articles of plate in repousse work for
John George I. So great was Dadler's reputation, that many princely

houses of Europe eagerly tried to enlist his services. The latter part of his
life was spent at Dresden, where he died, presumably in 1654.
Hapsburg 1552-1612, Emperor 1576-1612
RVDOLPHVS
Hamburg, and Dresden. At Augsburg he held

At
114
Rudolf
the seventeenth century, Dadler
but was active chiefly at Augsburg, Niirnberg,
at Strassburg,
fire-gilding,
IMP
H. 38 mm., W. 46
AVG REX HVNG BOE
ing front, wearing laurel wreath, cuirass, ruff collar
mm.
Bearded bust facand sash with the
117
Christ
order of the Golden Fleece.
and
Paul
St.
Silver medal, 43
mm.
diam., 1625
CHRISTUM HAT GOTT FURGESTELT ZU EINEM GNADENSTUEL The Savior, haloed, wearing the crown of thorns. To the
(italics)
left,
a mercenary; to the right, St. Paul. Underneath: 1625.
(italics) JESUS HAT SICH ZUM LOSEGELT BEIM HIMLISCHEN VATTER DARGESTELT FUR ALLE SUND DER GANTZEN WELT within foliate wreath. Underneath, the artist's signature:
S-D
Rev.
118
Frederic}{
Oval
HI
1609-70,
King
medal, H. 58 mm.,
silver
of
Denmark
W.
48
1648-70
mm., 1648
FRIDERICUS III. D G. DAN. NORW. GOT. VAND REX.

HOLST. DIT. COM. IN OLD. & DELM. Within a baroque
DUX
SL.
cartouche,
the King's bust, three-quarters facing, wearing wig, lace collar, drapery
over cuirass, with lion's head on shoulder, on the breast the Order of
the Elephant. Below, the
artist's initials:
and
16
48.
SEHT WIE DER FRIED lEZ ZIERT DIE WELT DA FRIDRICH

KROHN UND SCEPTER HELT On a pedestal Pax seated, holding the
raying Sun, palm branch and an open book inscribed: DAS HOEHESTE
Rev.
GUT,
OMEN
Rev.
FIRMAVIT
eagle
winging toward the sun.
Capricorn over globe; above, the Hapsburg
Original loop for wearing.
Habich, Corpus,
11,
Provenance: Trau
2,
Hung
with pearl.
her feet resting on a globe.
Danske Mynter og Medailler, pi. i, no.

Commemorates
no. 3555 (this specimen)
the King's accession
and the conclusion of the Peace of
Westphalia.
Coll., no. 615, pi. iii
Belli Coll., no.
6389
Unique.
SEBASTIAN DADLER, SCHOOL OF
UNIDENTIFIED ARTIST, SIXTEENTH CENTURY
119
Showing
"5
Christ
Louis VI Count Palatine 1576-83
Silver medal, 36
medal with old gilding, H. 35 mm.,
Silver
Rev.
wearing ruff
VINCES
collar
31
mm., 1580
VIVENTIS
bust
Rev.
1580
The
I,
NOSTRA MEDELA
Winged
archangel, carrying the cross. In the
background, rooster on column.
JOHANN JAKOB KORNMANN also known as GIOVANNI

JACOPO CORMANO first half of the seventeenth century
58, no. 51
RUPRECHT NICLAS KITZKATZ
wearing the crown of thorns, showing the
Resurrection.
Pearled border. Suspension loop.

Exter,
Christ,
stigmata. Below: 1625.
and drapery. Pearled border.
VIRTVTE
diam., 1625
VULNER CHRISTI
ADZ- Bareheaded and bearded
LVD D G CO PA ELE
right,
W.
the Stigmata
mm.
Dresden,
ac. c.
1615-33
116
Sophia of Brandenburg 1568-1622, wife of Christian

Saxony
I,
Elector of
Kornmann was born
in Augsburg, but his enthusiasm led him to Italy,

where he Italianized his name. He worked with great success at Venice
and Rome. It was his misfortune to fall into the hands of the Inquisition
at Rome and thus lose his goods and liberty. The style and the finish
of his medals are of great precision.
120
Brandenburg
deburg and Halberstadt
Christian William of
Oval
W.
medal, H. 41 mm.,
silver
phalia, 1648.
mm., 1627
31
JOHANN BLUM
VGGCWPABEV'SM:VHP:GMZBIPH
Gnaden, Christian Wilhelm,
Mag-
587-1 665, Archbishop of
Thirty Years' War. After Ferdinand's election as Emperor, things took

a turn for the worse, undl Ferdinand had to assent to the Peace of West-
(Von Gottes
Postulierter Administrator beider Erz-
Und
Magdeburg Und Halberstadt, Primas Germaniae, Markgraf Zu

Brandenburg, In Preussen Herzog). Bearded bust, three-quarters facing,
bareheaded, wearing lace collar and drapery over cuirass. Underneath:
ac.
1631-60
Bremen, Blum made

Saxony, Brunswick, and Orange.
resident of
number
of medals for the Houses of
Stift
1627
THVE RECHT FVRCHTE GOTT
Rev. In four lines:
VND
NIE-
MEHR
MANTS
Amtliche Berichte,
H. Hauswaldt Coll.)
Berlin,
is
Saxe-W eimar 1604-39
of
mm. diam., 1638

HEROIS HUIUS NOMINA IN CUNCTA CLARENT SECULA.
Silver medal, 53
Within an elaborate baroque cartouche, bust of Bernhard, three-quarters

facing left, wearing cuirass, lace collar and sash, and holding staff.
Suspension loop.
This
124
Bernhard
43, no.
p.
iii, pi.
(specimen from the
13
Around
Magni
(in italics)
der the cartouche, the
the second recorded specimen.
RIUS
1638 View of the

system of fortifications.
121
Tentzel,
Adolf 1594- 1632,
11
Silver medal, 63
mm.
King
of
Sweden
diam., 1629
D:G: SVEC: GOTH: WAND: Q: REX. Laureate bust with pointed beard and moustache, three-quarters facing right,
wearing lace collar and military sash over cuirass. Broad foliate border.
DEVM COLE
ARGENTVM
VIRTVTEM SECTARE
SPERNE PATRIAM DEFENDE 16Z9, all under the glorified name
six lines,
arranged in the shape of the divine eye:
AVRVM CONTEMNE
God
Hebrew
in
Hildebrand,
Oldenburg
Schultze
i,
letters.
Broad
foliate border.
no. 73
Coll., no.
Commemorates
i,
Coll., no.
6372
Commemorates Bernhard's capture

Provenance: Crona
Coll., no.
of Breisach.
189
JOHANN BARTHOLOMAEUS BRAUN
ardst was married to Anna Maria Pfruendt, the daughter of another

well-known medallist, and a medallist in her own right.
Sigmund
his victories in the
Gabriel Holzschuher 1575-1642, Niirnberg Councilman
1606
Thirty Years' War.
67 Bust three-quarters facing

bareheaded with square-cut beard, wearing large rulT collar and
gown. The
Adolf
Oval bronze medal, H. 45 mm.,
GVSTAVVS ADOLP
W.
:
27
mm., 1629
SVEC
GOTH WAND Q REX

:
over cuirass.
of God ET VICTRICIBVS ARMIS ("Deo et
was the motto of Gustav Adolf.) Religion and Svecia
standing at a column, between anchor and lion (referring to the King's
successful landing in Germany).
The Hebrew name
victricibus armis"
no. 87
Provenance: Crona
portrait realisdcally
shows a large wart on the forehead.
SPE GLORIAE HVMILIS Helmeted
Rev.
Laureate bust to right, with short beard, wearing lace collar and drapery
i,
ac. c. 1636-
The
right,
Hildebrand,
Niirnberg
66
122
Rev.
its
201
Lead medal, 51 mm. diam., 1642

SIGM:GABRIEL HOLZSCHVHER AE:
11
Rhine, showing
xxxix, 3
pi.
Provenance: Crona Coll., no. 75
Gustav
Un-
125
359
82
Coll., no.
effigies.
of
Weim.
Blum.
city of Breisach across the
Forrer,
GVSTAVVS ADOLP:
Rev. In
Reimmann
161 1-32
signature:
BRISACH FORTIS SED FORTIOR DEUS FVIT ET WEIMA-
Rev.
UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY

Gustav
ducis Bernhardi Saxon.
artist's
Forrer,
i,
shield, to the sides, 16-42.
269/270
Lanna Coll., ni, no. 1123, pi. 48

Loebbec}{e Coll., Munich 1908, no. 625
Felix Coll., no. 136 (probably this specimen)
Imhof,
Will,
p. 394, 14
305
II,
JOHANN BUCHHEIM
1624-83
Buchheim worked for Bishop Charles Ferdinand of Breslau, the city o

Breslau, the Dukes of Silesia-Liegnitz-Brieg, and for John George o
Coll., no. 81
Saxony.
123
Ferdinand
Battle of
Silver
111 of
Hapsburg
1608-57,
Emperor
126
1637-57, Victor of the
George
Noerdlingen 1634
medal with old
fire-gilding, 56
mm.
diam.,
c.
1634-36
FERD. III. D. G. ROM. HVNG. BOHEM. R. ARCHID. AVSTR.

DVX. BVRGV. LVCENBVRG. SILES: STYR. CARINT. CARN.
WIRTENB. MARCHIO. MORA. LVSAT. COMES. HABSP. TIROL:
EC
(title as
King
Romans, Hungarians, Bohemians, etc., thus

Emperor, 1637). Within double circle of legend,
of the
before his election as
two putti hold crown over a medallion surrounded by the chain of the
Golden Fleece, showing Ferdinand, bareheaded, with long hair and
pointed beard, wearing lace collar and drapery over cuirass.
Rev.
QVAMVIS OCCVMBAS FELIX OCCVMBIS IN IPSO STARE

EFFIGIEM. SOL ORIENTE VIDES On a river in a moun
Oval
all
of Silesia, Liegnitz,
and Brieg 1639-64
W. 37 mm.
SIL L & B
SUPREMAE
medal, H. 39 mm.,
GEORG
PRAEF
cuirass,
Duke
111
silver
DUX
ADMINISTR:
with
lion's
PER
tainous landscape, over
which the sun
rises,
haloed
St.
Peter guides his
the Papal tiara; the
Hapsburg eagle perched on
RENITATIS NVNCIA.
the sceptre. Above, SE-
Suspension loop.
This medal commemorates the short-lived Hapsburg successes in the
head on right shoulder. Below:
artist's
signature
B,
within foliate frame.
Rev.
SORS
MEA A DOMINO
Under
three helmets
and on baroque
cartouche the quadripartite Liegnitz-Brieg shield.
Loebbec\e
Coll.,
Munich
1908, no. 713
Friedensburg und Seger, no. 1827

Forrer,
i,
305/306
TVAM
boat through the waves; before him, on the Bible the crossed keys and
SIL
Bust facing front, wearing wig, drapery over
UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY

127
Leopold
1 of
Hapsburg
1640-1705,
Emperor 1658-1705
Gold medal, H. 52 mm., W. 44 mm., no date (1658)
D G. ROM. IMPERATOR Laureate and armored bust

wearing sash of the Golden Fleece and drapery over shoulder.
LEOPOLD\'S.
to right,
ET
CONSILIO
Rev.
globe on which
INDVSTRIA The
and
a castle
is
To
a rock.
from heaven holding sword and
sceptre.
divine eye, over a crowned
two arms extending
the sides,
Granulated
field.
Original sus-
pension loop.
und
Joseph
PHILIPP HEINRICH
MUELLER
Augsburg 1654-1719
young age
Augsburg town council
Mueller's parents being of modest means, he was obliged at a

to
A member
begin providing for himself.
of the
recognized the young man's

It
artistic talents and took an interest in him.

was then Mueller learned medal engraving, an art in which he soon
excelled.
Fellner, 1888
Commemorates
Mueller's medals became
known
The
graver.
Provenance: Dr. Paul Julius Coll.
some
dies for
all
of the
many
over Europe, and
He was
princes were portrayed by him.
the Emperor's coronation at Frankfurt.
and
rulers
equally successful as a coin en-
most beautiful coins of the seventeenth
century were cut by Mueller.
JOHANN HOEHN
The
Danzig
c.
131
1637-93
worked for the Danzig mint, the Electoral court of Brandenand various other courts.
William
artist
burg,
and Mary King and Queen
111
Silver medal, 55
mm.
of
England 1688-94
diam., 1689
GVILIELMVS ET MARIA REX ET REGINA BRITANIAE. The two
12S
H. M.
busts conjoined to right. Below, artist's signature: P.
John Casimir King of Poland 1648-68
Rev.
mm. diam., 1658

IO.\NNES CASIMIRUS D. G. POLOKIAE & SUECIAE REX
medal, 69
Silver
reate bust
of the
Golden
Under
Fleece.
the truncation,
artist's
signature:
THORUNIUM PRISCO REDDITUR OBSEQUIO.
View
under orange
RESTITUTA
H.
NUMINIS AUSPICYS ET REGIS FORTIBUS ARMIS.

of the city of
1689.
EXTERNO MALE PRESS A lUGO BRITANNIA

PRIDEM, IN PRISCAS ITERUM RESPIRAT LIBERA LEGES.
Outer rim inscribed:
Franks and Grueber, no. 60

Van Loon, iii, 412, no. 3
Hutten-Czapski, no. 2109

Ossbahr, no. 22, pi. vii
Forster, no. 657
Forrer,
England.
Commemorates William and Mary's Coronation
522
Lib-
tree
Thorn, under the glorious name of God. In the foreground, encamped

troops. Underneath, in a cartouche: M. D. C. LVIII. XXX DECEMBER.
11,
ROSETTIS.
from which the crown is suspended. She

holds cap of liberty, scales of justice, and the cross. On exerguel line,
artist's signature: P. H. M. Below the line: SECURITAS BRITANIAE
erty seated
etc. Lauwith long hair to right, wearing armor, drapery, and the sash
Rev. (rosette)
AUREA FLORIGERIS SUCCRESCUNT POMA
as
King and Queen
of
Bahrfeldt, no. 9164
Raczinsky, no. 142
MARTIN HEINRICH OMEIS
Vossberg, no. 358
Omeis was employed
Commemorates
the capture of
at the
Niirnberg 1650- 1703 Dresden
Dresden mint
as assistant engraver,
with a
Duerr taught him the art of

medals executed before 1680 we find their joint
yearly income of 124 gulden. Ernst Caspar
Thorn by John Casimir.
die sinking.
129
On
several
signatures.
]ohn Casimir
Silver medal, 43
132
mm.
diam., 1660
JOAN CASIM D G REX POL. & SUEC
M D
John George HI Elector of Saxony 1680-91
R PRUS
Laureate bust with long hair and moustache to right, wearing drapery
Under
over cuirass and the chain of the Golden Fleece.

signature:
artist's
I.
the truncation,
mm.
Silver medal, 33.5
lOH GEORG
III
diam., 1691
D SAX
M A &W
wearing wig, and ermine over plate armor with
H.
PAX AETERNA AD GEDAN

CONDITA. A crowned dove holding
Rev.
A.
CDIDCLX
olive
III
wreath over the
On
MAII
city
of
Danzig. In the exergue, crowned olive and laurel wreaths, and signature: IH.
the truncation, the artist's signature:
Rev.
COELITUS DATA
GATA
in
lion's
EL-
Bust right,
head on shoulder.
arch above; below,
A TERRA DENE-
Divine hand issuing from the clouds, holding crown over globe.
Outer rim inscribed: NAT DRESDAE D 20 lUN A9 1647. DENAT
TUBINGAE
A*? 1691
12
SEPT

Franl{iewicz Coll., no. 639
Commemorates
the Peace of Oliva between Poland
Draped
diam., 1687
985
as
ANTONIO
Neapolitan by birth, Di Gennaro worked for the King of Naples dur-
ing his early career. By a resolution dated December 171 3 he was appointed "Kaiserlicher Muenz-Eisenschneider" at the Vienna mint. To
half-bust with long hair facing front.
lOHANNES HEVELIUS DANTISCAN CONSULVET CIVITAT. DELICIUM REGUM AC PRINCIPUM ASTRONOMORUM

IPSE PRINCEPS
IN GLORIAM ATQUE ADMIRATIONEM SECULI PATRIAE ORBIS ANNO 161 DIE 82 lANUARII NATUS
REM CONCILIIS PUBLICAM lUVIT LITERARIAM PRAECELLENTIB. MONUMENT. AUXIT MERITIS IN UTRAMQUE ILLUSTRIS SPLENDOREM NOMINIS AETERNITATI INSERUIT
IPSO NATALI DIE ANNO 1687 DENATUS, and the artist's signaRev.
Coll., no.
MARIA ANTONIO DI GENNARO also known

DE JANUARIO ac. Naples and Vienna d. 1744
John Hevelius Astronomer in Danzig 161 1-87
mm.
pi. lxix, 8
Dassdorj
and Sweden.
130
Silver medal, 52
Tentzel,
this period belongs the interesting medal on Count Waldstein who, as

would appear, took no minor pride in a prolific ancestor (cf. no. 133).
it
133
John Joseph Count of Waldstein
Silver medal, 72
mm.
diam., 1716
The Count's
Henry of Waldstein, offering in 1254 his

twenty-four sons to King Primislav of Bohemia for participation in the
ancestor, John
ture:
H.
King's crusade against the pagans.
The Count and

Coll. tn the
exergue, the
Marienburg, no. 8852
made
valuable observations of the moon's surface, discovered
four comets, and collected data for his catalogue of 1564 stars.
famous
He
is
most
for his study of lunar topography, recorded in his Selenogra-
phia (1647), which
AD- lANVARIO
signature:
King. Above the
in the field
HEROICA FOECUNDITAS.
Rev. XXIV FILII A PATRE IOAN:HENRICO BARONE A WALDSTEIN A:P:0:R:MCCLIIII PRIMISLAO BOHEMIAE REGI IN
CRUCIATA CONTRA PRUTENOS AD MILITIAM PRAESENTATI FABIOS CCCVI TRANSGRESSI QUI A VICTORES DE
below:
Vossberg, no. 1105
Hevelius
his twenty-four sons arriving before the
artist's
is
noted for excellent lunar maps.
HOSTE REDUCES ET VITELLIIS SUPERIORES NON IN UNA

COLONIA SED IN NUMEROSA PROSAPIA SECULO NOSTRO
|
& EL
artist's
Bust right, in elaborate baroque drapery.
FA- SCHEGA
signature:
DONATA INDELEBILES
Outer rim inscribed: QUORUM MEMORIAM IOAN:IOS:COM:A
WALDSTEIN. S:C: ET C:M:CAMER: HOC NUMO RESTITUIT
topped by rising eagle. In the exergue: OBIIT

LXIII
1716.
Dassdorf, no. 1510
Forrer,
11,
Rev.
cf.
241
AUG
PUS MANIBUS
Forrer,
v,
III
On
the truncation, the
MAGNANIMI Statue in mausoleum,

V OCTOBRIS MDCC
377/8
Brettauer, no. 4902
Donebauer Coll., no. 4026

Domanig, Die Deutsche Medaille,
Neumann,
p. 668, 57; pi. lxxiv,
PETER PAUL WERNER

Werner worked
which
tivity
639
CONCZ WELCZ
Nurnberg
German
for several
started about 171 2
BOHEMIAN MEDALS
no. 735, pi. 83
and
There
689-1 771
lasted until his death.
(which gave
tain")
name
their
may have
German
to the "Erzgebirge,"
contributed to the
The
discovery, at
Bohemian
for
silver mines
"Ore Moun-
ample medallic production.
artist's
ac.
1709-46
representing corresponding scenes from the Old and
office.
The
New
Testaments.
Welcz and that of many of his Joachimsthal contemporaries

are very similar, and it was not an uncommon practice among these
artists to borrow or buy from one another their hubs and dies.
style of
following Prussian medal represents the combined effort of the two
The
artists.
obverse
is
137
signed by Werner, the reverse by Niirnberger.
Prophet Jonas
Resurrection
134
Silver
King
Frederic}^ William I Elector of Brandenburg,
of Prussia 1713-
medal with old
fire-gilding,
40
IVSTOS FACIAT
FRID
silver
medal, 132.5
mm.
diam., 1733
wearing wig, plate armor with aegis on
PRO DEO ET MILITE
Under
formation. Underneath, on a ribbon:
Coll., no.
and
Bust right,
sash.
On
the
fee.
all-seeing eye, troops in
parading
In the
N.
obverse die for this medal burst
while being tempered, and only three specimens are
PAUL HEINRICH GOEDECKE

Hamburg
Goedecke, a
medallist,
also executed several portrait
are signed: P.
known
the
tomb and holding
a ban-
to the right, a tree; in the left back-
Prophet Jonas, his hands raised in prayer, emerging from the whale's
mouth. In the left background, a castle and a ship.
obverse shows the influence of
Moderno
(cf.
180). Katz believes the medal possibly to be
the plaquette, Molinier,
from the workshop of the
Leipzig Master, Hans Reinhart.
to exist.
1730-64
worked chiefly for the Danish court.

medals of private persons. His medals
H. G.
St.
Joachimsthal
ac.
1544-70
Etchings and woodcuts by artists like Hans Holbein, Hans Sebald Beham,
Hirschvogel, and others often served as models for Milicz's medallic
works. The first mention of the artist occurs in 1540 when he is named
among the town councillors of Thai. During his artistic career, which
stretched over twenty-five years, Milicz also cut dies for coins.
135
Frederic/^
King
1723-66,
mm.
Gold medal, 38
of
Denmark and Norway
right,
artist's
1746-66
138
diam., 1749
On
wearing armor and drapery with ermine.

signature: P. H. G.
HAG SECVLA IVBILANT VMBRA
Under
bust with wig
the truncation, the
the raying sun, Dania
Minerva, seated on a throne adorned with the crowned royal cypher

throwing its shadow over the 300-mark of a sundial. Dania holds the
as
shields of the
House
of
Oldenburg and of Denmark. In the exergue:

VICE IVBILANS D. 28. OCT. 1749.
OLDENB:DAN:TERTIA
Dans\e Mynter og Medailler,
Suppl., pi.
3,
no.
years of rule by the
FRANZ ANDREAS SCHEGA
House
King
of
Gilded silver medal, 60 mm. diam., 1550

PROGENIES DIVVM QVINTVS SIC CAROLVS ILLE IMPERII
CAESAR LVMINA AET SVAE L Bareheaded and bearded bust right,
wearing plate armor, with Golden Fleece on

double circles.
of Oldenburg.
Bernhart, Die Bildnismedaillen Kails des Fiinjten, no. 136,
1787
pi. iv,
Erbstein Coll.,
Schega was a self-taught medallist whose artistic ability has been much
acclaimed. He filled the post of mint engraver and medallist at Munich
Lanna
beginning in 1738 and was appointed medallist to the court in 1751.

The artist died blind.
Montenuovo
136
The
Crown Prince of Poland

mm. diam., 1763
FRIDERIC CHRIST D G PR REG POL & LITH
Coll.,
pi.
Markl, no. 1984,
i,
pi.
nx
pi.
i,
605
xlv, 3
Ferdinand
2,
is
after a
medal by Joachim Deschler,
no. 1616; pi. clxxiv, 3
DUX SAX
Maximilian
II of
Hapsburg
1527-76,
cf.
Ha^
139
Silver medal, 62
no
Coll., no.
portrait of
bich. Corpus,
pi. xi
no. 649
iii,
Katz, no. 318,
breast.
39
Fredericl^^ Christian
Legend between
Rev. FERDINANDVS D G ROMANOR HVNGARI BOEMINI INFANS HISPA ARC AVS REX 1550 Bareheaded and bearded bust right,
Herrgott,
d.
breast.
with long hair, wearing plate armor with Golden Fleece on

Legend between double circles.
Galster, 418
Commemorates 300
V 1500-1558, Emperor 1519-56 and Ferdinand I 1503-64,

Bohemia 1526-62 and Hungary 1526-63 (Emperor 1556-64)
Charles
FRIED. V. DG. REX. DAN. NORV. VAN. GO. Youthful
Rev.
NICKEL MILICZ
ac.
two warriors;
the tomb,
from
On the right wall of the tomb, the date 1537.

Rev. lANAS QVI POST TRES DIES DE PISTE EXIVIT DESIGNAT CRISTI RESSVREXIONEM CAPITVLOZ The bearded
I,
The
Christ rising
ground, a tower.
The
of the largest struck medals.
Around
Katz, no. 226
11313
Henc/êl Coll., no. 1393
One
diam., 1537
BEROL. M. DCCXXXIII.
field, to the right, the artist's signature:
Ampach
breast, ermine,
Werner
truncation, the artist's signature: P. P.
Rev.
ner.
WILH D G REX BORVSS EL BRAND
mm.
46
Very large
52
CHRVS MORITVR PRO NOBIS ET RESVRGIT VT NOS
He
1527-53
c.
Especially popular with the local population were Biblical medals, often
Niirnberger was assistant mint-master of Niirnberg from 1709-21; thereafter, until his death in 1746, mint-master. In 1730 he went bankrupt,
but was able to retain his
Joachimsthal
ac. St.
information about the origin of Welcz.
the beginning of the sixteenth century, of the rich

courts during his long period of ac-
PAUL GOTTLIEB NURNBERGER
The
little
is
Emperor 1564-76
II, son of Ferdinand I and Anna, sister of Ludwig II of

Hungary and Bohemia, was born 1527, elected King of Bohemia 1548,
crowned 1562, King of the Romans from 1562, Emperor 1564, died
Maximilian
.1576.
'
'
his trident
Poseidon, in chariot
and sinking Aeneas'
ship.
drawn by
sea horses, brandishing
Beyond: a rainbow and two blow-
ing zephyrs. Pearled border.
Armand,
mm. diam., 1566

MAXIMILIANVS II D G ROMA IMPERI SEM AVG GER
Silver medal, 53
HV BO ETC REX
ARCHI
Hapsburg
Katz, no. 326,
Roman Em-
shield. Foliate border.
pi. 8,
17
Provenance: Merzbacher
3 (1920/21), no. 12, pi. vii
11,
Coll.,
no. 465, pi. 26
iii,
Viscomte de Sartiges
UNIDENTIFIED ARTIST
Coll.
1601
143
pi. xlvi, 8
Domanig, Die Deutsche MedaiUe, no. 230

Katalog der Muenzen-und Medaillen-StempelSammlung des K. K.
Hauptmuemamtes in Wien 1901, p. 45, no. 55; pi. xi, i
Herrgott,
Bernhart, Archiv.,
1566
Double-headed imperial eagle under the crown of the Holy

pire; in the center, the
11, 255, 37
Plon, p. 275, pi. xxxiv, 3 (reverse)
Simonis, p. 109, pi. ix, 2
Provenance: Lanna
Fleece. Foliate border.
DVX AVSTRI DVX BVRG MARC MOR
Laureate and bearded bust right, wearing cuirass
and chain with the Golden

Rev.
DVRATE
Rev.
Coll.,
Munich 1914,
Nicholas van Delen Dutch patrician
H. 28 mm.,
Silver cachet,
B NICOLA VS
W.
mm., 1601
41
VAN DELEN
Under elaborately crested helmet, the

two ram's heads on broad center bar. Dated: ANNO 1601.
coat of arms,
no. 86, pi. x
The Van Delens were an
Dutch
old
patrician family.
140
Creation of Eve
Marriage
medal with old
Silver
GOTT
LIES
42
fire-gilding,
mm.
him God
EVA G
Adam
Very
diam., 1552
ADAM HART ENTSCHLA NAM
A-SSMDD
next to
JURRIAAN POOL
at Carta
Amsterdam, mid-seventeenth century
in
EIN
RIPP
deep slumber below a
tree,
the Father raising Eve.
of the
tions
medal of Admiral Tromp, which bears
the
is
Silver medal,
67
mm.
diam., 1653
MARTEN HARPERTS[!]EN TROMP RIDDER
hoebbec\e
pi.
Coll.,
lvi
Munich
1908, no. 510
neath:
UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY

141
HET
J.
Bust right, wearing
ecclesiasti-
Rev.
COMES DE WALDSTEIN
coat of
arms under
archi-
episcopal hat with infula. Underneath: 16*88
Donebauer, 4633
Commemorates
View
1653
iv,
O.
11,
364
665,
two men-of-the-line
in close
(ill.)
this
medal
is
quoted
as "the
most important
of this
medals."
WOUTER MULLER
artist of
ac.
1653-88
Amsterdam was one
of the foremost masters of the
repousse medal. His medals are embossed, chased, and the two sides
The Dutch
himself; he injects into
the consecration of the Kreuzherrenkirche in Prague.
of a naval battle, with
where
united by a rim.
(silver)
action; in the foreground, sinking ship.
This Dutch
Crowned
artist's
cal garb.
Bareheaded bust
breast. Under-
ADMIRAAL VAN HOLLAND VOOR

VAADERLAND GESNEVVELT DEN 10 AVGVSTI
ANNO
Forrer,
Waldstein Archbishop of Prague 1675-94
gown, and medallion on
POOL.
LIEVTENANT
Van Loon,
of
Gold medal, 33 mm. diam., 1688

lOANNES FRIDERIC ARCHIE PRAG
cf.
Rev.
facing front, wearing high-closed
The Marriage at Cana is after an etching by Hans Sebald Beham. (G.

Pauli, Hans Sebald Beham, Strassburg 1901, p. 36, no. 25)
John Fredericl{
his signature.
Admiral Martin Harpertszoon Tromp 1597-1653
a cartouche, 1552.
Katz, no. 370,
He may have been employed at

Among his excellent medallic produc-
of Pool.
life
the Utrecht mint as an engraver.
144
VFF DER HOCHZEIT ZV CANA VERWANDELT

CHRISTVS WASSE Z W lO Z The Marriage at Cana; below in
Rev.
known
little is
them
legends possibly are composed by Muller

his
own name and
states that
they are the
art of Muller.
Probably unique in gold.
MEDALS OF THE LOW COUNTRIES

JACOB JONGHELINCK Antwerp
531-1606
Jonghelinck ranks as the most prolific Flemish medallist of his period

and has a considerable repute as a sculptor as well. In 1558, while in the
employ of Philip II, he executed the monument at Bruges to the memory
of Charles the Bold, Duke of Burgundy.
when only twenty-five years old, Jonghelinck engraved the seal

Order of the Golden Fleece. In 1 572 he became master of the mint
at Antwerp. In addition to these assignments he also was active as a goldsmith and medallist; a document dated 1598 records a payment to him
of 148 livres, 15 sous, and 9 deniers for four gold medals he had executed
In 1556,
of the
for
Archduke
.Albert.
Jonghelinck during his early career was a pupil of Leone Leoni in Milan,
which explains the Italian influence in his style. His medals are cast,
sometimes subsequently chased, and without doubt the work of an accomplished
artist.
142
Admiral Martin Harpertszoon Tromp
Antoine Perrenot 1517-86, Cardinal Granvella

Silver medal, 58
mm.
ANTONII PERRENOT
bust right, wearing
Silver repousse medal, 70
diam.
gown
EPI
mm.
diam., 1653
Bust, three-quarters facing, in very high relief, surrounded by naval
ATREBAT
with high closed
Bareheaded and bearded
collar.
Pearled border.
em-
blems, under crown held by two putti. Underneath, on a ribbon: "Mijn

hert en hant was voor het lant."
Child; on the right, two shepherds standing, the heads of the ox, the ass,
and a tree; on the left, a shepherd carrying a crook; in the background, a
building; above, the star of Bethlehem.
Rev. (in
"Waarom
italics):
silver leeven
om
dat
doet Muller
hij d'ijzer
Tromp
door kunst van gout en

heeft verdreven."
eew door krijgsdeugd
naval engagement, with two men-of-war at close range in the fore-
ground. At top: "den lo. Aug. 1653."
Franks and Grueber,
Van Loon,
11,
Loebbecke
Coll.,
p. 403, no.
364, no. 3
Munich
Tromp's crushing of
34
(ill.)
1908, no. 195
a Spanish fleet in the lee of the
Downs
in
1639
the passing of Spanish sea power in the seventeenth century.
marked
Rev. On the left, the Virgin seated holding the Child, behind her St.
Joseph standing, before her the Three Kings, the foremost figure kneeling,
and three children; on the
ground, a building; above, the
146
right, the
ox and the
ass; in the
back-
star.
Apparently unpublished. Probably unique.
Admiral Cornells Evertsen

Silver repousse medal,
79
d.
mm.
1666
diam., 1666
HEER EVERTS, MET TRIOMF, OP'T BED VAN EER GESNEEFT,

ALDVS IN'T SILVER DOOR DE KUNST VAN MULLER LEEFT.
Ao. 1666 den
1 1
On
trophies.
Junii.
Bust in high
the truncation:
relief,
three-quarters right,
on naval
CORN EVERTSEN-ADMIRAAL VAN
ZEEL(and).
HIER STRYCKT HET BRITSCH GEWELT VOOR NEDERLANT DE VLAGH DE ZEE HEEFT NOIT GEWAEGHT VAN
ZULT EEN ZWAEREN SLAGH. Sea batde between the Dutch and
Rev.
English
fleets.
Van Loon,
Forrer,
iv,
11,
529,
195
Provenance: Viscomte de Sartiges Coll.
JAN FILIUS LUTMA Amsterdam
c.
1605-85
Lutma's medals, though not numerous, are very
fine in execution.
147
den Vondel 1587-1679, Dutch poet
Joost van
Draped bust facing
DEN VONDEL,
Rev.
mm.
diam., 1679
front, within
gest. 5
an olive wreath inscribed:
JOOST
VAN
Feb. 1679
Swan with open wings within an
olive wreath inscribed: S'lants
149
Outste en Grootste Poeet, geb. 17 Nov. 1587.
Anointing
Van Loon,
iii,
283, 2
Koehler, xiv, 193

Forrer,
iii,
of
Saul
Biblical Scene
mm.
diam.
Saul kneeling in front of Samuel. Saul in wide shepherd's garb, holding
503
surmounted by a lily, receives the crown from bearded Samuel,

wearing long gown and round cap. In the background, a city.
Ornamental border.
sceptre
Van den Vondel wrote Gysbreght van Aemstel and

lated Tasso, Virgil, Ovid, Horace, Sophocles,
other dramas, trans-
and Euripides.
who
is
Rev. Biblical scene.
UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY

148
Nativity
Apparently unpublished.
150
|
Adoration
The Virgin and
St.
Magi
mm. diam.
of the
Joseph kneeling on the ground, between them the
Pope Adrian VI (Adriaen Floriszoon van Trusen of Utrecht 14591523) Pope 1522-23
Lead medal, 84.5
mm.
diam.
M ADRIAEN VAN GOD GHEKOREN PAYS VAN ROMEN

T'UTRECHT GHEBOREN
P
Bust
with a medallion. In the
No
tiara
and cope closed
two coats of arms.
Mieris,
Tresor,
Bust left, with elaborately arranged hair, wearing ruff collar, richly
brocaded dress with puffed sleeves and jewel. Broad foliate wreath.
Rev. Crowned royal cypher over Phoenix rising from the ashes (symbolizing the Queen's virginity). Broad foliate wreath.
reverse.
Van
cf.
field,
wearing
left,
ii,
An
158, 3
Med. des Papes,
p. 7, no. 6,
identical piece
is
note
ERICH PARISE
ENGLISH, DANISH,
BERNARD RANTWIC
AND SWEDISH MEDALS
Copenhagen,
151
phia Amalia
of
mm.
Silver medal, 41
mm. diam.
SCELLEIVS PRIOR
Rev.
right,
ANGLIAE
Bearded half-bust
wearing armor, the breastplate adorned with the Maltese
Under the truncation: BERN.
SPES
MEA
tion, in italics:
Bronze medal, 71
RICARDVS
RANTWIC.
Denmark
cross.
1648-70 and his wife So-
Brunswicl^
diam.,
1658
c.
King's bust to right, laureate, draped and
armored. Under the truncation,
England, Knight of Malta
b. 15 14 Prior of
half of the seventeenth century
153
DOMINVS PROVIDEBIT
Richard Shelley
first
Frederick III 1609-70, King of
sixteenth century
Rantwic was of German origin but worked in London. \'ery few medals
have been attributed to him.
Sir
Museum.
in the British
IN
EP
DEO
in italics, the artist's signature:
Queen's bust
Dans\e Myntcr og Medailler,
left,
draped.
Under
EP
the trunca-
pi. xviii, 4, var.
Galster, no. 81
F.
J.
HERCLAS
Copenhagen,
mid-seventeenth century
ac.
154
The
of
Relief of Copenhagen by a Dutch Fleet

Cronenborg
mm.
Silver medal, 46.5
View
on
of the city
diam., 1658
and harbor of Copenhagen with ships

Three
battle.
United Provinces
ships-of-the-line, flying the
age, the artist's initials:
anchor. Above,
n, 430, 2
On
in the
foreground.
a floating piece of wreck-
Dans){e Mynter og Medailler,

Ossbahr,
at
Dutch, Swedish, and
combat; a sinking ship
flags, in close
background: Kronborg Castle.
In the right
Van Loon,
Naval Victory
HAFNIA DANIAE.
a ribbon:
Rev. Naval
after the
xx, no. 2
pi.
(ill.)
p. 87, no. 21, pi. vi
After Copenhagen had been besieged for two months by the land and
naval forces of Charles
Gustav of Sweden, a Dutch
fleet of thirty-five
70 guns, under the command of Baron Opdam van

Wassenaer, arrived on October 23, 1658. Following a fierce engagement
with the Swedish fleet and heavy losses on both sides, the Dutch forced
mounting
ships,
Rev.
PATRIARVM EXVBITOR OPVM A
standing
left in
winged
way
their
griffon,
crowned,
11
Copenhagen and landed food
into the port of
supplies
and
troops.
mountainous landscape.
Franks and Grueber,
i,
127, 75
K.
^^^^^^
Forrer, v, 28
RULL
Sweden,
half of the seventeenth century
first
155
Gustav
11
Adolf 1594-1632, King of Sweden 161
Silver medal, 28
mm.
GUST ADOL D
SUEC
DV ETH ET CAR
FIN
and bearded bust
1-32
diam., 1632
right,
NOV: 1632
Rev.
STANS ACIE
and
the
GOT VAND REX M PRIN

D Within a quadrilobe, laureate
legend: NAT 9 DEC: 1594 DEN AT
IG
VMPHAT
the background, a
Hildebrand,
Crona
PVGNANS
Crowned sword,
i,
VINCENS
MORIENSQ
and palm branch

landscape with river and sailboat.
laurel
TRI-
tied together. In
no. 179
Coll., no. 116
Forrer, v, 268
Commemorates
the King's death in the Battle of Luetzen.
ITALIAN PLAQUETTES ATTRIBUTED TO

ARTISTS
AGOSTINO
UNIDENTIFIED ENGLISH ARTIST, SIXTEENTH CEN-
TURY
lington
152
Elizabeth
ture
I
1533-1603,
Queen
of
England 1558-1603
Oval silhouetted suspension medal of
silver,
H. 57.5 mm., W. 46.5
is
Little
mm.
DI
DUCCIO
Florence 1418-98
This great Italian master worked during the middle of the Quattrocento.
Only two plaquettes have been ascribed to him. Eric MacLagan {Bur-
Magazine
1920, pp. 166
ff.)
writes: "Agostino (di Duccio) sculp-
extremely rare."
is
known
about Duccio's
life;
he was active at Modena, Venice,
Rimini, and Perugia. In 1446 he was banished from Florence.
156
cf.
cf.
Pieta
Rectangular bronze plaquette, H. 128 mm.,
W.
198
mm.
In the center, the veiled Virgin, across her knees the
To
supported by grief-stricken female figures.

thea carries the
crown
of thorns.
To
the
left,
Body
of Christ,
the right, Joseph of Arima-
Nicomedes holds the
nails
Bange, Reliefs und Pla}{etten, nos. 491 and 492 (reverse)

Migeon, Les Arts, no. 80 (August 1908), p. 22, 10 (reverse)
ANDREA BRIOSCO
called
IL RICCIO (the curly-haired) 1470-
1532
Among
the sons of Padua, Riccio's
name
holds an honored place. As an
Church of Santa Giustina at Padua,

worker he created some unrivalled objects of decorative
architect he built the
of the cross.
Molinier, no. 83 (the Louvre specimen, formerly in the His de
la
Salle
Coll.)
masterpiece
is
beautiful of
its
as a
art,
bronze
but his
the bronze candelabra in Sant'Antonio at Padua, the
most
kind in the world.
PIERO JACOPO DI ANTONIO ALARI BUONACOLSI

L'ANTICO c. 1460-1528
The
158
called
were Mantua, Bozzolo, and

Gazzuolo, where he was employed by Federigo and Gianfrancesco Gonzaga. Many of his works are inspired by classical subjects, which explains
his nickname.
places of L'Antico's principal activity
Roman Empress
c.
125-176
mm.
diam.
DIVA FAVSTINA
Bust facing front, her head slighdy inclined to left,

two strands of hair falling over her shoulders, wearing softly draped
gown. Two incised border lines. High relief.
SENATS POPLS A
triumphal procession, marching towards the
bearing a shield, two horsemen, a standard bearer, a

trophy bearer, and a nude captive, his head turned backwards. In the
exergue, various weapons and pieces of armor. On an oval shield, the
right, a warrior
M.
cf.
Molinier, no. 516 (obverse), no. 640 (reverse)

De Ricci, Dreyfus Coll., no. 121 (reverse)
cf.
Victoria
cf.
156
W.
83
mm.
Judith is standing in front view, bending towards the right, about to

drop into a bag, held open with both hands by an old woman, also in
front view, the head of Holofernes, which she holds by the hair in her
High
relief.
Molinier, no. 218
Faustina
Circular bronze plaquette, 39
letter
right hand. Raised base line.
157
Rev.
Judith
and Albert Museum,
no. 86 (reverse)
British Museum (T. W. Greene specimen), no. 97

Migeon, no. 321 (Louvre specimen)
Musee Jacquemart-Andre, no. 493
Paris, Cabinet des Medailles (Armand-Valton bequest no. 2529)
Bange, Die Italienischen Bronzen, no. 356
Florence (Carrand Coll.), no. 400
De
Ricci, Dreyjus Coll., no. 125

Migeon, Les Arts, no. 80 (August 1908),
p. 25
Detroit Institute of Arts, Decorative Arts of the Italian Renaissance 1400-
1600, no. 325 (this specimen)

Bode, Die Italienischen Bronzen, 1904
After a composition by Mantegna, engraved by Girolamo Mocetto (B. i).

cf.
Planiscig, Riccio, p. 436.
MODERNO
i6i
"Moderno" was only
cognomen, and he identifies the artist as Vettor di Antonio Gambello, called "Cameho," a Venetian, to whose works Moderno's creations bear great similarity.
According
to Molinier,
Holland (1549), Moderno is mentioned as an

engraver of leaden seals (papal bullae), which would indicate that the
artist also worked in Rome. Camelio was superintendent of the Papal
mint under Leo X, about 15 15.
In a treatise by Francis
Circular concave bronze plaquette (perhaps the decorative bottom of a
bowl), 110
mm.
diam.
Around an ornamented
many-figured battle scene be-
circular shield,
tween horsemen and foot
soldiers,
some
cuirassed
For
Crucifixion
Rectangular silver plaquette (bronze frame), H. 235 mm.,
On
W.
128
mm.
between the two thieves. At the foot of the cross,

on the left, the Virgin fainting in the arms of two women; near them, a
nude child. Behind them, St. John standing with clasped hands, and the
Magdalene embracing the cross. Around them, a number of soldiers on
horseback and on foot, a horseman on the right wielding his club at one
of the thieves. The soldiers armed with halberds and shields.
a tall cross, Christ
The
plaquette
columns,
is
set in a
bottom, on each
the side
mourn-
ing angels; in the center, floral garland and two putti.
The
half-round
Ricci,
field, in
Dreyfus
very high
Coll., no.
relief,
God
top border
the Father facing front, blessing.
MASTER
Ricci,
Dreyfus
Coll., nos.
10. F. F. North Italian
Museum, no. 38
Bange, Reliefs und Plaketten,
c.
1500
of Paris
Circular bronze plaquette with traces of gilding, 56.7
who
left
on
a rock
under
a tree,
extends her right hand to receive
standing, the latter holding a dagger
Cupid
mm.
diam.
presenting the apple to Venus
it.
(.?),
Behind her Juno and Minerva

a spear, and a shield. Abo\e,
flying. Plain linear border.
Molinier, no. 134
Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 1400p. 141 (this
Coll., no.
55
JACOPO SANSOVINO, SCHOOL
no. 454
Migeon, Les Arts, no. 80 (August 1908), p. 20, vi

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

Christ, enthroned
160
Bode, Die Italicnischen Bronzen, no. 1273

Braun, p. 406

before, but with different detail
W.
88
mm.
and without frame.
Coll., 20, 330, pi.
W.
87
mm.
on clouds, lowering the crown on the head of the kneeland surrounded by nine winged putti.
Molinier, no. 509
Crucifixion
SIXTEENTH CEN-
163
ing Mary, veiled,
specimen)
OF,
TURY
Provenance: Gutekunst
216 and 217
162
Judgement
Molthein
British
ill.
De
Bange, Reliefs und Plaketten, no. 652

170
Molinier, no. 171
1600, no. 329A,
style, cf.
Provenance: Luccardi Coll.
Paris seated
On
side, three
rectangular frame with rounded top.
ecclesiastical designs; at the
bears five medallions, the center one depicting the Dove. In the upper
As
and helmeted. Raised
border.
Apparently unpublished and unique.
159
De
Roman Combat
Bange, Die Bildwerke des Deutsche/! Museums, no. 944

Forrer, V, p. 332
Loebbecl{e Coll.,
Molthein
Munich
1908, n. 836, pi.
Coll., no. 90, pi. 4
xxxx
159
GIAN FEDERIGO BONZAGNA
MENSE
ac.
FEDERIGO PAR-
called
1547-75
165
Adoration
of the
Shepherds
W.
148 mm., 1561
In a basket placed on a broken column, the Christ Child, surrounded by
Mary, Joseph, John, and the shepherds offering a lamb. To the right, the
heads of the ox and the ass. In the background, an arch carried by columns, its frieze inscribed FARM INVENT On the broken column in
front, the date 156
To
cf.
1.
Beyond
round tower and
the arch, a
a tall building.
the left in the sky, the star. Raised border,
Range, Die Bildu'er\e des Deutschen Museums, no. 42
Braun,
Faure
406
p.
Coll., no. 665, pi. xxiv
Molthein
Coll., no. 64, pi. 8
166
Entombment
Two
bearded
men
W.
195
mm.
lowering the partly draped body of Christ into the
tomb, behind which Mary, the Magdalene, and two other female figures
stand, veiled and in an attitude of grief. To the right, the bareheaded St.
John. In the background, an arch partly overgrown with shrubbery and
grass.

ITALIAN PLAQUETTES BY UNIDENTIFIED

ARTISTS
FLORENTINE, FIFTEENTH CENTURY
167
Emperor Augustus
.V
31 b.c.-a.d. 14
Oval bronze plaquette, H. 50 mm., W. 34 mm.

Bust of the youthful Augustus to left, laureate, wearing cuirass and
163
mantle; on breast, aegis.
GIOVANNI BERNARDI DA CASTELBOLOGNESE
1496-c.
cf.
De
1555
cf.
Bange, Rcliejs und Plalêtten, no. 202
is known not only for the production of medals and plaquettes,

which frequently depict classical scenes, but also for his success as an engraver of crystal and other precious stones. His most celebrated work in
cf.
Oxford (Ashmolean Museum),
Bernardi
this field
On
is
the Farnese Casket in the Naples
Museum.
the occasion of Charles V's coronation at Bologna in 1530 as
Dreyjus
Ricci,
Coll., no. 53, pi. xviii
and
nos. 17
18
ROMAN, FIFTEENTH CENTURY

168
King
of
Lombardi, Bernardi cut the dies for a medal which so pleased the Emperor that he not only paid him 100 pistoles but also invited him to
Spain. Bernardi, however, preferred to return to Rome, where most of
his work was executed.
Sixtus
IV (Francesco
(crosslet)
Rev.
della
Rovere 1414-84), Pope 1471-84
mm. diam.
SIXTVS
FAPA
AE In high relief, the
Lead papal
bolla,
37
FF
Fearled border.
IIII
three-quarters facing heads of St. Peter
and
164
Roman Combat
Paul, haloed. Between them, a
This bolla
(Battle at Cannae.')
Circular convex silver badge, 41.4
St.
mm.
retains the cord with
tall
cross rising
which
it
from
was attached
orb.
to a papal
document.
diam.
between mounted troops, helmeted and cuirassed

and armed with spears and swords.
fierce battle scene
still
VENETIAN, SIXTEENTH CENTURY

169
Apparendy unpublished and unique.
Andrea
Gritti
Gold ducal
AND
Doge
of Venice 1523-39
bolla (sigillum), 36
GRITI
mm.
VENET(iarum) DVX Andrea

gown and ducal hat, receiving the banner
Gritti standing,
wearing wide
from haloed
Mark, who holds the
St.
diam.
S(anctus) M(arcus)
Bible.
No reverse.
British
Museum, Catalogue
oj Seals, vi,
373, nos. 22, 222
(sulphur cast)
Detroit Institute of Arts, Decorative Arts oj the Italian Renaissance 14001600, p. 100 (text
and
illustration)
and
p. 132, no.
317 (this specimen)
Probably unique.
Provenance: said to have been in the possession of the Ruzzini family of

Venice.
i65
66
172
Ornamental Plaquette
Mandorla-shaped bronze plaquette, H. 174 mm., W. 57 mm.
Probably made to be affixed to a piece of furniture. In the center, a lion
rampant to the left, surrounded by elaborate scrollwork, in silhouette.
No
other specimen of this ornamental applique seems to be recorded.
Probably unique.
NORTH
Bolle (seals) were attached to documents,
much
as seals are today.
Mostly
CENTURY
ITALIAN, MID-SIXTEENTH
173
they are of lead, in rare cases of silver, in bearing with the importance of
the
document or
which they were attached. Golden bulls (boUa

rarities, since they were used only in
Very few have come down to us.
treaty to
Entombment
d'oro or sigillum aureum) are great
Shield-shaped bronze plaquette with old fire-gilding, H. 188
exceptional cases.
140
The body
Mary and John, at the rocky entrance

John with flowing hair wears shepherd's
garb. Underneath, broad border with three angels' heads and two pal-
170
of Christ, supported by
of the cave.
Christ Carrying the Cross
W.
88
mm.
Apparendy unpublished. Probably unique.
Mary
is
veiled, St.
mettos.
Surrounded by mercenaries and henchmen, Christ carries the cross, followed by two holy women. To the left, the kneeling St. Veronica with
veil in her hands. In the background, a city wall.
unidentified
mm., W.
mm.
great masterpiece by an
Provenance: Molthein
Coll., no. 108, pi. 7
174
Head
Christ
of
artist.
Oval bronze plaquette, H. 48 mm.,
Head
of Christ wearing the
W.
34
crown of
mm.
thorns.
Within elaborate Renais-
sance frame with foliate motifs,

cf.
Bange, Reliejs und Pla\etten, no. 926
175
Head of
Christ
Square bronze plaquette, H. 46.5 mm.,
Head
of Christ to
W.
36
mm.
left.
Gallerie Nazionali Italiane,
248
iv,
ITALIAN, SIXTEENTH
CENTURY
176
Emperor Tiberius
a.d. 14-37
TIBER
CAESAR
mm.
diam.
Laureate bust right, with hair
to
nape of neck.
Raised border.
Planiscig,
i,
172, 330
177
Emperor Caligula
a.d.
37-41
Oval bronze plaquette, H. 106.5 mm.,

Laureate bust right, underneath:
border of
Roman armaments,
W. 85 mm.
CAES T D
All within a broad
interrupted by four lions' facing front.
178
Emperor Vespasian
a.d.
69-79
VESPASIAN AVG C
mm.
diam.
Laureate bust right, with hair
to
nape of neck.
Raised border.
Planiscig,
i,
172, 330
171
179
Entombment
Emperor Trajan
W.
70
mm.
In a rocky landscape, the body of the Savior being lowered into the tomb;
behind,
Mary and another woman,
veiled, in
an attitude of
grief; to the
right, the kneeling Magdalene kissing the Savior's hand. In the background, Golgotha under the rising moon; in the foreground, a water
bowl and an ointment vessel.
Provenance: Imbert Coll.
a.d.
98-117
Oval bronze plaquette, H. 56.5 mm.,
W.
44
mm.
Laureate bust right, hair to nape of neck, on granulated

relief.
Unpublished and probably unique.
field.
Very high
173
FRENCH AND FLEMISH PLAQUETTES

FRENCH, EARLY SIXTEENTH CENTURY

-1
80
Francis I 1494- 1547,
King
of France 1515-47
Bronze plaquette, H. 150 mm.,
The King's bearded
W.
98 mm.,
c.
1535
wearing cap with broad brim, furcollared coat over pleated robe, and necklace with pendant. All within
double-lined raised border and cartouche of elaborate scrollwork; to the
sides two fish-tailed mermaids supporting the upper part of the frame
with the French fleur-de-lis in center. At the bottom, floral ornaments
portrait to right,
with antique mask in the center.

Provenance; Count Trivulzio Coll.
FRENCH, SIXTEENTH CENTURY

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

Half-bust
left,
W.
bearded and with long
cross over striped
gown. Granulated
47
hair,
mm.
wearing
ruff^ collar,
sash
\\
ith
field.
Apparently unpublished.
CENTURY
FLEMISH, SIXTEENTH
182
The Triumph
of
Wisdom
On
a four-wheeled chariot, driven by
One
corns, are seated four female figures.
holding
fourth
a sceptre
(and perhaps
(Wisdom) holding
W.
an old
124
mm.
man and drawn
by tw o uni-
bearing a yoke, the second
a bird), the third
with crossed hands, the
bunch of keys; above her head, the Holy
Ghost. Raised base line.
De
Ricci,
Dreyfus
Coll., no. 428, pi.
cxx
Molinier, no. 665

Paris, Cabinet des Medatlles, no. 2474
Bange, Die Bildu/er/(e des Deutschen Museums,
11,
133, no. 1490
Vienna, Estensische Kunstsammlung, no. 458

Padua, Rizzoli, no. 78
Exhibited: Detroit Institute of Arts, "Flanders in the Fifteenth Century,"
October-December, i960
GERMAN PLAQUETTES
UNIDENTIFIED ARTIST, NURNBERG(.?), SIXTEENTH
CENTURY
183
Christ Carrying the Cross
Bronze plaquette with old
On
fire-gilding,
H. 161 mm.,
W.
123
mm.
stony ground with a serpent and a tree stump in the foreground,
Christ carrying the Cross.
Behmd him
to left, veiled
Mary and
standing.
Upper
part silhouetted.
Middeldorf and Goetz, Morgenroth
Coll., no. 381 as
Second specimen known.

Provenance: Commerzienrat Bauer Coll.
unique
St.
John
GERMAN, SIXTEENTH CENTURY

DURER)
ALBRECHT
(after
SOUTH GERMAN, END OF THE SIXTEENTH CENTURY

185
184
Flight into Egypt
Entombment
Rectangular bronze plaquette with old fire-gilding, H. 169 mm.,
W.
mm.
97
Three men lowering the body of Christ into the tomb. To the left, the
kneeling Magdalene placing the ointment vessel on the edge of the
grave; behind her, a second kneeling woman and Mary and John standing. In the
After the
background,
Mary, the Child

ox,
Diirer,
cf.
is
with
to the right, a grotto; to the left, a city.
Entombment by Albrecht
in her
led by Joseph,
his
To
hand.
arm, seated on a donkey which, together with an

turns his head towards Mary and points the way
the
left,
dense woods; to the right, some
Stony ground with grass and flowers
Kleine Passion.
ground, a
village.
On
down
left, emerging from the

Holy Family.
250 (from the Kleine Passion 151
1,
entitled: Passio Christi
ab Alberto
Coll., no.
In the style of Albrecht Altdorfer (1488-1538).
Farewell
374
oj
SPANISH PLAQUETTES
c.
160a
186
Francis
Rectangular bronze plaquette with traces of old
90
silver,
H. 122 mm.,
W.
mm.
Before the crucifix,

stasy, his
St.
Francis, haloed, his head turned
hands with the stigmatas raised
rocky landscape. At the foot of the
upward
in ec-
background,
in prayer. In the
crucifix, a skull.
187
St.
Peter
Rectangular bronze plaquette in wooden frame with gilded scrollwork
and angel's head on

Half-bust of
top,
H. 197 mm.,
W.
148
towards heaven; in front of him, the keys.
which the cock
is
crowing.
Braun, Archiv, iii (1921/22), 15

Imbert Coll., no. 215
Loebbecke
mm.
Peter under a tree, his hands clasped in prayer, looking
St.
Coll.,
Munich
fT.
1908, no. 854
To
the
cf.
Baldass 1941, p. 297,
the Disciples, and landscapes, pp. 300-301.
Provenance: Commerzienrat Bauer Coll.
Viscomte de Sartiges Coll.
St.
clouds, are seven
carminibus Fratris Benedict!
variis
Chelidonii Musophili, Nurenberg 1511).
Provenance: Gutekunst
at the
trees.
in the foreground. In the back-
the upper
angels looking
cum
126
who
Willi Kurth, Albrecht Diirer, siimtliche Holzschnitte, Miinchen 1927, no.
Diirer Nurenbergensi, effigiata
W.
mm.
left,
column on
i87
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1910-40
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Vienna 1896
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1904-30
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62
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Bern Kunstmuseum Special catalogue Ktinst und
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Bernhart, M. Die Bildnismedaillen Karls des Ftinften
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1923
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i$i^-ca. iy88 Copenhagen 1936
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Stuttgart and BerHn 1924
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la
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0}
the Renais-
London
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Medals of the Renaissance Oxford 1920
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Pisanello
Portrait
Medals
of Italian Artists of
the Ren-
London 1912. Quoted as Hill PMIA

Hind, A. M. Catalogue of early Italian Engravings
London 1930
Holbrook, R. T. Portraits of Dante from Giotto to
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Imbert, E.
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Placchette Italiane della Raccolta (by
G. Morazzoni)
Milan 1941
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Allerhdchsten Kaiserhauses Vienna
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Juncker, C. Das Guldene und Silberne EhrenGeddchtniss D. Martini Lutheri Frankfurt and
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Katz, V. Die Erzgebirgische Pragemedaille des XVI.
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Koehler,
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D.
Miinchen 1927
Prague 1896
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1917
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XVe
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W.
Die Medaillen und Pla\etten der

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Molinier, E. Les Plaquettes Paris 1886
Morazzoni see Imbert
Morgenroth see Middeldorf
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XV
XVI
Museo Nazionale di Napoli Naples 1913

Neumann, J. Bohmische Privatmiinzen Prague
nel
1852-70
Numismatic Chronicle London

Oldenburg, J. F. H. Samling af
Besittningarnas och Landgreven
Mynt Stockholm 1883
Svenslâ, Svens\a
Fredril{s Hessisâ
C. A. Mynt och Medaljer slagna for

fraemmande Master i Anledning av Kng mot
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Sverige Uppsala 1927

Otrange-Mastai, M. L. d'
"A
Collection of Renais-
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J.
Des-
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Paris.
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Markl, M. Die Miinzen und Medaillen Ferdinand
Pauli, G.
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Historische
Sammlung Erzherzog Franz Ferdinand
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Lancetti, V.
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in
Wien. Die
Bronzeplastiken Vienna 1924

Plon, E.
Leone Leoni
Raczynski, E.
Le
Breslau 1838-45
et
Pompeo Leoni
Paris 1887
Medaillier de Pologne
Berlin-
Berichte der Preussischen
Regling, K.
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Kunstsamm-
lungen XLI Berlin 1920
Revue Numismattque
Blois
and
Musei di Brescia
Brescia 1892
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Medaglie Lyon 1553
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iiber
Albrecht Diirer
Berlin 1874
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see Berlin
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J.
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dit Medailletir
en Belgiqiie Brussels
and Jemeppe-sur-Meuse 1900-04

Brandenburgische historische MiimbeJ. J.
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B. // Medagliere
I.
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]ahrhunderts Strassburg 1909
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des Pays-Bas
Paris 1834-36
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1732-37
Medaglie, Tessere, Bolle e Place hette Venice 1898

Venturi, A. Storia dell' Arte Italtana Milan 1901-39
R.
Numismata Romanorum Pontijicum
Rome 1744
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de Monedas y Medallas Barcelona 1892
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pelsammlung Vienna 1901-02

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Mitnzgeschichte der Stadt Danzig
Berlin 1852
Altdorf 1764-66
London 1922
Amsterdam
Schlessinger
Desmoni, Martin J. Sotheby London i960

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Hamburger, L. &
L. Frankfurt 1891
L. Frankfurt 1922
Henckel,
P.
Berlin 1876
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and III
Le Maistre Pax in
Parts
Lepke Berlin
1.
Nummis Schulman Amsterdam
1912
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Riechmann Halle 1925
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Mu-
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Montenuovo, Prince Hess Frankfurt 1895

Mueller-Lebanon, Hans Cahn Frankfurt 1925
Neuburg, Schulman Amsterdam 1938

Oppenheimer, Henry Christie London 1936
Reimmann, Justizrat Hess Frankfurt 1891-92
Rosenheim, Max and Maurice Sotheby London
1923
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Schulthess-Rechberg,
K.
G.
Ritter
von
Erbstein
Dresden 1868-69
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1924
Kunst Berlin 1889-
191
II
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Niirnbergische Miinzbelustigungen
Zeitschrijt jiir Bildende
Duplicates Sotheby
Sune Eberhard
1937
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The Hague 1732
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Museum
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Maryland 1900
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ceer des
British
Crona,
von Untersuchungen
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Ampach, Chr. L. Leipzig and Naumburg 1833-35

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Ludwig Rosenberg and Shott-Wallerstein
Frankfurt 1904-05
en France Paris 1904
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TO WHICH
REFERENCE IS MADE
Paris 1836-
Rizzini, P. Illustrazione dei Civici
Whitcombe-Greene, T. Sotheby London 1932
INDEX OF ARTISTS
Abondio, Alessandro, note preceding 112
Abondio, Antonio, 75, 112, 113
Grechetto, 46
Alari Bonacoisi, Pier Jacopo di Antonio, see Antico
Hagenauer, Friedrich, 88, 89, loi

Hamerani, Alberto, note preceding 51
Hamerani, Giovanni, 51
Guacialoti, Andrea, 24, note preceding 28
Altdorfer, Aibrecht, 185
Antico, 14, 157
Antonio da
Herclas,
Brescia, Fra, 9
Behain, Hans Sebaid, note preceding 138, 140
Belli, Valerio,
J.,
154
Hirschvogel, Augustin, note preceding 138
Hoehn, Johann, 128-130

Hohenauer, Michel, 93
52
Bernardi, Giovanni, 164
Blum, Johann, 124

Boldu, Giovanni di Pasqualino, 18
Holbein the Younger, Hans, note preceding 87, note

preceding 138
Holdermann, Georg, 98, 99
Hollande, Etienne de, 75
Bonzagna, Gian Federigo,
lO.F.F., see Master lO.F.F.
Bertinet, 85
Bertoldo di Giovanni, 24, 28
see
Parmense
Jamnitzer, Wenzel, note preceding 97

Januario, see Gennaro
Sandro, 28, note preceding 30

Braun, Johann Bartholomaeus, 125
Botticelli,
Brescia, Fra
Antonio de,
see
Antonio
Jonghelinck, Jacob, 142
Briosco, Andrea, see Riccio
Kitzkatz, Ruprecht Niclas, 116
Buchheim, Johann, 126
Kornmann, Johann
Camelio, see Gambello
Leclerc, Nicolas, 78
Candida, Giovanni di Salvatore Filangieri, 27
Leoni, Leone, 65-67, note preceding 68, note preced-
Caradosso, Cristoforo, 23
Castelbolognese, Giovanni Bernardi da, see Bernardi
Le
Cavino, Giovanni dal, 53-62

Cellini, Benvenuto, 36, 75, 79, note preceding 114
Cesati, Alessandro, see Grechetto
Cormano, Giovanni Jacopo,
see
Kornmann
Jacob, 120
ing 142
Pere, Jean
and Colin, 78
Lippi, Filippino, 15
Lutma, Jan
Filius, 147
Lysippus the Younger, 25, 26
Maler, Valentin, 97, no
Cranach, Lucas, note preceding 94, 94
Mantegna, Andrea, 158
Dadler, Sebastian, 117-119
Marescotti, Antonio, 5, 6
Master lO.F.F., 162
De Laune,
Etienne, 79
Deschler, Joachim, 90-92, 138
Memling, Hans, note preceding 27

Michelangelo, note preceding 28, note preceding 112
Donatello, note preceding 28
Drentwett, Balduin, no,

Duccio, Agostino
di,
in
Michelino,
Domenico
di,
35
Milicz, Nickel, 138-140
156
Diirer, Aibrecht, 86, 184
Mocetto, Girolamo, 158
Duerr, Ernst Caspar, note preceding 132

Dupre Guillaume, note preceding 43, 81-83,
preceding 84
Moderno, 137, 159-161
Elertz, Cornelius, note preceding 114
Mola, Gaspare, 43, 44, note preceding 49

Moro, Jacobo Antonio, note preceding 43
Morone-Mola, Gasparo, 49
Enderlein, Caspar, 112
Mueller, Philipp Heinrich, 131
Enzola, Gianfrancesco, 16
Muller, O. Wouter, 145, 146

Nuernberger, Paul Gottlieb, 134
Filangieri,
Giovanni di Salvatore, see Candida
iôte
Foppa, Cristoforo Caradosso, see Caradosso
Omeis, Martin Fleinrich, 132

Padovano, see Cavino
Franceschi, Piero dei, 10
Parise, Erich, 153
Francia, Francesco, 22
Ghibellini, Orazio, note preceding 49
Parmense, Federigo, 47, 48, 165, 166

Pasti, Matteo di Maestro Andrea de', 10-13
Pastorino di Giovanni Michele de' Pastorini, 37, 38
Pfruendt, Anna Maria, note preceding 125
Pietro da Fano, 18
Pilon, Germain, 80
Goedecke, Paul Heinrich, 135
Pisanello, 1-4, 6
Fiorentino, Niccolo, see Spinelli
Galeotto, see
Romano,
Pietro Paolo
Gambello, Vettor di Antonio, 19, 159-161

Gennaro, Maria Antonio di, 133
Geremia, Cristoforo
di,
note preceding 25
Pisano, Antonio, see Pisanello
Bembo,
Poggini, Domenico, 40
Bentivoglio, Giovanni
Poggini, Gianpaolo, 39, 40

Pool, Jurriaan, 144
Bernhard of Saxe- Weimar, 124
Raibolini, Francesco, see Francia
Caesarius, Johann, 107
Rantwic, Bernard, 151

Reinhart the Elder, Hans, 94-96, 137
Riccio, 158
Robbia, Andrea della, 34
Caligula,
Romano,
Romano,
Giancristoforo, 15
Pietro Paolo, 41, 42, 73
Rull, K., 155

Saint-Priest, Jean de,
78
Sansovino, Jacopo, note preceding 64, 163

Schega, Franz Andreas, 136
Antonio, 45
Soldani-Benzi, Massimiliano, note preceding 45
Sperandio, 17
Spinelli, Andrea, 63
Selvi,
Spinelli,
Niccolo di Forzore, note preceding 27, 30-
34
Pietro, 15
II,
21
Borgia, Lucrezia, 15
Caracalla,
Roman emperor, 177

Roman emperor, 18
Caraffa, Antonio, 66, 68
Chamemilon, Euphrosina de, 104

Charles I, Count Palatine, 11
Charles V, Emperor, 42, note preceding 65, 67, 138
Charles VIII, King of France, 78
X Gustav, King of Sweden, 154

Charles Ferdinand, Bishop of Breslau, note precedCharles
ing 126
Christian
of Saxony, 116
Christian William of Brandenburg, 120
Queen
Christina,
of
Sweden, 50
Contughi, Fra Cesario, 17

Cornaro, Fra Giovanni, 20
Cortez, Hernan, 87
Titian, note preceding 65, 67
Dante, see Alighieri
Travani, Gioacchino Francesco, 50

Trezzo, Jacopo Nizzola da, 68
Delen, Nicholas van, 143

Dido, Queen of Carthage, 46
Dondi, Giovanni, 67
Vianen, Paul van, 114

Vicentino, see Belli
Vittoria, Alessandro,
64
Volpe, Vittoria della, see Vittoria
Warin, Jean, 84
Weiditz, Christoph, 87
Welcz, Concz, 137

Werner, Peter Paul, 134
INDEX OF PERSONS
REPRESENTED OR MENTIONED
Adrian VI, Pope, 150
Aelius, Roman emperor, 52
Agrippina Sr., Roman empress, 54
Alidosi, Francesco degli, 22
Alighieri, Dante, 35
Allgaeuer, Hieronymus, 109
Anne
of Brittany, 78
Donellus (Doneau), Hugo, 99

Doria, Andrea, note preceding 65
Diirer, Agnes, 86
Ehrenberg, Philipp Adolf von, 98

Elizabeth I, Queen of England, 152
Este, Alfonso II d', 38
Este, Lionello d', 3, 4
Evertsen, Cornells, 146
Farnese, Pierluigi, 47
Faustina Jr., Roman empress, 61, 157
Ferdinand
Ferdinand
I,
Emperor, 93, 138

Emperor, 123
III,
Fetzer, Matthaeus, 97
Fioriano, see Antonini
Francis
I,
Frederick
King of France, 180

III, King of Denmark and Norway,
Frederick V, King of
Denmark and Norway, 135
Antonini, Fioriano, 53
Ariosto, Lodovico, 37
Frederick Christian of Poland, 136

Frederick William I of Brandenburg, 134
Frundsberg, Anna von, 10
Astallia, Giulia, 14
Gabrielli, Trifone,
Augustus,
Roman
emperor, 167
Bandello, Matteo, 14
Barberini, Maffeo, 82
Behaim von Schwarzbach, Frederick, 105

Bellini,
Giovanni, 19
118,
153
70
Gamberia, Bernardino, 31
Gazzuolo, Giulia de, see Astallia
George III of Silesia, Liegnitz and Brieg, 126
Geraldini, Antonio, 30
Giovio, Paolo, 16
Gonzaga, Ippolita, 66, 68

Gonzaga, Vincenzo II, 49
Grimani, Marino, 74
Gritti, Andrea, 63, 169
Gustav II Adolf, King of Sweden, 121, 122, 155
Hanna, Daniel de, 65
Nale, Giovanni
Henry
Henry
Henry
II,
Panigarola, Francesco, 76
III,
Paumgartner, Hieronymus, 90
Perrenot, Antoine, 142
King of France, 79, note preceding 80

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

Innocent VIII, Pope, 30
Piantanida, Pietro, 75
Piccolomini, Alessandro, 36
Pisano, Antonio, 6
Innocent XII, Pope, 51
John Casimir, King of Poland, 128, 129

John Frederick of Saxony, 94
John George I of Saxony, note preceding 117, note
preceding 126
John George
III
of Saxony, 132
II,
of Spain, 39
Pius V, Pope, 48
Primislav, King of Bohemia, 133
Girolamo, 72
Rangoni, Tommaso, 64
Remo, Opizo, 9
Priuli,
Richelieu,
Armand
Khevenhueller, Johann, 112
Rinuccini,
Alamanno, 32
Leo X, Pope, note preceding 159

Leopold I, Emperor, 127
Le Tellier, Michel, 85
Louis II, King of Hungary, 93
Louis VI, Count Palatine, 115
Louis XII, King of France, 78
Louis XIV, King of France, note preceding
Rovere, Francesco Maria della, 22
Julius
II,
Pope, 22
Lucius Verus,
Roman
Rudolf
Emperor, 114
II,
Savonarola, Girolamo, 34
Savoy, Charles Emanuel I, 43
Schwarzbach, Frederick Behaim von, see
Sforza, Faustina, 41
84, 85
Sforza, Francesco, 2, 16
Sforza, Ludovico Maria, 23
emperor, 62
Lucretia, 86
Shelley, Sir Richard, 151
Luther, Martin, 88,
no
Sixtus IV, Pope, 24, 25, 168
Malatesta, Sigismondo Pandolfo, 10-13
Marciana,
Jean de, 84
sister of
Sophia of Brandenburg, 116
Roman
emperor, 59
emperor, 60
Trajan,
Marcus Aurelius, Roman

Maria of Aragon, 4
Maria of Burgundy, 27
Maria of Hungary, 93
Maximilian I, Emperor, 21, 27, 78
Maximilian II, Emperor, 112, 113, 139
Sophia Amalia of Brunswick, 153

Spinola de Serravalis, Battista, 77
Strozzi, Tito Vespasiano, 29
Suleiman
I,
Ottoman
sultan,
Tannhausen, Emerentiana von, 102

Tavelli, see Tossignano
Roman emperor,
Roman emperor, 57
Mazarin, Jean, 85
Tiberius,
Medici, Catherine de', note preceding 80
Titus,
Medici, Cosimo de'
Toledo, Eleonora de, 36

Torre, Gianello della, 67
Vecchio), note preceding 30
(II
Medici, Cosimo
Medici, Cosimo
II de',
de', 36, 40,
45
Medici, Lucrezia de', 38

Medici, Marie de. Queen of France, 81, 83
Melanchthon, Philipp, 89
Memmo, Marcantonio, 82
Menno van
of Ferdinand
Friesland, 88
Musso, Cornelio, 73
Mylius (Miler), Georg,
Tossignano, Giovanni Tavelli da, 5

Trajan, Roman emperor, 179
Trevisan, Marcantonio, 71
Trivulzio, Gianfrancesco, 42
Trivulzio, Giangiacomo, 22, 23, 42
and
Isabella, 30
Tromp, Martin Harpertszoon,
Unknown
persons:
Boy, 8
no
176
Toscani, Giovanni Alvise, 26
44
Medici, Lorenzo and Giuliano de', 28
Mendoza, Ambassador
93
Sybille of Saxony, 103
Humanist, 88, 107
144, 145
Behaim
Bo
Man, 7
fphff en, 15
Brisach fortis sed fortior deus fvit et weimarius 1638,
Mohammedan, io8
Patrician, loo, io6
Urban
124
Cap
pet plantanida aet an xxxvi, 75

Car d g CO pa rhe ba dv c v e s, 1 1
Carolvs eman d g dvx sab p p, 43
VIII, Pope, 82
Vecchietti, Alessandro di Gino, 33
Roman
Vespasian,
Virgil,
emperor, 178
Castellvm sismondvm ariminense mccccxlvi, 10
24
Visconti, Filippo Maria,
Castellvm sismvndvm ariminense mccccxlvi, 13
C caes
Roman
emperor, 56
Wolfgang, 106
Vitellius,
Vitil,
d, 177
Christum hat gott
furgestelt
Chrvs moritvr pro nobis
Waldstein, John Joseph, 133
Coelitus data, 132
William
131
Wladislas
ciat 46,
and Mary, King and Queen of England,
III
King
II,
Hungary, 93
of
zu einem gnadenstuel,
"7
Vondel, Joost van den, 147

Waldstein, John Frederick, 141
Waldstein, John Henry, 133
et resvrgit vt
nos ivstos
fa-
137
Comes de
waldstein, 141
Congiar p
r,
Consecratio
58
s
pq
r,
59
Consilio et indvstria, 127
INDEX OF INSCRIPTIONS
AD
Ad
(monogram), 86
Cornelivs mvssvs ep bitvnt, 73

floren et senar dvx
Cosmvs med
civitat ditionisq tvtel
mvnim
extrvctvm, 47
Danthes
florentinvs,
A deo et pro deo, 5

A d ianvario 133
Das hoeheste
Aet 39, 42
Devm
Aeternitati sacrvm, 53
m f mat c
caesaris avgvsti,
A iove et sorore genita,

A L (monogram), 112
54
D
D g georg dux
64
rinvccinvs philippi
f,
istr,
Dido
An
sp
f,
mdxci,
Antoninvs pivs avgvstvs, 18

Antonivs geraldinvs pontificivs logotheta fastorvm
vates, 30
Archi dvx avstri dvx bvrg marc mor 1566, 139
Armandvs ioannes cardinalis de richeliev, 84
A vitellivs german
Bap spinola d
imp avg p
serravallis,
Ber gamb innocentii

Bern rantwic ,151
nicolavs van delen, 143
tr,
rosettis,
131
56
il
praef admin-
mar bran dvc
sax ele, 116
46
concinit orbi, 73
Dominvs providebit, 153

Dominvs 1570 providebit, 113
Don ferdinando cortes mdxxix anno
Dvm spiritvs hos reget artvs,
an xxx 1485, 31
etatis xxxxii,
87
75
Dvrate, 142
Ego
sicvt oliva frvctificavi sva vitae
odo
do
di,
EP,i53
Etatis sve 30,
77
viii c s
Blum, 124
nat
basilissa,
Divinvm
poma
b supremae pers
D martinus lutherus, 88
D martinvs Ivtervs, no
63
florigeris succrescunt
&
Divi francisci mdxxxiiii, 63
1 1
Antonii perrenot epi atrebat, 142
Aurea
Diva avgvsta marciana, 59

Diva favstina, 157
Diva ivlia astallia, 14
Anno do mi
sil
126
D g Sophia
venet dvx, 169

Andreas griti dvx venetiar mdxxxiiii, 63
Anna georgi in frvntsperg vxor, loi
griti
16Z9, 121
Devotissimvs pavper pr d iohanes eps ferrarienm, 5

Dextera tva dom percvssit inimicvm 1571, 48
georgivs mylivs avg aet 31, no
32
Alessandro di gino vechietti anni Z6, 33
AH mein hofnvng zv got, 97
An Ab, 112
And
35
gut, 118
tvm sperne patriam defende
Aetatis svae 65 franciae orientalis dvx, 92
Alamannvs
40
D'eta di xxxiii anni mdxliiii, 69

cole avrvm contemne virtvtem sectare argen-
f,
Agrippina
ii,
Daniel de hanna, 65
Et
sicvt in
omnes
93
adam omnes morivntvr
ita et in
christvm
vivificabvntvr vnvs qvisqve in ordine svo,
95
Et victricibvs armis, 122
Evphrosina de chamemilon, 104
Hafnia daniae,
Exemplvm vnicvm
Hamera, 51
for et pvd, 14
Expvgnata alexandria deleto exercitv Ivdovicvm sf

mli dvc expellit reversvm apvd nova riam sternit
capit,
iteruin respirat libera leges, 131
schega
Favstina avg antonini avg pii
fil,
Ivdovico regnante
61
dvodecimo cesare
altero
gavdet omnis nacio, 78

Ferdinandvs d g romanor hvngari boemini infans
d g rom hvng bohem

tantvm infensvs, 49
iii
Feris
r "etc.,"
123
Firmavit omen, 114

Florianvs antoninvs andreae
f,
53
ac divi ver famosis predicator, 17
iii
in old
el,
si
136
hoist
& delm, 118
Fridericvs d g eps wircebvrg, 92

Frid wilh d g rex borvss el brand, 134
Fried v dg rex dan norv van go, 135
sfortia
vicecomes mli dvx
iiii
belli
pater et pacis
avtor mcccclvi, 16
Fvi
svm
t,
42
Gasp m, 43
G dupre 1615, 83
G dupre f 1612, 82
Giovanni di nale, 69
Gladivs domini svp teram
Gott
lies
f,
Hvgo
ad
astra,
donellvs
ic cl
prof aldorp aet svae 64 an 90, 99

cristi
ressvrexionem capitvlo Z, 137

lanellvs tvrrian cremon horolog architect, 67
I
B, 126
H,
128-130, 154
Imp caes maximil ii avg, 112

Imp nerva caes avg p m tr p cos ii p p, 58
Imp otho caesar avg tri pot, 55
Imp t caes vesp avg p m tr p p p cos viii, 57
Imp vii cos iii, 60
mvndo
corde, 70
mors omnia delet, 17
In vmbra alarvm rvarvm sperabo donee transeat
Inspice mortale genvs
citoet velociter,
iniqvitas,
34
90
hart entschla
nam
ein ripp a
s s
mdd
Makelos, 50
Gust adol d g suec got vand rex
loan casim d g rex pol & suec

d r prus, 129
loannes aloisivs tvsca avditor cam, 26
1
loannes bellinvs venet pictor op, 19

loannes bentivolvs ii bononiensis, 21
eva g z, 140
Greek inscriptions:
Karchedon, 46
Leon aretinos, 66
loannes casimirus d g poloniae

128
m prin
fin
dv eth
et
&
sueciae rex "etc.,"
loannes frideric archie prag, 141

loanns fridericvs elector dvx saxonie
loanns fridericvs elector dvx saxonie
car ig d, 155
Gvilielmvs et maria rex et regina britaniae, 131

Gvstavvs adolp d g svec goth wand q rex, 121, 122
lo cornelivs
Hac
lo fran
secvla ivbilant
22
lac trez, 68
Innocens manib et
49
adam
ris
HR 1536, 95
Indvstriam adivvat devs, 91

Innocen xii pont
a i, 51
et ero,
G moron
Heroica foecunditas, 133

Herois huius nomina in cuncta clarent secula, 124
Hier stryckt het britsch gewelt "etc.," 146
lanas qvi post tres dies de piste exivit designat
d g pr reg pol & lith dux sax &

d g dan norw got vand rex dux
Frideric christ
Fr
ii
His avibvs cvrrvq citodvce
Fr alidoxivs car papien ban romandiolae q c legat, 22

Francesco panigarola aeta anni xxviii, 76
Fr cesarivs fer ordins ser b
v divin
t exellen doc
com
dabvntvr olimpo, 25
"etc.,"
torvm, 34
Fp, 48
F parm, 47
dit
met triomf
everts
Hieronymvs allgoewer xviil iar alt a mdlvi, 109

Hieronymvs pavmgartner anno aetatis 56, 90
Hippolyta gonzaga ferdinandi fil an xvi, 66
Hippolyta gonzaga ferdinandi fil an xvii, 68
Pert, 43
Fridericus
Heer
Hieronimvs priol ve dvx, 72

Hieronx[!]mvs savo fer vir doctisss ordinis predicha-
hispa arc avs rex 1550, 138
Ferd
77
in terris aeterna
146
francor rex invictiss p p, 79
Henricvs 3 d g fran et pol rex 1575, 80
Henricvs iiii d g franc et navar rex, 81
Favstina sfortia march caravagii, 41

Felice
121, 122
us,
Hec damvs
Henricvs
136
f,
54
inscriptions:
Name of God,
Oh Lord, help
23
Externo male pressa iugo Britannia pridem in priscas
Fa
Hebrew
vmbra, 135
fieri fecit,
95
fieri fecit etatis
svae 32, 94
tri
mona
mar
cor casin colvmen, 20
vig co
mvso
ac val ren et stosa d,
42
Maximilianvs
Maximilianvs
lo fr enzolae parmensis opvs, i6
Johannes hevelius dantiscan "etc.," 130

lohann nevdorffer arithm aet sve Ivii, 91
loh georg
d sax
iii
lo iacobvs trivvls
mar
&
el,
etc rex,
Maximili
132
vig fra marescah
pavl pog
pv an
f,
me
viii
ii
di
iiii
obi a mdlxvii
n de
iiii,
72
eivs corro-
av, 113
5, 10, II,
13
zum
Mcccclvi, 16
Mcccclxxxi, 24
Mdxxxiiii, 63
vvarin 1630, 84
losegelt
beim himlischen
sund der gantzen welt,

van den vondel gest 5 feb 1679, 147
J pool, 144
L aelivs caesar, 52
dargestelt fur alle
vatter
Mdxxxv, 94
Mdxxxxiii, 89
Mdxiiiii, 69
Joost
Mdliiii, 71
Mdlvi, 109
Mdlix, 39
Lavrentivs medices, 28
Mdlxvii, 72
Leonellvs marchio estensis, 3

Leonelivs marchio estensis ge r ar d ferrarie regii
et
mvtine, 4
Mdxci, III
Mdcvi, 43
Mdclviii, 128
Leopoldvs d g rom imperator, 127

Lievtenant admiraal van holland "etc.," 144
mvt
Lvcretia borgia esten ferrariae
med
Lvcretia
Mcccclxxxxiiii, 21
medices, 28
Jesus hat sich
Mcccclxvi, 18
s c,
57
Ivdicivm dni apprehendit eos et fortitvdo
boravit brachivm mevm, 87
Ivlian\
rom
Mccccxlvii, 12
39
Ivdaea capta
139
ii
Mccccxlvi,
lo son fine, 18
I
ii
Mccccxliiii, 4
23
s,
dvx avstr bvrgvnd, 27

d g roma imperi sem avg ger hv bo
fr caes f
ferr princ a a
xiii,
Mdccxxxiii, 134
Mdcclxiii, 136
ac regii d, 15
38
Lvct\'s pvblicvs, 28
Memoriae agrippinae, 54
Micha ieteilier fr cancellarivs 1678, 85
Mijn hert en hant was voor het lant, 145
Lvd d g CO pa ele a d z, 115

Lvdovic vnga ec rex contra tvrca pvgnando occvbvit
Miserere nobis domine, 96
1526 etatis sve 30, 93

Lvdovicvs ariost poet, 37
Monograms:
vervs avg
Lvgdvn
arm parth max
tr
repvblica gavde te bis
sic fvi
p viiii, 62
anna regnante benigne
conflata 1499, 78
effigies,
124
Maiestas maior ab igne, 81
M antoninvs avg
tr p xxix, 60
p car barberin sig ivst prae bono leg, 82
Marcvs antonivs memmo dvx venetiarvm, 82
Marcvs antonivs trevixano dei gratia dvx venetiarvm
s r
etc vixitano
in principatv obit mdliiii, 71
Marcvs ant trevisano dvx

Marescotvs
AD,
A L,
86
1X2
M M, 27
et comedi ge z, 96
N, 134
Nat dresdae d 20 iun ao 1647 denat tubingae ao 1691
d 12 sept, 132
Nat 6 jun 1568 mor 7 dec 1622 pietas, 1 16
Nat 9 dec 1594 denat 6 nov 1632, 155
Mvlier dedit mihi
Magni ducis bernhardi saxon weim

Magnvs cosmvs medices p p p, 45
Maph
M M (monogram), 27
v,
71
f,
5
galliae et navarae regina, 83
Maria avg
Maria karoli f dvx bvrgvndiae avstriae barb c flan, 27
Maria regina ec qvos devs conivnxit homo non
seperet, 93
Marin grimanvs dvx venetiar, 74

Marten harpertsen tromp ridder, 144
Mathevs fetzer aet li 1576, 97
Maximiliani imperatoris mvnvs mcccclxxxxiiii, 21
Nostra medela, 119
Numinis auspicys
Nvnq
deficit,
et regis fortibus
armis
"etc.,"
128
67
Obiit V octobris mdcclxiii, 136
Of, 132
Oldenb dan tertia vice ivbilans d 28 oct 1749, 135
Omne vanvm, 65
Opizo remvs alfon esten dv iii secreta, 9
Op
ni fo sp
{\,
30
Oportvne, 43
Opvs pisani pictoris,

Opvs pisani pictoris
Opvs sperandei, 17
i,
mccccxliiii, 4
p, 38
Pace terra mariq composita, 39
Parcere svbiectis et debellare svperbos, 24
Parm invent, 165
Par vbiq potestas, 66
Patriarvm exvbitor opvm, 151
Seren d d ioh georg elect sax in matr chariss, 116
Pax aeterna ad gedan
Sigismvndvs pandvlfvs malatesta, 12

Sigismvndvs pandvlfvs malatesta pan
Sigm gabriel holzschvher ae 67, 125
a cisiDcix
iii
Serenitatis nvncia, 123
Servando dea
vxor saxoniae, 103

Sigismondvs pandvlfvs de malatestis s ro eclesie
generalis, 10,
maii condita, 129
PHG,i35
Philipp adolph d g eps wirceb fr or dvx, 98
Philippvs hispaniar et novi orbis occidvi rex, 39
Philippvsmaria anglvs dvx mediolani etcetera papie
comes ac genve dominvs, i

Philippvs meianthon anno aetatis svae xlvii, 89
anglerie qve
PHM,
manibus aug
Pivs V pont opt

loysivs f
Sixtvs papa
iiii,
168
Sixtvs
iiii
pon max
Sixtvs
iiii
pont
max
24
sacri cvlt,
sacri cvlt,
25
geb 17 nov 1587, 147
mea a domino, 126

Spe gloriae hvmilis, 125
parm
et plac
vi,
mea in deo, 1 53
mea in deo est, 95
mea in deo est anno
dvx
i,
Spes
48
Spes
47
adriaen van god ghekoren pavs van
romen
imp
P p a e, 168
P p Werner fee, 134
Privs mori qvam tvrpari, 33
Sydera cordis, 74
Te
sic
carolvs
ille
imperii caesar
Psal 36 svbditvs esto deo et ora
evm anno
mdxxxxiii,
89
Quorum memoriam
ioan ios
com
a waldstein "etc.,"
victa seqvor, 84
copia lavro et
fama bearvnt
nvia, 79
gvard d mar mag, 64
Thve recht fvrchte gott vnd niemants mehr, 120
Tiber caesar, 176
Thom
138
1,
54, 59
Tandem
Pro bono malvm, 37

Pro deo et milite, 134
Ivmina aet svae
philol raven phys eq
Titvs strocivs, 29
Tr p vii imp iiii cos iii p

Tryphon gabriel, 70
p,
62
Vespasian avg
133
Qvamvis occvmbas
felix
occvmbis
in ipso stare
tvam
c, 178
Vff der hochzeit zv cana verwandelt christvs wasse
effigiem sol oriente vides, 123
w io z,
140
Vggcwpabevsmvhpgmzbiph,
melior optabilior, 40
Victa iam nvrsia
Ren
Victor camelivs faciebat, 19
als in eren,
94
fatis agitvr,
d g dvx mant
26
m f v, 49
Ricardvs scelleivs prior angliae, 151
Vincen
Rvdolphvs ii rom imp avg rex hvng boe, 114

Sacrae romanae ecclesiae capitanvs generalis, 10, 11
Vinces virtvte viventis 1580, 115
Salvs pvblica, 28
Virtvti ac
Satiabor
cvm
formae pvdicitia praeciosissimvm, 15
in crvce exaltatvs et
resvscitatvs capvt serpentis contrivit salvaret cre-
Securitas britaniae restituta 1689, 131

r,
Virtvs, 67
formaeq praevia, 68
Vt moses erexit serpente ita chrs
117, 118
vii et
Virtvtis
52, 56-58, 61
Secvritas
ii
Virtvtis et ingenii, 19
apparverit, 31
dentes, 95
55
Seht wie der fried iez ziert die welt
120
Vic avg, 60
christina, 50
Religio sancta, 30
S C,
S D,
mdxxxv,
Stans acie pvgnans vincens moriensq trivmphat, 155

Svbditvs esto deo et ora evm anno mdxxxxiii, 89
mccccxlvii, 12
Progenies divvm qvintvs
nostri salvatoris
94
Spqr,
t'utrecht gheboren, 150
Regina
13
Sixte potes, 24
Spes
max anno
Pontificii exercitvs
Qvo
f,
Sors
magnanimi, 136
iii
Pisanvs pictor, 6
P
P
S'lants outste en grootste poeet
131
Pietas evangelica, 20
Piis
facta deos, 83
Sibila iohanni friderichi dvcis
"etc.,"
118
Vulner
christi,
Semper, 45
Waarom
Senats popls, 157
XXIV
119
doet muller tromp door kunst
filii
a patre ioan henrico
barone
"etc.,"
"etc.,"
145
133
GENERAL INDEX
Adam
Cannae,
and Eve, 35, 95, 96

Adoration of the Magi, see Christ
Adoration of the shepherds, see Christ
battle of, 164

Capitanus Generalis, title of Malatesta, 10, 11
Caritas, standing, 51
Carthage, view
Aeneas, sinking of his ship, 142

Alexandria, capture of, 23
Amor,
4, 15
Antwerp, Memhng, Portrait of
man
holding coin,
note preceding 27
Archer, see Astronomy, Sagittarius
Architecture and buildings,
10,
13,
holding birch rod,
Arms, coat
46
drawn by eagles, 22
drawn by Pegasus, 68
Fame, riding in, 79, 84
funerary, 54, 59
40, 46, 47, 53,
61, 63, 165, 166
Arm
of,
Chariot:
Poseidon
in,
Wisdom,
riding
142
182
in,
Chateau Cambresis, Peace

Checkers, 101-108
of:
treaty of,
39
Chiron, the centaur, 43
Este, 3
Fetzer, 97
Florence, 36
Christ:
Nativity, 148
Adoration of the shepherds, 165

Adoration of the Magi, 148
Gonzaga, 49
Holzschuher, 125
Liegnitz-Brieg, 126
Flight into Egypt, 185
Lyon, 78
Neudoerfer, 91
Paumgartner, 90
carrying the cross, 117, 119, 170, 183
Pope Adrian VI, 150
Pieta, 156
Richelieu, 84
Entombment,
Savoy, 43
Saxony, 94-96
Resurrection, 115, 137
Crucifixion, 95, 96, 159, 160

wearing the crown of thorns,
head of, 174, 175

Combat, Roman, 161, 164
Trivulzio, 23
Constantia, standing, 24
Van
Constellations, see
Copenhagen,
Cremona, 67
Vecchietti, 33
Visconti, i, 23
Wuerzburg, 92, 98
medal referring to, 76
Astronomy:
Astronomy
and relief of, 154
Cupid, see
Amor
Death, 17, 18
Denmark and Norway, medals made
Capricorn, 114
Comets, 130
Lunar maps, 130
Pisces, 22
to,
Sagittarius, 22, 43
in,
or referring
to,
87-89,
Eagle:
facing, holding globe,
Battle scenes, 48, 144, 145, 146, 154, 164

Bees surrounding a column, 37
flying towards Sun, 114
perched on
leafless tree,
13
Elephant:
Bolla, 168, 169
Bologna, medals
made
in,
or referring
to, 15,
23, 34, 82
Breisach, capture of, 124
Burgundy, medal made

Cachet, 143
Cana, marriage
or referring
Biga of eagles, 22
10, II I, 131
Aurora riding chariot drawn by Pegasus, 68
Biscione,
in,
118, 135, 153, 154
Diana, accompanied by three hunting dogs, 66

Dog, see Greyhound, Hound
Downs, battle of the, 145
Augsburg, medals made

1
siege
Crucifixion, see Christ
Asti,
106,
19
166, 171, 173, 184
Sforza, Francesco, 16
Delen, 143
for the
Court
of,
27
21, 22,
Order of the, 118

Seat formed by two,
England, medals made
140
in,
145, 146, 151, 152

Entombment, see Christ
Equestrian figures,
at,
Ermine, 78
i,
112
or referring
to,
131, 141,
Eve, creation of, 140, see also

Faith, standing, 75
Fail of
Man,
Adam
and Eve
Map:
lunar, see
Fame, riding
in quadriga, 79,
Ferrara, medals
made
in,
Marriage,
84
or referring
to, 3-9, 15, 17,
34.38
180
Fleur-de-lis, 36, 78,
Duomo
of, 28,
ring
to, 24, 28-45, 156)
Queen
made
in,
or refer-
Christina
to,
i, 2,
chained
to
quadriga, 84
in,
or referring
as,
50
made
France, medals and plaquettes
battle of,
4,
93
to, 4,
34, 133
Nativity, see Christ
Neptune:
to, 22, 23, 34, 78-85, 99, 180, 181

Frankfurt, coronation of Leopold I at, 127
to, i, 34,
Music,
Naples, medals referring
Fountain, see Sciences, fountain of
in chariot, 26,
40
sinking Aeneas' ship, 142
77
Low
God, the Father in clouds, 31, 159

Greyhound, seated, 16
Netherlands, see
Griffon, standing, 151
Niirnberg, medals and plaquettes
Noerdlingen, battle
Hand
with dagger, threatening from Heaven, 34

Hebe, the birth of, 64
Hound, Gonzaga device, 49; Hounds of Diana, 66
Horsemen, see Equestrian figures
ring
Countries
123
of,
made
in,
183-185
Oliva, Peace of, 129
Otranto, expulsion of the Turks from, 24

Owl, perched on branch, 19
Italy:
Padua, medals and plaquettes made
map
of, 22, 23,
to,
34
Minerva
Judgement of, 162
Parma, bird's-eye view of the
Jonas, the prophet, 137
Patientia, caressing lamb,
Judaea, capture of, 57
Pavia, battle of, 42
Judith, 158
Pax:
Paris,
seated,
on the Seven
Hills of
Rome, 62
of,
1 1
armaments, 39
Pazzi Conspiracy, note preceding 24, 28
Pelican, 20
48
Liberalitas, 58
Phoenix on pyre,
Liberty, seated, 131
Pieta, see Christ
Lion:
Pisa,
Mark, 74
rampant, 172
Low Countries, medals and plaquettes made
of St.
to,
Luetzen, battle
14, 50,
medals referring
152
to,
34
Poland, medals referring
to,
Pluto, seated, 66
learning to sing, 4
referring
citadel of, 47
in
setting fire to
wielding thunderbolt, in biga of eagles, 22

Lepanto, battle
or referring
Pallas Athena, see
34
Jupiter:
seated
in,
20, 52-62, 64, 158
Janus, the closed temple of, 39

Jason and the dragon, 9
of,
or refer-
86, 90, 91, 97-100, 105, 125, 132, 134,
to,
Innocence, washing her hands at spring, 70
French invasion
80, 128-130, 136
Poseidon, see Neptune

in,
or
Prague, Kreuzherrenkirche
at,
141
114, 131, 142-150, 154, 182
Purgatory, Dante before Mountain
of,
Ravenna, 64
Reformation, 88, 89,
155
Lyon, entry of Louis XII and
Anne
of Brittanv into,
no
Religion, standing, 30, 122
78
Mantua, medals and plaquettes made

to, 14, 15, 17,
16, 23,
in, 135
standing,
Mohacs,
33, 42;
Genoa, medals referring
or referring
in,
Modena, 15
167
Fortuna over waves,
140
Minerva:
35
Florence, medals and plaquettes
Fortitude, seated,
4, 27, 38, 78, 93,
Mars, striding, 56
Milan, medals made
26, 34, 41, 65-68, 75-77
Flight into Egypt, see Christ

Florence,
Astronomy
of Italy, 34
95, 96
49, 66, 68, 157
in,
or referring
Resurrection, see Christ
Rimini, castle
of, 10, 13
of,
35
Rocca Malatestiano, see Rimini

emperors and empresses,
Roman
i8, 52, 54-62, 157,
167, 176-179
Rome, medals and

Sagittarius, see
Sail,
plaquettes
made
or referring
impresa
of, see
Anthony, 25
St.
Francis, 25, 186
Vela
St.
George, spearing the dragon, 112
St.
Mark, 169;
St.
Paul, 168
lion of,
Savoy, medal
of,
river,
67
Triumphal car, see Chariot

Triumphal procession, Roman, 157
Turkish Wars, 24, 48, 93, 108
Vanity, standing, 65
Vela, Este device, 3
74
Venice, medals and plaquettes
123, 168, 187
Saul, anointing of,
154, 155
Tagus
Thirty Years' War, 118, 120-124, '55

Thorn, capture of, 128
Astronomy
St.
St. Peter,
in,
30, 31, 34, 46-51, 62, 82, 164-166, 168
to, 24, 25,
Sundial, 135
Swan with spread wings, 73
Sweden, medals referring to, 50, 121, 122, 124, 128,
to,
149
made
in,
or referring
18-20, 34, 63, 64, 65, 70-74, 82, 159-161, 163,
169-172
43
Sciences, Fountain of, 67
Venice, view of the church of San Francesco della
and Cachet
Shepherd with sheep, 20
Vesta:
Vigna, 63
Seals, see Bolla
seated, 59
statue of, in temple, 61
Ships:
Aeneas', 142
manned by
on raging
four
girls,
sea, 77,
Victory:
83
crowning France, 84
142
seated, 60
sea battles, 48, 144-146, 154
Siege of
city, 23, 24,
124, 128
Virgin, coronation of the, 163
Wax,
Sigillum, see Bolla
Spain, medals and plaquettes

to,
39, 67, 87, 186, 187
Stone models, 36, 109
made
in,
or referring
100
Westphalia, Peace
of, 118,
Wisdom, triumph
of,
123
182
Wiirzburg, medals referring
to, 92,
98
ONE THOUSAND
FIVE
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 MC KEE. DESIGN
BY LEONARD BASKIN. OCTOBER MCMLXV.

The Salton Collection: Renaissance & Baroque Medals & Plaquettes / Bowdoin College Museum of Art

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THE SALTON COLLECTION

BOWDOIN COLLEGE MUSEUM OF ART