Professional Documents
Culture Documents
SCHOOL AT ROME.
Volume IX.
FACULTY OF ARCHAEOLOGY,
HISTORY AND LETTERS
LONDON:
1920
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of the Renaissance.
17
documents.
the latest of the series have any value as contemporary
Both thesemedallistsworkedtowardsthe end of the sixteenthcentury,
the other,and theyneed be mentionedonly
one of themsupplementing
order
to
in
give warningagainst the too frequentuse that is made of
evidence.
theirworkas contemporary
a
from
small
piecex struckfromdies, and commemorating
Apart
the presenceof Eugenius IV. at the FlorentineCouncilin 1439, which
hardlyconcernsus here,as it is on too smalla scale to aim at portraiture,
medallistreprethe earliestmedal of a Pope made by a contemporary
V. (1447-55),althoughit was notmadeactuallyin his lifesents^Nicholas
time. The artistwas Guaccialottiof Florence.Sinceit is nowpractically
certainthat the greatestof Italian medallists,pisanello,who ended his
2
days in October,1455, was in Rome at the time,we mighthave hoped
fora portraitof Nicholasfromhis hand. But the only evidencethat
the Pope mayhave sate to himis of doubtfulvalidity. In the collection
of drawingsin^theLouvre3whichcontainsthegreatmajorityofauthentic
studiesbythemaster,thereis a recordby someonewhov/ascontemplating
Atlas bearingthe
a medal of Nicholas. A sketchfora medal represents
to
the
a
are
crossed
tiara
left
to
the
;
; above, the
;
right,
keys
globe
wordsNICOLAVS PAPA V are set out in a circle. I do notfeelcertain
that the styleof the drawingis Pisanello's; and I have not foundthe
watermark(a pair of shears) on any other paper used by the artist,
althoughit is ofhis time.4 We knownothingof Pisanello'sactivityfrom
1449,whenhe was stillworkingat the courtofAlfonsothe Magnanimous
1 Martinori(AnnalideltaZeccadi Roma,MartinoV., etc.,1918, p. 46), whoappearsto
in Bonanni(NumismataPontificum
knowthispiece onlyfromtheillustration
Romanorum,
a restitution
statementthatit is in all probability
by Paladino.
1699)makesthesurprising
He says that it is laterthan EugeniusIV. because,as he assumes,the shieldwiththe
crossedkeyswhichbalancesthat withthe armsof Eugeniusis the shieldof NicholasV.,
whereasit is, ofcourse,merelythearmsofthesee of St. Peter. (Nicholas,havingno arms
in
of his own, adopted the same device forhis shield.) A glanceat the illustrations
Die gepragten
Italienischen
Medaillen,p. 13, PI. I., 8 (silver,31 mm.,Berlin
Friedlnder,
Collection)or in Gatal. G. C. Rossi (1883),lot 203, Tav. III. (gold,32 mm.)willshowthe
of the attributionto Paladino. The piece was perhapsstruckat Florence
impossibility
ratherthan Rome,
* Gius.Biadego,AttidelR. 1st. Ven.lxvii.p. 850.
RecueilVallardi,.fol. 65/ no.;2319; reproducedin Heiss, Md. de la Ren., Vittore
Pisano, p. 38.
4 Hill, Pisanello,p. 211. The argumentfromthe water-markagainst Pisanello's
is, it mustbe admitted,weak,sincewe have no otherdrawingswhichwe can
authorship
say weredone by himlaterthan 1449,and in Rome,he may have obtaineda newstock
ofpaper
C
18
at Naples, untilhis death six yearslater; and thoughit is a fairconjecture,it is no morethan a conjecturethathe may have been attracted
to Rome by a commission
fromthe Pope.
The medalofNicholasthathas survived(Fig. i)1 was cast by Andrea
Guaccialottior Guazzalottiof Prato, presumablyvery soon afterthe
Pope's death. A heavy, lumpishwork,it is the earliestextant effort
of the artist. Guaccialottiwas born in 1435, so that he was but little
more than twentyyears old at the time.2 He was the son of Filippo
Guaccialotti,and belongedto an old and respectablefamilyof Florentine
citizensdomiciledat Prato. At some timehe enteredthe householdof
19
2o
21
22
23
24
25
26
27
28
Peace
the Constantinian
medal commemorates
If, then,Cristoforo's
ofthe Church,whatwas its immediateoccasion? I can thinkofnothing
moreappropriatethan the visk to Rome of the EmperorFrederickIII.
at Christmas,1468, the last occasionon whicha Roman Emperorwas
seen in Rome. In later days a medal would most undoubtedlyhave
beenissuedby thePope to commemorate
suchan event; and oneactually
exists,probablyfromthehandoftheFlorentine
Bertoldo,commemorating
Frederick'screationofa numberofknightson Jan. 1, 1469. It is hardly
likelythat the leadingRoman medallistof the timewouldhave missed
suchan opportunity.
Two or threeothermedalswhichhave been attributedto Cristoforo
di Geremiamustbe mentionedbeforewe part withhim. One of them
(PI. III. 3) representsGuillaumed'Estouteville,of whom,as we have
alreadyseen, a medal was probablymade by Guaccialottiat an earlier
date. Since the sitteris describedas Bishop of Ostia, the portraitis
not earlierthan 1461. The renderingof the featuresis entirelyin the
styleofthe medalsof Paul II. whichwe have seen reasonto attributeto
Cristoforo.And the bust, thoughit does not take the exact formof
those of Alfonsoand Constantine,is yet sharplypointed,and has the
truncation
treatedin sucha way as to suggestan actual bronzesculpture.
The reverseis the Cardinal'scoat of arms. A verysimilartreatmentof
the bust characterises
a remarkableportraitmedal (PI. I. 4) ofa Paduan
condottiere(DottusPatavus milicieprefetus),generallyidentifiedwith
GiambattistaDotti,who foughtin the serviceof the Venetiansand was
killed in 1513 fightingagainst the Spaniards near Vicenza. Assumwho died in 1476^
ing, however,that the medal is by Cristoforo,
the identification
of the sittermust be wrong,since he appears to
be of an advanced age, and certainlycould not have been on active
serviceat least 37 yearsafterthe medalwas made. De Foville more
about
reasonablyidentifiesthe sitteras Paolo Dotti, who flourished
1466.1
It is extremelyprobablethat this medal and thatofthe Cardinal
ofRouenare by thesamehand,and thatwould seem to be Cristoforo's.
That the medal of Dotti is not laterthanthe early'seventiesis clearfrom
the following
considerations.The typeof the reverseis a figureof Constancy,restingher leftelbow on a columnand herrighthandon a spear.
1 B. Scardeonius,de antiquitate
UrbisPatavii (Basel, 1560) p. 302.
29
3o
II.
See pp. 30 f.
31
32
of the Renaissance.
33
34
man in the clerical dress and cap of the time- Iul(ius) Maras(cha)
optim(ae)indol(is)adol(escens). On the reverse,in a wreath,is the dedicationLysippusamicoOptimo.These two medalsare the basis on which
it has been possible to construct,^ith considerablesecurity,a large
fabricof conjecturalattributions.1The sittersare apparentlyalmost
- one or two highdignitaries,
such as
all frequenters
of the Papal Court
RaffaelRiario,Cardinalof St. George(PL III. 7, dated 1478),but forthe
mostpartyoungscholars,suchas the brilliantMilaneselawyerand poet,
GiovanniAlvise Toscani, who was in the serviceof Sixtus and died in
1475 (PL VI. 1), or minorclerics.Thereis a finemedalof RaffaelMaffei
apparentlyfromthe hand of Lysippus,whichwe may take as repaying
the artist'sdebt to the scholarforhavinggiven to posteritythe only
record of himself. His style is easily recognisedby certain marked
characteristics.He inheritedfromhis uncle a fondnessfora bust with
a hollowed-outtruncation,sharplypointedin front.2A carefulstudy
madehima masteroflettering,
and no
of Romanmonumental
inscriptions
medallisthas surpassedhimin such a problemas settingout an inscrip- amountingalmost
tionwithina formalwreath. A favouriteornament
- used by him is a stalk withtwo leaves,apparentlyof a
to a signature
of
kind
poplar. His scholarlyconnexionsexplain his fondnessfor
of the charmingmedal of Malitia de Gesualda
Greek; the inscriptions
of
Rapolla, 1482-8) are entirelyin that language
(afterwardsbishop
(PL V. 1).
By farthe mostimportantof the medalswhichcan withcertainty
be attributedto thismostpleasingartistis anonymous(PL VI. 3). But
it is easy to guesswho is portrayed. The youth,wearingthe roundcap
and close fittingdressof the clerkof the day, can be no otherthan the
artisthimself. For the inscriptionsays : di la il bel viso e qui il tuo
servomira: i.e. :
' This side the likenessof
yourslave displays;
Turnme,yourownfairfacewillmeetyourgaze/
The reverseis plain, and must have been intendedto be polishedas
1 The lettersL.P. whichoccurin the fieldof twomedalsof Toscanineednot be his
signature; forotherletters(B M, S M) are used by himin preciselythesameway(Regling,
AmtlicheBerichte,loc. cit.).
* Sometimes,
to Cristoforo
as in thebustofDottiattributed
(PI. I. 4), witha projection
in the middleof the hollow.
of the Renaissance.
35
a mirror. It is a prettycompliment,
conveyedby one ofthemostcharming medalsin the whole Italian series. Very pleasingalso, thoughless
Giovanni Alvise
ingenious,are the medals of the already-mentioned
Toscani (PI. VI. 1 and III. 6), or thoseof the scholarand tutorof Ferdinand the Catholic,FranciscoVidal of Noya in Galicia; indeed there
are fewof Lysippus'medalswhichhave not a sincerityand friendliness
whichmakeone regretthe lack ofall personalrecordsofhis life.
As to the medal of Sixtus IV. whichhe made, therecan I thinkbe
the rebuildingof the
little doubt that it is the one commemorating
Ponte Sisto,whichwas begunon 29 April,1473. (PL V. 2.) It musthave
beenthismedalofwhichspecimensin goldwereplacedin thefoundations
on that day.1 The Pope's bust has not the characteristic
truncation,
himwearingcope and
but that is owingtc the necessityof representing
morse. But the reverseis absolutelyLysippean; that is clear fromthe
formal wreath, and the
admirable lettering,the well-proportioned
in
the
one
of
ofthemedalsofToscani
the
water
of
exactly
style
rendering
to
to
(PL III. 6). Fabriczyproposed attribute Lysippusa medal representingthe-coronationof the Pope by two saints,with the inscription
Hec damnsin terris,aeternadabunturOlimpo(PL V. 3).?iBut neitherin
- the design owes its
composition,nor in lettering,nor in conception
it is true,to the medal of Alfonsoof Aragnby Lysippus'
inspiration,
uncle- can I see anythingto remindus of the accreditedworkof the
artist.
Anothermedallistof notewhowas engagedto portraySixtusIV. was
the VenetianVettorGambello(or Camelius,as he Latinizedhis name).
witha reverseadapted from
His medal3 is a workof smallimportance,
the Pope's
di Geremia'smedalsofPaul II., representing
one ofCristoforo
Audience(PL V. 4). It may possibly,as de Fovillesuggests,have been
betweenVenice and the Pope in 1482.
made duringthe understanding
of Sixtus is a curiouslittlepiece
medal
other
The only
contemporary
apparentlymade to the order of his nephew,Giuliano della Rovere,
of the fortress
afterwards
JuliusII. (PL V. 5). Round a representation
is
the
reverse
the
on
of Ostia
Iul(ianus) Card(inalis)Nepos
inscription
in Ostio Tiberino,showingthat the medal was made at Ostia between
1 Infessura, ed. Tommasini, p. 76.
* Tres, de Num., Md. I tal. i. PL XXIV. 3.
* Friedlnder,Ital. Schaumnzen,PL XVII. ; J. de Foville in Rev. de I' Art anc. et mod.
xxxii. p. 276.
D 2
36
of the Renaissance.
37
ofLysippus,
we mayadmitthatthepieceshowssometracesoftheinfluence
ofthe reverse.
as in the lettering
and in the composition
MoreofthequalityofLysippusis to be foundin a medalof Diomede
Cajaffa(PL VII. 2) and in that one.of FranciscoVidal whichdescribes
the sitteras Ingeniidoctrinae
principiumctculmen
leporisqueac probitatis
that
his
to
manner
VII.
so
are
close
manywould hardly
4)1
(PI.
they
hesitateto givethemto theartisthimself. The sameis trueofthelarger
of the two medalswhichgive us the portraitof the medallistGiovanni
Candida (Fig. 3).2 This is a work of
great beauty, broad and sympathetic
in its treatment,
and perhapsfinerthan
anythingelse attributedto Lysippus.
of
In the proportionand arrangement
the letteringwithregardto the bust it
differs
fromthat artist'swork,and the
resemblances
whichit does showto it are
easilyexplainedon the groundthat the
author of it, perhaps Candida himself,
came under the influenceof Lysippus,
if he was not actuallyhis pupil. The
smallermedal of Candida,on the other
hand,showsno traceofthe elderartist's
Fig. 3.- Giovanni Candida.
influence(PI. VII. 5). On this piece
Candida is a youthof about seventeen
or eighteenyears,and he mayhave made it himselfbeforehe knewthe
workof Lysippus.
GiovanniCandida*was ofNeapolitanbirth,but cameyoungto Rome,
and had a succesfuldiplomaticcareer. He was stillquiteyoungwhenhe
wentto Flanders,wherehe is knownto have been secretaryto the Duke
mainlyspentin
of Burgundyfrom1472 to 1479. His lifewas henceforth
medallist.
Roman
a
as
count
can
Flandersor France,so that he
hardly
that he
Rome
to
But it musthave been on one of his diplomaticvisits
in style,withthe portraits
made the finemedal, so broad and dignified
1 Burl.Mag., xiii. (1908) p. 280, PI. III. 4 and 5. CompareCandida'smedalofNicolas
2 Froma photographkindlysuppliedby the late M. GustaveDreyfus.
Ruter.
3 H. de la Tour in RevueNumism.(1894, 1895). Otherreierences
in inieme-cecKcr,
Lexikon. On Candida at the Court of Burgundy,see V. Tourneurin Rev.
Allgemeines
, 1914 [1919]pp. 381-411 ; 1919,pp. 7-48, 251-300.
Beigede Numism.
38
39
40
of the Renaissance.
41
head of Christprofesses,
on the reverse,to
accordingto the inscription
have been copiedfroman ancientemeraldcameo,withportraitsof Christ
and St. Paul, whichhad been presentedby the Sultan Bajazet II. to
InnocentVIII., in orderto induce him to keep his brotherDjem in
captivity. As thereis nothingEarly Christianor Byzantineabout the
typeofChrist(oraboutthatofPaul,whenthehead oftheApostleappears,
as it does on certainlaterspecimens),
we mustassumethatthe artistwas
to imposeon the piousby claimingthathis fancyportraits
endeavouring
werebased on ancientauthority. Howeverthismay be, the medal was
verypopular,and it is probablethatmostofthelaterversionsweremade
in Rome,continuingdown to the timewhen,shortlybeforethe middle
a newtypeof Chhstmedalbecamefashionable,
ofthe sixteenthcentury,
and oustedthe old one frompopularfavour.
Innocentwas followedin 1492 by AlexanderVI. Of the second
medals.1
BorgiaPope we have probablynotmorethanfourcontemporary
thePope's coronation:
A muchdiscussedpiece (PI. VII. 7) commemorates
the Pope is seated undera canopy; threebishops,a crowdof persons,
whichtakes
assistat the ceremony,
soldiers,a horsemanand trumpeters,
background. In the exergueis the word
place beforean architectural
thismedalto Caradosso(ofwhomwe
attributed
CORONAT. Friedlnder
shall speak later)and Bode acceptsthis view; but in 1492,at the time
Caradossowas stillin the serviceof Sforza
of the eventcommemorated,
at timesin that service,and may
travelled
he
that
at Milan. It is true
have visitedRome. The medal is certainlymorein Caradosso'sstyleso faras we can forman idea of it- than in that of Francia,in whom
Fabriczywould seek the author. Least probableof all suggestionsis
thatit is so likea medalofHadrian
thatwhichis venturedby Martinori,2
unknown
ofa non-contemporary,
the
work
be
considered
must
it
VI. that
medallist. But the medalofHadrianVI. to whichhe refersis fromdies
fabricastillpreservedin the Romanmint,and is one oftheinnumerable
a
The
at
later
date.
medal
authorities
Roman
the
tions producedby
'
lavoro eccellentee degno di un grande incisore8'
of AlexanderVI.
42
of the Renaissance.
43
44
45
1 All the specimensotherthan the one foundat Fourviresand now in the Paris
Cabinetseemto have beencast fromthat one.
2 Unlessone recordedby Armand(iii. p. 197,A) is contemporary.The inscription
Ottimobrincibioccupiesthefieldofthe reverse. I have notseenit.
3 Summaryof his career,with bibliography,
in Thieme-Becker'sAllgem.Lex. d.
bild. Knstler. See also F. MalaguzziValeri'ssanelysceptical account in La Cortedi
Lodovicoil Moro,vol. iii. (1917) pp. 325 ff.
4 Some,or perhapsall, of the portraitcoins of Galeazzo Maria Sforzaand Bona of
Savoy, on the otherhand, are fromdesignsby ZanettoBugatto,the dies beingcut by
Francescoda Mantova and Maffeoda Civate or his son Ambrogio. See F. Malaguzzi
Valeri,op. cit.pp. 358-9.
46
of the Renaissance.
47
delicacy,but the designis somewhatfussy. On the whole,this documentedpiece may be said to confirm
the attributionto Caradossoof the
medalsofLodovicoil Moroand FrancescoSforza,and ofthe largemedals
of JuliusII, to whichwe shallcomelater.
CellinispeaksofCaradossoin termsofenthusiastic
praise,but it may
be observedthat he says nothingof any medals (in our sense) or coins
of his ; in fact it is noticeablethat he ratherimpliesthat he did not
are : 'Questo huomo
engravecoin-dies. His wordsin his Autobiography1
cesellate
fatte
di piastra,et molte
solamente
di
lavorava
medagliette
altre cose ; fece alcune Pace lavoratedi mezo rilievoet certiChristidi
un palmo, fattidi piastresottilissime
d'oro, tanto ben lavorate,che io
il
essere
maggiormaestro,che mai di tal cose io havessi
giudicavoquesto
visto,et di lui pi che di nessunoaltro havevo invidia. Anchorac'era
altrimaestriche lavoravanodi medaglieintagliatein acciaio,le quali son
le madreet la vera guida a coloroche voglionosaperefarebenissimole
' of.
monete/ These ' medagliette
Caradosso,as Celliniexplains elsefromthatof
a
made
were
where,
hat-badges,
by techniquequite different
cast or struckmedals2; and Caradossoseemsto be contrastedwiththe
ex silentio
peoplewho made dies forcoinsor medals. The argumentum
to
the
evidence
and
we
take
cannot
is nearlyalwaysunsound,
provethat
Cellini supposed that Caradosso did not make medals at all ; but it
seemsclearthathe did not regardthemas takingan importantplace in
themaster'sactivity.
In dealingwithmedalsto be attributedto Caradossoin his Roman
period,since,so faras the archiveshave been searched,thereis no documentaryevidenceof such works,with the exceptionof the medal of
FederigoGonzaga,we dependgreatlyon the statementof Vasari, in his
life of Bramante.3 He describesthat architect'sdesign of St. Peter's
'come si vede nelle moneteche batt poiGiulioII. e Leon X., fatteda
Carradossoeccellentissimo
orefice,che nel farconj non ebbe pari ; come
ancora si vede la medagliadi Bramantefattada lui molto bella/ Now
we have alreadyseen that the evidenceof Celliniis, to say the least,not
in favour of the view that Caradosso was a coin-engraver.Modern
numismaticauthoritiesare unanimousin rejectingthe statementthat
CaradossoengraveddiesforcoinsofJuliusII. or Leo X. ; and indeedthere
2 Op. cit. p. 64 ; cp. Oreficeria,cap. v.
1 Ed. O. Bacci (1901), p. 52.
8 Ed. Milanesi, iv. p. 161.
4b1
are no coins o these Popes that bear any resemblanceto any of the
Milanesetestoonsorto themedalofFederigoGonzaga. Sincetheattributionofthetestoonsis not certainwe should not lay much stresson the
the Vaticanrecordsyieldno evidence
argumentfromthem.But, further,
ofdies havingbeenengravedbyCaradosso. Vasari'sstatementis perhaps
a goldsmithas Caradossocould
due to some notionthat so distinguished
nothave failedto have been employedon suchwork. It is in any case
a carelessstatement,
sincethemedalofBramante(PI. IX. i)
demonstrably
is cast, not struckfromdies. It representsthe great architect'sbust,
undraped,withthearmcut offas ifit werea pieceofsculpture: a pseudoclassicaltouchnaturalenoughin Rome at the time,but not to be found
on othermedals until the sixteenthcenturyis well advanced. On the
Architecture
reverseis a figuresymbolising
; she is seatedwithherright
is
footon a weight,and holdsa squareand compasses; in thebackground
a view of St. Peter's,accordingto Bramante'sdesign. The inscription
is FidelitasLabor.1 The portrait,in spite of the affectedtreatmentof
the bust, is a remarkablypowerfulpiece of characterisation.No one,
so far as I know, has disputedVasari's attributionof this medal to
Caradosso. It bears no strikingresemblanceto the Milanesemedalsor
withthem.
to thatof FederigoGonzaga,but neitheris it incompatible
What then of the medals of JuliusII. ? There are two or three
whichhave been assignedto the Milaneseartist. One, whichis struck
theconversion
ofSt. Paul, has also beenclaimed
fromdies,and represents
for Francia (Pl. IX. 3). This is pure guess-work.In its hard and
unimaginativestyleit is entirelyin keepingwith-the techniqueof the
coinswhichwereissuedfromthemintduringthe timethatthe Florentine
Pier Maria Serbaldida Pescia (calledTagliacarne)was engraver,2
and the
be
attributed
to
as
Martinori
him,
piece may safely
suggested.3But
thereis anotherportraitof Julius,cast insteadof struck,and of much
1 This medal, on which the sitter is called Bramantes Asdruvaldinus, must not be
confused with the later copy, on which he is called Bramantes Durantinus, the view of St.
Peter's is omitted, and the date 1504 is inscribed on the weight. The maker of this later
copy has followed Vasari (or Vasari's authority) in making Bramante a native of Castel
Durante instead of Monte Asdrualdo, and, having inscribed the date 1504 on the weight,
has been obliged to omit the facade of St. Peter's, on which Bramante did not begin work
until 1506. (See G. F. Hill, PortraitMedals of Italian Artists,1912, p. 42.)
2 Appointed for life by Alexander VI. on
24 Aug., 1499 (Martinori, Annali, Aless.
VI., pp. 17, 29) he engraved the dies for the bullae of Pius III. (ibid. p. 33), and continued
b Op. cit. p. 65.
to be employed under Julius II. and Leo X.
of the Renaissance.
49
betterquality (PL VIII. 3). It is dated 1506,and appearswithtwo rethe facade of St. Peter's with the cupola and
verses; one representing
the ' Instautwo towers,afterBramante'sdesign,and commemorating
'
racioTempliPetri (PL VIII. 3) ; the otherdisplayinga landscape,with
a shepherdseated undera tree and pointingout the way to his sheep,
as theymove down froma mountain; the mottoon this piece is Pedo
srvalasovesad requiemago (PL VIII. 4) Thesetwomedalsare generally
supposedto be Caradosso'swork; the attributionmustforthe present
remainunproventhoughprobable.1 I see no reasonto doubtthatthese
medalsand that of Bramantemay be by the same hand. If the reverse
reducedto the same
of the second medal of Juliusis photographically
scale as the Milanesemedalsmentioned above, it makes, by its
crowdedcomposition,very much
the same impressionas they do.
All threedesignsbetraya certain
restlessnessof effectin common
with the David of the Gonzaga
medal. The portrait of Julius
lacks the penetrationand vigour
of theportraitof Bramante. But
it is naturalthat Caradossoshould
have had more intimateperception of his fellow-artist,
whomhe
had knownat Milan beforethey
Fig. 5.- Julius II. By Caradosso.
both came to Rome,than of so
exalteda personas the head of the Church,withwhomhe had perhaps
but just comein contact.
Thereis a varietyof the medal of St. Peter's on whichthe Pope is
representedwearinga large skull-capand cape (cappa or mozzetta),
insteadofa cope (Fig. 5).2 Armand,aftera carefuldiscussion,concludes
thatthisis thepieceofwhichtwo specimensin goldand ten in brasswere
of St. Peter'son 18 April,1506. He seemsto
placed in the foundations
me to lay too muchstresson the fact (reportedby Burckard)that the
'
1 Martinori(op. cit.p. 66) is ' not too well
as being
persuaded by the attribution,
conjecturaland withoutdocumentary
support.
2 Armand,i. 108. 4, iii. 36a. I owe the cast of this
specimento the kindnessof
M. JeanBabelon.
E
So
of the Renaissance.
51
52
of the Renaissance.
53
54
55
11. 112,
19 ; 111. 201 f.
56
57
58
i. PL XX. 5.
of the Renaissance.
59
withRomaon thereversewerethrown
numberofmedalsof the Magnifico
to the people.1
the piecewhichcomes
If theauthorshipofthesemedalsis uncertain,
theworkofGambello; on theother
to be mentionednextis undoubtedly
withLeo X. is quiteconjectural. It is a plaquette2in
hand,its connexion
a lionstanding
ofthe lateM. Gustave Dreyfus,representing
thecollection
above is
to left,its rightfore-foot
placed on a globe. The inscription
R ANIM V and belowis the signatureV CAMELIO FA * Martinori
describesthisas the onlymedal of Leo X. signedby the engraver.That
it does referto Leo at all is a matterof conjecture,based on the type,
of
and favouredby the factthat manyof the allegoricalrepresentations
thetimealludedto the Pope as a lion.3
Leo X. and the Duke de Nemoursare associatedon anotherpair
in stylefromthose just deof medals (PI. IV. 6 and 5) verydifferent
1 Brit.Mus. MS. Harl. 3462 f. 6 v. : 'dopoi Berecintiagetoal populogrannumerode
medagliedel prefatoMag00c Roma da riuerso.' Dr. Thomas Ashbyalso kindlysupplies
me with the followingpassages bearingon these medals: Marco AntonioAltieri(ed.
Romanoovvero
il NatalediRomanel 1513,
Pasqualueci,Giulianode' Medici elettocittadino
Rome, 1881,p. 52, afterdescribingthe speech made by a boy dressedas Roma in the
Theatreon thesecondday) ' et in questesimiliparole,per quelle Ninfe,che smontategli
di Medagliein forma
ne cavaronumeroinfinito
stavanoalii piedi,aperticertilorBorscioni,
et
d'argento,et ancoradi rame stampateda l'un de lati l'immaginedi S. Magnificentia,
di questi
dair altro,un Marteche sedeva,in spoglieacquistateda Nemici,con l'espressione
tali lettereC. P. cio,consensopubblico,e si sparsepertuttoil Teatro.' Paolo Palliolo of
delPatriziatoRomanoa Giulianoe Lorenzo
Le Festepel conferitnenlo
Fano (ed. O. Guerrini,
de' Medici,Bologna,1885,p. 109) ' intantoM. CamilloPortk)gentiluomoromano,autore
della presentefarsa,fecespargernel Treatro da li medesmiCoribantibuon numerodi
medagliedella qui annotata grandezza,in nulla partealie antique inferioridi bellezzaet
la testadel MagJulcon le litterequi descritte
arte. Da un lato ritrattanaturalmente
[MAG IVLIANVS MEDICES]. Da l'altrolato se vede Roma sotto spetie di una vaga
damigella,nuda tutta,excettoche tieneintornoun certomantoannodato sopra la spalla
sinistra. Sede sopracertitropheide scudi,ha in manola Vittoria. Dalle bande et sqtto
li piedisonle litteredescrittein questocerchio[CP ROMA].'
see Ashbyin P.B.S.R. vi. pp. 194 if.
On thesceneoftheceremony,
2 Arm.,iii. p. 45/)(Martinori,
Annali,Leone X., etc., p. 23). I have not seen the
piece.
8 As for instancein the processiondescribedby Chieregato(p. 6o, note 4). Is the
meantforRefrigerium
(requiem)animabusvestris(Jer.vi. 16, Matth.xi. 29) ?
inscription
If so,it is no coincidencethat amongthe Medicidevices used by Leo is a yoke withthe
mottosuave (Matth.xi. 30). For medalswiththis device,see Typotius,Hierogr.Pont.t
12 ; Venuti,Num.Rom.Pont.,p. 370,No. 12.
p. 31,No. 20; Bonanni,Num.Pont.,i. 163,
The last writerdescribesthispieceas an, ' emblema.' A specimenin theBritishMuseum
(75 mm.,set in a rim making86-5mm.),the onlyone I have seen,is hardlyearlierthan
medalwiththistypeever
the eighteenth
century; and I doubt whethera contemporary
foundon othercontemporary
existed. But the device is frequently
objects associated
withLeo; see,e.g.A. Marquand,RobbiaHeraldry(1919)figs.215,219.
6o
6i
62
3 Burlington
Magazine,xviii. (1910),p. 14.
* Burlington
Magazine,xxix. (1916),pp. 251 f.
63
with whichthey have for the most part been confounded. It seems
Tommasod'AntonioPerugino,
mayrepresent
possiblethatthemonogram
called Fagiuolo, who was appointedto the Papal Mint in 1533 and
workedthereuntil1541.1 The factthat no medal of a Pope can, as far
as we know,be attributedto himis, in view of what has just been said,
withtheidentification
proposed.
anythingbut incompatible
It remainsto expressmy thanksto those ownersof medals (especiallyMr. MauriceRosenheim)and directorsof Museumsto whosekindness in allowingme to have casts the illustrationof this articleis due,
as willbe seenfromthe keyto the plates; and also to Mr.W. H. Woodward, who was good enoughto read my manuscript,and make some
very useful suggestions,especiallyin regard to Caradosso. But my
especial debt is to Dr. Thomas Ashby,who has read the proofswith
too numeradditionsand corrections,
greatcare and providedimportant
in each case.
ous to be acknowledged
September,1919.
I.
64
Plate II.
,,
3.
(Maurice Rosenheim CollecSee
tion.)
p. 24
4. Guaccialotti(?), SixtusIV. (Ownerunknown.) See p. 27.
5. Giulianode' Medici,Florence. See pp. 59, 60.
6. Leo X, Arms. See pp. 59, 60.
Plate V.
1. Lysippus,Malitia de Gesualdo. (Victoriaand AlbertMuseum,
SaltingCollection.) See p. 34.
2. Lysippus,SixtusIV., PonteSisto. See p. 35.
3. SixtusIV., Coronation.(MauriceRosenheimCollection.)See p. 35.
4. Gambello,SixtusIV., Audience. (Brussels.) See p. 35.
65
Plate V. (continued).
5. Sixtus IV., Fortressof Ostia. (MauriceRosenheimCollection.)
See p. 35.
6. Giulianodella Rovere. See p. 36, note1.
Plate VI.
1. Lysippus,Giov.AlviseToscani (obv.). See pp. 34, 35.
2. Guillaumede Poitiers. Mercuryand Church. See p. 40.
3: Lysippus,Self. See p. 34.
4. Candida,Clementeand Giulianodella Rovere. See p. 38.
Gamberia. (MauriceRosenheim
Collection.)See p. 39.
5. Bernardino
6. GirolamoCallagrani. (Munich.) See p. 38.
7. InnocentVIII., Peace,Justiceand Abundance. See p. 39.
Plate VII.
1.
2.
3.
4.
5.
6.
7.
Plate VIII.
AlexanderVI., CastelSant*Angelo. See p. 42.
InnocentVIII., Arms. See p. 39.
Caradosso,JuliusII., St. Peter's. See p. 49.
1.
2.
3.
4.
5.
Plate IX.
1. Caradosso,Bramante. (MauriceRosenheimCollection.)Seep. 48.
2. Caradosso,FederigoII. Gonzaga. Silver. (HenryOppenheimer
Collection.) See p. 46.
F
66
,,
,,
5.
(Paris.)
Justiceand blacksmith.
See p. 53.
6.
CivitaVecchia.(MauriceRosen
7.
ofJustice. See p. 53.
8.
P. B. S. R. IX. PL. I.
ROMAN MEDALLISTS.
ROMAN MEDALLISTS.
ROMAN MEDALLISTS.
PAUL II.-SIXTUS
IV.
ROMAN MEDALLISTS.
PAUL II.-LEO
X.
P. B. S. R. IX. PL. V.
ROMAN MEDALLISTS.
SIXTUS IV.
ROMAN MEDALLISTS.
SIXTUS
IV.-INNOCENT
VIII.
ROMAN MEDALLISTS.
ROMAN MEDALLISTS.
INNOCENT
VIII.-LEO
X.
ROMAN MEDALLISTS.
JULIUS II.-LEO
X.
P. B. S. R. IX. PL. X.
ROMAN MEDALLISTS.
JULIUS
II.-LEO
X.