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THE SALTON COLLECTION

RENAISSANCE & BAROQUE


MEDALS & PLAQUETTES

BOWDOIN COLLEGE MUSEUM OF ART


MCMLXIX

THE SALTON COLLECTION

THE SALTON COLLECTION


RENAISSANCE & BAROQUE
MEDALS & PLAQUETTES

BOWDOIN COLLEGE MUSEUM OF ART


BRUNSWICK, MAINE

MCMLXIX

COPYRIGHT 1965 THE PRESIDENT & TRUSTEES OF BOWDOIN COLLEGE, BRUNSWICK, MAINE
REVISED EDITION, I969

LIBRARY OF CONGRESS CARD NO. 74-7725I

PREFACE
Few

any age have come down

artifacts of

medal.

their time as the Renaissance

Though

civilization

and

and

their learning, these

which produced them. They represent

prelates but poets

years by those

and scholars

who have

as

is

size,

they

facets of

embody

an

to

one of the chief glories of the Renais-

medals are a

microcosm of the

reflection in

world which celebrated not only princes

and they have been preserved down through the

as well,

them

cherished

diminutive in

relatively

exceptional degree that fusion of art and thought which


sance. Indeed, in their beauty

many

charged with the meaning of so

to us

enduring expressions of the Humanistic tradition.

The present collection, one of the finest of its kind in private hands, belongs to Mr. and Mrs.
Mark Salton of New York. The Salton Collection is particularly distinguished for the extremely
high level of quality of the specimens in it; many of them, indeed, have come from the illustrious
collections of the past.

No

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

World War

Salton Collection date from before

II,

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

of the collection,

and her enthusiasm

tion to the Catalogue.

^ The

most of the pieces


an

and knowledge

for,

collection contains

of,

medals

now

it

is

Visconti,

Duke

(no. 4) has as

men

of

He

is

evident in her Introduc-

and

greatest

exemplar

represented by four medals, including his portrait of Filippo Maria

Milan (no.

and two of Lionello

i)

reverse the celebrated study of

its

formation

in the

masterworks by the most important medallists

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


of the art, Pisanello.

contains were col-

husband

interest as her

Amor

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

is

d'Este,

Lord of Ferrara, one


Matteo

also included.]

trayed yet another Renaissance Prince, Sigismondo Malatesta,

Lord

of

which

of

[A superb

teaching a lion to sing.

speci-

de' Pasti has por-

Rimini (nos.

10-13).

These

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

^ Also

present

Cesario Contughi (no. 17).

on

work

is

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

portrait of

an ancient Roman, the Emperor Caracalla,

(no. 18) usually attributed to the Venetian medallist, Boldu.

Among

may

be seen

the five medals in

the collection ascribed to Spinelli are exceptional specimens of his portraits of Vecchietti

Savonarola (nos. 33 and 34).


a

medal (no. 27) by Candida.

quality

and
by

a very large

tion

and

is

portrait of

Mary

of

Burgundy

is

on the reverse of

Unknown Boy

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

one portraying the Florentine poet Tito Vespasiano Strozzi (no. 29), probably
among the medallists of the Italian Cinquecento are Leoni, da Trezzo,

Represented

Cesati, the last of

whom

^ The

was greatly admired by Michelangelo.

particularly rich in the productions of the master craftsmen of the

Salton Collec-

German

Renaissance,

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

whom

are

famous

for their intensely realistic portraits.

Reinhart the Elder,


medals.
tity

^ Happily,

of examples

and

medals, whose creators are unknown, are of extraordinary

a small rectangular bronze of an

a Florentine.

Belli,

most revealing

Two

Fra

who

is

best

known

in addition to

from the Baroque,

Another member

all

of

was Hans

for the strikingly three-dimensional effects of his silver

medals of the Renaissance,


a

of this school

much

less

known

this collection also contains a

period of medallic

art.

As

a result,

not deprived of the pleasure of such brilliantly executed portraits in gold as that of Charles

quan-

we are
Eman-

uel

Duke

of Savoy (no. 43) by Gaspare

Mola and Pope Innocent XII (no. 51) by Giovanni


Hamerani. In addition, we can enjoy the French medals of Guillaume Dupre, including his
I,

remarkable work (no. 82), the obverse of which

Doge
later

First

of Venice,

reverse,

a superb portrait of

is

Marcantonio

Memmo,

an almost equally fine likeness of Majfeo Cardinal Barberini,

Pope Urban VIII. In Germany, among the great medallists of the period is Sebastian Dadler,
Goldsmith to the Imperial Court; in Holland, O. Wouter MuUer, whose unforgettable por-

trait of
is

and the

Admiral Tromp

an elaborately

is

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

engagement; and

pictorial naval

in

England, Bernard Rantwic, whose likeness

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

among

merly attributed

to

Agostino di Duccio, more recently

to

Thirty-two

medallic portraits.

plaquettes constitute a brilliant section of the Salton Collection. There

is

a Pietd (no. 156) for-

Bertoldo di Giovanni. L'Antico

is

rep-

resented by his portrait bust of the Empress Faustina (no. 157), and Riccio, by his Judith with the

Head

of

Holofernes (no. 158)

which apparently

(no. 166)

German
the

plaquettes

same

is

is

another

after

Mantegna. Also particularly outstanding

published here for the

Entombment

teenth century,

is

encased in

wood and

of four extraordinary pieces

Two

of the

Entombment

most striking of the

based on Diirer's composition of

is

The

last of the plaquettes, a St.

probably working about the turn of the seven-

has a gilded scrollwork frame, illustrating the

which plaquettes frequently were adorned


medals or of plaquettes.

artist

One

time.

which

subject in his "Kleine Passion" series of engravings.

Peter (no. 187) by an unidentified Spanish

made

first

(no. 184),

the

is

in earlier times.

which do

Finally, special

manner

in

mention must be

not, strictly speaking, fall into the category either of

are portraits in stone

one

of a nobleman, possibly

Cosimo

de'

Medici (no. 36), mounted as a bijou, and tentatively attributed to Benvenuto Cellini or his school;
and the other, of Hieronymus Allgaeuer (no. 109), by an unknown South German master,

The

dated 1556.

third

is

a painted

wax

portrait of superb quality of

an unidentified sixteenth-

century Niirnberg Patrician (no. 100) mounted in an elaborately decorated fire-gilded bronze
case of the

same

period.

The

last is a

gold bolla (no. 169), probably unique (the British Museum's


Andrea Gritti, Doge of Venice, 1523-38.

vast collection of seals contains only a sulphur cast), of

^^^
My

Several people have played an indispensable role in the production of this catalogue.

secretary,

Mrs. Kathryn

S.

Rumsey, performed the extremely

cate catalogue entries with a vigilant eye for inconsistency

and

difficult task of

error.

John

usually sensitive photographs of the originals. For the superb design of the

foundly indebted to Leonard Baskin.

Our

typing the

intri-

McKee made the uncatalogue, we are pro-

deepest thanks must, however, be reserved for the

Saltons themselves for their vast knowledge of medallic art as manifested in the catalogue and for
their great generosity in

making

their magnificent collection available to the public for the first

time.

Marvin
Director

S.

Sadik

INTRODUCTION
The aim

of this introduction

is

broad outHnes the development of the medal

to sketch in very

and the plaquette. The serious student who wishes


body of specialized

that a very extensive

more profoundly

to explore the field

literature exists

on the

subject.

he produced the

was

his time,

to

The

Renaissance medal.

first

add further
first

Emperor

peror John VIII Palaeologus (born 1390,

^ The medal was one

1425-48)

of the arts

vehicle for propaganda, had,

commonly

Among

the early

commemoration

coined 480/479

b.c.

Greek examples

of the victory at

are the

Athenian

Marathon (490

coined during the reign of Octavianus Augustus (31

still

Roman

Emperor

or

members

and

as

medallions {dekadrachms)

wreath presented by the

when

she obtained

the practice of

imperial portrait medallions,

and

By

thereafter by

many

of his

the middle of the fourth

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

They were

Sallust, Apuleius,

niates, glorifying

on the occasion of public games and ex-

On them we

some

Terence, and others.

of the great

men

it

is

ing Pisanello to depict in a similar fashion the


Pisanello after

Roman

(before he created his


those ancient works.

pieces,

made during

his

probable that they were instrumental in inspir-

men and women of his own time. Drawings by


first stay in Rome while working in the Lateran

the late Middle

Ages

there were a few isolated attempts at the

which throughout the Middle Ages had

to the tradition of classical learning, several

The

artist

medals were struck from engraved

about 1390, commemorating the recovery of that

portraits representing Francesco Carrara

are modelled after those

on

and contor-

a significant role in the

medal), have been preserved (Louvre), attesting to his interest in

first

^ During

by an unidentified

Milanese hands.

portrait medallions

no doubt played

revival of medallic portrayal. In Padua, a university city

been dedicated

find represented victorious ath-

and famous writers and poets such

The Roman

of antiquity,

development of the Renaissance medal, and

dies cut

The

b.c.-a.d. 14)

charioteers, mythological subjects, earlier emperors,

Horace,

in-

Greek and

hibitions for presentation or sale to the spectators.

as

worn

the contorniate. Unlike the

another type of medallion

large copper pieces with raised borders, probably struck

letes

were not primarily

Roman Empire

of his family.

made its appearance,

as a

pieces,

and the Demareteion medallions

the

extensively.

Italian

and

of exchange

commemorative

of the Syracusan tyrant Gelon,

was continued and developed

successors, portray exclusively the

century

silver

b.c.)

During the period of

for them.

to appeal for sup-

grace or tribute, which were sometimes

Queen Demarete, wife

more favorable peace terms

first

coin-like

by the Syracusans from the proceeds of the gold in

defeated Carthaginians to

issuing medallions

gifts of

Em-

to Ferrara to attend

in this case, in ancient coins.

medium

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

decorations.

struck in

as a

on occasions, struck very large but

tended as money, but rather as rewards,

the

which served both

ancients, in addition to their coinage

in 1438,

which flourished during the

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

The

when,

person to be portrayed was the Byzantine

and Western Churches and

the council for the reconciliation of the Eastern

port against the Turks.

luster to his immortality

who had come

(c.

and one of the

1395-1455, ac. as a medallist 1438-49) called Pisanello, a Veronese of Pisan origin

most celebrated painters of

will find

^ Antonio Pisano

Roman

exist other medal-like struck

imperial bronze coins,

and

sestertii.

his son, both

From

the

city

from

Lords of Padua,

same period, there

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

Sesti.

These

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

pieces,

^ Also

of pre-Renaissance origin are a series of cast

them made
emperors

two hollow

in

made

or most of

all

Roman and

Byzantine

important in the early history of Christianity. These medals

as well as other persons

are believed to have been

and chased medals (perhaps

subsequently joined together) depicting

shells

in the late fourteenth century

by Flemish-Burgundian goldsmiths

and, together with a lead impression of the forementioned medal of the elder Carrara, were con-

Due

tained in the inventories of the collections of the great connoisseur, Jean,


1416).

Old

two medals from

copies of only

this series of

Emperors Constantine the Great

traying the

both pieces

reflects

as conceived

Flemish-Burgundian

by Pisanello and

we know

as

general spirit of the age, with

288-337) and Heraclius

(c.

it

now, was a creation of the

humanistic aspirations and

its

(c.

end of the Middle Ages.

art at the

de Berry (1340-

mediaeval medallions have survived, por-

the

numerous

early patrons of the Renaissance

art-loving princes of northern Italy, the various smaller

the ambitious condottieri,


nello's

^ The

all

of

whom

saw

in

it

another means for their

example was followed almost immediately by other

^ Soon

modern times had begun.


statesmen, poets,

artists, scholars,

persons from

all classes

of society

to reach

an exchiefly

and

larger tyrants,

own

and

glorification. Pisa-

medal

in

crowned heads, renowned


shared in the de-

prosperous merchants, beautiful ladies,

etc.

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

sire to see their features

The

medal were

the history of the

artists;

style of

proper,

on individualism, must

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

The

Italian Renaissance.

stress

its

575-641).

^ The medal

it

was

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

and were treasured

as, objects

of art, offering enchantment to the eye

mind. As such they soon became objects of great


besides having

members

of their

own

of

some

and stimulus

The

to the

Estes of Ferrara,

family portrayed on medals, arranged for the exchange of

those bronze marvels with other reigning houses,


allists portraits

interest to the collector.

and on occasions even ordered from

of their devoted servants.

^ Many

their

med-

other notables of that era: the

Gon-

King of Naples; Pope JuHus II; and the Medicis


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

of Florence

and suspended from

a chain

on the wall; medals were employed

as

ornaments on objects such

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

cover are
Seifridt,
als

set

examples

is

a splendid golden chalice Melchior Pfinzing

vessels.

had made

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

were buried

It also

as

of the

in 1536; into

its

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

in the foundations of buildings, as

is

historic

documents, med-

evidenced by examples found in the walls

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

One

was fashionable on

festive occasions to

wear medals of

and

others.

suitable size as personal adorn-

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

at-

tached, were

hung with

embelUshed with

pearls or

fine

enamelled scrollwork. Three such "Bijoux"

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

prominently record the luster medals lent to male and female

and

attire.

A number of paintings

114).

Lucas Cranach the Elder

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

pended

medal of John Frederick the Magnanimous

(1503-54, Elector of

merly in the Wallraf-Richartz Museum, Cologne). In 1569, Ludger


trayed Gese Reiners of Brunswick, adorned by a necklace

Ulrich

^ As

Museum, Brunswick).

title

were inspired

Italian artists
cal

works of

Siena, or a

art as the ancient

and often

Museum).

accomplishments.

station, or

rules

It

in the library of the Cathedral of

gem

of Jupiter thundering against

an innovation of Pisanello. The impresa, usually

symbolic meaning, often obscure, alluding to the

its

soon developed into a personal emblem of a

men

were formulated by learned

as to

what

sort,

constituted a suitable impresa;

who knew enough

known

1555,
cast

went

into several editions within a

from wax models,

impose

limits

on the

about the

size of the

On

this the

differed according to artist

wax model was

built

up or carved out

The two

employed by

Pisanello.

The

model was then impressed into

salt,

and water. After the mold had been allowed

sides

than once;

new mold
this

over the

was repeated

first

due

to the

to

be

to all others.

a historian of

published in

medals were invariably


for coins, did not

The kinds of waxes and other


The early method was as fol-

mass of wax. The

glass,
latter

formed the

base.

method was prob-

in.

new molds

The

for

made

out of fine ashes,

two halves were removed from the

to dry, the

metal casting, as the

as often as desired.

could serve for the preparation of

first

employed

fine riny or into a paste

model, joined together, and the molten metal poured


a

its relief.

and period.

of a

had
sitter.

were modelled either on separate disks or on a single

ably

forming

early Italian

sometimes of wood, bone, or

one.

finished

The

medal or the height of

disk, usually of black slate, but

flat

Como,

and Amorous Devices,

years. 5**

a technique which, unlike the striking process

molding materials used


lows: a

few

it

The
bumpkin bothered him

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

considerable erudition whose Dialogue of Warlil{^e

sitter's life,

and numerous

humanist Angelo Poliziano (1454-94) reportedly complained that every


with requests for a secret device comprehensible only to his loved one, inscrutable
best

many

very popular reverse design on Italian Quattrocento medals

mysterious, while at the same time revealing to those

The

great

their reverse motifs from, such classi-

(ac. c. 197-159 b.c.)

a personal device, the so-called impresa,

with a legend, was chosen for

borrowed

group of the Three Graces now

^A

portrait, together

of the person represented, while the reverse usually

freely

group of horses from Athenion's

the giants (Naples

was

by,

medal (Herzog-Anton-

on German medals) heraldic design.

bears an allegorical, historical, or (especially

in

sus-

Saxony 1532-47) (forRing the Younger por-

medal shows the

a rule, the obverse of a

name and

with an inscription giving the

Tom

hung with

is

Additional specimens were made by


wax model could seldom be used more

resulting second-generation casts in turn

still

further specimens,

and

so on.

However,

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

of detail also

would gradually

tween an early and

deteriorate,

a late casting.

the early medallists. In this

The

method

and thus there

"lost

wax"

^ When

the

process also

marked

difference in quality be-

was used, though probably not by

wax model was embedded in heat-resistant


wax was melted out and the vacant space filled

the complete

molding material; then, by heating the mold, the


with molten metal.

is

mold was removed,

it

was usually necessary

to chase the sur-

face of the

medal

the like. If chasing

or

remove casting imperfections such

in order to

was done

to

an excessive degree, or by

"improvements" were attempted

if

the "trial proof,"

kept this

quent

was

owing

lead,

casts, the medallists of the

cast

cast

was considered

raw

were

in appearance.

with a lacquer or varnish to give

it

The

also used.

what

is

The

The

casting,

first

artist usually

prospective clients. For subse-

Quattrocento preferred bronze or related

silver

too

often used for the

skill to

artist's,

then the result was often

could be melted.

it

proof for future use and to demonstrate his

first

quecento onward gold and

when

^ A metal

with which

to the ease

hands than the

less qualified

to the point of re-engraving,

such as to destroy the quality of the original design.

edge ridges, and

as air bubbles,

From

alloys.

the Cin-

reddish color which bronze acquires

artist

would, therefore,

The

usually called "patina."

treat the finished

recipes for produc-

ing a patina were legion, producing tones ranging from light to deep brown, from brownish-

yellow to green, and occasionally near-black. Sometimes medals were gilded or silvered; but
unlike a patina to which age can only add beauty, such gold and silver coverings sometimes

wore

off.

In Italy, medallic art reached

Mantua, Venice, Florence, and Rome.

To

medals the Renaissance produced.

trait

the founder of medallic art but also

ation

is

a masterpiece.

From

its

its

zenith during the Quattrocento, chiefly in Ferrara,

we owe

the medallists of that century

Pisanello's influence

greatest master. It

is

the finest por-

He was

was enormous.

remarkable that even

1438 to 1449 he produced a body of

not only

his first cre-

work which has never been

sur-

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

on

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

scotti (ac. 1444-62) of

Ferrara (no. 6).

^ Matteo

which now

ascribed to Antonio Mare-

is

de' Pasti (ac. 1441-67/68)

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

was an immediate

native of Verona, he accompanied

There

Pisanello to the court of Sigismondo Pandolfo Malatesta (1417-68) at Rimini.

made

number

of medals of the tyrant of Rimini

and of

Mantua was among

1504) of

pleased

many

patrons, judging by the

number who

Italy.

sat for

half of the Quattrocento, one of the foremost medallists

(ac. 1454-c. 1475),

wife.

woman

de' Pasti

of great in-

Sperandio

(c.

1425-

the most productive artists of the Quattrocento. For nearly forty

years he enjoyed great popularity throughout northern

ond

Isotta degli Atti, a

and personal charm who became Sigismondo's fourth

tellect

whose works

His vigorous

him.

style

must have

^ At Venice during
Pasqualino Boldu
^ The name

the sec-

was Giovanni

di

reveal a particularly strong affinity for antiquity.

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


dallic art at

its

his signature.

height.

No

^ Toward

fewer than 150 medals have been attributed


the

end of the Quattrocento there was

a result of the technical achievements of Gianfrancesco Enzola

Francia (1450/3-1517),

who experimented

similar to that of striking coins,

Medallic

from

this

art,

fol-

though

to

him, of which

change

(ac.

in medallic style, as

1456-78)

and Francesco

with medals struck from engraved dies


artistically

more

allied to

me-

five bear

process

engraving precious stones.

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

more mechanical

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

continued into the Cinquecento, and indeed


medallists of the Cinquecento

was Benvenuto

is still

occasionally used.

Cellini (1500-71).

He

is

which

^ Foremost among

known

to

the

have engraved

hard materials, and the honestone portrait (no. 36) in an enamelled frame shows the perfecCellini,
tion to which portrait cutting in stone and the art of the goldsmith could be carried.
in

together with the Milanese medallist Cristoforo Caradosso

Rome, did

settled in

much

to

Foppa

(ac. c. 1475-1

improve the process of striking medals.

Cinquecento, Leone Leoni (1509-90), whose

was

life

526/7)

who

in 1505

In Milan during the

as turbulent as that of his rival Cellini,

was

one of the most important medallists. Another Milanese, Jacopo Nizzola da Trezzo (1515/20-89),

worked

which much resembled Leoni's. The medal of Gianello

in a style

example, has variously been attributed


lently

to

number

of Cinquecento

human

in

the medal.

Giovanni Bernardi

Grechetto

(ac. 1538-64), also

II

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

gem

hard materials. Cesati has been credited with some important advances in die-sinking, and

Michelangelo expressed a high opinion of Cesati's work.


art

may have authored

shape; yet he

medallists, like Valerio Belli (1468-1546),

da Castelbolognese (1496-1553), and Alessandro Cesati, called


practised

Torre (no. 67), for

Leoni and da Trezzo. Leoni appears to have fought vio-

with Gianello, calling him an ox in

^ Quite

della

when

developed

the final

work

the

wax model,

of art. Pastorino de'

hitherto just a

portraits

^A

very special branch of medallic

for producing the medal, itself

Pastorini (1508-92), Antonio Abondio (1538-91)

among

son Alessandro (ac. 1595-1640) were

some wax

means

which can hold

as well as his

medium and produced


of that period. Some of

the major creators in this

own

their

became

with the best miniatures

waxes are polychromed, and in their style they demonstrate a trend in sixteenth-century
toward more elaborate detail. P*" During the seventeenth century and beyond, the art of

these
art

making medals

remained rather stationary. However, some

in Italy

Among

flourished.

were Gaspare Mola

these

Medici families (no. 43)

the Hameranis,

years; as well as the Travanis,

(c. 1580-c.

who were

Girolamo Lucenti

(ac.

1640),

artists of distinction

who worked

for the

still

Savoy and

Papal medallists for almost two hundred


c.

1668-90),

and

number

of others.

In

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

made by Flemish-Burgundian goldsmiths in the late fourteenth century. Beseries of medals commemorating historic events was produced;
chronogrammic
inscriptions, commemorating the expulsion of the Engmost of these had long
lish from France at the end of the Hundred Years' War. But these pieces were entirely the work

als,

already cited,

tween 1451 and 1460 another

of coin engravers
coins.

^ During

and were struck from

proper came into being.


of France

dies,

From

on the occasions of

that period date pieces presented by cities to the kings

their royal visits.

cup containing 100 gold medals, presented


March,

1494,

based on designs borrowed from contemporary

the reign of Charles VIII (born 1470, King 1483-98), the French portrait medal

upon her

to

noteworthy example

is

golden

and queens

lion,

holding a

Anne

state entry into the city of

of Brittany (born 1477, Queen 1491-1514) in


Lyon accompanied by her husband, Charles VIII,

who was on his way to the Italian campaign. Another example of such homage medals is the one
offered to Anne at a later visit to Lyon, in March, 1500, this time accompanied by her second husband, Louis XII (born 1462, King 1498-1515) (no. 78).

had been
Spinelli

that of the late

Middle Ages, by

and Giovanni Candida

(c.

this

While

the style of the earlier medals

time Italian medallists, notably Niccolo di Forzore

1450-C.1495),

were employed

Burgundian Court

at the

Charles the Bold, where they introduced the style of the Italian Renaissance.
1494,

King

ian art
lesser

and

1515-47), the

first

Renaissance

attracted to his court

known

artists as

many

of

man on

its artists,

Matteo dal Nassaro

the French throne,

had

Francis

of

(born

a great passion for Ital-

among them Benvenuto

(ac. c. 1515-c. 1547)

Cellini, as well as

and Benedetto Ramelli

such

(ac. c. 1530-

Henry

37)-

(born 1519, King 1547-59), on the other hand, patronized native-born engravers;

II

was during

Monnaie du Mouhn opened and

his reign that the

Laune was appointed

(1552) to

it.

^ The most remarkable

who

1535-90),

lions,

some

of

in 1572

etc.

were

the sculptor

the French mint.

Henry

II,

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

him

In the

first

as 171

in diameter,

made between

half of the seventeenth century France ranked

was Guillaume Dupre

surface texture

is

(c.

1576-1643).

and superb technical

display an elegant style

cast, their

(c.

so fine that

period of Charles

it is

skill.

easy to mistake

The

(ac. c. 1630-54).

1573 and 1577, chiefly

medallic

first in

sixty or

The

more medals

Although nearly

them

art.

III

all his

for struck pieces.

num-

among whom were

The former probably was second

ex-

medals

Jean

only to

have been attributed some charming portraits of English subjects from the

art declined before

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

reached some prominence again during the Empire in the early nineteenth

In Germany the development of medallic art started with Hans Schwarz (ac. 1516The two most prominent centers were Niirnberg, the home of goldsmithry, and Augswhere metal casting was prevalent. Leipzig also deserves mention.
As Florence had

century.
c.

and Claude Warin

1604-72)

To Claude

Dupre.

medal-

cast

much

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

Warin

Germain Pilon

These large

as

greatest medallist of the period

ecuted by

mm.

was

which measure

depict royalty such as

(No. 80),

became Controller-General of

French medals of the second

series of

half of the sixteenth century are the Valois medallions; their author
(c.

it

the French die-cutter Etienne de

1532).

burg,
its

Lorenzo

milian

de'

Medici (1449-92), so did the Germanic lands have an art-loving Emperor, Maxi-

(born 1459, Emperor 1493-1519), whose patronage of die-engravers and bronze

even while a young archduke, greatly contributed

As

early as 1477,

to furthering this

branch of the

Maximilian had himself portrayed on a medal by Giovanni Candida (no.

27), together with his

young

bride, the beautiful

Mary

of

^ While wax

Burgundy.

the material for the models of Italian medals, the models for the early

carved in boxwood, honestone, or


used.

From

these

medals were

them

all

cast,

wood and
and then

slate;

many

Italian artists frequently signed their

tials.

OPVS), German

The models were

alabaster

served as

German medals were

and mother-of-pearl were

also occasionally

stone models, through the intermediary of a negative mold, the


in

cases subsequently chased by the artists,

the meticulousness of detail so

by the proud

casters,

fine arts.

much admired

in

German

medals (during the early period

medallists usually

cut either directly

"imago ad vivam effigiem expressa" on

from

left their

life

as

who brought

their

name

often preceded

works unsigned or simply used

some

medal of Erasmus

to

Renaissance medals. While

ini-

scholars believe the inscription

indicates

or, as

was more

usual,

Hans Schwarz appears to have worked mainly


from sketches, 136 of which have been preserved, t** The boxwood model was used chiefly in
Augsburg, Ulm, and the Allgau; its masters were Hans Schwarz, Martin Schaffner (ac. c. 152230), Christoph Weiditz (ac. 1523-c. 1541), Friedrich Hagenauer (ac. 1525-c. 1544), Hans Kels (ac.
1527-C. 1554), and his younger brother Veit Kels (ac. 1536). Their work encompasses the period
of the boxwood model. In Niirnberg the stone model was predominant due chiefly to the work of
The extent to
Matthes Gebel (ac. c. 1526-c. 1555) and Joachim Deschler (ac. 1540-c. 1569).
which Albrecht Diirer (1471-1528) played a part in the history of the German medal has long
after portrait sketches.

The Augsburg

medallist

been a subject of controversy. There

however, general agreement and, in one case

is,

documentary evidence that several medals and plaquettes, even


certainly

were made

after his designs (see, for

wax

and wood

teenth century,

replaced stone

duced into Germany


into the

trait, to

by

his

^ Much

its

which the

German

their life-like portraits

own

hand,

After the middle of the

six-

modelling material. This technique was introartist

from Lombardy, who came

German

of the merit of the

Some

perfect technical execution.

and minuteness, with

as

by Antonio Abondio, an Italian

chiefly

employ of the Hapsburgs.

be found in

example, no. 184).

at least, also

not executed by his

if

Renaissance medal

is

to

of the early productions are marvels of delicacy

and

skillfully

Italian medallist lent refinement

and

designed heraldic reverses.

ideality,

counterpart whose style did not conceal the

was modelled more

The

por-

realistically

possible lack of dignified ap-

sitter's

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

Thus we sometimes can

and be amused

see,

councilman, church

ruler, city

ject for portrayal

on

medal

by, the unflattering pictorial record of

sexton, or butter dealer,

(see, for

who

a petty

considered himself a suitable sub-

example, no. 90). There probably

^ After

many

no other medallic school

is

German medal had lasted


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

us such accurate likenesses.

left

struck medal. Portraiture


earlier medals.

place

At about

which was

to

no longer was

fired

the great age of the

by the same

vitality

and individuality

so typical of

the middle of the sixteenth century a development in technique took

have a profound impact on medallic

coin press at Augsburg.

It

considerable increase in production,

f*"

Dadler

die-cutters such as Sebastian


rich Mueller (1654-1719),

art: the

presented the art of the medal with

and

potentialities,

permitting a

Highly esteemed during the seventeenth century were

(ac. 1619-54),

number

invention of the mechanical

new

of others,

Johann Hoehn

some of

whom

(c.

1637-93), Philipp

were

also influenced

Heinby the

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

the

Baroque

is

peace

battles,

treaties, coronations,

and weddings. The sumptuous

expressed in their elaborate and ornamental designs.

sixteenth century several medaUists of note

include Quentin Metsys

(c.

made

their

1466-1530), the blacksmith turned painter

skill;

vice of Floris of

Egmont, Count

Mercator was

work

at

Hsts like Jacob

and Michael Mercator

(c.

of Buren, in the dual capacity of artist

England, where he portrayed Henry VIII.

in

who

also

met with

Low

of a

and diplomat. In 1527


other medal-

^ There were

known

(ac. 1575-1602),

who was

representa-

and goldsmith.

active in

The Nether-

Yet with few exceptions the medallists working in

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

pendent native
linck,

Germany.

maker

medallist,

great success as a sculptor, seal-engraver,

Also prominent was the medallist Conrad Bloc


lands as well as in France and

Countries. These

who modelled in stone, wood, or


Venlo. The latter was in the ser-

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

tives of the school,

the

1490-1544) of

and

taste of

the beginning of the

Low

appearance in the

magnificent portrait medal of Erasmus; Jean Second (1511-36),

wax with equal

^ At

it is

style; their

works usually show strong foreign

the Milanese, in the case of Mercator

Dutch medallic school did not emerge


van Abeele

(ac. 1622-77),

Jan Filius

and

Bloc, the

influence. In the case of Jonghe-

German

schools.

well-defined

until the seventeenth century. Its chief masters

Lutma

(c.

1605-85),

and O. Wouter Muller

were Pieter

(ac. 1653-88), all

Dutch repousse medal. In this process the obverse and reverse o


formed by being hammered or pressed into relief, and then the two

skilled in the characteristically

the medal were separately


shells

were joined together by

a rim. In addition, Jurriaan

Pool (ac. mid-seventeenth century) and

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

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


medal.
The plaquette is closely allied to the medal from which, however, it differs
respects;

design.

most obviously

The

in shape, subject,

shape of a plaquette

may

and (with

the struck
in various

few exceptions) the absence of a reverse

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

etc.

Subjects

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

Greek and Roman


its

portrait,

some

art or classical literature. Since

likenesses of

one of the principal features of most medals

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


others (nos. 180

and 181)

are listed

among

round uniface bronzes of figures from the

179).

2, 7,

Roman world

and

8,

the plaquettes.

On

example)

29, for

although

the other hand, certain small

are regarded as plaquettes (see nos. 176-

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

artistic qualities.

is

contemporary persons on bronzes which, though uniface, have

aesthetic appeal

its

and

In their practical application, plaquettes served as decorations on functional or

religious objects; those with suitable representations

be kissed during mass. By far the greater


described previously.

number

were occasionally used

as a pax, a tablet to

of plaquettes were cast by the lost

Italy, the birthplace of the

wax

process

Renaissance medal, likewise was the cradle

and from there the art spread beyond the Alps to France, Flanders, and Germany. The development of the plaquette began about the middle of the fifteenth century, parallel
of the plaquette,

to that of the

medal, and flourished well into the sixteenth century.

often were the

same men who figured prominently

of Parma, Cristoforo Caradosso

Foppa

^ The

creators of plaquettes

in the art of the medal. Gianfrancesco

of Milan, Fra

Antonio da Brescia

(ac.

Enzola

1487-15 13),

and

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

primarily engravers of crystal and precious stones, produced a considerable

and plaquettes
mous, but

at

^ Unfortunately, many

as well.

times

stylistic

comparison with medals or other works of

graphical attribution. In the past, a


sculptor Donatello
tine master,

91).

number

more

the

sixteenth centuries

was

the

prolific artists

is

may

permits at least a geo-

art

a Pieta (no. 156), later

involved in this

Paduan Andrea Briosco

scholars believe that he

(c.

field

to

given to another Floren-

Bertoldo di Giovanni

during the

late fifteenth

(1486-1570), a Florentine by birth,


a

New

the choir, the

who

first

was

active in

Rome

St.

was Jacopo Sansovino

may

furnishings were collections of

favorite subjects for plaquettes

were scenes

Mark's, Sansovino did the door of the sacristy, the six

Four Evangelists on the balustrade of the


it

early

but settled about 1527 in Venice,

among whose

and medals. Sansovino's

Testament. For

In conclusion

and

long tradition in bronze casting. Here the prosperous Venetian merchants

statuettes, plaquettes,

from the

1420-

possibly also have been the author of plaquettes bearing the

vied with each other in building opulent palaces,

bronze

(c.

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

signature Ulocrino (Greek for "Curly Haired"). Another prominent figure

which already had

of medals

of plaquettes have been ascribed to the Florentine

1386-1466); an example

Agostino di Duccio (1418-98), and more recently

^ Among

Some

(c.

number

of the plaquette artists have remained anony-

choir,

and

number

reliefs in

of other figures.

be said that the art of the medal and plaquette complements

many

of the

major

arts of the Renaissance.

situdes of time,

These

Medals

to the

of the

by virtue of their small

and have played an important

Renaissance and Baroque periods.

medals up

objects,

size,

role in contributing to

have withstood the

vicis-

our understanding of the

In the present catalogue, the arrangement of the Italian

time of Benvenuto Cellini follows the order of G. F. Hill, Corpus of Italian

Renaissance before Cellini. Those from the time of Cellini onward are grouped after

schools of artists.

Medals by unidentified

have been grouped according

artists follow.

to the order established

German medals

of the sixteenth century

by G. Habich, Die Deutschen Schaumiinzen

due

XVI. Jahrhunderts. The Baroque medals follow in chronological sequence.


Our thanks are
to Mr. Marvin S. Sadik, Director of the Bowdoin College Museum of Art, whose enthusiasm

for

medals and plaquettes

des

first

sparked the idea of

this exhibition.

He most generously gave of his

time and wide knowledge and also shouldered the burden of preparing

hoped

will be of interest to old friends of the

medal and plaquette and

this catalogue,

which

it is

will help to introduce others

to this fascinating field.

L.S.

and plaquettes

illustrated

have been reproduced

to exact size. Bibliography

and indexes

follow the catalogue.

ITALIAN MEDALS TO THE TIME OF

BENVENUTO CELLINI
ANTONIO PISANO
Medallist

called

PISANELLO

c.

1395-1455

from 1438-49

Antonio Pisano was probably born at Pisa about 1395. In his younger
moved to Verona, where he was surnamed "Pisanello" (Little
man from Pisa). He already was a highly distinguished painter of fresyears he

coes, portraits,

and animals before 1438 when his first medal, marking


was executed.

the beginning of Renaissance medallic art,

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


indeed, as the most celebrated of

was a painter, and he signs

work
rara,

his

all

medals

He was

of Pisano the painter).

medal and,

medallists; he never forgot that he

OPVS PISANI PICTORIS

(the

active especially in Verona, Fer-

Mantua, Milan, Rimini, Naples and Rome.

His medals reveal the trained eye of the painter in the clear and subtle
lines of the portraits; they combine realistic rendering, sometimes extraordinarily severe, with dignity of character.

observation of nature and a


of nos.

The

last

and

marked

The

reverses

show

keen

liking for animals (see the reverses

4).

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

he died 1455 in Rome. (For a portrait of Pisancllo see no. 6 by Marescotti.)


I

Duke of Milan 1412-47


mm. diam., c. 1441
PHILIPPVSMARIA ANGLVS DVX MEDIOLANI ETCETERA
PAPIE ANGLERIE QVE COMES AC GENVE DOMINVS

Filippo Maria Visconti 1392-1447,

Bronze medal, 100

(The Duke lost Genoa in 1435, but kept his title.) Bust right, wearing
cap with edge turned up all around and soft crown. Brocaded dress.
Plain linear border.

Hill, Pisanello, pp. 125

Habich,

fl.

pi. 11, i

Tresor, Pisano, pi. i, 3


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

Supino,

pi. via,

Venice, Correr

17

Museum,

The dragon on

no. 18

the Duke's helmet appears in the coat of

arms of the

Viscontis.

Provenance: Count Trivulzio Coll.


2

Francesco I Sforza 1401-66,

Duke

of Milan 1450-66

Octagonal bronze medal, H. 82 mm.,


Bust

left,

wearing

tall

W.

around; plate armor over shirt of mail.

No
cf.

reverse.

the following:

Hill, Corpus, no. 23, pi. 4

Armand,

i,

8,

22

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


Hill, Pisanello, p. 127, pi. 32

Habich,

Rev. OPVS PISANI PICTORIS on a sunken band, below. Mountainous landscape with tops of buildings on one of which is a colossal female
statue holding sceptre. In the foreground, three horsemen. The Duke to

armor with biscione crest to helmet, lance erect, horse prancon right, small page on horseback much foreshortened from behind;
between them armed horseman to front. Plain linear border enclosing
upper part of design.
left

in full

ing;

Hill,

Corpus, no. 21,

Armand,

i, 8,

pi.

23

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

i,

pi.

11,

49

mm.,

c.

1441

cap with soft round crown and edge turned up

all

in

Lionello d'Este 1407-50,

Bronze medal, 69

mm.

Lord

of Ferrara 1441-50

background,

CCCC

square

tall

XLIIII; in

behind, perched on

diam.

LEONELLVS MARCHIO ESTENSIS

(words

separated

olive

'

leafless tree.

Corpus, no. 32,

Hill,

by

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

Armand,

i,

3,

pi. 6

Heiss, Pisano, p. 19, 11

decoration over mail.

Hill, Pisanello, pp. 148

Habich,

British

British

Rev.

pi. iv,
ff.,

pi.

39

pi. iii, i

Friedlaender, p. 34, 12;


Supino, no. 5

on

on which is a mast with inflated sail and|


background, on rocky hill, eagle seen fromj

pillar
left

pi. iv

Museum, Select Italian Medals,


Museum, Guide, p. 10, fig. 3

pi.

OPVS PISANI PICTORIS A mast with inflated sail; at its foot,


a nude old man seated facing right; on right, a nude young man

left,

seated facing

left,

seen from behind.

Hill, Corpus, no. 25, pi. 5

Armand,

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

Friedlaender,

p. 34,

The mast with

the

iii, i

10
the Este impresa

sail is

known

as the

Vela (see Hill,

Pisanello, p. 146)

Lionello d'Este

Bronze medal, 100

mm.

diam., 1444

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

TINE

Bust

left,

OPVS

with short curly

PISANI

hair,

PICTORIS

wearing richly brocaded

dress.

Above, on rocky ground, a

lion

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

left;

Rev.

The

reverse,

Amor

teaching the lion (Lionello) to sing

is

one of the most

humorous and one of the finest of Pisano's compositions. The medal with
its poetic charm commemorates the marriage of Lionello with Maria of

Aragon, the natural daughter of Alfonso


onello

of Naples (April 1444)

Li-

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


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

is

eagle of

riage ceremony.

Provenance: Dr. Benno Geiger Coll.

ANTONIO MARESCOTTI
Little

that

is

known

he was

ac.

about Marescotti's

1444-62
believed, although not proven,

life. It is

a sculptor as well as a medallist.

bule of the Hospital of

St.

Anne

A terra-cotta bust of Giovanni

who

Tavelli of Tossignano, Bishop of Ferrara,

died in 1446, in the

at Ferrara, is generally attributed to

(For a portrait of Tavelli, see no.

vesti-

him.

5.)

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


1432-46

Bronze medal,

RIENM

Bust

mm.

89.5

DEVOTISSIMVS
left,

diam., 1446

PAVPER

PR

lOHANES

tonsured, with rays issuing from

EPS

crown

FERRA-

of head, wear-

ing cloak. In front, mitre.


Rev.
I

EGO SICVT OLIVA FRVCTIFICAVI SVAVITAE ODO


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

DO

TVS

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

tion, rays

Hill,

Corpus, no. 79,

pi.

18

Brescia (Brozzoni Coll.),

Armand,

i,

29, 8

Oppenheimer, no.

13,

Heiss, Niccold, p. 22,

Koehler, xix,

Habich,

now Morgenroth
i;

pi.

11,

Rectangular bronze medal, H. 79.5 mm.,

Coll., no. 15

Male bust

No

73

p.

pi. xvii,

W.

57.5

mm.

wearing conical hat and robe with pleated front.

reverse.

Hill, Corpus, no. 126, pi. 27 (69

cf.

Friedlaender, p. 54, i; pi. x


Mazzuchelli, i, ix, 3

left,

Provenance: Luccardi

x 48

mm.)

Coll., pi. 42, no. 13

Rizzini, no. 55

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

i,

p. 261).

Un]{nown Boy
Rectangular bronze medal, H. 66.5 mm.,
Bust

Antonio Pisano called Pisanello

mm.
PISANVS PICTOR.

Bronze medal, 57

crumpled

diam.,

Bust

c.

left,

W.

53.5

mm.

with long hair, wearing round cap; bust loosely draped.

1395-1455, the medallist

1440-43

c.

left,

wearing brocaded dress and high,

soft,

beretta.

No

reverse.

Corpus, no. 140, pi. 27 (43 x 37 mm., erroneously given as 46 x 38


the Dreyfus specimen,

cf. Hill,

mm.),
cf.

Hill,

cf.

Hill

Dreyjus

x 37 mm.)
specimen mentioned)

Coll., no. 47, pi. xiv (43

and Pollard, no. 47

(this

Apparently the only specimen recorded.


smaller portrait and with

Provenance: Luccardi

FERRARESE

molded border

A
is

variant with a considerably


in the

Dreyfus Collection.

Coll., pi. 42, no. 12

1500-30

c.

Opizo Refno Ducal Secretary


Bronze medal, 68

OPIZO

mm.

to Alfonso

REMVS ALFON ESTEN DV

with bobbed hair, wearing cap with back

PPT-

F S K I (spray)
wreath with spray rising from bottom.
Rev.

Hill,

Corpus, no. 87,

Armand,

i,

9,

pi.

20

25

Habich, pi. xi, 4


Friedlaender, p. 41, 27;
Supino, 19, pi. IX
Hill,

(spray) in conventional laurel

pi. i

PMIA, p. 31, 5; pi. xviii


Museum, Select Italian Medals,

British

pi. 13,

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

G. F. Hill reads the

initials

on the reverse

specimen

as

meaning the seven

virtues:

Fides, Spes, Karitas, lustitia, Prudentia, Fortitudo, Temperantia.

Provenance: Loebbecke Coll., Munich 1908, no.


on the cover of the catalogue.

3, pi.

i,

also illustrated

FERRARESE OR OTHER NORTH ITALIAN ARTISTS,


1470-1500
7

Un]{nown

Man

1506-23

diam.

toned in front. Below, a

fig

flap

branch. Very high

III

SECRETA

turned up, and


relief.

Bust

gown

left

but-

Rev. (rosette) CASTELLVM


SISMONDVM
CCCC XLVI The castle of Rimini.

ARIMINENSE

Rev. Jason and the dragon (from Fra Antonio da Brescia's plaquette).

Corpus, no. 156,

Hill,

Armand,

De

Rev.

11,

Ricci,

hoebbeche

pi.

29

92, 15

Dreyfus

Coll.,

Coll., no. 116, pi.

Munich

xxxiv

1908, no. 26, pi. v (chased)

Provenance. Dr. Benno Geiger

Coll,

Corpus, no. 174,

Hill,

MATTEO
1

DE' PASTI (Matteo

di

Maestro Andrea

de' Pasti) ac.

44 1 -67/8

Malatesta. In 1454 he

is

referred to as "noble."

medals of Sigismondo were made between 1446 and 1450. The


castle of Rimini on the reverse ranks as one of the finest representations
of a building on any medal.
De'

Heiss, Alberti,

Fabriczy,

This accomplished Veronese architect, sculptor, painter, miniaturist, and


medallist is first heard of in 1441 at Venice, where he worked for Piero
di Cosimo de' Medici. In 1446 he was in Verona and in the same year settled in Rimini, soon becoming persona grata at the court of Sigismondo

Fasti's

pi.

33

Numismatic Chronicle (1917),

p. 308, no. 14

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

pi. ix

Supine, no. 28
Hill, Pisanello, pi. 66

British

Museum,

Calabi

&

Select Italian Medals, pi. 11,

Cornaggia,

p.

95

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


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

Provenance: Luccardi Coll.

10

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

II

83.5 mm. diam., 1446


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

Sigismondo Pandolfo Malatesta

Bronze medal,

(rosette)

Bronze medal, 82
Obverse same

mm.

diam., 1446

preceding number.

as in

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

meadow on

in a

a throne, the sides of

which are formed by foreparts of

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

CCCC XLVI

(rosette).

Hill, Corpus, no. 179, pi. 33 (no. 174 obverse, no. 178 reverse)

Armand,
Tresor,

i,

11,

20, 10

pi. iii, i

Numismatic Chronicle (1917),


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

Calabi
Hill,

&

iii

Cornaggia,

Dreyfus

p. 39, no. 6

Coll., no. 61

Heiss, Alberti,

p. 309, no. 18

etc., p. 31,

and

p.

97

(same reverse),
no. 11; pi. vi,

pi. xviii

12

Sigismondo Pandolfo Malatesta

mm. diam., 1447


SIGISMVNDVS PANDVLFVS MALATESTA
Bronze medal, 32

Bust

left,

wearing

mail and surcoat.


Rev.

PONTIFICII

EXERCITVS IMP M. CCCCXLVII. An

suing from a cloud, and holding a birch rod.


Hill,

The

Corpus, no. 182,


birch rod

is

pi.

34

the symbol of

command.

arm,

is-

Friedlaender, Berliner Blaetter in (1866), pp. 202-207,

13

xxxv

pi.

(attrib-

uted to Filippino Lippi)

Sigismondo Pandolfo Malatesta

mm.

Bronze medal, 80

SIGISMVNDVS PANDVLFVS
wearing plate armor over mail

XL VI The

castle of

Corpus, no. 184,

Hill,

8c

Cornaggia,

MALATESTA PAN F

Bust

left,

19, pi.

(1923/4), p.

iii,

Nanni, 1902

ARIMINENSE

CCCC

Rimini.
pi.

Arethuse

37

p.

Heiss, Nice. Spinelli, p. 43, no. 6, pi.

iv,

Litta, Este, no. 21

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

34

Armand, i, 20, 12
Numismatic Chronicle (1917),
Calabi

shirt.

SISMVNDVM

CASTELLVM

Rev.

Bode, Zeitschrift xv (1904),


Habich, pi. lxiv, 4

diam., 1446

'Tilippinus

12

p. 307,

Com.

p. 42, 12

PHilippi Filius Fecit

EN

BOnonia"; by Milanesi (Bibl.


fecit Ferrariae ENcenia" or

Hoc

Siena): "Bona Franciscus Panini

"Francesco Panini Horafo Ferrarese Fece."

Provenance: Dr. Benno Geiger Coll.

Provenance: Elkan Coll. 1934, no. 21 (as "Maitre a

MANTUAN

manner

in the

ALARI BONACOLSI

called

of PIER JACOPO DI ANTONIO


L'ANTICO c. 1460-1528

GIANFRANCESCO ENZOLA
Enzola worked

Amour

captif")

1456-78

ac.

Parma and

chiefly at

1'

Ferrara. His early medals are

on a

small scale, and for a while he tried to strike his medals instead of cast-

14

ing them, but the struck products never attained the fineness of his cast

Giulia Astallia

ones, especially in the portraits. After about 1471 he took to casting large

mm. diam., c. 1485


DIVA IVLIA ASTALLIA Half -figure
Bronze medal, 63

medals.
of girl

left,

ward, hair in long braid knotted up and tied with


front,

bodice laced in

pyre, looking

up

Habich,

i,

at the sun's rays issuing

Corpus, no. 218,

Armand,

pi.

from

Phoenix on burning

38

Museum, Guide,

British

pi. iii,

in shirt of mail

On

(1890), p. 31

plate; across field

V F

lO FR ENZOLAE
greyhound seated left under

the Renaissance,

Museum, Guide,

pi. vii,

pi. xli,

Giulia Astallia

is

DVX

IIII

BELLI

Bust right, elderly,

Pearled border.

PARMENSIS OPVS

a fruit tree; a

hand

issu-

Habich,
f

pi. 11,

5
i; pi.

xxi

Supino, no. 51
Litta, Sforza, pi.

generally identified with Giulia of Gazzuolo, heroine

who, having been violated by a servant of

a statue erected to her.

close to

pi. lvii,

Rizzini, no. 71

Bishop Lodovico of Mantua (1483-1510), drowned herself; the Bishop

MANTUAN

45

fl.

no. 186

8,

pi.

Pearled border.

44, 6

Friedlaender, p. 115,
Simon, no. 128

i,

i,

tree.

Roville, p. 205

p. 16, fig. 13

Matteo Bandello's Nov.

Corpus, no. 281,

Armand,

Select Italian Medals, pi. 19, 5

Weimar, GoetheSammlung,

had

rocky ground, a

Hill,
dell' Arte III

Revue Numismatique (1892), pp. 485

of

under

ing from a radiant cloud touches him; below him, on the ground, a bridle

Museum,

11,

Rev. Artist's signature:

Burlington Magazine xx (Oct. 191 1), p. 23,


Tresor,

Milan 1450-66

of

attached by a chain to the

Simon, no. 123


Archivo Storico

of

Duke

mm. diam., 1456


FR SFORTIA VICECOMES MLI
PATER ET PACIS AVTOR M CCCC LVI

p. 16, fig. 13

Medals

16

(Biscione)

Fabriczy, p. 49
Supino, no. 96

Hill,

En-

several medals, bearing his signature (see the following

Bronze medal, 42.5

83.3

(1923/4), p. 17,
Friedlaender, p. 129

British

on

whom

various employers was Francesco Sforza,

artist's

Francesco I Sforza 1401-66,

Bode, Zeitschrijt xv (1904), p. 37


British

the

zola portrayed

a cloud.

pi. lv, i

Arethuse

Among

number).

Hill,

fillet,

a little for-

neck open.

EXEMPLVM VNICVM FOR ET PVD

Rev.

head bent

GIANCRISTOFORO ROMANO

c.

The

11,

reverse shows the Duke's impresa (motto:

pune

41; Friedlaender, p. 116.

SPERANDIO OF MANTUA

1465-

Quietum nemo me im-

Paolo Giovio, Dialogo dell'Imprese (Lyon 1574), p.

lacesset); cf.

c.

1425-1504

1425, Sperandio moved at an early age to


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

Mantua about

Probably born in

1512
15

Lucrezia Borgia 1480-1519, wife of Alfonso

d'Este

Bronze medal, 59.5 mm. diam., c. 1505


LVCRETIA (leaf) BORGIA (leaf) ESTEN FERRARIAE (leaf) MVT
AC REGII D Bust left, in high relief, heavy hair covering temples and

fame spread over the entire north of Italy as a goldsmith, sculptor, architect, medallist, and cannon-founder. He was mainly active in Ferrara,
Mantua, Faenza, Bologna, and Venice where he died in 1504.
Sperandio's style is characterized by vigorous portraiture. Goethe was especially fond of his works and ranked him first among the Italian med-

neck, with a braid

drawn from temples

across

and knotted behind,

allists.

at

beginning of which is seen; low dress


shoulder with ring; double cord with pendant on breast;

shoulders tied together in a pigtail,


fastened on left

straight truncation.

Rev.

VIRTVTI

AC FORMAL PVDICITIA PRAECIOSISSIMVM

(two leaves on stalk).

Nude Amor,

blindfolded, tied with hands behind

on which are suspended on left a broken quiver;


on right, a trophy-like arrangement of a tablet inscribed BO FPHFF
EN, a violin and its bow placed like a psaltery, a bundle of sheets of
music, and a bow with broken string.
his

back

to a laurel tree,

17

Fra Cesario Contughi, Servite of Ferrara


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

TOR

Elderly bust

wearing habit with hood over head.

left,

Hill,

Corpus, no. 233,

Armand,

i,

pi.

40

118, 3

Foville, Gazette des

Beaux

Arts, 39 (1908), p. 387

Rev.

INSPICE

MORTALE GENVS MORS OMNIA DELET

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

Hill, Corpus, no. 363, pi. 61

Armand,

i,

67, 16

Heiss, Sperandio, p. 36, no. 16


Foville, p. 40, 6 (assigned to

Gruyer,

p.

c.

1467)

640

Weber, pp. 531-532

GIOVANNI (ZUAN) BOLDU

(Giovanni di Pasqualino Boldu)

ac. 1454-C.

1475
Although Boldu describes himself on

is

known

definitely

medals as a painter, nothing


may, however, have worked in

his

He

of his paintings.

Venice, both as a painter and as a medallist.

Boldu had a special affection for classical subjects, and in the case of the
Caracalla medal (see the following number), the obverse was inspired by
a Roman coin.
18

Emperor Caracalla mi-iy


Bronze medal, 90.4

ANTONINVS

mm.

diam., 1466

AVGVSTVS

PIVS

youthful Caracalla facing

Laureate and draped bust of the

left.

Rev. 10 SON FINE in an arc


CCCC LXVI The youthful artist

above. Below, in a sunken arc,


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

Hill, Corpus, no. 423, pi. 80

Armand,
Weber,

i,

p.

VETTOR

37, 4

530

Heiss, Venetian Medals, p. 107, pi.

Spitzer Coll., no. 1335,

Loebbecke

Coll.,

British

Revue

pi. n,

Munich

Friedlaender, p. 89, 7;
Supino, no. 48
British

pi.

35

N umismatique
is

called

CAMELIO

Camelio was employed as master of the dies at the Venetian mint from
1484 to 1510, and from 1516 until his death in 1537. He probably was active as a medallist already at an earlier stage. Like Enzola, Camelio also
experimented with the striking of medals. The two medals of Gentile
Bellini and his brother Giovanni are amongst the artist's most beautiful

3
Paris)

1908, no. 10, pi. in

xiv

(1895),

p.

is

creations. Before 1484, Camelio may have worked as an engraver at the


papal mint in Rome, a post he surely held from 1513 to 1516.

pi. xii, i

567

Corpus, no. 421. There

identical with that of the


is,

upon the fact that the


medal of himself. Hill,

however, no great resemblance in lettering;

addition, the style of the obverse

head of Caracalla

Emperor

ANTONIO GAMBELLO

generally attributed to Boldu, based

reverse composition

the

11,

(now

Museum, Select Italian Medals,


Museum, Guide, p. 19, fig. 18

This medal

DI

1455/60-1537

is

is

copied from a

facing right.

The

broader than

is

Roman

little

is

aureus,

usual with Boldu.


cf.

Cohen

genius on the reverse

96,
is

in

The

on which
after a de-

sign by Pietro da Fano.

Provenance: Count Trivulzio Coll.

19

Giovanni Bellini
Bronze medal, 58

c.

1430-1516, painter

mm.

diam.,

c.

1495

JOANNES BELLINVS VENET PICTOR OP

hair, plain cap, dress

with

stole

Bust

left,

with long

over right shoulder. Pearled border.

Rev. Owl perched left on fragment of a branch; above, VIRTVTIS ET


INGENII; below, VICTOR CAMELIVS FACIEBAT Pearled border.

Corpus, no. 438,


Armand, i, 115, 2
Hill,

Habich,

p.

83

94

Fabriczy, p. 78,
Hill,

pi.

Dreyfus

pi. xvi, i

Coll., p. 12, no. xii

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

Friedlaender, p. 95, no. 4;


Hill,

The

PMIA.
last

p. 39, 14; pi.

pi. xvii

XX

two words of the obverse legend stand

OPTIMVS.
Provenance: Count Trivulzio Coll.

for

PICTORVM

BOLOGNESE,
FRANCIA

after

FRANCESCO RAIBOLINI

IL

called

22

Francesco degli Alidosi, Cardinal of Pavia 1505, Legate of Bologna

and Romagna, 1508-11


Bronze medal, 61 mm. diam.
FR ALIDOXIVS CAR PAPIEN BON ROMANDIOLAE Q C

LEGAT

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

VENETIAN, EARLY SIXTEENTH CENTURY


20

Fra Giovanni Cornaro Venetian Benedictine of the Abbey of Pra-

Abbot of Santa Giustina of Padua 1507-14

glia,

mm. diam.
CORNELIVS MONA COR CASIN COLVMEN Aged

Bronze medal, 44

10

bust

left,

tonsured and almost entirely bald, wearing Benedictine habit with small

hood.
Rev.

PIETAS EVANGELICA A

shepherd standing three-quarters

left,

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

and drives

shoulders,

palm

a flock of sheep past a

tree

on which

is

pelican.
Hill,

Corpus, no. 527,

Armand,
Habich,

96

pi.

70, 5

11,

pi. lxviii, 8

Simon, no. 285


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

Museum,

Loehr, no. 311,


Hill,

Dreyfus

Select Italian Medals,

pi.

Coll., no. 168, pi.

IL

called

FRANCIA

1450/3-1517

1508 to his death, Francia was in control of the Bolognese

mint, working for Julius


city

xlhi

FRANCESCO RAIBOLINI
From about

pi. 38,

xxvii

from Giovanni

II

and Leo X,

after the

former had taken the

Bentivoglio in 1506. Prior to that, according to

II

Vasari, Francia cut dies for the Bentivoglio,

who

Emperor Maximilian,

the right of coinage by

to

had been granted


which event the follow-

in 1494

ing medal alludes. According to Hill, the medal possibly follows a design

may

by Francia, but

not be by his hand.

II Bentivoglio 1443-1509,

Lord

of

RIS

ADASTRA.

Jupiter,

hand, and holding an object of un-

certain nature in his right hand, standing

parted to

show

Hill,

Bologna 1462-1506

Bronze medal, 28 mm. diam., 1494


lOANNES BENTIVOLVS II BONONIENSIS

(in six lines)

Bust right, with long

the ear, wearing low cap with back flap turned up;

MCCCCLXXXXIIII

Corpus, no. 606,

Armand,
Herrgott,

i,

104,

i,

pi.

Litta, Bentivoglio,

Habich,

pi.

IMPERATORIS

Pearled border.

on

a car

drawn

to right along

lxx,

86

109

Bode, Zeitschrijt, xv (1904),


Habich, pi. lxx, 5

p.

40

Tresor, i, pi. xxxiii, 3


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

Fabriczy, p. 93
vi, 800

Venturi,

Friedlaender, p. 176,

pi.

xxxiv

Simon, no. 132

Monete, no. 16

Rizzini, no. 135

pi.

xxxiv,

Supino, no. 228,

British
British

Supino, no. 222

Museum, Guide,

pi.

xxxi

Museum, Select Italian Medals,


Museum, Guide, p. 23, no. 50

pi. 42,

Cardinal Francesco degli Alidosi was a favorite of Pope Julius

Keary, no. 77
British

MVNVS

pi.

116, 45

Revue Numismatique (1914), pp. 98 fl.


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

xxxi, 2

Friedlaender, p. 173,
Simon, no. 131

11,

Foville, p. 55

108

pi.

pi. xviii,

Mazzuchelli,

MAXIMILIANI

Corpus, no. 610,

Armand,

doublet and coat with open collar. Pearled border.

Hill,

left

border.

Giovanni

Rev.

CVRRVQ CITODVCE

HIS AVIBVS

wielding thunderbolt with his

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

21

hair,

Rev.

p. 22, fig.

Hill, Dreyjus Coll., no. 184, pi. xlvi


Migeon, Les Arts (August 1908), p.

12, no. xxiii

II.

After

Giangiacomo Trivulzio, the Marshal of France,


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

24

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


to another version of the story, he suspected Ahdosi of treachery on be-

graved) and

half of the French.

a long scarf passing across her waist.

Provenance: Dr. Benno Geiger Coll.

crouching Turkish captives, arms and banners; on

CRISTOFORO CARADOSSO FOPPA


One

known

second name, Caradossc, he worked chiefly in Milan until the

The motto
by his
fall

of

Moro, perhaps longer. In 1505 he settled in Rome, where he


found the guild of Roman goldsmiths in 1509 and died in

1526/7.

The square medal with

the portrait of the old warrior, Giangiacomo

Trivulzio, has been attributed to Caradosso by L.omazzo.

Giangiacomo Trivulzio 1441-1518, Marshal


Square bronze medal, H. 46 mm.,

MAR

10 lACOBVS TRIVVLS

of France 1499

Constancy, nude, standing to front, looking


column, her right on tall staff, and holds

fluted

At her

left

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

on a shield, 4) on a shield, three brands in pale, each


carrying two buckets. Double outer border interrupted by these shields.
circle, 3) biscione

Virgil (Aen. vi, 854).

Corpus, no. 751,

Hill,

Armand,

i,

50, 10

Bonanni,

i,

91, no.

Venuti,

on the

feet,

right, a

group of

galleys in the har-

left,

The medal commemorates

the

126

pi.

p. 36, no. vi

Jenaischen Literatur-Zeitung (1810), p. viii

Numismatic Chronicle (1884),

p. 182

Heiss, Florentine Medals,

Fabriczy, p. 108,
Martinori, p. 29

W. 46 mm., 1499.
VIG FRA MARESCALVS

from

is

Programm zur

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

arm on

left

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


by the Pope.

il

helped to

SIXTE-POTES

she rests

bor. Pearled border.

1475-1526/7

ac. c.

of the best artists of the fifteenth century, generally

Lodovico

left;

Roman

Hill,

Habich,

52,

i,

Medallists, pp. 30

pi. xxxiii,

Friedlaender,

pi. iv, i

pi. xxi,

and

32, pi.

i,

Andrea

Guacialoti, p. 14, 8; pi.

Friedlaender, p. 137, 10;


Rizzini, no. 41

iii,

xxiv

pi.

Rovere, Sisto IV, no. 4


pi. xiv

Litta,

Supino, no. 61,


Keary, no. 311

Museum, Guide,

British

26

p. 24, fig.

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


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

Migeon, Les Arts (August 1908),


Forrer,

331

11,

LYSIPPUS ac. c. 1471-84


Known under the pseudonym
is

unknown. He was

Nearly

Roman

name

of Cristoforo di Geremia.

seem

to

have been connected with the Papal

University. His medals are disdnguished by their fine

and the preference

lettering, their sense of proportion,

EXPVGNATA ALE XANDRIA:


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

of "Lysippus the Younger." His real

nephew

the

the artist's clients

all

Curia or

p. 11, no.

(ill.)

leaf or pair of leaves as

for the use of a

an ornament (see no. 26).

25

low:

Raised linear border.

leaf.

Tresor,

xi,

i,

Armand,
Habich,

Van

IV

Sixtus

Hill, Corpus, no. 655, pi. 115

Bronze medal, 42

SIXTVS

IIII

110, 11

i,

tiara, cope,

lxvi,

pi.

Mieris,

Koehler,

11,

i,

p.

and

Rev.

49

ill.

p. 139.

St.

Hill,

11,

62, i;

Bonanni,

p. 33, iii

Tresor,

i,

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

ANDREA GUACIALOTI

or

GUAZZALOTTI

generally regarded as a

member

1435-95

Thurston,

of the Florentine School,

medals are directly or indirectly connected with


was a clerk in the Papal Curia until 1467, in which year he rein Prato.

There, besides attending to his

clerical duties,

he practised as a bronze founder, casting his own and other artists' works,
one of them the medal by Bertoldo on the Pazzi Conspiracy (see no. 28).
24

Bust

left,

wearing

Francis on
;

(who

left

holds a cross) and

both have the nimbus. Pearled

m,

pi.

132

180, a

p. 91, 3

xxiv, 3

p.

Hill,

Roman

Habich,

p. 179,

43

Medals, p. 35,

p.

280

pi. v,

pi. lxi, i

Simon, no. 338


Rizzini, no. 39

Rovere, Sisto IV, no. 2

Supino, no. 189

Sixtus

IV (Francesco

Bronze medal, 60

SIXTVS

IIII

mm.

PON

Rovere 1414-84) Pope 1471-84

della

26

diam., 148

MAX SACRICVLT

Bust

left,

wearing

tiara,

PARCERE SVBIECTIS ET DEBELLARE SVPERBOS; in the


CONSTANTIA Across the field: MCCCC-LXXXI (en-

exergue:

Giovanni Alvise Toscani


Bronze medal, 42.5

cope and morse. Pearled border.


Rev.

St.

holds a fire)

Burlington Magazine (1909),


Martinori, p. 26

Litta,

(who

Numismatic Chronicle (1884),

all his

canonry

right

Corpus, no. 807,

Armand,
Venuti,

tired to a

facing front, wearing cope, hands joined in prayer;

placed on his head by

is

Anthony on

Provenance: Loebbecke

Rome. He

CVLT

condottiere that have been preserved.

is

border.

This specimen.

Commemorates the capture of Alessandria and Trivulzio's appointment


as Marshal of France. It is probably one of the best portraits of this great

although almost

SACRI

HEC DAMVS IN TERRIS AETERNA DABVNTVR OLIMPO

a tiara

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

Guacialoti

MAX

large circular morse. Pearled border.

The Pope, enthroned

Litta, Trivulzio, no.

1600, no. 312,

diam.

328

p.

mm.

PONT

mm.

c.

1450-78, Milanese jurist, orator,

lOANNES ALOISIVS TVSCA


wearing round cap and

and

poet.

diam.

close-fitting

AVDITOR CAM

Bust facing

gown. Pearled border.

left,

Rev. (two leaves on stalk)

VICTA lAM NVRSIA FATIS AGITVR

Nep-

tune nude, mantle arched over his head, holding trident in right, dolphin
in left, facing front in sea-car

Corpus, no. 8ii,

Hill,

Armand,

11,

pi.

drawn by two

sea horses. Pearled border.

Herrgott

British

pi. xix,

Dreyjus

and

pi.

xvni, 7

141

pi. i; pi. x, vi

11,

Vienna Jahrbuch, xxxi (1925),

p.

249

Museum, Guide,

30

p. 28, fig.

Supino, no. 155


Tresor, i, pi. xxxix, 5
Hill,

i,

Rizzini, no. 505

Rizzini, no. 443


i,

pi. xiv,

Mieris,

Baldass,

132

28, 13

Mazzuchelli,

Heraeus,

Van

BERTOLDO

DI

GIOVANNI

c.

1420-91

Bertoldo was Donatello's pupil and Michelangelo's master.

Coll., no. 220, pi. lvi

cast his

own medals

having made

but, after

his

models,

left

He

did not

the casting

to others.

GIOVANNI CANDIDA

(Giovanni di Salvatore Filangieri)

c.

1450-C. 1495

The

artist

The medal on

the Pazzi Conspiracy

was

cast

by Andrea Guacialoti in

1478.

descended from a noble Neapolitan family, and grew to disHe became secretary to Charles the

28

tinction in the diplomatic service.

Bold in 1472 and, after the latter's death, in 1477 ^^s made secretary to
Maximilian I and Mary of Burgundy at the Burgundian Court. Maximilian and the beautiful young

Mary were married

that

same

charming medal of the pair was executed on the occasion of

year.

their

The
wed-

ding.

The well-known painting by Hans Memling in the Antwerp Gallery of a


man holding a coin of Nero may possibly be the portrait of Giovanni
Candida, though some experts believe it to represent Niccolo Spinelli.

Lorenzo 1449-92 and Giuliano

de'

Medici 1453-78

mm. diam.
LAVRENTIVS MEDICES. Bust
Bronze medal, 63.5

almost in profile, to the right, placea


above the octagonal enclosure of the choir in the Duomo of Florence.
Within it, priests are celebrating Mass; outside, conspirators are attacking
Lorenzo. Below the bust: SALVS PVBLICA.
Rev. IVLIANVS MEDICES Bust almost in profile, to the left, placed
above the choir of the Duomo where Mass is being celebrated. Outside,
conspirators killing Giuliano who lies on the ground. Below the bust:

LVCTVS PVBLICVS.
Hill,

Corpus, no. 915,

Armand,

i,

59,

pi.

148

Vasari, edizione Milanesi, iii, 297


Keary, no. 33
Bode, Florentiner Bildhauer der Renaissance

p.

259

Fabriczy, p. 112
Hill,

Medals

Habich,

of

the Renaissance p. 75
,

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

ff.

Friedlaender, p. 160, i; pi. xxxi


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

Supino, no. 66,

pi.

xvi

Litta, Medici, no. 3

Heiss, Spinelli, p. 60

ff., pi. vi,

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

The

bust of Giuliano

is

probably after a portrait by

Botticelli, that of

Lorenzo may be modelled from life. In the Pazzi Conspiracy of 1478


Giuliano was killed, Lorenzo escaped.

FLORENTINE, SECOND HALF OF THE FIFTEENTH

CENTURY
29

Tito

V espasiano

Strozzi 1422-1505, Florentine poet

Rectangular bronze medal, H. 185 mm.,


Bust with long hair in very high

and pleated

No

27

Maximilian

of Austria 1459-1519 and

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

Bronze medal, 48.4

right,

Mary

of

Burgundy 1459-82

F.

open coat over doublet laced across

Below

the truncation:

W.

132

mm.

facing right, wearing round cap

TITVS. STROCIVS

reverse.

Hill, Corpus, p. 33, no. I25d, 1256


i, 11,
35 (175 x in mm.). Armand judges Strozzi on this medal
about 50 to 60 years of age, which would date it between 1470-80.

Armand,

1477

DVX. AVSTR. BVRGVND

with long hair confined by twisted

cf.

robe.

relief

fillet

and myrtle

to be

Bust

(?) wreath;

breast. Pearled border.

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


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

Hill, in his

Corpus, no. 125, erroneously combines

this

medal with an-

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

Corpus), which, however, portrays another person.

Rev.
C.

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


crown. Pearled border.
Hill,

Corpus, no. 831,

Armand,
Habich,

11,

80,

pi. lxii,

Only the pieces quoted by Hill as i25d (Paris-Armand, 175 x in mm.)


and i25e (Turin, no size given) are similar to the present. Another specimen (183 x 128 mm.) was recorded in the Elkan Coll. (Catalogue 1934),
no. 70.

pi.

134

The

present specimen

is

the fourth

Provenance: Count Trivulzio Coll.

known, and the

largest in size.

NICCOLO DI FORZORE SPINELLI


RENTINO 1430-1514
His

most famous name

the

is

Niccolo's skill

at

is

called

NICCOLO

33

Alessandro di Gino Vecchietti 1472-1532

in the history of the Florentine medal.

best in his splendid portraiture.

its

FIO-

Powerful

Bronze medal,

style

and bold

belief,

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

painting in the manner of Botticelli, in the UfEzi Gallery, of a young


man holding a medal of Cosimo Vecchio, probably represents Niccolo.
Some experts have also recognized him in Memling's famous painting at
the

Antwerp

Gallery,

showing

man

mm.
DI

diam.,

c.

1498

GINO VECHIETTI

and below

bust,

ANNI

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

77.3

ALESSANDRO

and plain

robe.

with Florentine long hair, holding

bronze coin of Emperor Nero.

30

Antonio Geraldini 1457-88

mm.

Bronze medal, signed, 66.7

diam.

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

gown.

pleated

Rev.

SANCTA

RELIGIO

FO SP FL

NI

and, in arc below: the signature

(Opus Nicolai Forzori

figure of Religion facing

left,

laureate,

OP

Standing

Spinelli Florentini)

wears tunic and mantle, swings

censer in right hand, holds cornucopia in left hand.

Corpus, no. 924,

Hill,

Armand,

150

pi.

84, 2

i,

Bode, Jahrbuch der Preussischen Kunstsammlungen xxv (1904), p. 10;


B, 8

pi.

Habich,

xxxvi, 2

pi.

Tormo, xxv (1917),

p. 61

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

According

to

Bode,

i,

medal was made

this

he supposes Niccolo to have

made

Rome during

in

which

the stay

there in 1485-86. Geraldini

was

a col-

Rev.

Nude

Fortuna, three-quarters

left,

advancing over waves on dolsail, sheet of which she holds

Mendoza, Ambassador of Ferdinand and Isabella, in his embassy in i486. He was crowned Poet Laureate in 1479. Innocent VIII
made him protonotary (logotheta). Lancetti, Memorie Intorno ai Poeti

phin; holds aloft in right hand halyard of a

Laureati (1839), pp. 194

PRIVS

league of

fl.

on

right,

RENTINO,

called

NICCOLO

FIO-

on

i,

170

pi.

99, 4

Bode, Jahrbuch der Preussischen Kunstsammlungen xxv (1904),

Bernardino Gamberia, private chamberlain of Innocent VIII, Bishop


of Cavaillon, d. 1507

GAMB

AN

XXX 1485. Bust


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

BER

left,

Rev.

B,4
Heiss, Florentine Medals,

mm. diam., 1485


INNOCENTII VIII C

Bronze medal, 61.2

of the Vecchietti of Florence are five ermines rampant, silver

Corpus, no. 1027,

Armand,
31

blue.

Hill,

attributed to

a rock,

MORI QVAM TVRPARI

The arms

NICCOLO DI FORZORE SPINELLI

hand; in front of her, on the waves, radiant sun's face. On


an ermine, holding in its mouth a scroll inscribed

in her left

SATIABOR CVM APPARVERIT God

Friedlaender, p. 154, 35;


Supino, no. 118

p. 89; pi. xni, 6

i,

xxx

pi.

Archivo Storico

dell' Arte

Calvo y del Rivero,

the Father in clouds.

iii

pi. xvi,

(1890), p. 30

(Museo Arqueologico Nacional)

Provenance: Count Trivulzio Coll.


Hill,

Corpus, no. 933,

Armand,
Hill,

11,

pi.

152

64, 15

Dreyfus

Coll., no.

260

Bode, fahrbuch der Preussischen Kunstsammlungen xxv (1904),

p. 10, pi.

B, 10

Simon, no. 175

Gamberia, here "cubicularius secretus,"


Burckhardt from 1485 onwards.

is

mentioned frequently by

32

Alamanno Rinuccini

1419-99, Florentine writer

mm. diam., 1493


ALAMANNVS RINVCCINVS PHILIPPI F

and historian

Bronze medal, 87

relief,

bareheaded and with long hair, wearing

Bust

left,

neath: 1493.

No

reverse.

Hill,

Corpus, no. loio,

Armand,
Cecchi,

iii,

171,

pi.

166 (this specimen illustrated)

ill.

Heiss, Florentine Medals,

i, 145
Burlington Magazine, xxn (1912), 132

Provenance: Baron C. A. de Cosson Coll.

in very

close-fitting dress.

high

Under-

p. 8, pi.

34

According

Girolamo Savonarola 1452-98, Dominican preacher

sons of Andrea della Robbia.

He

by the della Robbia

The

mm. diam.
HIERONX[!]MVS SAV"

Bronze medal, 93

PREDICHATORVM

Bust

to Hill, the design of this

artists.

medal

is

doubtless due to one of the

doubts, however, that the medal

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

FER

left in

VIR

DOCTISSs
hood

habit with

ORDINIS

invasion,

itself is

reverse legend records predictions by


is

the French

which he foresaw.

raised.

FLORENTINE, LATE FIFTEENTH CENTURY


35

Dante Alighieri

Bronze medal, 52

mm.

265-1 321, Florentine poet

diam.

DANTHES FLOREN TINVS

Bust

falling point

No

and stringed

flaps

left,

wearing laureate cap with


gown with small lapels.

covering ears;

Dante before the Mountain of Purgatory. Wearing


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

inscription.

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

Hill, Corpus, 1092, pi. 183

Armand,
Habich,

11,

pi.

11,

xlix,

Heiss, Florentine Medals,

Holbrook,

title

i,

125, i; pi. xvii,

page and pp. 240-241

Friedlaender, p. 154, no. 37;

pi.

xxx

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

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


The reverse of this medal is based on the painting made in 1465 by Domenico di Michelino in the Duomo, Florence. Cf. the early Florentine engraving (Hind, A,
Rev.

GLADIVS

Hill,

Pisa,

Corpus, no. 1075,

Armand,

11,

Dreyjus

trait of

of Venice, Milan,

probably Bologna.

Coll., no.

CELLINI,

SCHOOL

OF,

SIXTEENTH CEN-

36

Unknown Nobleman,
8,

282
sale,

June

possibly

Cosimo

ried 1539 to Eleonora de Toledo;


17, 1929, no. 31

(92

mm.)

most powerful expression. The only medallic Savonarola por-

great merit.

BENVENUTO
TURY

179

Hofstede de Groot, ex Schulman


Portrait of

city,

46, 17

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


Migeon, Les Arts, August 1908, p.
Hill,

cities

Rome, Naples, and another


pi.

23).

Divine hand holding dagger, threatening the

Genoa, Florence,

i,

TERAM CITOET VELOCITER

DOMINI SVP

Duke

of

Duke

de' Medici, 1519-74;

of Florence 1537-69,

mar-

Grand

Tuscany 1569-74

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

W.

42

mm.

Bareheaded bust with short beard to left, wearing armor with


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

1*^

lions'

heads

Armand,

188, 2

i,

Tresor, u, xxxvi, 4
Van Mieris, n, 377

Koehler, xvii, 33
Loebbeck^e Coll.,

Habich,

Munich

1908, no. 53

lxxxiv, 6

pi.

Ferrer, iv, 409 (ill.)


Mazzuchelli, i, lxvii, 4

38

Lucrezia de Medici 1545-61,

Lead medal, 69

mm.

wife of Alfonso

first

d'Este

II

diam., 1558

LVCRETIA MED FERR PRINC A A

XIII

Bust

left,

hair

wound

back and ornamented with string of jewels, wearing richly embroidered


robe, earring and necklace with pendant. Above truncation, artist's sig-

Below truncation:

nature: P.

No

1558.

reverse.

Armand,

Made

195, 40

i,

probably on the occasion of Lucrezia's marriage to Alfonso

II

d'Este in 1558.

GIAMPAOLO POGGINI

Florence 1518-1582 Madrid

Poggini was born into a family of

His father Michele was a gem-

artists.

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

He

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

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

The

p. 127, no. 11 (this

specimen)

style of this piece, as well as the

of the enamelled

worked from 1545

to 1571 in Florence,

and

known

it is

The

that he cut

like honestone, slate, and crystal. Prof. Middeldorf (pricommunication) has suggested that the piece may possibly be close
to Antonio Abondio. The identity of the person represented also requires
futher confirmation (cf. the portraits of Cosimo I on the medals: Hill,
Medals oj the Renaissance, pi. xvi, no. 3, and Lanna iii, pi. 15, no. 233).
Another Italian honestone model, depicting Alessandro Piccolomini, is in
the Munich State Coll. (M. Bernhart, Nachtraege zu Armand, Archiv v,

in

hard materials

vate

1527-98,

Sotheby,

May

17, i960, no. 96, pi.

his family.

of Spain 1556-98

wearing

left,

cuirass.

Bare-

Below trunca-

horn of plenty,

Temple

sets fire to a pile of

of Janus. In the exergue:

Armand,

armaments

MDLIX

in front of the closed

Pearled border.

238, 5

i,

Van Loon,

i,

Cicognara,

11,

Habich,

lxxx,

pi.

28

lxxxv, 2

Le Maistre,

5,

Ramon,

Vidal Quadras y

no. 13609

no. 13

Betts, no. 3
iv,

633

obverse legend

the peace treaty of Chateau Cambresis.

King

cites Philip as

The remarkable

New World

and of the

of Spain

in the

West.

18

DOMENICO POGGINI

ITALIAN MEDALS FROM THE TIME OF

BENVENUTO CELLINI ONWARDS

1578 he devoted himself largely to the modelling of portraits in

first

artistic career

Cosimo
Siena 1508-1592 Florence

Although a native son of Siena (his father was a shoemaker at, or from
the neighborhood of, Siena), Pastorino worked in the Florentine tradition. His early years were spent on glass painting, but from 1540 to

executed that at

and without

reverse.

His

wax and

Duke

Lodovico Ariosto 1474- 1533, poet

left.

prolific artist, his

I de'

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

Tuscany 1569-74

of

mm.

diam., 1567

right with short beard, wearing cuirass

and drapery.

II

On

Bareheaded bust
the breast: 1567.

Pearled border.

Rev.

QVO MELIOR OPTABILIOR

In a hexagonal basin, fed by

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


sea horses. Pearled border.

Armand,

i,

261, 41

Litta, Medici, no. 31

diam.
cf.

LVDOVICVS ARIOST POET


facing

fifty pieces.

COSMVS MED FLOREN ET SENAR DVX

two

mm.

Rome

together with his brother Giampaolo.

Silver medal, 41.5

casts are so finely

glance they almost appear to be struck.

37

Bronze medal, 38

Florence 1520-1590

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

40

PASTORINO DE' PASTORINI

casting them, usually in lead

medallic creations alone comprise about

FLORENTINE ARTISTS

Rev.

and

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

Rev.

Commemorates
Coll.,

II

Unique

Desmoni

King

headed bust with short beard facing

Forrer,

J.

medals of Philip

mm. diam., 1559


PHILIPPVS HISPANIAR ET NOVI ORBIS OCCIDVI REX

p. 82).

Provenance: Martin

for his fine

Silver medal, 42

tion, artist's signature:

workmanship

frame, would point toward an attribution to Benvenuto Cellini.


artist

known

39

Philip

of brown, white, and gold.

best

is

PIER

Pearled border.

PRO BONO MALVM

amidst flames. Pearled border.

Forrer,

iv,

629

Laureate and bearded head of the poet

Bees surrounding a column rising from

PAOLO GALEOTTI

ROMANO
A

called

IL

generally

ROMANO

known

as

PIER

PAOLO

1520-84

goldsmith, die-engraver, and medallist,

II

Romano,

a native of

Rome,

worked

and died there

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

in

House

of the

GASP
41

Rev.

Faustina Sjorza Marchesa of Caravaggio, married 1546

mm. diam.
FAVSTINA SFORTIA MARCH CARAVAGII.
and

richly draped,

vine

leaf.

cf.

Bust facing right, veiled


field, to

the right, a

the date

Forrer

The

MDCVI.
113

iv,

The

i,

On

body the

his

stole,

constellation Sagit-

beneath his hooves the planetary system. Below,

Original suspension loop.

(ill.)

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


Jason, Asklepios,

wound he gave

ceived an incurable

234, 35

Foedere

signature:

centaur Chiron, bearded and with flying

was the famous teacher of

reverse.

Armand,

as:

artist's

("The Archer")

tarius

wearing double necklace. In the

OPORTVNE

prancing right, shooting his arrow.

Bronze medal, 72

No

whose meaning has been explained

of Savoy,

Et Religione Tenemur). Under the truncation, the

1584.

and Herakles.

When

he

re-

immortality to Prometheus.

his

Chiron became the constellation Sagittarius.


42

This medal, the

Gianfrancesco Trivulzio 1504-73, Marchese of Vigevano, Count of

unique in gold.

Mesocco 1518-49, Rheinwald and Stoss

44

Bronze medal,

59.5

The grandson

of

mm.

diam.,

c.

Cosimo

1543.

Giangiacomo Trivulzio, he lost his possession


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

battle

lO

(rosette)

FRAN

TRI

REN ET STOSA D

Rev. FVI

MAR

VIG

CO MVSO AC VAL

Bearded and cuirassed bust

tened on right shoulder.

On

the truncation:

SVM ET ERO. Nude

AET

39

and

tritons.

drapery

right,

fas-

II de'

590-1620,

No

sail

amidst a

Tuscany 1608-20

reverse.

Fabriczy, p. 183,

cf.

Habich,

xxxvi, 5
Lxxxn, 8

pi.

p. 119, pi.

ANTONIO FRANCESCO
Selvi

unknown Milanese

of

apparently

H. 48 mm., W. 40 mm.

cf.

Above and below, four

n, 302, 13

p. 135, pi. xcvi, 5 (as

Grand Duke

is

Unpublished and probably unique,

Forrer, n, 192

Habich,

by Mola,

Youthful bust right, with short hair and small moustache, wearing armor
with Maltese cross on breastplate.

blowing zephyrs.

Armand,

Medici

Silver oval medal,

finest

Fortuna, holding flowing

violent sea, surrounded by dolphins

in the

and probably the

earliest

master)

was one

of the

most

He

miliano Soldani-Benzi.

SELVI

679-1753

and

prolific Florentine artists,

said to

is

a pupil of Massi-

have resided in England for a while.

Provenance: Dr. Jacob Hirsch Estate


45

GASPARE MOLA
As

c.

Cosimo

1580-c. 1640

youth Mola was apprenticed to a Milan goldsmith. The bronze


were his first major commis-

gates of the Cathedral of Pisa, about 1601,


sion.

During

his early period of activity

he worked

at Florence,

and from

1613-14 at the mints of Guastalla and Mantua. In 1623 the artist settled

Duke

of

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


Tuscany 1569-74

I de'

Bronze medal, 85

and round
Rev.

SEMPER

Hill,

Corpus, no.

whom
minute

Mola had

contact."

Mola was

a master at depicting even the most

Armand,

P Bust

right,

wearing

gown

cap. Raised border.

in 1625, succeeding

Rome, and was appointed Papal mint engraver

diam.

Jacobo Antonio Moro. Habich writes about Mola: "His best works show
the influence of the brilliant French medallist Guillaume Dupre, with

in

mm.

MAGNVS COSMVS MEDICES

11,

25,

Mazzuchelli,

i,

Three interlinked

mo,

rings. Raised border.

pi. xx, 3

detail.

ROMAN

ARTISTS

ALESSANDRO CESATI
ac.

called

IL

GRECO or IL GRECHETTO

1538-64

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

Cypriote mother.

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

46
j

Dido, Queen of Carthage


Bronze medal, 45

mm.

j
'

diam.

Greek inscription: DIDO BASILISSA. Bust right, wreathed, hair in


coils and falling on neck, drapery fastened on right shoulder. Pearled
border.

Rev. Greek inscription:


lying in harbor before
Hill,
cf.

43

Charles

Emanuel

562-1 630,

Oval gold medal, H. 58 mm.,

W.

Duke
45.5

of Savoy 1580-1630

Bareheaded bust with


damascened
armor and drapery; around the neck an embroidered ribbon from which
a medallion is suspended. The ribbon doubly inscribed: FERT (the motto

beard and moustache to right, wearing ruff

collar, richly

Coll., no. 368, pi.

An

artist

of Carthage, with galleys

|[

1,

GIAN FEDERIGO BONZAGNA


ac.

View

lxxxvi

Burlington Magazine, February 191

MENSE

mm., 1606

CAROLVS EMAN D G DVX SAB

Dreyfus

KARCHEDON

it.

p. 267, pi.

called

11,

FEDERIGO PAR-

1547-75

of stature, practising as sculptor, goldsmith, medallist and die-

known after
Rome and also for

engraver. Medallic products by Bonzagna are not

though he was still alive in 1586. He worked


luigi and Ottavio Farnese in Parma.

in

1575,
Pier-

from

the ashes. In the exergue: 1665. Granulated field.

47

rising

Pierluigi Farnese 1503-47,

Hildebrand,

mm.
LOYSIVS

P(etrus)

Crona

and damascened cuirass with

AD

CIVITAT(is)

lion's

cation, the artist's signature:

Rev.

PARM(ae)

F(arnesius)

ET

Forrer,

PLAC(entiae)

De

no. 104a

i,

Coll., no.

129

vi,

260 (bronze)

(ill.)

Bildt, pi. vi, nos. 26

and 27

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

Parma and Piacenza

of

diam.

Bronze medal, 39

DVX

Duke

head on right shoulder. Under trunLegend between pearled circles.

FARM

DITIONISQ(ue) TVTEL(am) MVNIM-

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


gate opening on a stream. Legend between pearled circles.

GIOVANNI HAMERANI

1649-1705

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


medallist, was perhaps the most distinguished of the Hamerani family

Armand,

Dreyjus

Hill,

Forrer,

51

222, 6

i,

Farnese, n,

Litta,

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

lxxxvii

Coll., no. 375, pi.

INNOCEN

Provenance: Loebbecke Coll., Munich 1908, no. 87

Gutekunst

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

Pius

PONT(ifex)

mm.

Bearded bust

God

Armand,

on

1571

an angel with cross and

a galley,

hurling lightning from above. Pearled border.

The

Coll., no.

on

this

medal

Pope

the last

is

is

Forrer,

402

11,

A nephew

taken from Exodus,

of Gaspare

The following

Emperor Aelius

have been canonized.

to

Mola

43

ff.),

adopted son of Emperor Hadrian

he entered into partnership

Upon
Rome.

piece belongs to the period of his earliest works.

medal, 46

VINCEN

Rev. Aelius seated on a podium, before

From

the series of the

Forrer,

mm.

Mantua 1626-27

diam.

D G DVX MANT

II

of

VII

ET

(Vin-

Dei gratia, dux Mantuac VII et Montisferratis V) Bareheaded bust with long hair and moustache facing left, wearing rufi collar
and adorned cuirass, neck chain with jewel. Under the truncation, the
centius secundus,

signature:

G MORON

F(ecit)

hair,

him

five

armed

soldiers

with

"Twelve Caesars" by Valerio

Belli.

158

i,

called

IL

PADOVANO

1500-70

Cavino is well known for his imitations of Roman large bronze coins
and medallions, numbering about 120. The portraits mostly belong to
the period of the "Twelve Caesars," though he does not neglect some
of their successors. His

bringing back to

life

work

typical of the spirit of the Renaissance,

is

the heritage of classical antiquity.

53

Pearled border.

TANTVM INFENSVS A hound standing to

FERIS

bearded and with curly

captive. In the exergue: S. C.

GIOVANNI DAL CAVINO


Gonzaga Duke

II

bust,

facing right.

1668

ac. 1627-c.

(cf. nos.

a.d. 138,

mm. diam.
AELIVS CAESAR Draped

Bronze medal, 36

49

Vincenzo

ranks as an engraver of crystal and

52

death, he was appointed engraver at the Papal mint in

his uncle's

Rev.

which

15, 6.

with his uncle and Orazio Ghibellini for the production of medals.

artist's

compromise, but soon

he abolished.

L(ucius)

left.

Pearled

Floriano Antonini

mm. diam.
FLORIANVS ANTONINVS ANDREAE F

Bronze medal, 38

border.

Corpus

Numm.

Forrer,

iv,

Ital., p.

359, 25

Bearded bust with short

hair right, wearing buttoned coat.

156

Rev. Below exerguel line:

GIOACHINO FRANCESCO TRAVANI

mid-seventeenth cen-

tury

AETERNITATI SACRVM

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

which

is

Various persons

adorned with

bas-relief.

In 1655,
in

as a result of a

a stern reformer, especially regarding nepotism,

gems, but also cut dies for coins and medals.

the victorious Battle of Lepanto.

GASPARO MORONE-MOLA

Silver

facing front, holding

43

reverse legend

VALERIC BELLI c. 1468-1546


A native of Vicenza, Belli chiefly

Coll., no. 373, pi. lxxxvii

The medal commemorates


Pius

the truncation, the

i,

Dreyjus

Vogel

Bust right, with short

Under

PADUAN ARTISTS

226, 33
Tresor, Medailles Papules, pi. xv, 4
Bolzenthal, i, 291, 11
Hill,

I).

showed himself

of the Battle of Lepanto;

chalice;

Innocent XII was elected Pope

DEXTERA TVA DOM(ine) PERCVSSIT INIMICVM

View

VI

wearing skullcap and cape with hood. Below, the

cope.

Pearled border.

ANNO

MAX(imus)

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

artist's

Rev.

left,

diam., 1571

OPT(imus)

MAI- (anno

camauro and embroidered

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

(Michele Ghislieri 1504-72) Pope 1566-72

diam., 1691

PONT

HAMERA. Pearled border.


A DEO ET PRO DEO Caritas standing,

in her

PIVS

signature:

artist's

Rev.

Gilded bronze medal, 37.5

XII

beard, wearing

48

mm.

Gold medal, 32

214

i,

of die-cutters.

Travani was one of the three "Consuls" of the goldsmiths' guild


Among his best-known producdons is the medal of Queen

Rome.

Sweden, who after her abdication and conversion


Church had retired to Rome. Christina is represented

Christina of

to the

Catholic

as the

Mazzuchelli,

Armand,

lxiv, 5

54

Agrippina

"Pallas Nordica."

i,

179, 2

i,

Sr. d. a.d. 33,

daughter of Marcus Agrippa, wife of Ger-

manicus
50

mm. diam.
AGRIPPINA M(arci) F(ilia) MAT(er)
GVSTI Bust right, hair in club behind, tresses
Bronze medal, 36.5

Christina 1626-89,

Queen

of

Sweden 1632-54

Silver

mm. diam., 1665


CHRISTINA Head

medal, 61

REGINA

as Pallas

Athena facing

right.

Granu-

lated field.

Rev. S

MAKELOS

(Swedish: without peer). Phoenix

CAESARIS. AVdown neck, drapery

over shoulder.

Q R MEMORIAE
I

Rev. (in Greek letters)

C(aii)
falling

by two mules.

AGRIPPINAE

Funeral car drawn

Forrer,
Hill,

60

(ill.)

367

i,

Dreyjus

Coll., pi. xci, 401

(variant)

Emperor Marcus Aurelius

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

M.
55

Emperor Otho

a.d.

CAESAR

AVG(ustus)

TRI(bunicia)

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

SECVRITAS

P(opuli)

armed

ing his hand to four

an

R(omani)

Otho before an

Forrer,
altar extend-

Cohen,

i,

Forrer,

i,

Faustina

354 (note)
368

Marcus Aurelius

176, wife of

Jr. d. a.d.

mm.

Bronze medallion, 34

diam.

FAVSTINA AVG(usta) ANTONINI


medal were invented by Cavino. The Romans did not

types of this

issue Sestertii of

369

i,

Lawrence, no. 56
61

Lawrence, no. 23

The

right,

soldiers carrying military standards before

In the exergue: S C.

altar.

TR(ibunicia) P(otestatis) XXIX


wearing drapery over cuirass adorned

AVG(ustus)

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


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

diam.

OTHO

IMP(erator)

ANTONINVS

161-180

a.d.

diam.

Bearded and laureate bust


with aegis on breast.

69

mm.

Bronze medal, 36

Rev.

mm.

Bronze medal, 37

bust right, hair confined by

fillet

and

Rev. Sacrifice by the Empress and five

Otho.

AVG(usti)

PII FIL(ia).

Draped

in chignon.

women and

a child before a hex-

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

56

Emperor

Cohen, iii, loi


Hill, Dreyjus Coll.,

Vitellius a.d. 69

Bronze medal, 35

mm.

Forrer,

diam.

VITELLIVS GERMAN(icus)

A(ulus)

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

M(aximus) TR(ibunus) Draped and

tifex)

laureate bust right.

carrying a transversal sceptre and a shouldered trophy of armaments.


In the

field,

Lawrence, no. 59

C.

Emperor Lucius Verus


Bronze medallion, 38

VERVS

L(ucius)
i,

Forrer,

i,

407

62

Rev. Helmeted Mars, his mantle flowing, striding toward the right,

Cohen,

pi. xcii,

369

i,

362, 80 (variant)

368

right,

161-169

diam.

AVG(ustus) ARM(eniacus)

TR(ibunicia)

(imus)

a.d.

mm.

Villi

P(otestatis)

wearing drapery over

PARTH(icus)

MAX

Laureate and bearded bust

cuirass.

Lawrence, no. 28
Rev. Jupiter seated right upon the seven

who

peror

57

holds Victory and

hills

TR(ibunicia) P(otestatis) VII. IMP(erator)

Emperor Titus

a.d. 79-81

Bronze medal, 34

mm.

P(ater)

diam.

IMP(erator) T(itus) CAES(ar) VESP(asianus) AVG(ustus) P(ontifex) M(aximus) TR(ibunicia) P(otestatis) P(ater) P(atriae) COS(ul)
VIII Laureate head
Rev.

P(atriae)

Cohen,

iii,

Forrer,

i,

IVDAEA CAPTA Under

a palm tree, a captive Judaean standing


and the seated Judaea in attitude of mourn-

ing. In the exergue: S C.

439, 114

Forrer,

i,

368

Em-

IIII

COS(ul)

III

197

369

Lawrence, no. 60

VENETIAN ARTISTS

ANDREA

SPINELLI

Spinelli, a native of
i,

receiving the

Virtus. In the exergue:

left.

beside captured armaments,

Cohen,

Rome,

of

crowned by

is

He

1508-72

Parma, was

a medallist

and mint engraver at Venice.


and was appointed

started his career in 1535 as assistant engraver

chief engraver 1540. In 1543 he ventured into business, together with his

Lawrence, no. 37

son Giacomo, and dealt in books and engravings.

58

63

Emperor Nerva

a.d.

Bronze medal, 35

mm.

96-98

Andrea

diam.

right.

Rev.

emperor holding

scroll seated facing right,

on

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


him, a prefect distributing gifts to a citizen who is mounting the steps

mm.

diam., 1534

ANDREAS GRITI DVX VENETIAR MDXXIII


left,

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

DIVI FRANCISCI MDXXXIIII

(leaf)

AN

signature:

SP

Armand,

i,

Tresor,

xxviii, 2

Cohen,

11,

Habich,

Forrer,

i,

Hill,

i,

pi.

View

of the church

Vigna at Venice. Below exerguel line, the


F Legend between two pearled borders.

of San Francesco della

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


4, 37
368

of Venice 1523-38

Rev. (leaf)

CONGIAR P R The

Doge

Bronze medal, 37

NERVA

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


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

Gritti

artist's

155, 4

lxxvi, 16

Dreyjus

Coll., no. 413, pi. xciii

Lawrence, no. 44

VITTORIA DELLA VOLPE

59

Marciana,

d. a.d. 114, sister of

Emperor Trajan

Medallion, silver core within a bronze rim, 39.5

DIVA AVGVSTA MARCIANA Draped


dem on

mm.

called

ALESSANDRO VITTORIA

Trieste 1525-1608 Venice

diam.

bust right, wearing triple dia-

elaborately arranged hair.

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


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

to Sansovino's, Vittoria's name figures prominently among the Venetian artists of the sixteenth century. Forrer, in his Dictionary oj Med-

Next

allists,

writes: "In 1562, the year

when one

of the

Rangoni medals was

produced, Vittoria was received into the Confraternity of San Marco,


when (according to the inscription on the following medal) Rangoni
presided over the Brotherhood as a Guardian."

64

of Charles V.

Tommaso Rangoni

the

1493-1577, professor in Padua, physician in Ven-

to repair the

mm.

diam., 1562

THOM PHILOL RAVEN PHYS EQ GVARD D MAR MAG

Bareheaded and bearded bust


the

field, to

wearing

right,

tight-fitting

the breast of a reclining

Loebbec\e

Lanna

on

(the birth of Hebe).

1908, no. 42

LEONE LEON!

from which escape two

i,

most important

Hill,

and die-engraver, Leoni probably was


Milanese School during the sixteenth

artist of the

him

committed to the galleys


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

Leoni deserves great praise. His medals, retaining

many

of

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

work of an artist of broad scope. Charles V was


work and, in recognition thereof, ennobled him in

certainly the

very fond

of Leoni's

1549, dur-

ing the

artist's

ob-

at Pavia.

CREMON

HOROLOG

ARCHITECT

jets

of water,

which various persons

in dif-

170, 38

xxxiv, nos. 8

pi.

Habich,

1509-90

century. His violent temper caused

artist,

The

asked him

and

pi. xciii, 8 (as


i,

pi.

9, p. 274
Jacopo da Trezzo)

xlix,

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


Fabriczy, pi. xxxix, 4

sculptor, goldsmith, medallist,

As an

refer.

who had

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


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

Mazzuchelli,

the

medal may

border.

Plon,

MILANESE ARTISTS
A

TVRRIAN

of this

for Charles V,

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

Armand,

lxxxvi, 6 (as Sansovino?)

p. 129, pi.

one by Giovanni Dondi

lANELLVS

sel

no. 164, pi. 12

iii,

made

ferent attitudes collect in vases below. Pearled border.

Munich

Coll.,

Coll.,

Habich,

woman

eagle places a child

196, 19

11,

which the reverse

Rev.

Armand,

gown. In the

1562.

left,

A lOVE ET SORORE GENITA An

Rev.

constructed a hydraulic machine to raise the level of


to

verse legend refers to a clock he

ice

Bronze medal, 40

He

Tagus River,

sojourn at Brussels.

Dreyjus

Lanna

Coll., no. 435, pi. xcvi

Coll., no. 227, pi. 15

Loebbec}{e Coll.,

Munich

JACOPO NIZZOLA DA TREZZO

called

JACOPO DA TREZZO

Milan 1515/20-1589 Madrid


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

he

The Netherlands, where


left for

his

name appears

in the state records. In 1559

Spain and stayed there for the remainder of his

monarchs

for the Spanish

65

1908, no. 121, pi. viii

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

in the

many

artistic crafts

life,

that

working

marked

his

versatility.

Hanna

Daniel de

d.

merchant family that

1580 (a

Bronze medal, 54

mm.

diam.

DANIEL

DE

(rose)

(rose)

member

settled in

of the

well-known Flemish
68

Venice in the early i6th century)

Ippolita

HANNA

Bust

beard, wearing cloak fastened with bulla on

left,

left

with short hair and

shoulder, over figured

underdress. Pearled border.

OMNE VANVM Female figure (Vanity), wearing tunic girt high


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

169, 29 (52

i,

Cicognara,

iv,

mm.)

iii,

72, ee (53

11, 4,

mm.

diam., 1552

GONZAGA FERDINANDI

FIL

AN

XVII Bust

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

necklaces (one with pendant).

Below truncation:

AC TREZ.

Pearled

border.

mm.)

no. 11

Hauschild, Anhang, no. 363


T. Whitcombe Greene, no. 93 (53.5

Museum

Copenhagen

left,

1535-63, wife of Antonio Carafla

198

Venice, Correr: Bergman,

British

HIPPOLYTA
facing

Rev.

Gonzaga

Bronze medal, 68.5

mm.)

mm.)
mm.)

(53

(52.5

66

Gonzaga

Ippolita

Bronze medal, 68.6

1535-63, wife of Antonio Caraffa

mm.

diam.

HIPPOLYTA GONZAGA FERDINANDI FIL AN

the right field (in Greek)


into a chignon,

LEON ARETINOS.

Bust

left,

XVI, and

with hair

in

wound

wearing dress draped in the antique manner, double pearl

necklace with pendant. Pearled border.

Rev.
right,

PAR

with Cerberus at

Armand,
Habich,
Plon,

POTESTAS

VBIQ

Diana blowing her horn marching

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

pi.

i,

his feet,

is

seated in a building to the

left.

163, 7

pi. xcii,

XXXII, 7

and

Provenance: Elkan

Rev.

Coll., no.

VIRTVTIS FORMAEQ PRAEVIA Aurora

and with her

Tone

Bronze medal, 80.8

Born

in

Armand,
1500-85

mm.

Hill,

241,

Rodocanachi,

diam.

Cremona, Della Torre was an engineer and

i,

Dreyjus

achitect in the service

left

hand,

right strewing flowers over the earth. Pearled border.

67

Gianello della

riding through the

heavens in a chariot drawn by Pegasus; holding a torch in her

78

Coll., no. 438, pi. xcvi


p.

220

Provenance: Luccardi

Coll., no. 11, pi. 41

D'ETA DI XXXIII ANNI

Rev. Circle of inscription:

Armand,
This

iii,

XLIIII

specimen)

(this

known

the only

is

235,

M D

specimen.

Provenance: T. Whitcombe Greene Coll.

Lippman Coll.
Henry Oppenheimer

Coll.

VENETIAN, SIXTEENTH CENTURY


70

Trijone Gabrielli d. 1549, Venetian patrician and poet

mm.

Bronze medal, 44.5

diam.

TRYPHON GABRIEL
Rev.

Bareheaded bust

left,

wearing patrician robe.

INNOCENS MANIB ET MVNDO CORDE

Draped female

figure

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

Armand,

126, 10

11,

71

Marcantonio Trevisan Doge of Venice 1553-54

mm.

Bronze medal, 63.5

UNIDENTIFIED ARTISTS

NORTH

ITALIAN, SIXTEENTH

diam., 1554

MARCVS ANT TREVISANO DVX V

CENTURY

VIXANO

NO

b. 151

mm.

Bearded bust with short curly hair facing


wearing plain robe with lace trim on round collar.

wear-

OBIT

TREVIXITA|

MDLIIII

Hill,

diam., 1544

GIOVANNI Dl NALE

IN PRINCIPATV

DVX

DEI GRATIA

Bronze medal, 65

right,

MARCVS
ANTONIVS
VENETIARVM ETC

Rev. Within an olive wreath:


69

Giovanni di Nale

Bearded bust

ing ermined robe and ducal cap.

cf.

left,

Dreyjus

Armand,

Coll., no. 504, pi. cviii

224,

11,

72

Girolamo Priuli Doge of Venice 1559-67

mm. diam., 1567


HIERONIMVS PRIOL VE DVX

Bronze medal, 42

gown and

caded
Rev.

PV

AN
VIII
ME
N DE IIII

Bearded bust

right,

wearing bro-

ducal hat.

DI

II

IIII

OBI

DLXVII

Armand,

225, 4

11,

Tresor, u, xxvii, 5

73

Cornelio Musso Franciscan, Bishop of Bitonto 1544, d. 1574

Bronze medal, 58

mm.

diam.

CORNELIVS MVSSVS EP BITVNT

His bearded bust

right,

wear-

ing habit with lowered hood.


Rev.

DIVINVM CONCINIT ORBI Swan

Armand,

11,

cf.

Habich,

cf.

Lanna

Forrer,

pi.

with spread wings.

xcv, 4

Coll., in, no.

312

192 (as Pier Paolo Galeotti,

11,

left,

212, 48

"II

Romano")

Francesco Cornelio Musso was called "the Isocrates of

Italy."

74

Marino Grimani Doge

mm.

Bronze medal, 39

MARIN. GRIMANVS

SYDERA

Armand,
Tresor,

Vogel

11,

11,

273,

595-1606

DVX VENETIAR

Bearded bust

CORDIS

and below exerguel

to left,

line:

holding crosslet orb.

xxvii, 3

Coll., no.

right,

wearing

hat.

Mark, rampant

lion of St.

diam., 1595

brocaded robe and ducal


Rev.

of Venice

56

MILANESE, SIXTEENTH CENTURY


75

Pietro Piantanida Milanese Captain

1595

The haloed

FRANCESCO

PANIGAROLA

AETA

ANNI

XXVIII between
and

three linear circles. Pearled border. Bareheaded bust with curly hair
short beard facing

No

gown with

wearing buttoned

left,

ruffled collar.

reverse.

Armand,

262, 3
xcvi, 2

11,

Mazerole,

i,

Provenance: Luccardi

Coll., pi. 40, no. 5.

77
Battista Spinola de Serravalis b. 1537,

Genoese nobleman

mm. diam.
BAP SPINOLA D SERRAVALLIS
Bronze medal, 47.5

Bareheaded and bearded bust left,


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

wearing ruff
on shoulder,
Bronze medal, 50.5

CAP

right,

PET

mm.

diam.

PLANTANIDA AET AN XXXVI

raging

Bareheaded bust

with short hair and beard, wearing drapery over damascened

lion's

Hebrew

Rev.

sea,

Armand,

and

collar

inscription:

"Oh Lord,

help us."

two-masted ship on a

two zephyrs blowing from above. Pearled border.


209, 30

11,

(example seen

adorned with aegis and grifSn's head on right shoulder.

breast armor,

cuirass

Heiss Coll.)

in

FRENCH MEDALS
NICOLAS LECLERC

Lyon 1487-1507

ac.

JEAN DE SAINT-PRIEST
Lyon was

Lyon 1490-1516

ac.

by Louis XII and Anne of Brittany,


and to celebrate the occasion presented the Royal couple with a splendid
medal measuring about 4'/^ inches in diameter. The medal was modelled
by Nicolas Leclerc (who in a document is referred to as "tailleur
d'images" in 1499) and Jean de Saint-Priest. The casting was done by the
brothers Jean and Colin Le Fere. The medal (no. 78), with its lingering
touch of the Gothic, is one of the most admirable examples of French art
from the waning Middle Ages.
In 1500 the city of

visited

78

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


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

DVM

ure, standing
in her left

SPIRITVS

towards the

HOS REGET ARTVS

left,

raising her right

Draped female

arm and holding

fig-

a chalice

hand (Faith?).

Cellini)

Simonis,

11,

pi. xxiii, 5
11,

collar of St. Michael; below, lion of

LVGDVN(ensi)

487, fig. 507a (as early Italian

Abondio)

work

Bronze medal, 61

diam.,

c.

1576

BIS

to

1499.
left,

Hill,

Forrer,

mm.

cap, robe

Medals of the Renaissance pi. xxiv, 3


Dreyfus Coll., no. 527, pi. cxiii

Hill,

of Antonio

Lyon.

SIC FVI CONFLATA


and ermine, bust of Anne

Friedlaender, p. 207,

Francesco Panigarola 1548-94 Bishop of Asti 1587

crown over

CEsown with

REPVBLICA GAVDE(n)TE

Loebbeck^e Coll., Munich 1908, no. 24,


76

a field

On a field sown with fleurs-de-lis


crowned and veiled; below, lion of Lyon.

xciv

(attributed to Etienne de Hollande)

2, p.

Coll., no. 423, pi.

Habich, Corpus,

REGNANTE DVODECIMO

ANNA REGNANTE BENIGNE

121

Regling, p. 93

Dreyfus

bust of Louis XII to right, wearing

fleurs-de-lis,

and

of Brit-

diam., 1499

Rev. (crosslet)

pi. lxxxiii, 4, p.

mm.

FELICE LVDOVICO

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


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

Hill,

(crosslet)

SARE ALTERO GAVDET OMNIS NACIO On

Armand,

Habich,

Large bronze medal, 113

Anne

(ill.); v,

364; iv, 454


Mazerolle, cf. no. 27

Rondot,

iii,

pi. iv

(ill.)

p. 16

Rosenheim

Anne

303

Coll., no. 554, pi.

24
1488 from her father, Francis

inherited Brittany in

II.

Conse-

quently her hand was eagerly sought by a number of suitors. Archduke

Maximilian

(later

Emperor Maximilian

The French, however,


and

forced

Anne

I) in

to seek

1490 married her by proxy.


this marriage,

annulment of

was married to Charles VIII with the stipulation that in


was to marry his successor. Accordingly, in 1499 she
married Louis XII, who for the purpose had obtained a divorce from his
first wife. These developments led to the eventual incorporation of Britin 1491 she

case of his death she

tany into France.

Provenance: Count Trivulzio Coll.

ETIENNE DE LAUNE
In his youth

De Laune

engraver. Cellini's
tions,

151 8/9-83

exercised the trade of goldsmith, modeller,

work seems

to

have inspired some of

office
etc.,

and

produc-

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

ment by Henri
v.'cre

his early

are preserved at the Bibliotheque Nationale.

79

Henry

King

II 1519-59,

of France 1547-59

Bronze medal, 53

mm.

HENRICVS

FRANCOR REX

right,

II

diam.

INVICTISS P P Laureate

TE COPIA LAVRO ET KAMA BEARVNT NVIA

Rev.

bust

wearing armor. Pearled border.

Fama,

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

dance are seated. Pearled border.


Forrer, in, 337

Armand, in, 285, D


Tresor, Med. Franc,

xi, 5

i,

Mazerolle, no. 103

GERMAIN PILON

the eminent French sculptors

of the second half of the sixteenth century.

lists
is

1535-90

c.

among

Pilon takes his place

the

monument

Henri

to

II

One

and medal-

of his masterpieces

and Catherine de Medici

at St. Denis.

His

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

French fashion which has no equivalent elsewhere.


80

Henry

King

III 1551-89,

of France 1574-89, elected

King

of Poland

1573

Bronze medal, 154

HENRICVS

mm.

diam., 1575

D G FRAN ET POL REX

1575 Bust almost facing front,, wearing soft beret ornamented with feathers and jewels, ruff
3

chain over brocaded gown.

collar, triple

No

reverse.

Tresor,

Med.

Franc.,

xxiv,

pi.

Babelon, no. 167


Forrer,

iv,

542/3

GUILLAUME DUPR6
During

c.

1576-1643

French medal found its highest


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

this celebrated artist's life the

technical achievement.

of the great Italian

execution

is

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

tinuous enjoyment.

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

Henry IV 1553-1610, King

mm.

Bronze medal, 57

HENRICVS
right,

diam., 1604

D G FRANC ET NAVAR REX

Laureate bust

Roman Emperor, wearing

drapery over

bearded, dressed as a

Underneath:

cuirass.

Rev.

IIII

of France 1589-1610

1604

MAIESTAS MAIOR AB IGNE Henry

de Medici, joining hands over a flaming

altar.

IV and

his

wife Marie

In the exergue: 1604.

Marie de Medici 1573-1642, Queen of France 1600-10

Mazerolle, no. 283

Bronze medal, 63

Provenance: Loebbecke

Coll.,

Halle 1925, no. 76,

pi. vi

mm.

diam., 1615

MARIA AVG. GALLIAE ET NAVARAE REGINA

82

Bust right, wear-

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

Memmo

Marcantonio

Doge

of Venice 161 2-1 5

Barberini 1568-1644 later Pope

Bronze medal, 91.5

mm.

and Cardinal Majjeo

right,

Urban VIII 1623-44

Rev.
diam., 1612

four

wearing brocaded dress and ducal

DUPRE F

Rev.

MAPH

BONO LEG

R E P CAR

Med.

Forrer,

i,

Under

Bearded bust

the truncation:

DUPRE F

Franc., 15, 3

657

Provenance: Dr. Benno Geiger Coll.

field.

ecclesiastical garb.

Un-

artist's

signature: G.

Tresor,

DUPRE

1615. All in con-

Pearled border.

SERVANDO DEA FACTA DEOS


girls.

Marie in a ship manned by

Above, two blowing zephyrs.

Med. Franc,

pi. v,

Mazerolle, no. 680

Lanna

BARBERIN SIG IVST PRAE

Bust with short beard to right, in

der the truncation: G.


Tresor,

hat.

1612 Pearled border.

gown. Below truncation,


cave

MARCVS ANTONIVS MEMMO DVX VENETIARVM


G.

83

Coll., no. 411

Loebbecke

Coll., no.

206 (Munich 1908)

Provenance: British

Museum

JEAN WARIN

1604-72

Duplicates (Sotheby, July

13, 1922, no.

39)

1612 Pearled border.


c.

Warin succeeded Jean Darmand,


the

mint

in 1646.

called Lorfelin, as engraver-general to

Together with Dupre, Jean Warin holds a most honored

place in the history of French medallic

art.

To

this talented artist

we owe

some

of France's most beautiful medals

tury.

His medallic productions bear the mark of his highly developed


and distinguish themselves by their boldness of relief.

and coins

technical skill
Little

is

known

about Warin's early

life.

He may

have been born

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

at

He

enjoyed the all-powerful protection of Cardinal Richelieu, whom he portrayed on several medals. Warin was working on a series of historic

medals of Louis

XIV when

death cut his

life

Hill,

of the seventeenth cen-

short.

Medals

lieu

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

oj

brilliant in

is

Museum

specimen, bronze with the date removed)


Bernhart, Medaillen und Pla^etten, p. 33

BERTINET

seventeenth century, worked for Louis

XIV

85

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


XIV and Mazarin, later Chancellor of France

84

mm. diam., 1678


LETELLIER (rosette) FR (rosette) CANCELLA1678 On granulated band. Bust right, wearing robe, skull-

Bronze medal, 132

Armand

Jean du Plessts 1585-1642, Cardinal de Richelieu 1622-42

Silver medal, 77

mm.

MICHA

diam., 1630

RIVS

ARMANDVS lOANNES CARDINALIS DE RICHELIEV

Bust with

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

(rosette)

(rosette)

cap and decoration,

No

all

within a laurel wreath.

reverse.

GERMAN MEDALS
ALBRECHT DtjRER
Only

1471-1528

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


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

86

Agnes

Lucretia, formerly described as

Lead medal, 55 mm. diam., 1508


Female head with open flowing
facing front. In the field, to the

gram:

No

Diirer, the artist's wife

hair, slightly inclined to left,

1508; to the right, the Diirer

left:

almost

mono-

within A.

reverse.

Habich, Corpus,

Lanna

i,

i;

no. 14, pi.

Coll., no. 908, pi.

11,

2;

and

fig.

42

Will, p. 369
Sallet, p.

25

Sallet, Zeitschrijt j.

Numismati^

(Berlin),

11

(1875), p. 362

fl.

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

TANDEM VICTA SEQVOR

palm branch,

seated in a quadriga, driven to left by

ing trumpet to which


lieu.

Fortuna

is

flying overhead,

WARIN

Francia holding sword of justice and

Fama, who

is

blow-

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

Provenance: Dr. Jacob Hirsch Estate

attached a banner with the coat of arms of Riche-

chained

to the

back of the quadriga, while Victory

crowning Francia. Under curved exerguel

1630

is

Paris,

Pearled border.

line:

is
I

CHRISTOPH WEIDITZ
A

ac. c. 1523-c.

1541

Augsburg

native of Strassburg, Weiditz settled in

there

made

various trips abroad.

He

modelled

his

in 1526,

and from

Cortez medal in Spain

Tresor,

Med.

Franc., xxi, 3

Loebbec}{e Coll., no. 215 (bronze)


Gullet Coll., no. 166 (bronze)
Forrer,

vi,

369

in 1529.

many other of his contemporaries, carved the models for


medals in boxwood. Many of his portraits show a marked affinity in
style to those of Hans Holbein the Younger.

Weiditz, like
his

Hernan Cortez
Bronze medal, 56

1485- 1547, Conquistador

mm.

diam., 1529

DON FERDINANDO CORTES MD XXIX ANNO

XXXXII
hair

and

ETATIS

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

short, straight-cut beard,

wearing loose gown and

flat biretta.

ductions are thoroughly

German

in every respect.

example

typical

is

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

eronymus Paumgartner, which

German

medallic art (no. 90).

Little

known about

is

possesses all the realism so characteristic of

Deschler's place of birth.

He became

Niirnberg

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

and worked

there,

for

Archduke Maximilian,

the future

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

Hieronymus Paumgartner 1497-1565, Niirnberg church-warden


Bronze medal,

66.5

mm.

diam., 1553

HIERONYMVS PAVMGARTNER ANNO AETATIS

front, bald-headed
shirt. All

IVDICIVM DNI APPREHENDIT EOS

Rev.

CORROBORAVIT

EIVS

ET FORTITVDO

BRACHIVM MEVM

Divine arm

56

and with side-whiskers, wearing gown over

On

within border of leaves.

Bust
loose

truncation: 1553.

issuing

from clouds.
Habich, Corpus,

i,

no. 376, pi. xlix, 4


no. 100

i,

Domanig, Deutsche Medaille,


Berlin,

Amtliche Berichte,

p.

52

Babelon, no. 152

The

reverse refers to the Spanish victory over the Aztecs.

FRIEDRICH HAGENAUER

ac. c. 1525-c.

1544

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

craftsman and his medals portray the

efficient

with remarkable precision. Great care


face

and

dress.

Although

own

medallist and, in his

is

sitter

taken to show every detail of

a sculptor as well,

he

is

known mainly

as a

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

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

88

Unt{nown Humanist

(in the past tentatively identified as

Menno

Silver medal, 56

mm.

Bust facing

wearing beret and

left,

diam.,

Rev. Later engraving: D.

c.

Mieris,

11,

i,

i,

1539
ecclesiastical

gown. Granulated

MARTINUS. LUTHERUS. Open

Bible

field.

on

al-

Coll.,

no. 633, pi. lxxviii, ii

no. 121

1, pi.

50

89

Philipp Melanchthon 1497-1560, Reformation leader and humanist

Bronze medal, 38

PHILIPPVS
Bust

left,

mm.

signature:

Rev. In five lines:

ANNO

EVM

diam., 1543

MELANTHON ANNO AETATIS SVAE


hair,

XLVII

wearing gown. In the

FH.

PSAL

36

SVBDITVS ESTO

DEO ET ORA

M. D. XXXXIII.

Habich, Corpus,

bareheaded and bearded with long

field, artist's

i,

i,

no. 651, pi. lxxx,

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

Loebbecl^e Coll.,

no. 161

1, pi.

clxxiii, 7

Tresor,

Med.

All., pi.

Loebbec}{e Coll.,

iii,

Munich

10
1908, no. 297, pi. aIX
pi.

45

Provenance: Dr. Jacob Hirsch Estate

251

iii,

2,

Lanna Coll., in, no. 1015,


Rosenheim Coll., no. 433

Juncker, p. 535

Lanna

i,

Imhof, 608, 3
Koehler, xv, 137

tar.

Habich, Corpus,

of leaves.

Habich, Corpus,

van Friesland 1492-1559)

Van

Amsterdam

JOACHIM DESCHLER

1929, no. 246, pi. xvii

ac. as

Although Deschler spent two years

medallist 1540-c. 1569


as a

student in

Italy, his

medallic pro-

91

Johann Neudoerjer 1497-1563, "Schreib-und Rechenmeister" in

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


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

Wisdom on

are the leaves of the Tree of

Niirnberg

Reinhart's extraordinary technical

medal with old

Silver

mm.

fire-gilding, 24

diam., 1554

lOHANN NEVDORFFER ARITHM AET:

with long

On

gown

wearing

hair,

with small ruffled

ucts are considered masterpieces of craftsmanship.


j

SVE. LVII Bust


collar.

right,

Pearled border.

'

In 1539 Reinhart settled in Leipzig. Prior to that time, he may have been
a pupil of Lucas Cranach, whose influence is apparent in his work.

truncation: 1554.

INDVSTRIAM

Rev.

ADIVVAT

DEVS

Helmeted coat

of arms.

Pearled border.

94

John Frederic^ 1503-54, Elector of Saxony 1532-47

Habich, Corpus,

no. 1617, pi. cLxxiv, 4

2,

i,

Med. AIL, pi. xxxii, i


Domanig, Jahrbuch (Vienna),
Tresor,

xiv, 32, no. 22, pi.

Coll., Munich 1908, no. 305,


Lanna Coll., 111, no. 1016, pi. 45
Domanig, Deutsche Medatlle, no. 162

RIS

the collar of

SPES

Rev.
-

MEA

which

IN

is

11,

i,

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


FRIDERICVS D G EPS WIRCEBVRG Bust facing

with long hair, wearing

right,

jewelled chain. In the field: 15

biretta, fur-lined
-

pi. 7,

no. 1682,

2,

& L. Hamburger,

Provenance: Vogel

pi.

cloak over gown, and

clxxxi,

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


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

schnitte, no. xni, 14).

95
Fall oj

Man

Crucifixion
|

Coll., no. 140, pi. 15

half of the sixteenth century

in

The

Vienna.

artist's

date of death

is

believed to

is

ground,

II 1506-26,

ter of

Charles

King

of

Hungary

1516-26,

and

his wife Maria,

the foliage of which

from

Paradise. In

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

SAXONIE FIERI

Louis

Wisdom,

the creation of Eve; right, the expulsion

left,

left field

lOANNS FRIDERICVS ELECTOR DVX

Underneath, on a ribbon:
93

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

the

have been about 1558.

including a unicorn, under the Tree of

Probably a native of Prague, he held a variety of positions at the mint in

home town and

his

diam., 1536

ET SICVT IN ADAM OMNES MORIVNTVR ITA ET IN


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

first

mm.

Silver medal, 68.5

1891, no. 1200

MICHAEL HOHENAUER,

xxxi

i,

pi.

The
three-quarters

ORIENTALIS DVX Under

AETATIS SVAE

Habich, Corpus,

and 3a

7Z.

65 FRANCIAE
three helmets, the quadripartite shield.
Rev.

in the center.

Domanig, Deutsche Medaille, no. 154


Munich 1908, no. 562,
Lanna Coll., iii, no. 861, pi. 40

Silver

Triple-helmeted large coat of arms with the

Loebbecl{e Coll.,

Wiirzburg 1558-73

EREN

no. 1935, pi. cciv, 3

Tentzel, Ernestine Line,

92

IN

(two crossed swords)

Habich, Corpus,

REN ALS

embroidered:

DEO EST ANNO NOSTRI SALVATO-

XXX

M- D-

electoral shield

JOACHIM DESCHLER, SCHOOL OF


FredericI^ von Wirsberg Bishop of

gown,

xx

pi.

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

Frankjttrter Miinzzeitung, 1903, p. 496, pi. 22, 8


Felix Coll., no. 187

Loebbecke

mm. diam., 1535


lOANNS FRIDERICVS ELECTOR DVX SAXONIE FIERI FECIT ETATIS SVAE 32 Bearded half-bust almost facing front, holdSilver medal, 66

Imhof, 849, 8

L.

Man medal (no. 95).


great praise. His prod-

the Fall oj

won him

skill

FECIT

sis-

V
mm.

Silver medal, with old fire-gilding, 41

diam., 1526

LVDOVIC VNGA EC REX CONTRA TVRCA PVGNANDO


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

rimmed
Golden
Rev.

mantle over pleated gown, and the sash with the

hat, fur-lined

Fleece. In the field:

Z6

ETATIS - SVE

30

MARIA REGINA EC QVOS DEVS CONIVNXIT HOMO

NON SEPERET

Bust

left,

wearing wire cap and double necklace over

bodice.

Habich, Corpus,

compare

i;

11,

no. 1897, pi. cci,

(her bust to right)

Lanna Coll., iii, no. 659


Donebauer Coll., no. 980
Forrer, n, 518

duction;

(ill.):

it is

workmanship, of
Louis (Lajos)

II

'Tiala considers this

medal

executed with special care and

is

as the artist's best pro-

remarkable piece of

characteristic style."

was the

last

of the Jagiello Dynasty, ruling the

two king-

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

by the Turks under Suleiman

for the first time in history.

father Wladislas

II,

Through

the crowns of

I,

who

used artillery in open battle


marriage treaty concluded by his

Hungary and Bohemia passed

to

Louis's brother-in-law, Ferdinand of Hapsburg, resulting in the union

which was to last


Hapsburg lands.

four centuries between Hungary, Bohemia, and the

Rev. VT MOSES EREXIT SERPETE ITA CHRS IN CRVCE


EXALTATVS ET RESVSCITATVS CAPVT SERPENTIS CONTRIVIT SALVARET CREDENTES Christ on the cross between

two

artist's

ac. as medallist

153574

thieves.

Below, Mary,

Church;
signature: H R and
the

left,

DEO EST

School.

Tentzel, Ernestine Line,


the technique of casting various portions of the

John, and mercenaries. In the backUnder the cross, the

1536. Below,

on

a ribbon:

Habich, Corpus,

is

St.

right, the Resurrection.

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

Reinhart's hallmark

the

ground,

HANS REINHART THE ELDER

11,

i,

no. 1968, pi. ccxi,


pi. viii,

Domanig, Deutsche Medaille,

no. 762

i,

and 4

SPES

MEA

IN

98
Philipp Adolf von Ehrenberg Bishop of Wiirzburg 1623-31

Oval

medal with old

silver

PHILIPP

fire-gilding,

ADOLPH D G

H. 37 mm., W.

EPS WIRCEB

and with long

three-quarters to right, bareheaded

31.5

mm., 1623

FR OR DVX

hair, square-cut

Bust

beard

and moustache, wearing broad-collared brocaded gown, buttoned

in

center.

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


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

Habich, Corpus,

i,

11,

Schulthess-Rechberg

no. 2799, pi. cclxxiv, 3

Coll., no.

2832

GEORG HOLDERMANN, SCHOOL OF


99

Hugo

Donellus (Doneau) 1527-91, famed law scholar

Oval lead medal, H. 52 mm.,

Lanna

Coll.,

Loebbec\e

Van

iii,

Coll.,

Mieris,

mm., 1590

ruff collar,

1908, no. 567, pi. xxxi

447
Mueller-Lebanon Coll., no.

40

no. 1290, pi. 53

Munich

W.

HVGO DONELLVS IC CL PROF ALDORP AET SVAE


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

and coat with fur

collar over

buttoned gown.

11,

Forrer, v, pp. 78, 79

88, pi. ix

(ill.)

Provenance: Dr. Jacob Hirsch Estate

96

Man

Fall of

Crucifixion
|

with old

Silver medal,

Similar to the

fire -gilding,

56

mm.

diam.

but without the circular legends. In the obverse

last,

MVLIER DEDIT MIHI ET COMEDI GE Z


MISERERE NOBIS DOMINE

11, i,

no. 1969, pi. ccviii, 2

Tentzel, Ernestine Line,


Coll.,

Loebbec\e

field:

In the reverse field:

Habich, Corpus,

Lanna

iii,

Coll.,

pi. 8, 11

no. 1288, pi. 53

Munich

VALENTIN MALER

1908, no. 569, pi. xxxi

ac. c.

1563-93

No

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


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

Wenzel Jamnitzer. Thanks

The number

hand is most impressive; yet in


poor man, leaving his widow 1 100 gulden

of medals by the artist's

spite of his diligence

in debt.

he obtained by special
Council the privileges of a mastership.

to this relationship,

Town

favor of the Niirnberg

he died a

His house was inherited by his son Christian, along with

its

Will,

Koehler,

vii,

Mazzuchelli,

i,

11,

no. 401,

III,

no. 2807, pi. cclxxiv, 12

385
i,

pi.

xcv, 7

Domanig, Deutsche Medaille,


Imhof,

II,

no. 245

715, no. 21

un-

paid mortgage of 1900 gulden.

UNIDENTIFIED ARTISTS

97

NURNBERG(.?), SIXTEENTH

Matthaeus Fetzer

c.

1527-83, Niirnberg

mm. diam., 1576


MATHEVS FETZER AET LI
Silver

Councilman 1556

CENTURY

100

medal, 29

1576 Bearded bust, three-quarters fac-

gown with high

ing right, wearing


Rev.

reverse.

Habich, Corpus,

ruff collar.

ALL MEIN HOFNVNG ZV GOT

rounded by three smaller

Helmeted coat

of arms, sur-

shields.

Portrait of a Patrician

Oval wax medallion, H. 95 mm., W. 72 mm.


Portrait of a Niirnberg patrician almost facing front, with short hair and
long broad beard, wearing black embroidered coat with white ruff
collar.

Habich, Corpus,
Will,

IV,

11,

i,

no. 2509; pi. ccli, 6

299

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

Binder, 573, 20

Delbec\e

Coll., no.

Provenance: Trau

width: 90

822

GEORG HOLDERMANN

Niirnberg 1585-1629

and wax modeller, Holdermann's medallic work


dates from between 1610 and 1629. He also seems to have been conmedallist,

nected with the production of coins, as evidenced by a Niirnberg Council

ordinance of 1620.

mm.;

mm.

Habich, Corpus,
Coll., no. 1761, pi. ix

Gallet Coll., no. 105, pi.

A goldsmith,

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

11,

i,

no. 2820 (this specimen)

Sonderausstellung catalogue, 1939/40,


(this specimen)

Kunstmuseum

Bern, no. 42

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

Provenance: Spitzer

London

Spitzer Coll.,

Lanna
Pick

Coll.,

Coll.,

Delmar

11,

1893,

Budapest

Coll.,

11,

no. 187, pi. 18

Budapest

no. 2959, pi. lvi

(ill.)

SOUTH GERMAN

108

1530

c.

Portrait of an

lOI

Anna von Frundsberg Countess of Lodron, second wife


hauptmann Georg von Frundsberg

mm.

Checker, ground marble on light wood, 50

widow's

veil

Bust

gown

FRVNTSPERG

IN

mm.

diarh.

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

VXOR

Un\notvn Mohammedan (probably a Turkish grand

vizier)

Checker, ground marble on ebony, 50

diam.

(her husband died in 1527) and wide

ANNA GEORGI

of Feld-

left,

wearing

over pleated

collar over pleated


cf.

Lanna

Coll.,

11,

gown.
no. 66, pi. 8

bodice.
cf.

Habich, Jahrbuch 28, 1907,

cf.

Lanna

Coll.,

11,

no. 65,

pi.

SOUTH GERMAN,

pi. J 8

model by Friedrich Hagenauer with Anna's

A wooden

corded in Habich, Corpus,

i,

1556

i,

no. 541,

portrait

is

re-

109

Hieronymus Allgaeuer

loi.

ill.

b.

Kehlheim stone model, 42

102

1509

mm.

diam., 1556 (in later

wooden frame)

Emerentiana von Tannhausen married 1521


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

diam.

with shoulder collar over bodice,

der, cloak
cf.

Habich, Jahrbuch 28, 1907,

cf.

Lanna

For

mm.

wearing pleated bonnet with plain wide bor-

Coll.,

portrait, cf.

11,

pi. J 8

no. 65, pi. 9

Habich, Corpus,

i,

no. 1315, pi. cxlviii,

2,

103

Saxony married 1527,

Sybille of

d. 1554

mm.
DVCIS

Checker, ground marble on light wood, 50

SIBILA

lOHANNI

FRIDERICHI

diam.

VXOR SAXONIAE

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

gown with

pleated sleeves over bodice.

cf.

Habich, Jahrbuch 28, 1907,

cf.

Lanna

Coll.,

11,

pi. J

no. 65, pi. 8

104

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

EVPHROSINA DE CHAMEMILON

net with

round ornament

mm.

in center, necklace

HIERONYMVS ALLGOEWER XVIIL lAR ALT A MDLVI

diam.

Bust facing

left,

wearing bon-

with pendant, and cloak

Provenance: Merzbacher

over embroidered bodice,


cf.

Habich, Jahrbuch 28, 1907,

cf.

Lanna

Coll.,

11,

Neuburg

pi. J

no. 65, pi. 9

Coll.,

Munich

BALDUIN DRENTWETT
Frisian by birth, Drentwett's

Behaim von Schwarzbach 1491-1533, Niirnberg Council-

man
Checker, ground marble on ebony, 50

mm.

diam.

c.

cf.

Lanna

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

portrait, cf.

Habich, Corpus,

2,

no. 936, pi. cxiv, 10.

Wolfgang

Vitil,

Augsburg

1495-

mm.

diam.

For

Coll.,

portrait, cf.

11,

Bronze medal with old gilding, 41

i,

i,

no. 485,

pi.

lxiv, 7.

Humanist

(possibly

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

born Juelich 1468)

mm.

Bust, three-quarters facing, with long hair

gown and

Rev.

D MARTINVS LVTERVS

field.

diam.

and beard, wearing

mm.

(as

Lanna

diam.,

31

c.

Caesarius
pus,

I,

I,

is

11,

1579

Bust of Luther three-quarters right;

Loebbec}{e Coll., Munich 1908, no. 369

Rosenheim

Coll., no.

The
scholastic

reverse of this

464
p. 188, pi. xv, 10

medal

is

by Valentin Maler, and was copied by Drent-

wett.

no. 66, pi. 8

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

no. 661, pi. Lxxxi,

8.

have

Bust with moustache and

hat.
Coll.,

still

Georg Miler), Professor

Ill
cf.

may

Cable border.

Archiv, 4 (1913/14),

Checker, ground marble on ebony, 50

to 1620

Habich, Corpus, 11, i, no. 2943


Delbecke Coll., no. 864

107
Portrait of a

is

ruff collar; granulated field. Cable border.

granulated

no. 66, pi. 8

Habich, Corpus,

He

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

moustache and square beard, wearing


brocaded coat over gown, and round wire cap.

Bust, three-quarters facing, with

Lanna

the early

10

Checker, ground marble on ebony, 50

Augsburg from

medals from the years 1612


workshop.

D GEORGI VS MYLIVS AVG AET

1540)

cf.

his

Georg Mylius born in Augsburg 1548


of Theology in Wittenberg, d. 1607

106
Portrait of a Patrician (probably

in

in the practice of his art.

lessened, but several

i,

1545-1627

home was

although he travelled widely

come from

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

For

iii

assumed to have employed a considerable number of assistants, including


some of lesser renown and ability. After 1612, Drentwett's productivity

with beard and moustache, wearing wire cap and mande

Bust right,

seventies,

1900, no. 346, pi.

Coll., no. 168, pi. xxii

105
Fredericks

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

Charles I 1560-1600, Count Palatine 1569-1600

Gold medal,

23.5

mm.

diam., 1591

CAR D G CO PA RHE BA DV C V E

S Bareheaded bust

with short beard and inoustache, three-quarters facing right, wearing ruff

and double chain.

collar

ANNO DO

MI MDXCI Minerva standing on a book,


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

holding

her feet a

mirror.
ii, i,

no. 2991, pi. cclxxxvii, 3

Spiess, IV,

fig. i

ANTONIO ABONDIO
Abondio was

Mounted

of

Lombard, perhaps Milanese,

origin.

His father, Ales-

wax modeller during

the

first

half of

and a pupil of Michelangelo. It was the elder


Abondio who introduced young Antonio into the art of modelling and
the sixteenth century,

undoubtedly imparted
In 1565 Antonio

we

artist

portrayed on a

find

much

left his

later

him

of his genius to his son.

and travelled across the Alps. A year


employ of Emperor Maximilian II, whom the

native land

in the

number of medals. With the exception of occasional


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

spent nearly

all

of his

life in

Fleece. In the lower left

George, helmeted and bearded, galloping to right,

St.

spearing the dragon.

Habich, Corpus,
III,

2,

11,

3412 note

3/4 (1921/22),

(this

specimen described and illustrated)

p. 91

shown as a young man, is perhaps connected with the portrait of the Emperor on the obverse. The medal is
undated, but is close to the one on Johann Khevenhueller (Fiala no. 25,

continued to bestow

II

secured the

many

favors

made around 1571. Minerva on the reverse of that medal wears


armor as St. George here. As Maximilian's portrait also appears
on another medal together with that of Maria dated 1575 (Fiala no. 38,
pi. II, 3), this present Maximilian medal with the St. George reverse
originated probably between the years 1571 and 1575. The tinsmith,
Caspar Enderlein, has used this St. George design by Abondio on a tin
plate (illustrated in H. Demiani, Francois Briot, Caspar Enderlein und
pi. Ill, 3),

a similar

das Edelzinn, Leipzig 1897)."

Unique

Prague and Vienna.

the death of Maximilian, Rudolf

like his father,

Golden

sentation of St. George, usually

1538-91

sandro Abondio, was a celebrated

Upon

Rev.

of the

AN:AB:

scribed

363

Streber, p. 7,

visits to

the artist's signature:

Dr. V. Katz in Berliner Munzblaetter, 1930, p. 17 (this specimen deand illustrated): "A work by Antonio Abondio, hitherto unknown, which is different from the other reverses of his medals, but
which does not hide the artistic hand of this master. The bearded repre-

144, no. 102

II,

and the sash

coat,

field,

Archil/,

Habich, Corpus,
Exter,

wearing armor,

artist's services

and,

Provenance: Dr. Viktor Katz Coll.

on him.

113

Antonio Abondio occupies a rank of honor among the medallists of


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

his

Maximilian

II

Silver medal, 24.5

112

Maximilian
Silver

II of

Hapsburg

medal with old

1527-76,

fire-gilding, 61

three chains ending in one ring.

Emperor 1564-76

mm.

diam.,

The frame

c.

ruff collar,

frame with

has the Viennese inspection

stamp used from the end of the sixteenth century


no. 5065) and the monogram AL.

IMP:CAES: MAXIMIL:II :AVG: Bust

1575, in

right,

to 1674

MAXIMILI

(Rosenberg

bareheaded and bearded,

Rev.

DOMINVS

AV

Bearded and laureate bust left, wearing


the sash with the Golden Fleece.

Coll.,

15

70

PROVIDEBIT

a globe.

Habich, Corpus,

Locbbcche

diam., 1570

armor and drapery, and

wings holding

Lanna

mm.

ROM

II

iii,

Coll.,

11,

2,

no. 3438, pi. cccxxi, 9

no. 721

Munich

1908, no. 560

Facing eagle with spread

2
L.

Hamburger,

Herrgott,

Donebauer

Oval

1922, no. 136

iii, pi. ix,

Coll., no.

silver

medal, H. 39 mm.,

W.

30 mm., 1622

D G SOPHIA NAT MAR BRAN DVC SAX ELE

41

1232

wearing ruff

left,

PAULUS VAN VIANEN

ac. c.

and jewel on

collar

Veiled bust

triple chain.

SEREN D D lOH GEORG ELECT SAX IN MATR


the field, under an angel's head: NAT: 6 JUN
1568

Rev.

592-161

CHARISS In
MOR: 7 DEC:

Born

near Utrecht into a family of

at or

together with his brother

artists,

received his early training from his father, an able gold-

Adam, Paulus

smith, and a certain Cornelius Elertz of Munich. Thereafter he con-

Rome. He was

tinued to develop his talents in


Inquisition

Upon

and imprisoned

his release,

falsely

denounced

to the

about 1596, Paulus

Munich where, according

left for

to a record in the goldsmiths' annals,

he was received as "Master" in

1622

Coll.,

Coll., no.

Munich

4688

1908, no. 698, pi.

xxxv

pi.

for a

artist's services were secured by Emperor Rudolf II,


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

SEBASTIAN DADLER ac. 1619-54


A goldsmith and a foremost medallist of

Imperial period in Prague.

was born

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


because of their excellence of workmanship and finish. The artist died of

Hamburg, and Dresden. At Augsburg he held

the plague in 1613.

At

1599. In 1603, the

Rudolf
Oval

smith

at Strassburg,

to the

silver

Hapsburg 1552-1612, Emperor 1576-1612


medal with old fire-gilding, H. 38 mm., W. 46 mm.
II

ROM

IMP

AVG REX HVNG BOE

Bearded bust

the

title

of "First Gold-

Imperial Court," and there attained considerable celebrity.

a later stage in his career, Dadler

worked

for the Electoral

articles of plate in

repousse

Court of

work

for

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


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

II of

RVDOLPHVS

the seventeenth century, Dadler

but was active chiefly at Augsburg, Niirnberg,

Saxony, where he executed various

114

PIETAS

xxn, 9
Berlin, Amtliche Berichte, no. 78
Engelhardt, no. 420

Tentzel,

for several months.

Schulthess-Rechberg

Loebbec\e

fac-

117

ing front, wearing laurel wreath, cuirass, ruff collar and sash with the

Christ

order of the Golden Fleece.

and

St.

Paul

Silver medal, 43

mm.

diam., 1625

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

left,

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

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

Rev.

S-

118

Frederic^ III 1609-70, King of

Oval

medal, H. 58 mm.,

silver

Denmark

W.

48

1648-70

mm., 1648

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


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

DUX

SL.

cartouche,

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

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

artist's initials:

and

16

48.

SEHT WIE DER FRIED lEZ ZIERT DIE WELT DA FRIDRICH


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

GUT,

OMEN

Rev.

FIRMAVIT

eagle

winging toward the sun.

Original loop for wearing.

Habich, Corpus,

11,

2,

Capricorn over globe; above, the Hapsburg

Hung

with pearl.

her feet resting on a globe.

Dansl^e Mynter og Medailler,

pi.

Domanig, Deutsche Medaille,

no. 329

Commemorates

i,

no. 5

the King's accession

and the conclusion of the Peace of

Westphalia.

no. 3555 (this specimen)

Unique.
Provenance: Trau

Coll., no. 615, pi.

Belli Coll., no.

SEBASTIAN DADLER, SCHOOL OF

iii

6389

119

UNIDENTIFIED ARTIST, SIXTEENTH CENTURY


"5

Rev.

VINCES

ADZ-

VIRTVTE

VIVENTIS

1580

The

Dresden,

ac. c.

1615-33

116

Sophia of Brandenburg 1568-1622, wife of Christian

Saxony

Christ,

wearing the crown of thorns, showing the

stigmata. Below: 1625.

Rev.

NOSTRA MEDELA

Winged

archangel, carrying the cross. In the

background, rooster on column.

JOHANN JAKOB KORNMANN also known as GIOVANNI


JACOPO CORMANO first half of the seventeenth century

58, no. 51

RUPRECHT NICLAS KITZKATZ

diam., 1625

Resurrection.

Pearled border. Suspension loop.


I,

mm.

right,

the Stigmata

VULNER CHRISTI

medal with old gilding, H. 35 mm., W. 31 mm., 1580


Bareheaded and bearded bust
D G CO PA ELE
wearing ruff collar and drapery. Pearled border.

Silver

Exter,

Showing

Silver medal, 36

Louis VI Count Palatine 1576-83

LVD

Christ

I,

Elector of

Kornmann was born

in Augsburg, but his enthusiasm led him to Italy,


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

120
Christian William of Brandenburg 1 587-1 665, Archbishop of Magdeburg 1608-31, Bishop of Halberstadt

Oval

silver

medal, H. 41 mm.,

W.

mm., 1627

31

phalia, 1648.

JOHANN BLUM

VGGCWPABEVSM:VHP:GMZBIPH
Gnaden, Christian Wilhelm,

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


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

(Von Gottes

Postulierter Administrator beider Erz-

Und

Magdeburg Und Halberstadt, Primas Germaniae, Markgraf Zu


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

ac.

1631-60

Bremen, Blum made


Saxony, Brunswick, and Orange.
resident of

number

of medals for the Houses of

Stift

1627
Rev. In four lines:

MANTS

THVE RECHT FVRCHTE GOTT VND


|

NIE-

MEHR

Amtliche Berichte,

H. Hauswaldt
This

p.

43, no.

in,

pi.

(specimen from the

13

Coll.)

mm. diam., 1638


HEROIS HUIUS NOMINA IN CUNCTA CLARENT SECULA.

Around

Magni

(in italics)

der the cartouche, the

the second recorded specimen.

is

Saxe-Weimar 1604-39

of

Silver medal, 53

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


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

Suspension loop.
Berlin,

124

Bernhard

RIUS

1638 View of the


system of fortifications.

121

Tentzel,

Rev. In six

lines,

DEVM COLE
ARGENTVM
VIRTVTEM SECTARE
shape of the divine eye:

in the

Un-

i,

Rhine, showing

its

xxxix, 3

pi.

Coll., no.

6372

201

Commemorates Bernhard's

and moustache, three-quarters facing right,


and military sash over cuirass. Broad foliate border.

arranged

effigies.

capture of Breisach.

Laure-

ate bust with pointed beard


collar

Weim.

Blum.

city of Breisach across the

Forrer,

mm. diam., 1629


GVSTAVVS ADOLP: D:G: SVEC: GOTH: WAND: Q: REX.
Silver medal, 63

wearing lace

Reimmann

Adolf 1594-1632, King of Sweden 161 1-32

II

signature:

BRISACH FORTIS SED FORTIOR DEUS FVIT ET WEIMA-

Rev.

UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY


Gustav

ducis Bernhardi Saxon.

artist's

Provenance: Crona

Coll., no. 189

JOHANN BARTHOLOMAEUS BRAUN

Niirnberg,

ac. c. 1636-

AVRVM CONTEMNE

PATRIAM DEFENDE

SPERNE
God

in

Hebrew

Hildebrand,

Oldenburg

16Z9,

all

under the glorified name

of

i,

letters.

Broad

foliate border.

no. 73

Coll., no.

The

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


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

125
359

Sigmund

Schultze Coll., no. 82

Commemorates

1674

his victories in the

Gabriel Holzschuher 1575-1642, Niirnberg Councilman

1606

Thirty Years' War.

Provenance: Crona Coll., no. 75

Lead medal, 51 mm. diam., 1642


SIGM:GABRIEL HOLZSCHVHER AE:

122

right,

67 Bust three-quarters facing


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

Gustav

II

gown. The

Adolf

W. 27 mm., 1629
G SVEC GOTH

GVSTAVVS ADOLP

WAND Q
:

REX

Laureate bust to right, with short beard, wearing lace collar and drapery
over cuirass.
of God ET VICTRICIBVS ARMIS ("Deo et
was the motto of Gustav Adolf.) Religion and Svecia
standing at a column, between anchor and lion (referring to the King's
successful landing in Germany).

Rev.

The Hebrew name

victricibus armis"

Hildebrand,

i,

no. 87

Provenance: Crona

shows a large wart on the forehead.

SPE GLORIAE HVMILIS Helmeted

Rev.

Oval bronze medal, H. 45 mm.,

portrait realistically

Forrer,

Lanna

i,

shield, to the sides, 16-42.

269/270

Coll.,

Loebbec\e

iii,

no. 1123, pi. 48

Munich

Coll.,

1908, no. 625

Felix Coll., no. 136 (probably this specimen)

Imhof,
Will,

p. 394, 14

305

II,

JOHANN BUCHHEIM

1624-83

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


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

Coll., no. 81

Saxony.

123

Ferdinand III of Hapsburg 1608-57, Emperor 1637-57, Victor of the


Battle of Noerdlingen 1634
Silver

medal with old

fire-gilding, 56

mm.

diam.,

c.

Oval

1634-36

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


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

EC

(title as

King

Romans, Hungarians, Bohemians, etc., thus


Emperor, 1637). Within double circle of legend,

of the

before his election as

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

126

George

QVAMVIS OCCVMBAS FELIX OCCVMBIS IN IPSO STARE


EFFIGIEM. SOL ORIENTE VIDES On a river in a moun:

silver

all

of Silesia, Liegnitz,

medal, H. 39 mm.,

GEORG

PRAEF
cuirass,

Duke

III

DUX

ADMINISTR:

with

lion's

SIL

and Brieg 1639-64

W. 37 mm.
L & B SUPREMAE

PER

which the sun

rises,

haloed

St.

Peter guides his

head on right shoulder. Below:

artist's

signature

Rev.

SORS

MEA A DOMINO

Under

three helmets

Hapsburg eagle perched on the

RENITATIS NVNCIA.

sceptre.

Above, SE-

Suspension loop.

This medal commemorates the short-lived Hapsburg successes in the

B,

and on baroque

cartouche the quadripartite Liegnitz-Brieg shield.

LoebbecXe

Coll.,

Munich

1908, no. 713

Friedensburg und Seger, no. 1827


Forrer,

i,

305/306

UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY

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

within foliate frame.

TVAM

tainous landscape, over

SIL

Bust facing front, wearing wig, drapery over

127

Leopold

I of

Hapsburg

1640-1705,

Emperor 1658-1705

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

D G. ROM. IMPERATOR Laureate and armored bust


wearing sash of the Golden Fleece and drapery over shoulder.

LEOPOLDVS.
to right,

CONSILIO

Rev.

ET

INDVSTRIA The

divine eye, over a crowned

is a castle and a rock. To the sides, two arms extending


from heaven holding sword and sceptre. Granulated field. Original sus-

globe on which

pension loop.

und

Joseph

MUELLER

PHILIPP HEINRICH

Augsburg 1654-1719
young age
Augsburg town council

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


to

A member

begin providing for himself.

of the

recognized the young man's


It

artistic talents and took an interest in him.


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

excelled.

Commemorates

known all over Europe, and many


He was equally successful as

Mueller's medals became

Fellner, 1888

princes were portrayed by him.

the Emperor's coronation at Frankfurt.

The

graver.

Provenance: Dr. Paul Julius Coll.

some

dies for

of the

and

rulers

a coin en-

most beautiful coins of the seventeenth

century were cut by Mueller.

131

JOHANN HOEHN
The

artist

burg,

worked

Danzig

1637-93

Danzig mint, the

for the

and various other

c.

William
Electoral court of Branden-

courts.

III 1650-1702,

and Mary

1662-94,

King and Queen

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

]ohn Casimir 1609-72, King of Poland 1648-68

Rev.

mm. diam., 1658


lOANNES CASIMIRUS D. G. POLONIAE & SUECIAE REX
medal, 69

reate bust

with long hair

Golden

of the

to right,

Under

Fleece.

Rev. (rosette)

the truncation, artist's signature:

View

of the city of

tree

1689.

EXTERNO MALE PRESSA lUGO BRITANNIA


PRIDEM, IN PRISCAS ITERUM RESPIRAT LIBERA LEGES.
Outer rim inscribed:

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


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

Franks and Grueber, no. 60


Van Loon, in, 412, no. 3

Hutten-Czapski, no. 2109


Ossbahr, no. 22, pi. vii

Forster, no. 657

Forrer,

England.

Commemorates William and Mary's Coronation

522

Lib-

from which the crown is suspended. She


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

RESTITUTA

H.

NUMINIS AUSPICYS ET REGIS FORTIBUS ARMIS.

H. M.

AUREA FLORIGERIS SUCCRESCUNT POMA ROSETTIS.

erty seated

etc. Lauwearing armor, drapery, and the sash

THORUNIUM PRISCO REDDITUR OBSEQUIO.

11,

Eng-

Silver medal, 55 mm. diam., 1689


GVILIELMVS ET MARIA REX ET REGINA BRITANIAE. The two

128

Silver

of

land 1688-94

as

King and Queen

of

Bahrfeldt, no. 9164

MARTIN HEINRICH OMEIS NQmberg

Raczinsky, no. 142


Vossberg, no. 358

Commemorates

Omeis was employed

the capture of

Dresden mint

1650- 1703 Dresden

with a
income of 124 gulden. Ernst Caspar Duerr taught him the art of
die sinking. On several medals executed before 1680 we find their joint

Thorn by John Casimir.

at the

as assistant engraver,

yearly

129

signatures.

John Casimir
Silver medal, 43

132

mm.

diam., 1660

JOAN CASIM D G REX POL. & SUEC

John George

M D

R PRUS

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

artist's

I.

the truncation,

mm.

Silver medal, 33.5

Under

over cuirass and the chain of the Golden Fleece.

III 1647-91, Elector of

Saxony 1680-91

lOH GEORG

III

diam., 1691

D SAX

M A &W

wearing wig, and ermine over plate armor with

H.

PAX AETERNA AD GEDAN


CONDITA. A crowned dove holding
Rev.

A.

CIDIDCLX

olive

III

wreath over the

MAT!
city

On

the trtmcation, the artist's signature:

lion's

EL-

Bust right,

head on shoulder.

of

Danzig. In the exergue, crowned olive and laurel wreaths, and signa-

Rev.

COELITUS DATA

GATA

arch above; below,

A TERRA DENE-

Divine hand issuing from the clouds, holding crown over globe.

NAT DRESDAE D
D 12 SEPT

Outer rim inscribed:

ture: IH.

in

TUBINGAE A9

1691

20

lUN A9

1647.

DENAT

Hutten-Czapski, no. 2156


Fran){iewicz Coll., no. 639

Commemorates

the Peace of Oliva between Poland

Draped

diam., 1687

985
as

ANTONIO

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

ing his early career. By a resolution dated December 1713 he was appointed "Kaiserlicher Muenz-Eisenschneider" at the Vienna mint. To

half-bust with long hair facing front.

lOHANNES HEVELIUS DANTISCAN CONSULVET CIVITAT. DELICIUM REGUM AC PRINCIPUM ASTRONOMORUM


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

Rev.

Coll., no.

MARIA ANTONIO DI GENNARO also known


DE JANUARIO ac. Naples and Vienna d. 1744

John Hevelius Astronomer in Danzig 1611-87

mm.

pi. lxix, 8

Dassdorj

and Sweden.

130

Silver medal, 52

Tentzel,

this

period belongs the interesting medal on Count Waldstein who, as

it

would appear, took no minor pride

in a prolific ancestor (no. 133).

133

John Joseph Count of Waldstein

ture:

Silver medal, 72

mm.

diam., 1716

H.

The Count's

Henry of Waldstein, offered in 1254 his


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

King's crusade against the pagans.

Hutten-Czapski, no. 3899


Coll. in the Marienburg, no. 8852

The Count and

Vossberg, no. 1105

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

Hevelius

made

valuable observations of the moon's surface, discovered

stars.

He

is

most

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

phia (1647), which

his twenty-tour sons arriving before the

artist's

signature:

King. Above the

D lANVARIO F

in the field

below:

four comets, and collected data for his catalogue of 1564

famous

exergue, the

is

noted for excellent lunar maps.

HOSTE REDUCES ET VITELLIIS SUPERIORES NON IN UNA


COLONIA SED IN NUMEROSA PROSAPIA SECULO NOSTRO

& EL

FA- SCHEGA

signature:

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

LXIII

1716.

Dassdorf, no. 1510

Rev.

Forrer,

11,

On

Bust right, in elaborate baroque drapery.

artist's

PUS MANIBUS

AUG

III

the truncation, the

MAGNANIMI Statue in mausoleum,


OBIIT V OCTOBRIS MDCC-

topped by rising eagle. In the exergue:

cf.

241

Forrer, v, 377/8

Brettauer, no. 4902

Donebauer Coll., no. 4026


Domanig, Die Deutsche Medaille, no.

Neumann,

p. 668, 57; pi. Lxxiv,

PETER PAUL WERNER

BOHEMIAN MEDALS

735, pi. 83

639

CONCZ WELCZ St. Joachimsthal


There

Niirnberg 1689-1771

ac. c.

1527-53

information about the origin of Welcz.

is little

the beginning of the sixteenth century, of the rich

Werner worked
which

tivity

German

for several

and

started about 171 2

courts during his long period of aclasted until his death.

PAUL GOTTLIEB NURNBERGER


after,

but was able to retain his

The

name

their

may have

tains")

contributed to the

ac.

1709-46

office.

New

Testaments.

Welcz and that of many of his Joachimsthal contemporaries


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

The

style of

The

obverse

is

137

signed by Werner, the reverse by Niirnberger.

Prophet Jonas
|

134
Silver

Frederic/^ William I

688-1 740, Elector of Brandenburg,

King

of

medal with old

fire-gilding,

52

mm.

diam., 1537

CHRVS MORITVR PRO NOBIS ET RESVRGIT VT NOS

Prussia 1713-40

IVSTOS FACIAT

Very large

FRID

medal, 132.5

silver

mm.

diam., 1733

ner.

WILH D G REX BORVSS EL BRAND

wearing wig, plate armor with aegis on

PRO DEO ET MILITE

Under

formation. Underneath, on a ribbon:


field, to the right, the artist's

breast, ermine,

Werner

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

and

Bust right,

sash.

On

the

fee.

all-seeing eye, troops in

parading
In the

signature: N.

Katz, no. 226,

Henc\el

Coll., no.

1393

I,

obverse die for this medal burst

while being tempered, and only three specimens are

Hamburg

known

medallist,

a ban-

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

pi.

xxxvi, 3

obverse shows the influence of

Katz

180).

believes the

Moderno

medal possibly

(cf.

to be

the plaquette, Molinier,

from the workshop of the

Leipzig Master, Hans Reinhart.

NICKEL MILICZ
1730-64

worked

tomb and holding

to exist.

St.

Joachimsthal ac. 1544-70

Etchings and woodcuts by

Danish court.
He also executed several portrait medals of private persons. His medals
are signed: P. H. G.
Goedecke, a

the

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

The

ac.

two warriors;

the tomb,

from

11313

PAUL HEINRICH GOEDECKE

Christ rising

BEROL. M. DCCXXXIII.

The

46

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


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

Coll., no.

of the largest struck medals.

Around

ground, a tower.

Ampach

chiefly for the

artists like

Hans Holbein, Hans Sebald Beham,

Hirschvogel, and others often served as models for Milicz's medallic


works. The first mention of the artist occurs in 1540 when he is named

among

the

town

councillors of Thai.

During

his artistic career,

which

stretched over twenty-five years, Milicz also cut dies for coins.

135
Frederic}^

King

1723-66,

mm.

Gold medal, 38

of

Denmark and Norway

right,
artist's

1746-66

138

diam., 1749

Charles

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

Rev.

silver mines
"Ore Moun-

ample medallic production.

artist's

representing corresponding scenes from the Old and

at

Resurrection

One

for

following Prussian medal represents the combined effort of the two

artists.

Rev.

German

to the "Erzgebirge,"

discovery, at

Especially popular with the local population were Biblical medals, often

Niirnberg from 1709-21; thereuntil his death in 1746, mint-master. In 1730 he went bankrupt,

Niirnberger was assistant mint-master

(which gave

The

Bohemian

On

wearing armor and drapery with ermine.

bust with wig

the truncation, the

H. G.

signature: P.

HAC SECVLA IVBILANT VMBRA

Under

the raying sun,

Dania

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


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

as

shields of the

House

of

Oldenburg and of Denmark. In the exergue:


VICE IVBILANS D. 28. OCT. 1749.

OLDENB:DAN:TERTIA

Dans\e Mynter og Medailler, SuppL,

pi. 3,

no.

years of rule by the

FRANZ ANDREAS SCHEGA

of

Gilded

1500-1558, Emperor 1519-56 and Ferdinand 1 1503-64,


Bohemia 1527-62 and Hungary 1527-63 Emperor 1556-64

silver

medal, 60

diam., 1550

wearing plate armor, with Golden Fleece on


double

breast.

Legend between

circles.

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

House of Oldenburg.

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

1787

pi. iv,

Erbstein Coll.,

Schega was a self-taught medallist whose artistic ability has been much
acclaimed. He filled the post of mint engraver and medallist at Munich
beginning in 1738 and was appointed medallist to the court in 1751.

Lanna

The

Katz, no. 318,

artist

mm.

PROGENIES DIVVM QVINT\'S SIC CAROLVS ILLE IMPERII


CAESAR LVMINA AET SVAE L Bareheaded and bearded bust right,

Herrgott,
d.

with long hair, wearing plate armor with Golden Fleece on


Legend between double circles.

Galster, no. 418

Commemorates 300

King

died blind.

Montenuovo

Crown Prince of Poland


mm. diam., 1763, commemorating his death
FRIDERIC CHRIST D G PR REG POL & LITH DUX SAX

pi.

i,

no

no. 649

iii,

pi.

lix

Coll., no.
pi.

portrait of

bich, Corpus,

i,

605

xlv, 3

Ferdinand
2,

is

after a

medal by Joachim Deschler,

no. 1616; pi. clxxiv, 3

Frederic^ Christian

139

Silver medal, 62

Maximilian

pi. xi

39

Markl, no. 1984,

The

136

Coll.,

breast.

II of

Hapsburg

1527-76,

Emperor 1564-76

cf.

Ha-

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


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

Maximilian

1576.

DVRATE

Poseidon, in chariot

and sinking Aeneas'

his trident

ship.

drawn by

sea horses, brandishing

Beyond: a rainbow and two blow-

ing zephyrs. Pearled border.

Armand,

mm. diam., 1566


MAXIMILIANVS II D G ROMA IMPERI SEM AVG GER
HV BO ETC REX Laureate and bearded bust right, wearing cuirass
Silver medal, 53

and chain with the Golden


Rev.

Rev.

Double-headed imperial eagle under the crown of the Holy

Hapsburg

pire; in the center, the

Katz, no. 326,

Roman Em-

in

no. 465, pi. 26

iii,

1601

143
no. 230

Nicholas van Delen Dutch

Katalog der Mtienzen-tind Medaillen-Stempel-Sammlung des K.


pi. 8,

Coll.,

UNIDENTIFIED ARTIST

pi. xlvi, 8

Hauptmuenzamtes

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

11,

Viscomte de Sartiges Coll.

1566

shield. Foliate border.

Domanig, Die Deutsche Medaille,

Herrgott,

Bernhart, Archiv.,

Provenance: Lanna

Fleece. Foliate border.

DVX AVSTRI DVX BVRG MARC MOR

ARCHI

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

Wien

1901, p. 45, no. 55; pi. xi,

Silver cachet,
i

17

Provenance: Merzbacher

Coll.,

Munich 1914,

patriciari

K.

B NICOLA VS

coat of arms,

no. 86, pi. x

H. 28 mm.,

W.

mm., 1601

41

VAN DELEN

Under elaborately crested helmet, the


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

The Van Delens were an

old

Dutch

patrician family.

140

Creation of Eve

Marriage

at

JURRIAAN POOL

Cana

Amsterdam, mid-seventeenth century

Silver

medal with old

GOTT

LIES

mm.

diam., 1552

ADAM HART ENTSCHLA NAM

A-SSMDD

next to

42

fire-gilding,

Very

him God

EVA G

Adam

in

EIN

tree,

the Father raising Eve.

Loebbec\e

pi. lvi,

Coll.,

Munich

is

Admiral Martin Harpertszoon Tromp 1597-1653

a cartouche, 1552.

Katz, no. 370,

tions

144

VFF DER HOCHZEIT ZV CANA VERWANDELT


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

1908, no. 510

67

HARPERTSEN

neath:

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


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

UNIDENTIFIED ARTIST, SEVENTEENTH CENTURY


141

J.

Waidstein Archbishop of Prague

Gold medal, 33 mm. diam., 1688


JOANNES FRIDERIC ARCHIE PRAG

COMES DE WALDSTEIN

TROMP

Bust right, wearing

ecclesiasti-

coat of

arms under

archi-

breast.

Under-

ANNO

1653

View

of a naval battle, with

two men-of-the-line

in close

action; in the foreground, sinking ship.

iv,

O.

11,

364

665,

(ill.)

where

this

medal

is

quoted

as "the

most important of

this

medals."

WOUTER MULLER
artist

of

ac.

1653-88

Amsterdam was one

of the foremost masters of the

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

united by a rim.

Donebauer, 4633 (silver)


Probably unique in gold.
cf.

Bareheaded bust

ADMIRAAL VAN HOLLAND VOOR


VAADERLAND GESNEVVELT DEN 10 AVGVSTI

This Dutch

Crowned

RIDDER

gown, and medallion on

LIEVTENANT

artist's

episcopal hat with infula. Underneath: 16*88

Commemorates

diam., 1653

HET

Rev.

Forrer,

1675-94

cal garb.

Rev.

POOL.

Van Loon,
of

mm.

Silver medal,

MARTEN

facing front, wearing high-closed

Pauli,

]ohn rederic\

of the

the Utrecht

RIPP

deep slumber below a

known

life of Pool. He may have been employed at


mint as an engraver. Among his excellent medallic producthe medal of Admiral Tromp, which bears his signature.

little is

The Dutch

himself; he injects into

them

legends possibly are composed by Muller


his

own name and

states that they are the

art of Muller.

the consecration of the Kreuzherrenkirche in Prague.

MEDALS OF THE LOW COUNTRIES


JACOB JONGHELINCK Antwerp

1531-1606

Jonghelinck ranks as the most prolific Flemish medallist of his period

and has a considerable repute as a sculptor as well. In 1558, while in the


employ of Philip II, he executed the monument at Bruges to the memory
of Charles the Bold, Duke of Burgundy.
In 1556,

when

only twenty-five years old, Jonghelinck engraved the seal

of the Order of the

Golden Fleece. In 1572 he became master of the mint


Antwerp. In addition to these assignments he also was active as a goldsmith and medallist; a document dated 1598 records a payment to him
at

of 148
for

and 9 deniers

livres, 15 sous,

Archduke

for four gold

medals he had executed

Albert.

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

which explains the

Italian influence in his style.

142

Antoine Perrenot 1517-86, Cardinal Granvella, Bishop of Arras 1540,


Archbishop of Malines 1560, Cardinal 1561, Archbishop of Besan900 1584
Silver medal,

Admiral Martin Harpertszoon Tromp


Silver repousse medal,

58

mm.

diam.

ANTONII PERRENOT

bust right, wearing

gown

EPI

70

mm.

diam., 1653

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

ATREBAT

with high closed

Bareheaded and bearded

collar.

Pearled border.

em-

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


hert en hant was voor het lant."

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

Rev. (in

"Waarom

italics):

silver leeven

om

dat

doet

hij d'ijzer

MuUer Tromp door kunst van gout en


eew door krijgsdeugd heeft verdreven."

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

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

Franks and Grueber, p. 403, no. 34


Van Loon, 11, 364, no. 3 (ill.)
Loebbecl^e

Coll.,

Munich

Tromp's crushing of

marked

1908, no. 195

the passing of Spanish sea

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

a Spanish fleet in the lee of the

power

Downs

in

1639

in the seventeenth century.

ing,

and three children; on the

ground, a building; above, the

right, the

ox and the

ass; in

the back-

star.

146
Apparently unpublished. Probably unique.
'

Admiral Cornelis Evertsen i6io-66


Silver repousse medal,

79

mm.

diam., 1666

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


ALDVS IN'T SILVER DOOR DE KUNST VAN MULLER LEEFT.
Ao. 1666 den 11

On

trophies.

Junii.

Bust in high

relief,

three-quarters right,

on naval

CORN EVERTSEN-ADMIRAAL VAN

the truncation:

ZEEL(and).

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

English

fleets.

Van Loon,
Forrer,

iv,

11,

529,

195

Provenance: Viscomte de Sartiges Coll.

JAN FILIUS LUTMA Amsterdam

c.

1605-85

Lutma's medals, though not numerous, are very

fine in execution.

147
Joost van den

Vondel 1587-1679, Dutch poet

Silver repousse medal,

Draped bust facing

DEN VONDEL, gest.


Rev.

66

mm.

diam., 1679

front, within
5 Feb.

an olive wreath inscribed:

JOOST

VAN

1679

Swan with open wings within an

olive

wreath inscribed: S'lants

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

Anointing

Van Loon,

Silver repousse medal, 53

iii,

283, 2

Koehler, xiv, 193

of

Saul

Biblical Scene

mm.

diam.

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

Forrer, in, 503

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


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

Van den Vondel wrote Gysbreght van Aemstel and


lated Tasso, Virgil, Ovid, Horace, Sophocles,

other dramas, trans-

and Euripides.

who

is

Rev. Biblical scene.

UNIDENTIFIED ARTISTS, SEVENTEENTH CENTURY


148

Nativity

Apparently unpublished.
.150

Adoration

The Virgin and

St.

Magi
mm. diam.

0} the

Silver repousse medal, 83

Joseph kneeling on the ground, between them the

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

mm.

diam.

M ADRIAEN VAN GOD GHEKOREN PAYS VAN ROMEN


T'UTRECHT GHEBOREN Bust left, wearing tiara and cope closed

Oval silhouetted suspension medal of

H. 57.5 mm., W. 46.5

silver,

left,

other of the City of Utrecht.

Rev.

Crowned

No

bolizing the Queen's virginity). Broad foliate wreath.

with a medallion. In the

two

coats of arms,

one of the Pope, the

reverse.

Van
cf.

field,

An

Mieris, n, 158, 3

Tresor,

Med. des Papes,

note

p. 7, no. 6,

ENGLISH, DANISH,

BERNARD RANTWIC d. c.

1596

phia Amalia

worked

in

London. Very few

151
Sir

Copenhagen,

King

Frederick^ 111 1609-70,


also

Museum.

in the British

is

ERICH PARISE
153

1513-c. 1589 Prior of the English

c.

Nation of the

Denmark

of

of

mm. diam.,
PROVIDEBIT
DOMINVS

mm. diam.
SCELLEIVS PRIOR

1658

c.

King's bust to right, laureate, draped and

Under

the truncation:

IN
EP

DEO

ANGLIAE

Bearded half-bust

BERN. RANTWIC.

cross.

F.

the artist's signature:

italics,

Queen's bust

Dans\e Mynter og Medailler,

wearing armor, the breastplate adorned with the Maltese

right,

MEA

tion, in italics:

Knights of Malta
Bronze medal, 71

RICARDVS

SPES

1648-70 and his wife So-

Brunswicl^

Silver medal, 41

Rev.

half of the seventeenth century

first

armored. Under the truncation, in

Richard Shelley

from the ashes (sym-

royal cypher over Phoenix rising

identical piece

AND SWEDISH MEDALS

Rantwic was of Flemish origin and


medals have been attributed to him.

mm.

with elaborately arranged hair, wearing ruff collar, richly


brocaded dress with puffed sleeves and jewel. Broad foliate wreath.
Bust

left,

draped.

Under

EP

the trunca-

pi. xviii, 4, var.

Galster, no. 81
J.

HERCLAS

Copenhagen,

ac.

mid-seventeenth century

154

The
of

Relief of Copenhagen by a Dutch Fleet


Cronenborg

mm.

Silver medal, 46.5

View
on

Three

battle.

United Provinces

ships-of-the-line, flying the

flags, in close

Kronborg

age, the artist's initials:

Dans\e Mynter og Medailler,


Ossbahr,

430, 2

11,

Dutch, Swedish, and

combat; a sinking ship

In the right background:

Van Loon,

ships at anchor. Above,

HAFNIA DANIAE.

a ribbon:

Rev. Naval

diam., 1658

and harbor of Copenhagen with

of the city

Naval Victory

after the

pi.

Castle.

On

in the

foreground.

a floating piece of

wreck-

xx, no. 2

(ill.)

p. 87, no. 21, pi. vi

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

X Gustav of Sweden, a Dutch fleet of thirty-five


mounting 1170 guns, under the command of Baron Opdam van
Wassenaer, arrived on October 23, 1658. Following a fierce engagement
with the Swedish fleet and heavy losses on both sides, the Dutch forced
their way into the port of Copenhagen and landed food supplies and
naval forces of Charles

ships,

troops.

Rev.

PATRIARVM EXVBITOR OPVM A

standing

left in

winged

griffon,

crowned,

mountainous landscape.

Franks and Grueber,

i,

Forrer, v, 28

K.

RULL

Sweden,

half of the seventeenth century

first

155

127, 75

^^^^^^^^

Gustav

II

Adolf

Silver medal, 28

\'~,()ii^-\(3i^i.

mm.

GUST ADOL D

FIN

DV

ETH

and bearded bust

King

of

Sweden

161 1-32

diam., 1632

G SUEC GOT
ET CAR IG D

right,

NOV: 1632
Rev.
STANS ACIE

and the legend:

VAND REX M PRIN

Within

a quadrilobe, laureate

NAT

DEC:

1594

DENAT

VMPHAT

the background, a

Hildebrand,

Crona

PVGNANS

Crowned sword,

i,

VINCENS

MORIENSQ

and palm branch


landscape with river and sailboat.
laurel

TRI-

tied together. In

no. 179

Coll., no. 116

Forrer, v, 268

Commemorates

the King's death in the Battle of Luetzen.

ITALIAN PLAQUETTES ATTRIBUTED TO


ARTISTS
BERTOLDO

DI

GIOVANNI

c.

1420-91

156

UNIDENTIFIED ENGLISH ARTIST, SIXTEENTH CEN-

TURY

Rectangular bronze plaquette, H. 128 mm.,

152
Elizabeth I 1533-1603,

Pieta

W.

198

mm.

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

Queen

of

England 1558-1603

supported by grief-stricken female figures.

To

Body

of Christ,

the right, Joseph of Arima-

thea carries

tlie

crown

of thorns.

To

the

left,

Nicomedes holds the

nails

of the cross.

cf.

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

la

De

Ricci, Dreyjus Coll., no. 121 (reverse as Antico)


Bange, Reliefs und Plaketten, no. 492 (as Moderno)

Salle

ANDREA BRIOSCO called IL RICCIO

Coll.)

Bode, Bertoldo, pp. 61/2,


Molinier attributed

this

plaquette to Agostino di Duccio, Florence 1418-

Bode more

recently

it to Bertoldo and notes that the figure of Christ depends from the
Lamentation on one of Donatello's two pulpits in San Lorenzo, Florence.
Pope-Hennessy, Kress Bronzes, no. 45, remarks that the attribution to
the artist is contingent on its relationship to a Crucifixion with Saints in

gave

Museo Nazionale,

Florence, ascribed to Bertoldo in the 1492 inventory

Among

name holds an honored place. As an


Church of Santa Giustina at Padua, as a bronze
worker he created some unrivalled objects of decorative art, his masterpiece being the Paschal Candlestick in Sant'Antonio at Padua,

1507 and

set

up

right hand. Raised base line.

157

Faustina

c.

125-176

mm.

British

diam.

Bust facing front, her head slightly inclined to left,


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

triumphal procession, marching towards the

right, a warrior bearing a shield,

two horsemen,

a standard bearer, a

trophy bearer, and a nude captive, his head turned backwards. In the
exergue, various weapons and pieces of armor.
letter

On

an oval

c.

1500,

manner

of

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

TuUio Lombardi)
anonymous beginning

sixteenth century)

Paris,

High

relief.

(T.

W. Greene

specimen), no. 97

no. 493

Cabinet des Medailles (Armand-Valton bequest no. 2529)

Bange, Reliefs und Plaketten, no. 356


Florence (Carrand Coll.), no. 400
De Ricci, Dreyfus Coll., no. 125

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

p.

25

Detroit Institute of Arts, Decorative Arts of the Italian Renaissance 14001600, no. 325 (this specimen)
Bode, Die Italienischen Bronzen, no. 683
Planiscig, Riccio, p. 436, no. 490, fig. 521

After a

composition by Mantegna, engraved by Girolamo Mocetto

(Bartsch i).

156

shield, the

M.

Planiscig, no. 403 (as Venetian


cf.

Museum

Musee Jacquemart-Andre,

DIVA FAVSTINA

SENATS POPLS A

mm.

Molinier, no. 218

Circular bronze plaquette, 39

Rev.

83

is

front view, the head of Holofernes, which she holds by the hair in her

1460-1528

Roman Empress

W.

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


drop into a bag, held open with both hands by an old woman, also in
Judith

called

in

158

Rectangular bronze plaquette, H. 108 mm.,

ANTONIO ALARI BONACOLSI

begun

in 1516.

Provenance: Count Trivulzio Coll.

c.

1470-

the sons of Padua, Riccio's

Judith

L'ANTICO

c.

architect he built the

of the Medici Collection.

PIER JACOPO DI

(the curly-haired)

(the Bargello specimen)

ill.

98, other early scholars to Donatello or his school.

the

cf.

MODERNO

161

"Moderno" was only a cognomen, and Molinier identifies the artist as


Vettor di Antonio Gambelio, called "Camelio," a Venetian, 1455/60-1537.
Other scholars have advanced names like Caradosso, Coreto Cagnoli, Giovanni Guerino, Galeazzo Mondella and several others, as possibly being
concealed beneath Moderno's pseudonym.

Roman Combat
Circular concave bronze plaquette (perhaps the decorative bottom of a
bowl), 1 10 mm. diam.

Around an ornamented

soldiers,

some

cuirassed

and helmeted. Raised

border.

159

Apparently unpublished and unique.

Crucifixion
Rectangular

silver plaquette

(bronze frame), H. 235 mm.,

W.

128

mm.

On

a tall cross, Christ between the two thieves. At the foot of the cross,
on the left, the Virgin fainting in the arms of two women; near them, a
nude child. Behind them, St. John standing with clasped hands, and the
Magdalene embracing the cross. Around them, a number of soldiers on

horseback and on foot, a horseman on the right wielding his club at one
of the thieves.

The

The

is

plaquette

columns,

soldiers

set in a

armed with halberds and

ecclesiastical designs; at the

bottom, on each

two

Ricci,

field, in

Dreyfus

very high

relief,

God

216 and 217

Coll., nos.

MASTER

10. F. F. North Italian

c.

1500

162
of Paris

mourn-

Paris seated left

putti.

The

top border

the Father facing front, blessing.

who

on

a rock

under

Cupid

Venus

it.

flying. Plain linear border.

Bange, Reliefs und Pla\etten, no. 652


Molthein Coll., no. 55
no. 454
vi

Louvre, no. 301 (gift of Gustave Dreyfus, 1875)


Paris, Cabinet des Medailles (Armand-Valton), nos. 2510 and 2539
Detroit Institute of Arts, Decorative Arts 0} the Italian Renaissance 1400p. 141 (this

specimen)

JACOPO SANSOVINO, SCHOOL OF, SIXTEENTH CEN-

TURY
163

Coronation

of the

ing Mary, veiled,

160

Virgin

Rectangular bronze plaquette, H. 133 mm.,


Christ, enthroned

Provenance: Count Trivulzio Coll.

W.

Rectangular bronze plaquette, H. 125


detail

mm., W. 88 mm.

and without frame.

Coll., no. 330, pi.

Bode, Die Italienischen Bronzen, no. 1273


Bange, Reliefs und Plal^etten, no. 944

Locbbcc\e
Molthein

Coll.,

87

mm.

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

Molinier, no. 573

Crucifixion

As before, but with different

diam.

Behind her Juno and Minerva


holding a dagger (?), a spear, and a shield. Above,

extends her right hand to receive

standing, the latter

mm.

a tree, presenting the apple to

Molinier, no. 134

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


Florence (Carrand Coll.), nos. 47 and 48
Oxford (Ashmolean Museum), nos. 58 and 59

Provenance: Gutekunst

Dreyfus

side, three

British

ill.

Ricci,

Circular bronze plaquette with traces of gilding, 56.7

Molinier, no. 171

1600, no. 329A,

De

the side

Coll., no. 170

Museum, no. 38
Bange, Reliefs und Plal{etten,

style, cf.

Provenance: Luccardi Coll.

On

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

half-round

For

Judgement

shields.

rectangular frame with rounded top.

ing angels; in the center, floral garland and

De

many-figured battle scene be-

circular shield,

tween horsemen and foot

Munich

Coll., no. 90, pi.

1908, n. 836, pi.

xxxx

159

GIAN FEDERIGO BONZAGNA

MENSE ac.

FEDERIGO PAR-

called

1547-75

165

Adoration

Shepherds

of the

Rectangular bronze plaquette, H. 198 mm.,

W.

148 mm., 1561

on a broken column, the Christ Child, surrounded by


Mary, Joseph, John, and the shepherds offering a lamb. To the right, the
heads of the ox and the ass. In the background, an arch carried by columns, its frieze inscribed FARM INVENT On the broken column in
front, the date 1561. Beyond the arch, a round tower and a tall building.
In a basket placed

To

the

the sky, the star. Raised border.

left in

Bange, Reliejs una Plaketten, no. 42 note.


Braun, p. 406

cf.

Faure Coll., no. 665, pi. xxiv


Molthein Coll., no. 64, pi. 8

GUGLIELMO DELLA PORTA


The artist had come
for many years until
(making the lead

d.

1577

Rome from Lombardy

to

his death,

seals for

he held the

papal bulls).

by way of Genoa. In

office of

He had

obtained that post in

competition with Cellini, and had become a lay brother; hence he

known
tomb

as

Fra Guglielmo del Piombo. Guglielmo's principal work

of Paul

Rome

Piombatore Apostolico

is

also

is

the

III.

166

Entombment
Rectangular bronze plaquette, H. 248 mm.,

Two

men

bearded

W.

195

mm.

lowering the partly draped body of Christ into the

tomb, behind which Mary, the Magdalene, and two other female figures
stand, veiled

and

in

an attitude of

grief.

To

the right, the bareheaded St.

John. In the background, an arch partly overgrown with shrubbery and


grass.
in the standard literature. Prof. Middeldorf (pricommunication) notes that there exists a contoured silver plaquette
(Walters Art Gallery, Baltimore), and a silver plaquette from a smaller
mold (Middeldorf Collection), attributed to Guglielmo della Porta. Prof.
Gramberg, author of Die Diisseldorjer Skjzzenbiicher des Guglielmo

Apparently unrecorded
vate

i63

Middeldorf and Goetz, Morgenroth

background of

this

Coll., no.

185, explain the historic

della Porta, Berlin 1964, supports the attribution of the present piece, es-

plaquette

on Guglielmo's extensive work in rendering Lamentation


and Deposition. Gramberg (private communication) points to the affinity
between this plaquette and a number of Guglielmo's sketches, notably
numbers 75, 77, 85, 96 and 152 of the Skjzzenbiicher. He believes the
present piece to have originated in the artist's Roman workshop, and the
almost equally large Walters piece to be a workshop repetition, presumably by another hand that also copied Guglielmo's Metamorphosis reliefs
(W. Gramberg, Jahrbuch der Hamburger Kunstsammlungen vol. 5,

pecially based

NORTH-ITALIAN

1520/30, in the manner of the

ANGHIARI

MASTER
164

Roman Combat

(Battle at

Cannae?)

Circular convex silver badge, 41.4

mm.

diam.

fierce battle scene

between mounted troops, helmeted and cuirassed

and armed with spears and swords.


Bange, Reliefs
cf.

und

Pla\etten, no. 730 (bronze)


the closely related representation by the so-called Anghiari Master

"Battle
ill.

between Romans and Gauls at the Allia" (Pinacoteca Turin,

i960, pp. 31

fT.,

Gramberg also quotes a smaller specimm., W. 125 mm.), formerly in the von

especially fig. 17).

men in gilded bronze (H. 150


Rho Collection, Vienna (E. W. Braun, Die Bronzen
von Rho, Vienna 1908,

pi.

der

xlvii d.), present location

Sammlung Guido

unknown.

Provenance: Dr. Benno Geiger Coll.

in Schubring, Cassoni, pi. xix, no. 107)

Apparently unpublished in

silver.

ITALIAN PLAQUETTES BY UNIDENTIFIED


ARTISTS
FLORENTINE, FIFTEENTH CENTURY
167

Emperor Augustus

31 b.c.-a.d. 14

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


Bust of the youthful Augustus to left, laureate, wearing cuirass and
mantle; on breast, aegis.
cf.

De

Ricci,

Dreyjus

Coll., no. 53, pi. xviii (as Florentine, fifteenth cen-

tury)
cf.

Bange, Reliejs und Plaketten, no. 202 (as

cf.

Oxford (Ashmolean Museum),

nos. 17

c.

and

1500)
18

Museum, Catalogue

British

oj Seals, vi, 373, nos. 22,

222 (sulphur cast)

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

and

illustration)

and

317 (this specimen)

p. 132, no.

Probably unique.

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


Venice.
Bolle (seals) were attached to documents, much as seals are today. Mostly
they are of lead, in rare cases of silver, in bearing with the importance of
the document or treaty to which they were attached. Golden bulls (bolla
d'oro or sigillum aureum) are great rarities, since they were used only in
exceptional cases. Very few have come down to us.

170
Christ Carrying the Cross

Rectangular bronze plaquette, H. 124 mm.,

W.

88

mm.

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

Middeldorf (private communication) believes this plaquette to be


origin, cf. Bange, Die Bildu/er/^e des Deutschen Museums, 11,

of

German

p.

140/

nos. 1934, 7649/50, pi. 25.

1,

Provenance: Count Trivulzio Coll.


171

Entombment
Rectangular bronze plaquette, H. 96 mm.,

W.

70

mm.

body of the Savior being lowered into the tomb;


behind, Mary and another woman, veiled, in an attitude of grief; to the
right, the kneeling Magdalene kissing the Savior's hand. In the background, Golgotha under the rising moon; in the foreground, a water
bowl and an ointment vessel.
In a rocky landscape, the

Provenance: Imbert Coll.


170

172

Ornamental Plaquette

ROMAN, FIFTEENTH CENTURY

Mandorla-shaped bronze plaquette, H. 174 mm.,

168

IV (Francesco

Sixtus

(crosslet)

Rev.

della

Rovere 1414-84), Pope 1471-84

37 mm. diam.
PAPA
SIXTVS
AE In high relief, the

Lead papal

IIII

St.

Paul, haloed. Between them, a

This bolla

still

retains the cord with

tall

cross rising

which

it

from

was attached

orb.
to a papal

to the left,

NORTH

Doge

CENTURY

ITALIAN, MID-SIXTEENTH

Gritti standing,

from haloed

St.

36

mm.

S(anctus) M(arcus)

of Christ, supported by

Mary

Mary and

John, at the rocky entrance

John with flowing hair wears shepherd's


garb. Underneath, broad border with three angels' heads and two pal-

diam.

VENET(iarum)

wearing wide gown and ducal


Mark, who holds the Bible.

mm., W.

mm.

of the cave.

of Venice 1523-38

bolla (sigillum),

GRITI

reverse.

in silhouette.

173

The body
Gritti

Gold ducal

surrounded by elaborate scrollwork,

other specimen of this ornamental applique seems to be recorded.

140

169

AND

mm.

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

VENETIAN, SIXTEENTH CENTURY


Andrea

57

Entombment

document.

No

rampant

W.

to be affixed to a piece of furniture. In the center, a lion

Probably unique.

Pearled border.

three-quarters facing heads of St. Peter

and

made

No

bolla,

PP

Probably

DVX

veiled, St.

mettos.

Andrea
cf.

hat, receiving the

is

banner

Kris, Goldschmiedearbeiten, no. 108 (silver after a similar but altered

design, as South-German, Augsburg,

rived probably

from

Provenance: Molthein

first

half seventeenth century "de-

a not yet identified, Italian?,

model")

Coll., no. 108, pi. 7

174

Head

of Christ

Oval bronze plaquette, H. 48 mm.,

Head

of Christ wearing the

W.

34

crown of

mm.

thorns.

Within elaborate Renais-

sance frame with foliate motifs,


cf.

Bange, Reliefs und Plal^etten, no. 926

175

Head

of Christ

Square bronze plaquette, H. 46.5 mm.,

W.

36

mm.

Head

of Christ to

left.

Gallerie Nazionali Italiane,

no. 131

iv,

Kunstsammlung,

Planiscig, Estensische

no. 427

CENTURY

ITALIAN, SIXTEENTH
176

Emperor Tiberius

a.d. 14-37

mm.

Circular bronze plaquette, 85

CAESAR

TIBER

diam.

Laureate bust right, with hair to nape of neck.

Raised border.

Kunstsammlung,

Planiscig, Estensische

cf.

no. 330

177

Emperor Caligula

a.d.

37-41

Oval bronze plaquette, H. 106.5 mni.,


Laureate bust right, underneath:
border of

Roman armaments,

W. 85 mm.
CAES T D

All within a broad

interrupted by four lions' facing front.

178

Emperor Vespasian

a.d.

69-79

mm.

Circular bronze plaquette, 86

VESPASIAN AVG C

diam.

Laureate bust right, with hair to nape of neck.

Raised border.
Planiscig, Estensische

cf.

Kunstsammlung,

no. 337

179

Emperor Trajan

98-117

a.d.

Oval bronze plaquette, H. 56.5 mm.,

W.

44

mm.

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

field.

Very high

relief.
cf.

Planiscig, Estensische

Kunstsammlung,

no. 328

fl.

FRENCH AND FLEMISH PLAQUETTES


UNIDENTIFIED ARTISTS

FRENCH, EARLY SIXTEENTH CENTURY


180

King

Francis I 1494-1547,

of France 1515-47

Bronze plaquette, H. 150 mm.,

The King's bearded

W.

98 mm.,

c.

1535

wearing cap with broad brim, furcollared coat over pleated robe, and necklace with pendant. All within
double-lined raised border and cartouche of elaborate scrollwork; to the
sides

two

portrait to right,

fish-tailed

mermaids supporting

the upper part of the frame

with the French fleur-de-lis in center. At the bottom,


with antique mask in the center.

floral

ornaments

Apparently unpublished and unique.


Provenance: Count Trivulzio Coll.

FRENCH

c.

1600

181

Henry IV

1553-1610,

King

of France 1598-1610

Oval bronze plaquette, H. 59 mm.,


Half-bust

left,

W.

47

mm.

bearded and with long hair, wearing ruff

cross o\'er striped

gown. Granulated

collar, sash

with

field.

Apparently unpublished.
cf.

Kris, Goldschmiedearbeiten

of

Dupre or

no. 92 (silver, repoussee "in the

manner

his school")

FLEMISH, SIXTEENTH

CENTURY

182

The Triumph

of

the

Church

Rectangular bronze plaquette, H. 63

mm., W. 124 mm.


186

On

man and drawn

four-wheeled chariot, driven by an old

corns, are seated four female figures.

holding

a sceptre

(and perhaps

One

a bird), the third

with crossed hands, the

De

Dieyjus

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

Entombment by Albrecht

After the

line.

Diirer Nurenbergensi, effigiata

cxx

Diirer,

cf.

Kleine Passion.

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


250 (from the Kletne Passion 151 1, entitled: Passio Christi ab Alberto

fourth (Church) holding a bunch of keys; above her head, the Holy
Ghost. Raised base

background,

ing. In the

by two uni-

bearing a yoke, the second

Flemish)

cum

variis

carminibus Fratris Benedicti

Molinier, no. 665 (as Italian, sixteenth century)

Chelidonii Musophili, Nurenberg 1511).


A companion piece, "Descent from the Cross,"

Cabinet des Mcdailles, no. 2474


Bange, Die Bildwerl^^e des Deiitschen Museums,

(Middeldorf and Goetz, no. 378). A series of plaquettes after


Diirer's Kleine Passion, of square shape (Bange, Die Bildwer^e des Deut-

Ricci,

Coll., no. 428, pi.

(as

11,

p. 133, no.

1490 (as

schen Museums,

Flemish)
Planiscig, Estensische

Kunstsammlung,

in the

is

Morgenroth Col-

lection

Paris,

no. 458 (Flemish or

p. 95, nos. 5715-5735, pi. 14)

11,

is

signed H.L. and has

been tentatively attributed to Hans Leitmaier, Niirnberg

German)

Padua, Rizzoli, no. 78

also

cf.

J.

W.

Fredericks,

Dutch

Silver,

The Hague

(d. 1531).

1952, pp. 172

of plaquettes by Master A.V.B., possibly Arent van Bolten,

October-December, i960

c-

cf.

GERMAN PLAQUETTES

(series

ff.

Exhibited: Detroit Institute of Arts, "Flanders in the Fifteenth Century,"

c.

1573-

1633)

H. E. van Gelder, Een teruggevonden Meesterwer\ van Paulus van


Oud Holland 1947, pp. 68 ff.

Vianen, in

Apparently unique.

UNIDENTIFIED ARTIST, NURNBERG(?), SIXTEENTH

Provenance: Gutekunst Coll., no. 374


Viscomte de Sartiges Coll.

CENTURY
183

SOUTH GERMAN, END OF THE SIXTEENTH CENTURY

Christ Carry in g the Cross

Bronze plaquette with old

On

fire-gilding,

H. 161 mm.,

W.

123

185

mm.

Flight into Egypt

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

Christ carrying the Cross. Behind

him

to left, veiled

Mary and

St.

John

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

standing.

Upper part

silhouetted.

Middeldorf and Goetz, Morgenroth

Mary, the Child


Coll., no. 381 as

unique

ox,

is

with

Second specimen known.

GERMAN, SIXTEENTH CENTURY


DURER)

in her

led by Joseph,
his

To

hand.

arm, seated on a donkey which, together with an


turns his head towards Mary and points the way

who

the

left,

dense woods; to the right, some

ALBRECHT

(after

Apparently unpublished and unique.


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

Farewell

Entombment

W.

Rectangular bronze plaquette, H. 129 mm.,

97

mm.

cf.

To

lowering the body of Christ into the tomb.

the

left,

the
cf.

woman and Mary and

oj

much

Molthein

simplified variant, as

Coll., no.

1600

c.

186
St.

Francis

Rectangular bronze plaquette with traces of old

90

silver,

H. 122 mm.,

W.

mm.
St. Francis, haloed, his head turned upward in echands with the stigmatas raised in prayer. In the background,

Before the crucifix,


stasy, his

rocky landscape. At the foot of the

crucifix, a skull.

187
Peter

St.

Rectangular bronze plaquette in wooden frame with gilded scrollwork

and

on

angel's head

Half-bust of

St.

top,

H. 197 mm.,

W.

148

mm.

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

towards heaven; in front of him, the keys.

which the cock

is

crowing.

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


Imbert Coll., no. 215

fl.,

no. 5

Loebbecke Coll., Munich 1908, no. 854


Molthein Coll., no. 166

To

the

left,

11,

p. 121, no.

7651 (a

378 (repousse after similar, but altered design)

SPANISH PLAQUETTES
UNIDENTIFIED ARTISTS

Baldass 1941, p. 297,

Augsburg)

Provenance: Commerzienrat Bauer Coll.

John stand-

cf.

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

Bange, Die Bildwerk^e des Deutschen Museums,


smaller,

kneeling Magdalene placing the ointment vessel on the edge of the


grave; behind her, a second kneeling

trees.

ground, a village. On the upper left, emerging from the clouds, are seven
angels looking down at the Holy Family.

184

men

126

Stony ground with grass and flowers in the foreground. In the back-

Provenance: Commerzienrat Bauer Coll.

Three

W.

mm.

column on

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Tourneur in Kervijn de Lettenhove. Toison d'Or
1908

Leipzig and

Naumburg

Rosenberg and

1833-35

Schott-Wallerstein

Crona,

Duplicates.

Sune Eberhard.

Sotheby London 1922

Schlessinger

Amsterdam

1937
Delbecke, August. Hess Frankfurt 1891

Desmoni, Martin J. Sotheby London i960


Donebauer, Max. Hess Frankfurt 1889
Elkan, Miinzhandlung Basel 1934
Engelhardt, Erbstein Dresden 1888-1909
Erbstein, J. and A. Hess Frankfurt 1908

Hamburger Frankfurt 1913


Eugen. Hess Frankfurt 1895

Faure, Maurice. L.
Felix,

Frankiewicz, M. Schlessinger Berlin 1930


Gallet, Georges. Florange-Ciani Paris 1924

Gutekunst, Commerzienrat H. G.

Munich 1910
Hamburger, L. &

L.

Dr. Jacob Hirsch

Frankfurt 1891

L. Frankfurt 1922

Trapesnikof?, T. Die Portrdtdarstellungen der Mediceer des

Museum

British

and Jemeppe-sur-Meuse 1900-04


Spiess,

L.

Ludwig.

Belli,

Frankfurt 1904-05

see Berlin

Simonis,

Ampach, Chr.

XV. Jahrhunderts

Strassburg 1909
Tresor de Numismatique etde Glyptique Paris 1 834-36

Henckel,

P.

Berlin 1876

Lanna, Freiherr Adalbert von. Lepke Berlin 191


Parts II and III

1.

Le Maistre Pax

Nummis. Schulman Amsterdam

in

1912
Loebbecke, Arthur. Dr. Jacob Hirsch Munich 1908

Riechmann Halle 1925


Schuhnan Amsterdam 1929
Merzbacher, Eugen. Munich 1900 and 1914
Moithein, Alfred Walcher Ritter von. Helbing MuMontenuovo, Prince. Hess Frankfurt 1895
Mueller-Lebanon, Hans. Cahn Frankfurt 1925
Neuburg, Schulman Amsterdam 1938
Oppenheimer, Henry. Christie London 1936
Rosenheim,

see

Kornmann

Cranach, Lucas, note preceding 94, 94


Dadler, Sebastian, 117-119
De Laune, Etienne, 79
Deschler, Joachim, 90-92, 138

Donatello, note preceding 28, 156

Drentwett, Balduin, iio, iii

nich 1926

Reimmann,

Cesati, Alessandro, see Grechetto

Cormano, Giovanni Jacopo,

Justizrat.

Max and

Hess Frankfurt 1891-92


Maurice. Sotheby London

Duccio, Agostino

note preceding 156

di,

Diirer, Albrecht, 86, 184

Duerr, Ernst Caspar, note preceding 132


Dupre Guillaume, note preceding 43, 81-83, note
preceding 84, 181
Elertz, Cornelius, note preceding 114

Enderlein, Caspar, 112

1923

Sambon, Dr. Arthur. Dr. Jacob Hirsch Munich 1914


Schulthess-Rechberg,

K.

G.

Ritter

von.

Erbstein

Dresden 1868-69
Spitzer, Frederic.

Enzola, Gianfrancesco, 16
Filangieri,

Giovanni di Salvatore, see Candida

Fiorentino, Niccolo, see Spinelli


Paris

and London 1893

Foppa, Cristoforo Caradosso, see Caradosso

Trau, Franz. Egger Vienna 1904


Vogel, Geheimrat Hermann. Hamburger Frankfurt

Franceschi, Piero dei, 10


Francia, Francesco, 22
Galeotti, see

1924

Whitcombe-Greene, T. Sotheby London 1932

Romano,

Gambello, Vettor

di

Pier Paolo

Antonio, 19, note preceding 159

Gennaro, Maria Antonio

INDEX OF ARTISTS

Geremia, Cristoforo

Abondio, Alessandro, note preceding 112


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

Antonio da Brescia, Fra, 9


Belli, Valerio,

133

Goedecke, Paul Heinrich, 135


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

Hamerani, Alberto, note preceding 51


Hamerani, Giovanni, 51

Antico, 14, 157

Beham, Hans Sebald, note preceding

di,

note preceding 25
Ghibellini, Orazio, note preceding 49
di,

138, 140

52

Herclas,

J., 154
Hirschvogel, Augustin, note preceding 138

Bertinet, 85

Hoehn, Johann, 128-130

Bertoldo di Giovanni, 24, 28, 156

Holienauer, Michael, 93

Blum, Johann, 124


Boldu, Giovanni di Pasqualino, 18
Bolten, Arent van, 184
Bonzagna, Gian Federigo, see Parmense

Holbein the Younger, Hans, note preceding 87, note


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

Sandro, 28, note preceding 30


Braun, Johann Bartholomaeus, 125
Botticelli,

Jamnitzer, Wenzel, note preceding 97


Januario, see Gennaro

Antonio da, see Antonio


Briosco, Andrea, see Riccio
Buchheim, Johann, 126

Kitzkatz, Ruprecht Niclas, 116

Cagnoli, Coreto, note preceding 159

Kornmann, Johann

Camelio, see Gambello

Leclerc, Nicolas, 78

Brescia, Fra

Candida, Giovanni

di Salvatore Filangieri,

Jonghelinck, Jacob, 142

27

Caradosso, Cristoforo, 23, note preceding 159

Leitmaier, Hans, 184

Leoni. Leone, 65-67, note preceding 68, note preceding 142

Cavino, CJiovanni dal, 53-62


Cellini,

Benvenuto, 36, 75, 79, note preceding 114

Jacob, 120

Le

Pere, Jean

and Colin, 78

Lippi, Filippino, 15

Titian, note preceding 65, 67

Lombardi, Tullio, 157


Lutma, fan Filius, 147
Lysippus the Younger, 25, 26

Travani, Gioacchino Francesco, 50


Trezzo, Jacopo Nizzola da, 68

Maler, Valentin, 97,

Vicentino, see Belli

Vianen, Paul van, 114, 184

10

Mantegna, Andrea, 158

Vittoria, Alessandro, 64

Marescotti, Antonio, 5, 6

Volpe, Vittoria della, see Vittoria

Master lO.F.F., 162

Warin, Jean, 84

Memling, Hans, note preceding 27

Weiditz, Christoph, 87

Michelangelo, note preceding 28, note preceding ri2


Michelino, Domenico di, 35

Welcz, Concz, 137


Werner, Peter Paul, 134

Milicz, Nickel, 138-140

Mocetto, Girolamo, 158

INDEX OF PERSONS

Moderno, 137, 157, 159-161


Mola, Gaspare, 43, 44, note preceding 49
Mondella, Galeazzo, note preceding 159

Moro, Jacobo Antonio, note preceding 43


Morone-Mola, Gasparo, 49
Mueller, Philipp Heinrich, 131
Muller, O. Wouter, 145, 146

REPRESENTED OR MENTIONED
Adrian VI, Pope, 150
Aelius, Roman emperor, 52
Agrippina Sr., Roman empress, 54
Alidosi, Francesco degli, 22

Nuernberger, Paul Gottlieb, 134


Omeis, Martin Heinrich, 132

Alighieri, Dante, 35

Padovano,

Anne

see

AUgaeuer, Hieronymus, 109

Cavino

Parise, Erich, 15^

Parmense, Federigo, 47, 48, 165


Pasti, Matteo di Maestro Andrea

de',

10-13

Pastorino di Giov anni Michele de' Pastorini, 37, 38


Pfruendt, Anna Maria, note preceding 125
Pietro da Fano, 18
Pilon,

of Brittany, 78

Antonini, Floriano, 53
Ariosto, Lodovico, 37
Astallia, Giulia, 14

Roman

Augustus,

emperor, 167

Bandello, Matteo, 14
Barberini, Maffeo, 82

Behaim von Schvvarzbach, Frederick, 105

Germain, 80

Pisanello, 1-4, 6

Bellini,

Giovanni, 19

Pisano, Antonio, see Pisanello


Poggini, Domenico, 40

Bembo,

Pietro, 15

Bentivoglio, Giovanni

Poggini, Giampaolo, 39, note preceding 40

Bernhard of Saxe-Weimar, 124

Pool, Jurriaan, 144

Porta,

Guglielmo

della,

II,

21

Borgia, Lucrezia, 15

166

Caesarius, Johann, 107

Roman emperor, 177


Roman emperor, 18

Raibolini, Francesco, see Francia

Caligula,

Rantvvic, Bernard, 151

Caracalla,

Reinhart the Elder, Hans, 94-96, 137

Caraffa, Antonio, 66, 68

Riccio, 158

Robbia, Andrea della, 34

Chamemilon, Euphrosina
Charles I, Count Palatine,

Romano,
Romano,

Giancristoforo, 15
Pier Paolo, 41, 42, 73

Charles V, Emperor, 42, note preceding 65, 67, 138


Charles VIII, King of France, 78

Roll, K.,

155

Charles

Saint-Priest, Jean de, 78

Sansovino, Jacopo, note preceding 64, 163

Schega, Franz Andreas, 136


Selvi,

Antonio Francesco, 45

Soldani-Benzi, Massimiliano, note preceding 45


Sperandio, 17
Spinelli,

Spinelli,

34

Andrea, 63
Niccolo di Forzore, note preceding 27, 30-

de, 104
11

X Gustav, King of Sweden, 154


Charles Ferdinand, Bishop of Breslau, note preceding 126
Christian

of Saxony, 116

Christian William of Brandenburg, 120


Christina,

Queen

of

Sweden, 50

Contughi, Fra Cesario, 17


Cornaro, Fra Giovanni, 20
Cortez, Hernan, 87

Dante, see Alighieri


Delen, Nicholas van, 143
Dido, Queen of Carthage, 46
Dondi, Giovanni, 67

Julius

Donellus (Doneau), Hugo, 99


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

II d',

II, King of Hungary, 93


Louis VI, Count Palatine, 115
Louis XII, King of France, 78

Louis XIV, King of France, note preceding 84, 85


Lucius Verus, Roman emperor, 62
Lucretia, 86

38

Luther, Martin, 88,

Este, Lionello d', 3,


4
Evertsen, Cornelis, 146

Jr.,

Ferdinand
Ferdinand

Roman

Marciana,

empress, 61, 157

Emperor, 93, 138


III, Emperor, 123
I,

Fetzer, Matthaeus, 97

I,

Frederick

King of France, 180


III, King of Denmark and Norway,

153
Frederick V, King of

Trajan,

sister of

Roman

118,

Mazarin, Jean, 85
Medici, Catherine

Denmark and Norway, 135

Frederick Christian of Poland, 136


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

Frundsberg, Georg von, Feldhauptmann, loi


Gabrieili, Trifone,

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

Giovio, Paolo, 16

note preceding 80

de',

Medici, Cosimo de'

Vecchio), note preceding 30

(II

Medici, Cosimo

Medici, Cosimo

II de',

de', 36, 40,

Medici, Lorenzo and Giuliano de', 28


Medici, Lucrezia de', 38
Medici, Marie de. Queen of France, 81, 83

Melanchthon, Philipp, 89
Memmo, Marcantonio, 82

Mendoza, Ambassador of Ferdinand and

Menno van

Friesland, 88

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

no

Nale, Giovanni

Henry
Henry
Henry

Panigarola, Francesco, 76

King of France, 79, note preceding 80


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

69
Nero, Roman emperor, note preceding 30
Nerva, Roman emperor, 58
Neudoerfer, Johann, 91
Opdam van Wassenaer, Baron, 154
Otho,

Roman

di,

emperor, 55

Paumgartner, Hieronymus, 90
Perrenot, Antoine, 142

King

Hevelius, John, 130

Philip

Holzschuher, Sigmund Gabriel, 125


Innocent VIII, Pope, 30, 31

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

Innocent XII, Pope, 51

John Casimir, King of Poland, 128, 129


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

III

of Saxony, 132

45

44

Gonzaga, Ippolita, 66, 68


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

preceding 126

emperor, 59

Marcus Aurelius, Roman emperor, 60


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

Floriano, see Antonini

Francis

no

Malatesta, Sigismondo Pandolfo, 10-13

Farnese, Ottavio, 47
Farnese, Pierluigi, 47

Faustina

Pope, 22

Louis

Ehrenberg, Phihpp Adolf von, 98


Elizabeth I, Queen of England, 152
Este, Alfonso Id', 15
Este, Alfonso

II,

Khevenhueller, Johann, 112


Leo X, Pope, note preceding 159
Leopold I, Emperor, 127
Le Tellier, Michel, 85

II,

of Spain, 39

Pius V, Pope, 48
Primislav, King of Bohemia, 133
Priuli, Girolamo, 72
Rangoni, Tommaso, 64
Remo, Opizo, 9

Isabella,

30

Richelieu,

Armand

Rinuccini,

Alamanno, 32

INDEX OF INSCRIPTIONS

Jean de, 84

AD

Rovere, Francesco Maria della, 22

Rudolf

Emperor,

II,

Ad

14
Savonarola, Girolamo, 34
Savoy, Charles Emanuel I, 43
Schwarzbach, Frederick Behaim von, see

(monogram), 86

civitat ditionisq tvtel

mvnim

extrvctvm, 47

A deo et pro deo, 51


A d ianvario 133
f,

Behaim

Aet 39, 42

Sforza, Faustina, 41

Aetatis svae 65 franciae orientalis dvx, 92

Sforza, Francesco, 2, 16

Aeternitati sacrvm, 53

Sforza, Ludovico Maria, 23

Agrippina

m f mat c caesaris avgvsti,

Sixtus IV, Pope, 24, 25, 168

A iove et sorore genita,


A L (monogram), 112

Sophia of Brandenburg, 116

Alamannvs

Shelley, Sir Richard, 151

Sophia Amalia of Brunswick, 153


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

Suleiman

I,

Ottoman

sultan,

93

rinvccinvs philippi f, 32
Alessandro di gino vechietti anni Z6, 33
All mein hofnvng zv got, 97

An Ab, 112
And griti m

venet dvx, 169


dvx venetiar mdxxxiiii, 63
georgi in frvntsperg vxor, loi

Sybille of Saxony, 103

Andreas

Tannhausen, Emerentiana von, 102


Tavelli, see Tossignano

Anna
Anno do mi mdxci,

Roman emperor,
Roman emperor, 57

Tiberius,
Titus,

54

64

An

sp

griti

1 1

63
Antonii perrenot epi atrebat, 142

176

f,

Toledo, Eleonora de, 36


Torre, Gianello della, 67

Antoninvs pivs avgvstvs, 18


Antonivs geraldinvs pontificivs logotheta fastorvm

Toscani, Giovanni Alvise, 26

vates, 30
Archi dvx avstri dvx bvrg marc mor 1566, 139
Armandvs ioannes cardinalis de richeliev, 84

Tossignano, Giovanni Tavelli da, 5


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

Tromp, Martin Harpertszoon,

Unknown

144, 145

persons:

Aurea

florigeris succrescunt

Blum, 124

B nicolavs van delen, 143


Bo fphff en, 15

Mohammedan,

Brisach fortis sed fortior deus fvit et weimarius 1638,

108

124

Patrician, 100, 106

Urban

Cap

VIII, Pope, 82

Vecchietti, Alessandro di Glno, 33

Vespasian,

Roman

emperor, 178

pet plantanida aet an xxxvi, 75


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

Castellvm sismondvm ariminense mccccxlvi, 10

Virgil, 24

Visconti, Filippo Maria,

Roman

emperor, 56
Vitil, Wolfgang, 106
Vondel, Joost van den, 147
Vitellius,

Castellvm sismvndvm ariminense mccccxlvi, 13

caes

d, 177

Christum hat gott

furgestelt

Chrvs moritvr pro nobis

Waldstein, John Joseph, 133

Coelitus data, 132

III

131
Wladislas

II,

and Mary, King and Queen of England,

King

of

Hungary, 93

zu einem gnadenstuel,

"7

Waldstein, John Frederick, 141


Waldstein, John Henry, 133

William

131

56

spinola d serravallis, 77
Her gamb innocentii viii c s an xxx 1485, 31
Bern rantwic f, 151

Humanist, 88, 107


7

rosettis,

tr,

Bap

Boy, 8

Man,

poma

A vitellivs german imp avg p m

ciat 46,

137

Comes de

waldstein, 141

Congiar p

r,

Consecratio

58
s

pq

r,

59

Consilio et indvstria, 127

et resvrgit vt

nos ivstos

fa-

Cornelivs mvssvs ep bitvnt, 73


Cosmvs med floren et senar dvx

Florianvs antoninvs andreae


ii,

f,

53

Fp,48

40

Daniel de hanna, 65

F parm, 47

Danthcs florentinvs, 35
Das hoeheste gut, 1 1

Fr alidoxivs car papien bon romandiolae q c legat, 22


Francesco panigarola aeta anni xxviii, 76
Fr cesarivs fer ordins ser b
v divin 1 t exellen doc
ac divi ver famosis predicator, 17

D'eta di xxxiii anni mdxliiii, 69


cole avrvm contemne virtvtem sectare argen-

Devm

tvm sperne patriam defende

Frideric christ

16Z9, 121

Devotissimvs pavper pr d iohanes eps ferrarienm, 5


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

D
D g georg dux sill & b supremae pers
istr,

praef admin-

126

D g Sophia
Dido

il

nat

basilissa,

mar bran dvc

Fridericus

iii

com

in

dit

lith

dux

sax

&

vicecomes mli dvx

sfortia

iiii

pater et pacis

belli

Fsk p

Divi francisci mdxxxiiii, 63

Divinvm

G
G

D
D martinvs Ivtervs, no

Gladivs domini svp teram citoet velociter, 34

Dvm spiritvs hos reget artvs,

Gott
etatis xxxxii,

87

75

Ego

sicvt oliva frvctificavi sva vitae

EP,

153

odo

do

di,

adam omnes morivntvr

ita et in

christvm

vivificabvntvr vnvs qvisqve in ordine svo,

23

Externo male pressa iugo britannia pridem


iterum respirat libera leges, 131
f,

in priscas

pii

fil,

61

Favstina sfortia march caravagii, 41


Felice Ivdovico regnante dvodecimo cesare altero

gavdet omnis nacio, 78


Ferdinandvs d g romanor hvngari boemini infans
hispa arc avs rex 1550, 138

Ferd
Feris

d g rom hvng bohem


tantvm infensvs, 49

iii

Pert, 43

Firmavit omen, 114

hart entschla

nam

r "etc.,"

123

ein ripp a

s s

d d

140

m prin

fin

dv eth

et

car ig d, 155

Gvilielmvs et maria rex et regina britaniae, 131


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

Hamera,

Hebrew

vmbra, 135

54

51
inscriptions:

Name of God,
Oh Lord, help

121, 122
us,

77

Hec damvs

in terris aeterna

Heer

met triomf

everts

dabvntvr olimpo, 25

"etc.,"

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

Henricvs

136

Favstina avg antonini avg

z,

Hafnia daniae,

Exemplvm vnicvm for et pvd, 14


Expvgnata alexandria deleto exercitv Ivdovicvm sf
mli dvc expellit reversvm apvd nova riam sternit

a schega

49

Greek inscriptions:
Karchedon, 46
Leon aretinos, 66

Hac

Et victricibvs armis, 122


Evphrosina de chamemilon, 104

eva g

f,

adam

lies

Makelos, 50
Gust adol d g suec got vand rex

93

95

capit,

dupre 1615, 83

G moron

Dvrate, 142

omnes

t,

dupre f 1612, 82
Giovanni di nale, 69

Dominvs providebit, 153


Dominvs 1570 providebit, 113
Don ferdinando cortes mdxxix anno

sicvt in

svm et ero, 42
Gasp m, 43
Fvi

concinit orbi, 73
martinus lutherus, 88

Et

136

hoist

avtor mcccclvi, 16

46

Diva avgvsta marciana, 59


Diva favstina, 157
Diva ivlia astallia, 14

Etatis sve 30,

el,
si

Fridericvs d g eps wircebvrg, 92


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

Fr

sax ele, 116

d g pr reg pol &

d g dan norw got vand rex dux


old & delm, 118

ii

Henricvs

iiii d g franc et navar rex, 81


Heroica foecunditas, 133

Herois huius nomina in cuncta clarent secula, 124

Hier stryckt het britsch gewelt

"etc.,"

146

Hieronimvs priol ve dvx, 72


Hieronx[!]mvs savo fer vir doctisss ordinis predichatorvm, 34

Hieronymvs allgoewer xviil iar alt a mdlvi, 109


Hieronymvs pavmgartner anno aetatis 56, 90

Hippolyta gonzaga ferdinandi

fil

an xvi, 66

Hippolyta gonzaga ferdinandi

fil

an

His avibvs cvrrvq citodvce

ad

ris

Lavrentivs medices, 28

Leonellvs marchio estensis, 3

68

xvii,

Leonellvs marchio estensis ge

22

astra,

HR 1536, 95
Hvgo

donelivs

ic cl

prof aidorp aet svae 64 an 90, 99

lac trez, 68

lanas qvi post tres dies de piste exivit designat

cristi

ressvrexionem capitvlo Z, 137


lanellvs tvrrian cremon horolog architect, 67
I

B, 126

H,

r ar

med

Lvcretia

ferr princ a a xiii,

38

Lvctvs pvblicvs, 28

Lvd d g CO pa

ele a d z, 115
Lvdovic vnga ec rex contra tvrca pvgnando occvbvit

128-130, 154

Imp caes maximil ii avg, 112


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

Indvstriam adivvat devs, 91


Innocen xii pont
a i, 51

Magni ducis Dernhardi saxon weim


Magnvs cosmvs medices p p p, 45

15Z6 etatis sve 30, 93


Lvdovicvs ariost poet, 37

Innocens manib et

mvndo

iniqvitas,

md

suec

prus, 129

loannes aloisivs tvsca avditor cam, 26

&

fieri fecit,

mona

cor casin colvmen, 20

vig co

mvso

ac val ren et stosa d,

42

lo fr enzolae parmensis opvs, 16

lohannes hevelius dantiscan

"etc.,"

130

lohann nevdorffer arithm aet sve Ivii, 91


iii d sax i c
a & w el, 132

loh georg

lo iacobvs trivvls

mar

pavl pog

pv an

f,

viii

me

obi a mdlxvii

n de

iiii,

72

boravit brachivm

mevm, 87

zum

pool, 144

beim himlischen

vatter

sund der gantzen welt, 117


den vondel gest 5 feb 1679, 147

dargestejt fur alle

aelivs caesar,

dvx avstr bvrgvnd, 27


d g roma imperi sem avg ger hv bo

fr caes f

Maximilianvs

ii

139

rom

ii

52

Mcccclvi, 16

Mcccclxxxi, 24

Mdxxxv, 94
Mdxxxxiii, 89
Mdxliiii,

69

Mdliiii, 71

Mdlvi, 109
Mdlix, 39

av, 113

5, 10, II,

Mdxxxiiii, 63
losegelt

71

Maximiliani imperatoris mvnvs mcccclxxxxiiii, 21

Mcccclxxxxiiii, 21

warin 1630, 84

v,

Mcccclxvi, 18
et fortitvdo eivs corro-

Ivlianvs medices, 28

Joost van

in principatv obit mdliiii, 71

Maximilianvs
etc rex,

s c,

Jesus hat sich

93

Mccccxiiiii, 4

iiii

p xxix, 60

Marin grimanvs dvx venetiar, 74


Marten harpertsen tromp ridder, 144
Mathevs fetzer aet li 1576, 97

vig fra marescalvs, 23

57
Ivdicivm dni apprehendit eos

tr

Mccccxlvii, 12
di

124

Maria avg galliae et navarae regina, 83


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

Mccccxivi,

ii

effigies,

car barberin sig ivst prae

f,

Maximili

39

Ivdaea capta

r e

lo son fine, 18
I

62

bono leg, 82
Marcvs antonivs memmo dvx venetiarvm, 82
Marcvs antonivs trevixano dei gratia dvx venetiarvm
s

seperet,

95

fieri fecit etatis

svae 32, 94

mar

Maph

Marescotvs

loanns fridericvs elector dvx saxonie

tri

M antoninvs avg

etc vixitano

sueciae rex "etc.,"

loannes frideric archie prag, 141


loanns fridericvs elector dvx saxonie

lo cornelivs

viiii,

conflata 1499, 78

Marcvs ant trevisano dvx

loannes bellinvs venet pictor op, 19


loannes bentivolvs ii bononiensis, 21
loannes casimirus d g poloniae
128

Maiestas maior ab igne, 81

corde, 70

mors omnia delet, 17


In vmbra alarvm tvarvm sperabo donee transeat

&

tr

repvblica gavde te bis anna regnante benigne

sic fvi

Inspice mortaie genvs

90
loan casim d g rex pol

arm parth max

vervs avg

Lvgdvn

lo fran

ferrarie regii et

mvtine, 4
Leopoldvs d g rom imperator, 127
Lievtenant admiraal van holland "etc.," 144
Lvcretia borgia esten ferrariae mvt ac regii d, 15

13

P
P

Mdlxvii, 72

Mdxci, III
Mdcvi, 43

parm

et plac

dvx

i,

47

imp

Pontificii exercitvs

Mdccxxxiii, 134
Mdcclxiii, 136

Memoriae agrippinae, 54
Micha letellier fr cancellarivs 1678, 85
Mijn hert en hant was voor het lant, 145
Miserere nobis domine, 96

M M (monogram), 27

mccccxlvii, 12

P p a e, 168
P p Werner fee, 134
Privs mori qvam tvrpari, 33
Pro bono malvm, 37
Pro deo et milite, 134
Progenies divvm qvintvs

Ivmina aet svae

sic

carolvs

ille

evm anno

Quorum memoriam

112

loan ios

com

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

Qvamvis occvmbas

Nostra medela,

Ricardvs scelleivs prior angliae, 151

19
auspicys et regis fortibus armis "etc.," 128

deficit,

67

Qvo

in ipso stare

Ren

als in eren,

94

Rvdolphvs ii rom imp avg rex hvng boe, 1 14


Sacrae romanae ecclesiae capitanvs generalis,
Satiabor

cvm

Securitas britaniae restituta 1689, 131


Secvritas

Opvs pisani pictoris,


Opvs pisani pictoris
Opvs sperandei, 17
P,38

r,

55
"etc.,"

3
mccccxliiii, 4

Senats popls, 157


Seren d d ioh georg

elect sax in

matr

chariss, 116

Serenitatis nvncia, 123

Servando dea facta deos, 83

Parcere svbiectis et debellare svperbos, 24

Sibila iohanni friderichi dvcis

Farm

Sigismondvs pandvlfvs de malatestis

invent, 165

generalis, 10,

Par vbiq potestas, 66

Patriarvm exvbitor opvm, 151


Pax aeterna ad gedan a c'obci-x.

iii

maii condita, 129

Sigismvndvs pandvlfvs malatesta, 12


Sigismvndvs pandvlfvs malatesta pan

Sigm

135

Philipp adoiph d g eps wirceb

fr

or dvx, 98

iiii

pon max

comes ac genve dominvs, i


Philippvs melanthon anno aetatis svae xlvii, 89

Sixtvs

iiii

pont

manibus aug

iii

magnanimi, 136

iiii,

168

max

sacri cvlt,

24

sacri cvlt,

25
en grootste poeet geb 17 nov 1587, 147
a domino, 1 26

mea

max anno

mea in deo, 153


mea in deo est, 95
Spes mea in deo est anno
Spes
Spes

Pisanvs pictor, 6
Pivs V pont opt

13

Spe gloriae hvmilis, 125

Pietas evangelica, 20
Piis

f,

S'lants outste

Sors

131

ro eclesie c

Sixte potes, 24

Sixtvs

H M,

gabriel holzschvher ae 67, 125

Sixtvs papa

anglerie qve

vxor saxoniae, 103

Philippvs hispaniar et novi orbis occidvi rex, 39


Philippvsmaria anglvs dvx mediolani etcetera papie

118

Semper, 45

i,

Pace terra mariq composita, 39

HG,

10, 11

apparverit, 31

Seht wie der fried iez ziert die welt

Oportvne, 43

tvam

christina, 50

S C, 52, 56-58, 61
S D, 117, 118

30

occvmbis

Religio sancta, 30

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

felix

melior optabilior, 40

Regina

Salvs pvblica, 28

"etc.,"

effigiem sol oriente vides, 123

Obiit V octobris mdcclxiii, 136

ni fo sp

waldstein

133

Mvlier dedit mihi

Op

mdxxxxiii,

89

86

M M, 27

Nvnq

imperii caesar

138

1,

Psal 36 svbditvs esto deo et ora

Monograms:

Numinis

romen

adriaen van god ghekoren pavs van

t'utrecht gheboren, 150

Mdclviii, 128

AD,
A L,

loysivs f

vi,

48

94

nostri salvatoris

mdxxxv,

Sp q

r,

Liegnitz-Brieg, 126

54. 59

Stans acie pvgnans vincens moriensq trivmphat, 155

Svbditvs esto deo et ora

evm anno

mdxxxxiii, 89

Sydera cordis, 74

Tandem
Te

victa seqvor,

84

fama bearvnt

Lyon, 78
Neudoerfer, 91
Paumgartner, 90
Pope Adrian VI, 150

nvia, 79
gvard d mar mag, 64
Thve recht fvrchte gott vnd niemants mehr, 120
Tiber caesar, 1 76

Richelieu, 84

Titvs strocivs, 29

Trivulzio, 23

copia lavro et

Thorn

philol raven phys eq

Tr p vii imp iiii cos iii p


Tryphon gabriel, 70

p,

Van

62

Vespasian avg

c, 178
Vff der hochzeit zv cana verwandelt christvs wasse

w io z,

140
120

Vic avg, 60
fatis agitvr,

Comets, 130
Lunar maps, 130
Pisces, 22

26

Victor camelivs faciebat, 19

d g dvx mant

vii et

m v, 49

Vinces virtvte viventis 1580, 115


Virtvs,

Sagittarius, 22, 43
Augsburg, medals made

67

Virtvti ac

Wuerzburg, 92, 98
medal referring to, 76
Astronomy:
Capricorn, 114

Victa iam nvrsia

ii

Delen, 143

Vecchietti, 33
Visconti, i, 23

Asti,

Vggcwpabevsmvhpgmzbiph,

Vincen

Savoy, 43
Saxony, 94-96
Sforza, Francesco, 16

formae pvdicitia praeciosissimvm, 15

Virtvtis et ingenii, 19

formaeq praevia, 68
Vt moses erexit serpente ita chrs

Virtvtis

in crvce exaltatvs et

106,

Biscione,

dentes, 95

Bolla, 168, 169

Vulner

christi,

made

Breisach, capture of, 124

and Eve,

35, 95, 96
Adoration of the Magi, see Christ

Cannae,

4,

Carthage, view

man

holding coin,

note preceding 27
Archer, see Astronomy, Sagittarius
61, 63, 165, 166
Arm holding birch rod, 12

Arms, coat

of:

Este, 3

Fetzer, 97
Florence, 36

Gonzaga, 49
Holzschuher, 125

10,

title

of Malatesta, 10,

of,

46

Chariot:

15

Architecture and buildings,

164

Caritas, standing, 51

Aeneas, sinking of his ship, 142


Alexandria, capture of, 23

Antwerp, Memling, Portrait of

13,

27

140

at,

battle of,

Capitanus Generalis,

Adoration of the shepherds, see Christ

Amor,

of,

Cachet, 143

Cana, marriage

Adam

40, 46,

47, j^,

87-89,

or referring to, 15, 21, 22,

in,

23, 34, 82

Burgundy, medal made for the Court

GENERAL INDEX

to,

Bologna, medals

19

or referring

Aurora riding chariot drawn by Pegasus, 68


Batde scenes, 48, 144, 145, 146, 154, 164
Bees surrounding a column, 37

resvscitatvs capvt serpentis contrivit salvaret cre-

Waarom doet muller tromp door kunst "etc.," 145


XXIV filii a patre ioan henrico barone "etc.," 133

in,

10, II I, 131

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

Poseidon

in,

Wisdom,

riding

142
in,

182

Chateau Cambresis, Peace


Checkers, 1 01-108

treaty of,

Chiron, the centaur, 43


Christ:

Nativity, 148
Adoration of the shepherds, 165
Adoration of the Magi, 148

39

carrying the cross, 117, 119, 170, 183


Crucifixion, 95, 96, 159, 160

Genoa, medals referring to, i, 34, 77


God, the Father in clouds, 31, 159
Greyhound, seated, 16

wearing the crown of thorns,

Griffon, standing, 151

Flight into Egypt, 185

ig

Hand

with dagger, threatening from Heaven, 34


of, 64
Hound, Gonzaga device, 49; Hounds of Diana, 66
Horsemen, see Equestrian figures
Innocence, washing her hands at spring, 70

Pieta, 156

Entombment,

Hebe, the birth

166, 171, 173, 184

Resurrection, 115, 137

head

of, 174, 175


Church, Triumph of, 182

Combat, Roman, 161, 164


Constantia, standing, 24
Constellations, see Astronomy
Copenhagen, siege and relief of, 154
Cremona, 67

Janus, the closed temple of, 39


Jason and the dragon, 9

Crucifixion, see Christ

Jonas, the prophet, 137

Cupid, see

Italy:

French invasion

map

Amor
in,

or referring

Diana, accompanied by three hunting dogs, 66

Greyhound, Hound
battle of the,

Rome, 62
wielding thunderbolt, in biga of eagles, 22
Lepanto, battle

of,

48

Liberalitas, 58

145

Liberty, seated, 131

Eagle:

Lion:

Biga of eagles, 22

learning to sing, 4

facing, holding globe, 113

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

flying towards Sun, 114

perched on

leafless tree,

Elephant:

Order of the, 118


Seat formed by two,
England, medals made

referring

in,

or referring

to,

131, 141,

Adam

of,

155

in,

into,

or referring

49, 66, 68, 157

and Eve

lunar, see

Astronomy

of Italy, 34

Marriage,

in quadriga, 79,

Ferrara, medals

made

in,

84

or referring

to, 3-9, 15, 17,

4, 27, 38, 78, 93,

Mars, striding, 56
Milan, medals made

in,

140

or referring to,

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

34,38

Minerva:

Fleur-de-lis, 36, 78, 180

Queen Christina

Flight into Egypt, see Christ

Duomo

to, 24, 28-45, 156,

Fortitude, seated,

standing,

of, 28,

35
Florence, medals and plaquettes

made

in,

or refer-

Music,
33, 42;

chained to quadriga, 84

made

as,

50

135

11,

battle of,

4,

93

15

Naples, medals referring

to, 4,

Nativity, see Christ

Fountain, see Sciences, fountain of


France, medals and plaquettes

Modena, 15
Mohacs,

167

Fortuna over waves,

in,

or referring

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


Frankfurt, coronation of Leopold I at, 127
to, 22,

or

Map:
of, 140, see also

Faith, standing, 75
Fall of Man, 95, 96

Florence,

in,

Lyon, entry of Louis XII and Anne of Brittanv

to, 14, 15, 17,

Ermine, 78

Fame, riding

made

114, 131, 142-150, 154, 182

78
Mantua, medals and plaquettes made

Equestrian figures, 1,112


Eve, creation

to,

Luetzen, battle

11

145, 146, 151, 152


Entombment, see Christ

ring

Jupiter:

seated on the Seven Hills of

10,118,135,153,154
see

34

Judith, 158

Denmark and Norway, medals made

Downs,

of, 22, 23,

34

Judaea, capture of, 57

Death, 17, 18

Dog,

of,

Neptune:
in chariot, 26,

40

sinking Aeneas' ship, 142

34, 133

i, 2,

16, 23,

Netherlands, see

Low

Noerdlingen, battle

Countries

St.

made

Niirnberg, medals and plaquettes

ring

to,

in,

or refer-

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

183-185
Oliva, Peace

168, 187

Saul, anointing of, 149

Savoy, medal of, 43


Sciences, Fountain of,
Seals, see Bolla

129

of,

Otranto, expulsion of the Turks from, 24


Owl, perched on branch, 19

Padua, medals and plaquettes


to,

Paul, 168

St. Peter, 123,

123

of,

made

in,

or referring

Pallas Athena, see

Shepherd with sheep, 20


Ships:

Aeneas', 142

manned by

20, 52-62, 64, 158

on raging

Minerva

Paris, Judgement of, 162


Parma, bird's-eye view of the

67
and Cachet

four

girls,

sea, 77,

83

142

sea battles, 48, 144-146,


citadel of, 47

Siege of

city, 23, 24,

154

124, 128

Patientia, caressing lamb, iii

Sigillum, see Bolla

Pavia, battle of, 42

Spain, medals and plaquettes

Pax:

to,

armaments, 39

setting fire to

Phoenix on pyre,

14, 50,

152

i54> 155

Pieta, see Christ

Tagus

medals referring

to,

34

Poland, medals referring

to,

80, 128-130, 136

Poseidon, see Neptune

Prague, Kreuzherrenkirche

at, 141
Purgatory, Dante before Mountain

of,

35

to,

Rocca Malatestiano, see Rimini


Roman emperors and empresses,

made

in,

or referring

24, 25, 30, 31, 34, 46-51, 62, 82, 164-166, 168

impresa

Astronomy

of, see

Vela

Vesta:
seated, 59
statue of, in temple, 61

Victory:

crowning France, 84
seated, 60

St.

Anthony, 25

Virgin, coronation of the, 163

St.

Francis, 25, 186

Wax,

St.

George, spearing the dragon, 112

Westphalia, Peace

St.

Mark, 169;

Wiirzburg, medals referring

lion of,

74

in,

Vigna, 63
18, 52, 54-62, 157,

167, 176-179

Sail,

made

or referring

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

169-172
Venice, view of the church of San Francesco della

of, 10, 13

plaquettes

Triumphal car, see Chariot


Triumphal procession, Roman, 157
Turkish Wars, 24, 48, 93, 108

Venice, medals and plaquettes

Resurrection, see Christ

Sagittarius, see

67

Vanity, standing, 65
Vela, Este device, 3

Ravenna, 64
Reformation, 88, 89, 110
Religion, standing, 30, 122

Rome, medals and

river,

Thirty Years' War, 118, 120-124, 155


Thorn, capture of, 128

Pluto, seated, 66

to,

or referring

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

Pazzi Conspiracy, note preceding 24, 28


Pelican, 20

Rimini, castle

in,

Stone models, 36, 109

seated, 118

Pisa,

made

39, 67, 87, 186, 187

100
of, 118,

123
to, 92,

98

ONE THOUSAND

HUNDRED COPIES OF
THIS CATALOGUE HAVE BEEN PRINTED AT
THE MERIDEN GRAVURE COMPANY, MERIDEN, CONNECTICUT. COMPOSITION BY THE
ANTHOENSEN PRESS, PORTLAND, MAINE.
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