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Renaissance Bronzes

Statuettes, Reliefs and Plaquettes,

Medals and Coins
from the
Kress Collection
National Gallery of Art
Foreword 7
Introduction 9
Small Bronzes 21
Reliefs and Plaquettes 49
Medals 99
Check List
Small BronzesItalian 137
Flemish, French, German . . .141
Reliefs and PlaquettesItalian 141
Flemish, French, German . 159
Russian 160
MedalsItalian 160
French 195
German 199
Flemish 203
English 204
CoinsItalian, French, Spanish 205
Index of Artists 207
Index of Persons Represented on Medals 211
The Kress Collection, which came to the National Gallery of Art at the
time it was founded, contained outstanding works by many of the world's
greatest sculptors. As a result of this gift and the gifts of sculpture included
in the Mellon and Widener Collections, the National Gallery, although it has
been open to the public only ten years, is now in the front rank of museums
showing sculpture, especially of the Renaissance period. The Gallery's collec-
tion of sculpture thus parallels its collection of paintings, which covers the
period from the thirteenth to the twentieth century.
The collection of small bronzes and medals in the National Gallery, while
distinguished in quality, has been limited both in the number of artists repre-
sented and in the variety of examples of their work. This situation has now
been remedied by the addition to the Kress Collection of the bronze statuettes,
plaquettes and medals described in this volume. This famous group, formerly
known as the Dreyfus Collection, has long been the admiration of connois-
seurs by reason of the number and quality of the works of art which it
The addition of these objects to the collection assembled by Mr. Samuel H.
Kress and his brother, Mr. Rush H. Kress, as trustees of the Samuel H. Kress
Foundation, adds greatly to the prestige of the National Gallery of Art in the
field of sculpture.
David E. Finley
The Renaissance bronzes from the Samuel H. Kress Collection form one of the
most distinguished groups of their kind in existence. Now exhibited to the
public for the first time, the collection has long been familiar to amateurs of
Italian art by the name of its former owner, the French collector Gustave Drey-
fus (1837-1914), who brought together this imposing array of statuettes, pla-
quettes and medals in a lifetime devoted to the collecting of Renaissance art.
Gustave Dreyfus began to collect in the early 1870's, his first major purchase
being a magnificent group of some ninety Italian paintings, sculptures and bronzes
belonging to the French painter Charles Timbal, who had brought many of them
from Italy in the years between 1851 and 1870. Timbal, fearing for the safety
of his treasures in the troubled days of the war of 1870 and the Commune,
reluctantly decided to part with most of them. Acquired by Gustave Dreyfus in
1872, they became the nucleus of his collection. Thus, at the age of thirty-five,
he became the owner of what was virtually a small museum of Renaissance paint-
ing and sculpture, a "Parisian Bargello," as it was sometimes called. Only
medals and plaquettes, of which Timbal had acquired none, were lacking.
For the next forty years Dreyfus seldom purchased a painting or sculpture, pre-
ferring to assemble the series of plaquettes and medals which was to become the
choicest of any collection, public or private, anywhere. He was a buyer at all
the important European sales and every art dealer in Europe gave him first
refusal in his chosen field. G. F. Hill, in his catalogue of the Dreyfus medals,
wrote of him as "of the select company [of collectors] who are not content with
acquiring this or that on the advice of experts, but rely chiefly on their own
taste and judgment, which long experience and handling of the objects, not mere
book-knowledge, combined with a natural flare for what was fine, makes steady
and assured." His taste for quality made him always ready to replace a good
example with a better one and he is said, in some instances, to have exchanged a
medal or plaquette five or six times before he was finally satisfied.
Following his death, in 1914, the Dreyfus Collection, modestly housed in the
medium-sized salon of his flat near the Pare Monceau, remained in the possession
of his family until the summer of 1930, when it was purchased en bloc by Sir
Joseph Duveen. Although most of the paintings and sculptures have since been
dispersedseven of the paintings and eighteen of the sculptures are now in the
National Gallery of Artthe group of bronzes was still intact when acquired by
the Samuel H. Kress Foundation.
Not only in numbersit comprises 1306 objectsbut also in the exceptional
quality of individual specimens, many of which are unique, the present collection
ranks with the well-known holdings of the Bargello at Florence, and the museums
of Vienna and Berlin. In respect to the 460 reliefs and plaquettes1 and the 708
medals,- the Kress Collection is without riva1.
'Eric Maclagan, Catalogue of Italian Plaquettes, Victoria and Albert Museum, 1924, p.
8: "The largest collection of plaquettes is that at the Kaiser Friedrich Museum, [containing]
just over a thousand different varieties. This collection is rivalled by that formed by the
late Monsieur Gustave Dreyfus . . . which certainly excels all others for the quality of the
plaquettes it contains."
Kj. F. Hill, The Gustave Dreyfus Collection, Renaissance Medals, 1931, v: "I like to
think that, keenly as Gustave Dreyfus appreciated all his beautiful things, he had a par-
ticularly soft place in his heart for the Italian medals. . . . His was perhaps the finest
collection that has ever been in the hands of a private collectorthe 'perhaps' might be
omitted, but that it is difficult to range the great collections in a true perspective."
Gustave Dreyfus never catalogued his treasures, but he was mainly responsible
for the information and attributions which appeared in several articles on the
Dreyfus Collection in Les Arts, 1907-08, by three of the curators of the Louvre,
Jean Guiffrey, Paul Vitry and Gaston Migeon. The definitive catalogue3 of the
collection of bronzes was not to be published until many years after the owner's
death, and after its purchase by Duveen. The check list included in the present
publication is based upon this catalogue and the attributions made therein have,
with but few exceptions, been kept here.
Bronze has been used by artists since earliest civilized times. An alloy of ap-
proximately nine parts tin to one of copper, bronze in its fluid, molten state is
easily cast in elaborate shapes if required, which it would be impossible to dupli-
cate in such a material, for example, as stone. When solid, bronze is hard and
durable, and exceedingly resistant to time and wear.
During the Renaissance bronze statuettes as well as plaquettes were usually cast
by the "lost wax" method, a process that consists of making a model with a wax
surface of suitable thickness, forming the outside mold about this, heating the
mold so that the wax melts and runs out, the vacant space then being filled with
meta1. Besides bronze, silver and lead were also occasionally employed by Ren-
aissance artists. Bronze was rarely left in the raw state, with its unpleasant color,
in which it left the mold. The surface was modified in various ways. Often it
was so rough that extensive chasing was required to make it presentable. The
bronze was almost always gilded or colored, the patina or color, usually a dark
brown or black, being produced by chemical treatment or by lacquers and var-
nishes (usually of pitch in linseed oil).
During the Middle Ages bronze was used chiefly for utensils and ornaments,
either ecclesiastical or domestic. With the Italian Renaissance bronze sculpture
came into its own, rapidly becoming a specialized art in which famous as well as
many less celebrated artists achieved popularity.
The small bronzes in the Kress Collection comprise 111 specimens, nearly all
of which are Italian, dating from the fifteenth to the seventeenth century. They
have considerable range of interest and variety, as may be seen in the following
illustrations, including several statuettes of the greatest beauty, a number of
small animal sculptures, a small group of bronze boxes and desk furnishings or-
namented with plaquettes, and an unusually fine selection of table bells and
mortars. Aside from their intrinsic beauty, these small objects, more intimate,
less formal than monumental sculptures, are revealing documents of Renaissance
life and society. Many are inspired by, if not more or less freely copied from,
the remains of Hellenistic and Roman art which were so highly prized by the
humanists and princely collectors of that age of classical reviva1. To cite only one
example, the Spinario (p. 25), which exists in at least a dozen other versions by
different hands, was freely copied from the famous antique bronze statue of a
youth drawing a thorn from his foot which, as early as 1480, was already on view
in the Capitol, at Rome, where it is still exhibited. But the men of the Renais-
sance also found pleasure in small bronzes that were, on the whole, lacking in
antique elements, creations that were entirely in the style of the Renaissance.
Besides the purely secular objects, there are numerous religious pieces, especially
statuettes of popular saintsGeorge and the Dragon (p. 24), Sebastian (p. 26),
or John the Baptist (p. 29). Who created these delightful objects is in many
cases impossible to determine with absolute certainty, for rarely are they signed.
"Seymour de Ricci, The Gustave Dreyfus Collection, Renaissance Bronzes and Reliefs and
Plaquettes. George Francis Hill, The Gustave Dreyfus Collection, Renaissance Medals.
Oxford University Press, 1931.
It is to Florence, the early center of the Renaissance in Italy, that we must look
for the new taste for small bronzes. Foremost among Florentine sculptors of the
fifteenth century was Donatello (c. 1386-1466), whose innovations opened the
way for the development of the art. Though Donatello probably made few, if
any, of the statuettes and plaquettes sometimes attributed to him, he revived
bronze as a popular medium for sculpture in the round. The large bronzes which
he executed in Florence and Padua show a profound naturalism modified by
study of the antique.
Among Donatello's followers at Florence, three were outstanding though each
made only a few statuettes. Bertoldo di Giovanni (c. 1420-1491), friend of
Lorenzo il Magnifico and master of Michelangelo, has been called the father of
the bronze statuette. His bronzes reflect the classical ideals of the humanist circle
of Lorenzo but, more important, they are no longer conceived as ornament for
some useful object but have a life of their own, were made to be enjoyed for
themselves in a Renaissance studio or salone. A number of statuettes by un-
known Florentine artists of the end of the Quattrocento and the beginning of
the Cinquecento show the influence of Bertoldo's intimate art. Contemporary
with him was Antonio Pollaiuolo (1429-1498), whose studies of anatomy pro-
duced figures notable for their muscular tension and plasticity. Andrea Verroc-
chio (1435-1488), the master of Leonardo, also worked in the scientific tradition
of the period, producing several statuettes, such as the Dancing Faun (p. 23),
whose marked contrapposto gives a spirited movement to the figure. Possibly
from the Verrocchio workshop are a small number of genre subjects, putti and
amorini, for example, derived from late antique models.
It was, however, in northern Italy, especially in Padua and nearby Venice,
that the production of bronze statuettes, as well as reliefs and plaquettes, flour-
ished in the second half of the fifteenth and throughout the sixteenth century.
Donatello had spent ten years in Padua, from 1543 to 1553, working on the
bronze statues and reliefs of the high altar of the Santo and casting the great
equestrian statue of Gattemalata which stands today before that church. From
these projects, which required innumerable assistants, there arose a flourishing
industry of bronze working. At the same time, the University of Padua, famous
throughout Europe as a center of humanism, furthered the taste for small
bronzes, and its faculty of illustrious scholars, imbued with a passion for classi-
cal learning, revealed to artists the unexplored themes of ancient literature. At
Venice, which itself had a long tradition of bronze casting, the noblemen and
prosperous merchants were avid collectors of the richly ornamented bronze can-
dlesticks and bowls (p. 45) and mortars decorated with classical garlands or
dolphins (p. 44) with which they loved to fill their palaces. Thus there was an
ever present market for the bronzes of the Venetian-Paduan founders. These
bronzes were not, however, confined to the region but entered the castles and
cities on the mainland and extended even beyond the Alps, to France and Ger-
many. As might be expected, the small bronzes of these workshops exist in far
greater number than those of the Florentine schoo1. It is noteworthy, too, that
while replicas or variants of statuettes made in Florence are of infrequent occur-
rence, the opposite is true of those cast in the Veneto, which rarely, especially
when a popular subject, exist in a single example but were repeated in any num-
ber of castings, and often recast at periods considerably later than that of the
original mode1.
Bartolommeo Bellano (c. 1434-c. 1497), a pupil of Donatello, was one of the
earliest of Paduan bronze sculptors. To him is ascribed the powerful gilt bronze
plaquette of the Dead Christ between two angels (p. 65), a favorite subject with
sculptors of the Paduan schoo1. His statuettes are infused with the naturalism
of the Florentine sculptor's mature works and are less rigorously classical than
those of the Paduan sculptors who followed him, notably his pupil, Andrea
Briosco called Riccio (curly-head).
Riccio (1470-1532) is the most important of all the Paduan makers of bronzes.
His most celebrated work, on which he spent ten years (1506-1516), is the monu-
mental candelabrum for the Easter candle in the Santo. At the same time a
quantity of statuettes and useful objects, reliefs and plaquettes issued from his
workshop, of which the group in the Kress Collection is exceptional both in
numbers and in the superb quality of individual specimens. The large Entomb-
ment relief (p. 76) was called by Migeon "one of the great masterpieces of
Riccio, a worthy rival of the most moving reliefs of his famous candelabrum."
Attributed to Riccio and his co-workers at Padua are numerous representations
of satyrs and satyresses, the latter apparently an invention of the Paduan school,
for they have no classical prototypes (p. 80). Yet another group is that of the
small oil lamps, imitating those of antiquity, with their fantastic combinations of
human or animal heads (p. 37). A new type of statuette, which was unknown
to Florence but is among the most delightful creations of the Paduan school, is
represented by the bronzes that reproduce animals. These are based on close ob-
servation, and so true to life are they in many cases that it has been suggested
that casts were actually taken from living creatures such as crabs (p. 36) or
toads (p. 37).
Another artist who is associated with the Paduan school, though he worked
for the Gonzaga family at Mantua, was Pier Jacopo Alari Bonacolsi, known as
Antico from a series of medals signed by him with that pseudonym. An anti-
quarian spirit pervades his bronzes, which are rather dry imitations of classical
sculptures, lacking the vigorous invention and the free interpretation of antique
motives to be found in the works of Riccio.
Among the North Italian bronze sculptors of the sixteenth century Jacopo
Sansovino (1486-1570) was an important figure. Born in Florence, this contem-
porary and rival of Michelangelo worked first in Rome. By 1527 he had moved
to Venice where, in the course of a long career, he completely revitalized sculp-
ture in the Veneto. His suavely elegant figures in the style of the High Renais-
sance suited the temper of the golden age of Titian and Tintoretto.
A favorite pupil of Sansovino was Danese Cattaneo (c. 1509-1573), who did a
number of bronze statuettes as well as splendid portrait busts which are in the
tradition of the great Venetian school of portrait painting.
The artist who dominated the second half of the sixteenth century in the pro-
duction of bronzes in Venice was Alessandro Vittoria (1525-1608). The man-
nered elegance of his style is apparent in the elongated forms and graceful,
flowing contours of his figures.
Foremost among Florentine producers of bronze statuettes in the latter half of
the sixteenth century was Giovanni da Bologna (c. 1524-1608), a Flemish artist
who had come to Florence as a young student and remained there for the rest of
his life. He made a large number of bronzes, many of which are remarkable for
their delicacy of modeling and minute chiseling, as well as their patina which, in
contrast to the dense black finish of Venetian bronzes of the same period, more
often consists of a transparent lacquer that reveals the natural blond tone of the
bronze. His works were extremely popular throughout Europe and had consid-
erable influence upon other sculptors.
With the seventeenth century the great Renaissance tradition of bronze statu-
ettes came to an end. Outside Italy only Niirnberg had produced an independent
school of bronze casting, with Peter Vischer (c. 1460-1529) and his sons. The
Venus (p. 34) in the Kress Collection is an example of the South German school
of the early sixteenth century and betrays a less idealized, more romantic inter-
pretation of classicism than that of analogous bronzes in Italy. Representative
of Vischer's work at its best is the beautiful and, so far as is known, unique relief
of Orpheus and Eurydice (p. 96).
The 460 reliefs and plaquettes in the Kress Collection form the choicest group
of these works of art in the world. Not only is it rich in unique specimens but in
many cases the Kress example is by far the finest that exists. Molinier, whose
publication4 of Renaissance plaquettes was the first of its kind and is still the
standard work on the subject, based his study for the most part on the examples
which Gustave Dreyfus had acquired up to the date of publication (1886), de-
scribing nearly 300 plaquettes in the Dreyfus Collection.
Hill has defined a plaquette as "any small flat piece of metal decorated in relief
on one side only, for application as ornament."" The distinction between a relief
and a plaquette is difficult to draw but, in general, it is based on relative dimen-
sions; a relief if it is to be considered a plaquette must be small, but the division
between them is an arbitrary one.
Plaquettes were collected during the Renaissance, probably from the day they
were made, and like engravings, with which they have much in common as regards
both reproduction and subject matter, they have been prized by collectors. The
earliest systematic collector of them in modern times was the great German author
Goethe (1749-1832), whose remarkable collection, which included medals, was
bequeathed in 1885 by his grandson to the Goethe Museum at Weimar. Today
Renaissance plaquettes are comparatively rare and even three or four of the most
usual are known by scarcely more than ten or fifteen examples, of which more
than half are probably of indifferent quality.
The purpose of plaquettes was mainly decorative and some were intended to
ornament useful objects such as coffers, inkstands, sand boxes, sword hilts, and
the like. Most of them were mounted or framed in a setting of some kind,
though this has usually disappeared. Many are pierced for suspension or attach-
ment. Small plaquettes were frequently used as personal adornments, being worn
around the neck or as a pendant or used as a hat badge, as may be seen in the
Portrait of a Man by Filippo Mazzola, number 28 in the present exhibition of the
Kress Collection. A large class of plaquettes was made from impressions of in-
taglios, often from the antique gems so highly prized by Renaissance collectors, or
from the numerous engraved crystals and hard stones by Renaissance artists
themselves such as Valerio Belli and Giovanni Bernardi. There is, too, a group
of plaquettes with religious subjects which were used as paxesthe tablets pre-
sented at the Mass for the Kiss of Peace. But aside from the purely utilitarian
and decorative talent of their original makers, it is morely than likely that many
plaquettes, especially those of exceptionally fine quality were, as Maclagan has
suggested, "frankly meant as objects of art; a plastic parallel to the contemporary
engravings which they sometimes imitate . . . and were kept and handled and
enjoyed for their own sake, in the fifteenth and sixteenth centuries no less than
at the present day."6
Almost all Italian Renaissance plaquettes were made from wax models by the
"lost wax" process, which has been described above. Only one cast in metal could
be made from the original wax model, which was lost in the process. From this
(original) metal cast a new mold would be made and a number of casts pro-
duced from it, all a trifle smaller than the first original owing to the shrinkage
of most metals in cooling. Theoretically, the process could be repeated indefi-
nitely, just as prints from an original plate can be produced in any number. In
4E. Molinier, Les Bronzes de la Renaissance. Les Plaquettes. Paris, 1886.
SG. F. Hill, Medals of the Renaissance. Oxford, 1920, p. lOf.
^Catalogue of Italian Plaquettes, Victoria and Albert Museum, p. 3.
practice, however, impressions of a print become weaker as the plate gradually
wears out, and later casts of a plaquette or a medal become less sharp the further
they are removed from the origina1. Thus, plaquettes and medals, like engravings,
differ in quality, quite apart from the accidents of wear, by so much as they are
nearer or further from the origina1. Also, plaquettes sometimes exist in differ-
ent "states," with or without a certain figure, with or without an inscription, with
or without a decorative border.
Practically all the Italian plaquettes of interest to collectors were made between
1450 and 1550, a century, roughly, that also witnessed the greatest artisic achieve-
ments in the closely allied medallic art. The large majority of plaquettes date
from the latter half of that period, the age of the High Renaissance.
As in the case of bronze statuettes, the number of artists who can defiintelv be
identified as the authors of plaquettes is comparatively smal1. A group of
plaquettes, including the twelve in the Kress Collection, has been attributed to
Donatello but it is very doubtful if any of them were really made by him,
although they appear to be connected with his workshop. The extraordinary
portrait (p. 51), of the great architect and writer on art Leone Battista Alberti,
was probably made by Alberti himself in the thirties of the fifteenth century; "the
winged eye," as Hill has suggested, "seems to be Alberti's personal device, and
perhaps refers to his experiments and discoveries in the science of optics." To the
Sienese artist, Francesco di Giorgio are ascribed four beautiful plaquettes (pp.
60-62), one of which, the Judgment of Paris, was considered by Bode to be the
work of the youthful Leonardo.
With few exceptions the artists who made plaquettes came from north of the
Apennines. As has already been noted, Donatello's influence gave rise to the
Paduan school of bronze workers, foremost of whom was Riccio. He was pre-
sumably head of a large bottega with which a number of artists, anonymous for
the most part, must have been associated. Some scholars have concluded that the
Paduan artist who signed several plaquettes Ulccrino is actually Riccio himself
since that word is the Greek equivalent of the Italian Riccio (curly-head), the
nickname by which Andrea Briosco is universally known.
Another artist working in north Italy in the late fifteenth or early sixteenth
century signed about ten plaquettes with the name Moderno, perhaps in rivalry
with the artist who called himself Antico. He seems to have been a goldsmith
(his most famous works are the two silver plaques in Vienna) and it is likely
that most of the plaquettes attributed to him are actually castings from impres-
sions taken from originals in precious metals. He was a prolific artistthere are
in the Kress Collection nearly sixty plaquettes attributed to himand despite his
chosen pseudonym his works abound in antique subject matter.
Some north Italian plaquette artists like Enzola of Parma, Cristoforo di Gere-
mia and Melioli of Mantua, Caradosso of Milan, Camelio of Venice, and Fra
Antonio da Brescia are also known as medallists. The old attribution to Melioli
of a small number of plaquettes cannot, however, be sustained since in style they
bear little relation to his medals; for that reason, and because they do form a
closely connected group, de Ricci chose the name Pseudo Melioli to characterize
them. Likewise the four plaquettes listed as Pseudo Fra Antonio da Brescia are
so-called because of their not entirely convincing connection with that artist's
medals. Two anonymous artists, among others, who produced beautiful pla-
quettes were the master who signed io-f-f- and the 'Master of the Orpheus
Legend,' so-called from a series of three plaquettes illustrating that subject.
Two artists who worked during the first half of the sixteenth century and
whose output of plaquettes was considerable were Valerio Belli and Giovanni
Bernardi. They were primarily engravers in crystal and many of the plaquettes
attributed to them were doubtless made from intaglios.
In addition to the Italian plaquettes, the Kress Collection includes a small
group of Flemish and French plaquettes, and a somewhat larger selection of Ger-
man examples. Among the latter is the lovely Orpheus and Eurydice by Peter
Vischer, referred to above.
Analogies between Renaissance plaquettes and medals have been indicated
above. The same materials, usually bronze, were used for both and the technical
method of casting was similar. The earlier medals were almost always cast and
it was not until the sixteenth century that the process of striking medals from
dies became usual; but as Hill has pointed out, "from the artistic point of view
the mechanical improvements were almost wholly injurious, and the best artists
have never ceased to favour the process of casting."7
The method of producing the model for casting was as follows: a flat disk,
usually of black slate, or sometimes of wood, formed the base, and on this the
artist modeled the portrait or design in wax. The obverse and reverse were mod-
eled either on the two sides of one disk or on two separate disks. The two sides
of the model were then impressed in molding material, a paste composed of fine
ashes or gesso ground with water. After solidifying, the molds were removed,
then joined together, and the molten metal poured in. It is improbable that the
"lost wax" process, in which the complete model was enclosed in molding mate-
rial and the mold then heated so that the wax was melted and ran out, was em-
ployed by early medallists. From the metal casting another mold could be made
and, as with plaquettes, the casts could be repeated. Probably the wax model
could not be used, however, more than once and the medallist would keep casts,
usually in lead, of the two sides of his medals ready for use when required. These
lead casts, of which there are numerous specimens in the Kress Collection, "often
preserve," as Hill noted, "more than any other form, the character of the original
model; may indeed be actually trial proofs, such as the medallist made and after-
wards hung on a nail on his studio wall, or sent to his sitter to show what he
could do."8 Occasionally the same reverse might be used for different obverses
(pp.110, 111).
The process of striking medals was practically the same as that of striking
coins. An engraved die of steel was produced for each side of the medal just as
one would engrave an intaglio gem. This was the method employed by the few
medallists who struck medals in the fifteenth century. But in the sixtenth cen-
tury another process was invented. The medallist carved a "punch" in relief in
steel, or a number of punches, as one for the head, others for the inscription, etc.
These punches were impressed on a soft metal die, which was afterwards hard-
ened and used for striking. The most primitive method of striking was with a
hammer; later the press came into general use.
As a rule medals are circular, the obverse or front having a portrait, almost
invariably in profile, while the reverse has some kind of historical or heraldic
design. Very often the medals are pierced, as are plaquettes, for suspension or
attachment. In Italy the personal device or impresa was favored for the reverse,
while in Germany the reverse almost always bore a heraldic design. In the im-
prese, which developed into a sort of unofficial heraldry, the element of obscurity
as to their meaning was stressed. As one Italian writer put it, the personal device
"should not be so obscure as to require a Sibyl to interpret it, nor so plain that
all the vulgar crowd can understand it ... it should have a motto, if possible in
a foreign language, so as to disguise the meaning somewhat more, but not to
7G. F. Hill, A Guide . . . to Medals of the Renaissance in the British Museum. London,
1923, p. 9.
*G. F. Hill, Dreyfus Collection . . . Renaissance Medals, p. v.
make it doubtfu1."" As will be seen in the descriptions of medals in the Kress
Collection, the reverses usually contain elaborate allegories, classical allusions, or
mere punning devices which in many instances are meaningless today.
The Renaissance medal was a personal document, conceived as commemorating
a person or, more rarely, an event. The spirit of the times, with its interest in
the individual and personal characteristics, found perhaps its most fitting vehicle
of expression in the meda1. It was peculiarly a creation of the Renaissance. In
antiquity large coins, called medallions, not intended, however, primarily as a
medium of exchange, were struck to commemorate Greek and Roman rulers and
were evidently used for presentation and worn as decorations. But medals of pri-
vate persons not connected with the Imperial family were unheard of in Roman
times. In the Renaissance, on the other hand, anyone could have a medal of him-
self cast or struck. Being a portable thing and smaller, as well as very much less
expensive, than a painted portrait, for example, a medal could easily be sent about
as a present to relations and friends of the person represented.
Antonio Pisano of Verona, called Pisanello (c. 1395-1455), was the founder
of the medallic art, the first and, indeed, the greatest of all medallists. He had
already attained first rank as a painter of portraits and animals before he made
his first medal, on the occasion of the visit to Italy, in 1438, of the Byzantine
Emperor John VIII Palaeologus, a medal of which a lead cast is in the Kress
Collection. The source of inspiration for this, the first truly Renaissance medal,
was probably the antique Roman medallion or those Byzantine Imperial medal-
lions, with their combination of a bust on the obverse with an equestrian figure
on the reverse, which continued the ancient tradition. For the next ten years,
from 1438 to 1449, medal after medal came from Pisanello's workshop, forming
a series of masterpieces which "rank much higher in the history of art than his
extant panels or frescoes. Yet he never forgot that he was a painter; he signs his
medals always as the work of Pisano the painter. He doubtless considered them
as secondary to his paintings, possibly indeed as reproductions thereof."10
"The most remarkable feature of his [Pisanello's] work is that, although he is
a pioneer, he nevertheless attains at one stroke the summit of his art. He has
never been surpassed in the essential elements of medallic work; his portraits
attain a shrewd realism without sacrificing dignity; his composition has a large
simplicity, the result, as his extant drawings show, of long study and selection;
his lettering is carefully modelled and arranged with constructive effect as part
of his design."11 Among his most powerful portraits is that of Sigismondo Mala-
testa (p. 102), the condottiere in whose character were combined many of the
vices and some of the virtues of the Renaissance. Another portrait, perhaps the
most subtle of all Pisanello's characterizations, is that of Don Inigo d'Avalos
(p. 102), an official of the court of Alfonso V of Aragon at Naples. Among the
reverses, that of the marriage medal of Leonello d'Este (p. 101), with its pleasing
and humorous device of the little god of love teaching the lion (Leonello) to sing,
is one of the most beautiful of Pisanello's designs.
Although Pisanello left no school, he influenced many of the medallists who
immediately followed him, especially Matteo dei Pasti of Verona (act. 1441-
1467/68), whose finest portrait is perhaps the vigorous profile of the humanist
Guarino (p. 103), who had been tutor to Leonello d'Este. Admirable, too, are
the medals of Sigismondo Malatesta (p. 104), with its fine view of the castle at
Rimini, and of that remarkable lady whom he married in 1456, Isotta degli Atti
(p. 103). The elephant on the reverse of the second medal is one of the Mala-
testa devices, symbolizing superiority to small misfortunes.
"Paolo Giovio's Dialogue of Warlike and Amorous Devices, 1555, quoted in Hill, Medals
of the Renaissance, p. 12f.
10Hill, Medals of the Renaissance, p. 36.
"Hill, Guide to . . . Medals of the Renaissance in the British Museum, p. 9.
One of the great medals in the Pisanellesque tradition is that of the Sultan
Mohammad II (p. 106), made about 1481 by Costanzo of Ferrara, who went to
Constantinople for the purpose. By comparison with the powerfully conceived
portrait and the dignified equestrian figure on the reverse of this medal, another
rendering of the same subject (p. 114), by the Florentine Bertoldo, who probably
made the medal not from life but perhaps after a medal by Gentile Bellini, seems
lacking in force. Clemente da Urbino was a medallist whose only authenticated
work is the medal of Federigo da Montefeltro (p. 105), Duke of Urbino, one of
the most enlightened princes and attractive personalities of the Renaissance.
Sperandio of Mantua (c. 1425-1504) was the most popular medallist of the
second half of the fifteenth century in Italy, judging by the number of distin-
guished men who sat for him. His medals (pp. 107-109) are characterized by
vigorous portraiture, at times almost brutally frank, and the reverses (occasionally
adapted from those of Pisanello, as in that of Giovanni II Bentivoglio, p. 109)
are frequently too crowded.
One of the most important Venetian medallists of the latter half of the fif-
teenth century was Giovanni Boldu (act. 1454-1473) whose medals definitely
lean towards the antique. He occasionally inscribed them in both Greek and
Latin (p. 110) and did not hesitate to copy freely from Roman coins (p. 111).
The greatest name in the history of the Florentine medal is Niccolo Fiorentino
(1430-1514). Two of his five signed medals, including that of Alfonso I d'Este
(p. 115), are in the Kress Collection; a number of other medals are listed which
are possibly by him or in his manner. It is generally supposed, for example, that
he made medals of Charles VIII of France (p. 116) and members of his suite on
the occasion of the French invasion of Italy in 1494. In his manner are the medal
of Savonarola (p. 117), the best of the many medals of the Dominican preacher;
the fine portrait of the wealthy Florentine merchant, Filippo Strozzi (p. 117);
and perhaps the most popular of all Florentine medals, the charming bust of
Giovanna Albizzi (p. 118), wife of one of the leading citizens of Florence,
Lorenzo Tornabuoni.
Of sixteenth-century medallists Pastorino of Siena (1508-1592) was one of
the most prolific and generally popular. He was apparently the fashionable
medallist of his time and did a number of portraits of Renaissance ladies (p. 119)
remarkable for their elegance of dress and jewels. To Benvenuto Cellini, best
known of Italian Renaissance craftsmen, was formerly ascribed the splendid medal
of Cardinal Bembo (p. 120), historian and epigrammatist, which is now, however,
considered a product of the Milanese schoo1.
The most distinguished figure of the school of Milan is Leone Leoni (c. 1509-
1590), who worked at the Papal Mint from 1537 to 1540, when he was sent to
the galleys for assaulting a fellow employee but was released at the instance of
the Genoese Admiral, Andrea Doria. In gratitude to his deliverer he made
several medals of him, of which two are in the Kress Collection. Also represented
in the Collection is his medal of Michelangelo, generally considered to be the
best rendering of the great artist's features, as well as the portrait of the infamous
Pietro Arentino (p. 121), whose motto "Truth begets ill-will" was his self-justifica-
tion and excuse for the slanderous personal attacks, privately printed and circu-
lated, that were his livelihood. Possibly by Leone Leoni is another strong bust,
that of Gianello della Torre (p. 121), who made a remarkable clock for the Em-
peror Charles V. Contemporary with Leone Leoni were several other artists of
the Milanese school: Jacopo da Trezzo (c. 1515-1587), who made the charming
medal of Ippolita Gonzaga, with its reverse showing the Goddess of the Dawn
riding through the heavens (p. 122); Annibale Fontana (1540-1587), whose finest
medal is that of famous general Fernando Francesco II d'Avalos (p. 122); and
Pompeo Leoni (c 1535-1610), son of Leone and, like his father, an accomplished
sculptor, who executed the medal of the fourth Duke of Ferrara (p. 123).
Alfonso Ruspagiari (1521-1526) was a consummate master of low relief, as
may be seen in his Self-Portrait (p. 123) and in the exquisite and unusual medal
of a nameless lady (p. 123); he delights in thin draperies, with fine folds, and
ornamental headdresses.
A celebrated medallist of the later sixteenth century and, indeed, the last of the
line of important Italian masters of the medallic art is Antonio Abondio (1538-
c. 1596). He belonged to the Milanese school, but in 1566 was summoned to
Prague by the Emperor Maximilian II. There or at Vienna he spent the rest of
his life. He did several medals of the Emperor, of which the silver medallion
(p. 124), showing on the reverse his consort Maria, is among the finest. Abondio
had considerable influence upon medallic art in Austria and Germany, although
the great age of the German medal was already over by the time he arrived in
The beginnings of the Renaissance medal in France go back to the late Middle
Ages. The series opens with the two medals representing Constantine the Great
and Heraclius (p. 125). These bronze castings, of which examples exist in vari-
ous collections, were copied from originals in gold or silver which no longer exist;
they are the only remaining medallions of a series representing famous rulers
connected with the history of Christianity, made for the famous patron of the
arts, Jean, Duke of Berry, at the beginning of the fifteenth century.
The obverse of the first medal shows the Emperor Constantine on a striding
horse, a conception that may well have inspired similar designs on the reverses of
certain medals by Pisanello, who very possibly could have seen one of the origi-
nals. The reverse of this medal has a composition of two figures, the one clothed
and the other semi-nude, seated beside the Fountain of Life. They doubtless
symbolize Christianity and Paganism and are precursors of the allegorical theme
of Titian's celebrated "Sacred and Profane Love" painted about a century later.
Still in the transitional stage between late Gothic and early French Renaissance
style of the sixteenth century are several other fifteenth century medals such as
those of Louis XII and Anne of Brittany (p. 126) and Philibert II le Beau and
Margaret of Austria (p. 127) which were cast, like the two preceding medals,
from originals in gold.
Under Francis I (1514-1547) the style of the Italian Renaissance was intro-
duced into France. He especially favored Italian artists, among others Benvenuto
Cellini and the Veronese gem-engraver and medallist Matteo del Nassaro, who
made at least one medal of the King, of which a specimen is in the Kress Col-
lection. Authors of a number of other sixteenth-century medals are unknown.
The great age of the medal in France was the seventeenth century. The finest
medallist of that period, and probably the greatest of all French exponents of
the art, is Guillaume Dupre (c. 1576-1643). Hill has written that "in mere bril-
liance of technique, in virtuosity generally, he is unsurpassed in the whole history
of the meda1. In the intellectual content of his portraits he is not the inferior of
Bernini."12 His great medallion of Henry IV and Marie de Medicis (p. 127) is
perhaps his masterpiece. Equally interesting as character portrayals are those
of the Duke of Mantua (p. 128), made in 1612, the year of his accession
and death; and of the King's Superintendent of Finances, Pierre Jeannin
(p. 129). The medal of Marie de Medicis alone (p. 130) has the peculiarity of a
retrograde inscription which was a mistake, probably occasioned by the artist's
having cut or punched his lettering in the mold, instead of building it up on his
wax mode1.
JaHill, Guide to . . . Medals of the Renaissance in the British Museum, p. 76.
After the seventeenth century the art of the medal declined in France as well
as in the rest of Europe. An interesting example of a late medal, however, is
that of Albertine de Nivenheim (p. 131) by the Italian artist Jean-Baptiste Nini
(1717-1786), who is best known for his attractive terracotta medallions of promi-
nent persons at the French Court.
Returning to the Renaissance, we must now consider the medals produced in
two other countries north of the Alps, Germany and the Netherlands. In the last
quarter of the fifteenth century, when Italian influence was already commencing
to make itself felt in France and the Netherlands, German medallists showed
a sturdy independence. The wax model, the basis of the Italian medal, was
almost never used in Germany; instead, models were carved in wood or stone.
Technically, the German medallists were superior to the Italian in casting, but
this proficiency does not compensate for the less pleasing features of German
medallic style when compared with that of Italy. The Germans stressed realism
in portraiture, often with grotesque results, and very seldom did they attempt the
imaginative reverse designs which are among the most attractive features of the
Italian meda1. Instead, the reverse, if there is one, almost invariably has a
heraldic design, usually the coat of arms of the person portrayed on the obverse.
Before the cast medal proper was attempted in Germany there were developed,
in the last quarter of the fifteenth century, the Schauthalers or "show dollars,"
large struck coins with portraits, often in rather high relief. By the beginning
of the sixteenth century, the cast medal had become usual, the two principal cen-
ters of production being Niirnberg, the home of goldsmithery, and Augsburg.
Whether the greatest of German artists, Albrecht Diirer, actually did more
than furnish designs for medals associated with his name is debatable. In the
case of struck medals, such as that of the Emperor Charles V (p. 132) it is prob-
able that he did not do more than that.
The real development of German medallic art commences with Hans Schwarz
(1492-c. 1527) of Augsburg, generally considered the greatest of German medal-
lists. Of the more than 130 medals made by him over a period of about ten
years almost all are without reverses, and rarely are they signed. His vivid, force-
ful style of portraiture may be seen in his signed (with the monogram h s)
medal of Kunz von der Rosen (p. 132). To this could be applied Hill's general-
ization regarding the German medal that "personal ugliness, which the Italian
artist understands how to dignify and inspire with pathos or interest, is allowed by
the German to work with unmitigated force."13
A younger rival of Schwarz, and one of the most prolific of German medallists
(his total production comprises some 230 pieces), was Friedrich Hagenauer
(act. 1525-after 1543) from Strassburg. His style is somewhat more refined, less
relentlessly realistic than that of Schwarz, whom he superseded as leading med-
allist at Augsburg, but is proportionately lacking in strength. He was especially
skillful in handling low relief, as his portraits of Sebastian and Ursula Liegsalz
(p. 133) clearly show.
The style of the Augsburg school is broader, more sculptural than that of
Niirnberg, where the tradition of goldsmithery had developed a highly efficient
technique, especially as regards minute detail, resulting in a style that is smaller
in scale and more delicate. Mathes Gebel, who became a citizen of Niirnberg in
1523 and worked as a medallist until 1554, is the finest representative of the
schoo1. Typical of his medals, in its refinement of detail, is that of Christoph
Kress (p. 134), an ancestor of the owner of this Collection, which, as Hill noted,
"is probably surpassed by few existing medals in delicate truth of modelling. In
"Hill, Medals of the Renaissance, p. 115.
this respect it stands comparison admirably with the best Italian work of the
sixteenth century; nor (and this is remarkable with German work) does it come
far behind it in delicacy of feeling."14
The most dexterous medallist, technically speaking, of the Niirnberg school
was Hans Reinhardt the Elder (act. 1539-1581), who executed the portrait of
Charles V (p. 134) with its complex heraldic design on the reverse. Another
medallist of the school is Joachim Deschler (c. 1500-1571/72), whose extraordi-
nary facing portrait of Paumgartner (p. 135) exhibits that element of coarseness
which characterizes so much of German medallic production.
As in Germany, so in the Netherlands it was not until the beginning of the
sixteenth century that a great medallist appears. The great Flemish painter,
Quentin Metsys (c. 1460-1530), like Diirer, was not a medallist by profession
and his work remained without influence on his successors. His noble medal of
Erasmus (p. 135), in the words of Hill, "ranks in the purity of its outlines and
the nobility of its conception with the great portraits of the world."15 The best
known representative of the Flemish school is Jacob Jonghelinck (1531-1606).
Several medals by him in the present collection bear witness to his mastery of the
technique. Another medallist of repute is Steven van Heerwijck (act. 1557-1565),
long miscalled Steven of Holland. He is the author of a remarkable series of
portraits, including by far the finest portrait medals of Elizabethan England.
Actually that country never had a real school of native medallists until long
after the Renaissance was over, and even in the seventeenth century English artists
of note were few.
This collection of Renaissance bronzes finds its ideal setting in the National
Gallery of Art. These small works of art, of high artistic interest in themselves
are, at the same time, a fitting complement to the major arts of the Renaissance
so well represented by the paintings and sculptures in the Gallery. In many ways
these bronzes are among the most eloquent expressions of the taste and intellec-
tual life of that great age. As visual documents of the spirit of the Renaissance
they are, therefore, of the greatest historical interest. To lovers of beauty, to
students of art, in its historical as well as practical aspects, they have much to
Perry B. Cott
Assistant Chief Curator
"Hill, Medals of the Renaissance, p. 115.
^Hill, Guide to . . . Medals of the Renaissance in the British Museum, p. 62.
Bronze, 6 in.
A 168.6C
Dancing Faun
Andrea Verrocchio, 1435-1488
Bronze, 5 3/16 in.
A 169.7C
Saint George and the Dragon
Florentine, XV Century
Bronze, 5 3/4 in.
A 167.5C
Florentine, XV Century
Bronze, 9 11/16 in.
A 170.8C
Saint Sebastian
Riccio, 1470-1532
Bronze, 8 1/2 in.
A 174.12C
Seated Nymph
Riccio, 1470-1532
Bronze, 4 7/16 in.
A 188.26C
Child carrying a sea shell
Riccio, 1470-1532
* -
o O
"1 <5
Bronze. 7 1/8 in.
A 179.17C
Florentine, Early XVI Century
^ w
Bronze, 8 5/02 in.
A 182.20C
Vestal Virgin {Allegory of Love or Charity)
Venetian, XVI Century
Bronze, 6 3/4 in.
A 183.21C
Virgin of the Annunciation
French, XV Century
Bronze, parcel-gilt, 9 in
South German, About 1500
Bronze, 5 23/32 in.
A 195.33C
Child on a Dolphin
Peter Vischer, the Elder, 1460-1529
Bronze, h. 1 7/8, w. 6 23/32 in.
Box in the shape of a Crab
Riccio, 1470-1532
Bronze, h. 3 1/2, 1. 8 7/8 in.
Sea Monster
Riccio, 1470-1532
A 239.80C
A 228.69C
Bronze, h. 2 23/32, 1. 5 3/8 in.
A 221.62C
Paduan, Early XVI Century
Bronze, h. 2 11/32, 1. 5 1/8 in.
Toad, with a tiny toad on its back
Paduan, Early XVI Century
A 241.84C
G 3
5 X
Bronze, h. 3, 1. 7 7/16, w. 5 7/16 in. A 213.54C.A,B,E
Casket with scenes from the life of a saint
Padliav, Ahout 1500
---- *asr: -SH-
Bronze, h. 3 1/16, 1. 8, w. 4 23/32 in.
Oblong casket {lid, above; front, below)
Paduan, About 1500
A 2H.55C
Bronze, h. 2 29/32, w. 6 11/16 in.
Paduan, About 1500
A 216.57C
3 2
3 D
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Bronze, h. 5 1/8, 1. 10 3/4 in.
Applique in the shape of a double scallop shell
between dolphins (one of a pair)
Italian, Early XVI Century
A 276.120C
Bronze, h. 7 9/32, w. 4 29/32 in.
Pair of door knockers in the shape of
horned and bearded masks
Italian, XVI Century
A 274-275.118-119C
Bronze, h. 8 9/32, w. 6 13/32 in.
Door knocker with two cornucopias and
two interlaced dolphins
Italian (Venetian?), XVI Century
A 272.116C
Bronze, d. 8 5/32
Applique in the shape of a
child's head against a laurel-wreath
Italian, XVII Century
A 212.53C
Bronze, h. 7 29/32, w. 3 11/32 in.
Leone Battista Alberti, 1404-1472
A 278.1B
Bronze, d. 6 23/32 in.
A 280.3B
A Satyr and a Bacchante
Attributed to Donatello, c. 1386-1466
Bronze, h. 20 7/32, w. 11 3/4 in.
Saint John the Baptist
Attributed to Donatello, c. 1386-1466
A 166.3C
Gilt bronze, h. 6 21/32, w. 4 11/32 in.
Madonna and Child with tuo angels
Attributed to Donatello, c. 1386-1466
A 283.6B
Gilt bronze, h. 8, w. 6 in.
Madonna and Child
Attributed to Donateleo, c. 1386-1466
A 284.7B
Bronze, d. 8 23/32 in.
A 285.8B
Madonna and Child with four angels
Attributed to Donatello, c. 1386-1466
Bronze, h. 3 3/4, w. 4 5/8 in.
The dead. Christ supported by angels
Attributed to Donatello, c. 1386-1466
A 286.9B
Bronze, h. 5 9/16, w. 4 9/32 in.
Saint Jerome
Attributed to Donatello, c. 1386-1466
A 287.10B
Bronze, h. 7 1/2, w. 5 13/32 in.
A 291.14B
Madonna and Child
Antonio Rossellino, 1427-1478
Bronze, h. 5 3/8, w. 5 5/32 in.
A 293.16B
Judgment of Paris
Francesco di Giorgio, 1+39-1502
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Bronze, h. 21 5/8, w. 14 11/16 in.
Saint Jerome
Francesco di Giorgio, 1439-1502
A 165.2C
Htzroot v
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Bronze, h. 8 11/16, w. 5 3/4 in.
A 279.2P,
Bust of Aristotle
Florentine, XV Century
Bronze, h. 4 3/16, w. 4 11/16 in.
Triumph of Cupid
Florentine, XV Century
A 296.19B
Gilt bronze, h. 9 11/32, w. 7 3/16 in.
The dead Christ between two angels
Bartolommeo Bei.i.ano, c. 14-34-f. 1497
A 292.15B
5? a

S 2

Bronze, h. 2 3/4, w. 2 23/32 in. A 339.62B
Horseman fighting t/iree lions
GianfrancEsco Enzola, Act. 1456-1478
lironze, d. 2 7/32 in.
A pollo, Venus, Mars and Vulcan
'Master M.C.', About 1500
A 344.67B Bronze, d. 2 in.
A 343.66B
Nymph carried off by a horseman
'Master M.C, About 1500
Bronze, h. 2 1/2, w. 4 in.
A 364. 87B
Horsemen Fighting
Italian, About 1480
Bronze, h. 4 27/32, w. 5 1/4 in.
Sperandio, c. 1425-c. 1504
A 363.86B

Bronze, h. 5 i/16, w. 3 1/2 in.
A 518.240B
Madonna and Child with angels
Paduan, XV Century
Bronze, parcel-gilt, h. 7 3/8, w. 4 1/2 in.
A 546.26813
Pax. Madonna and Child with angels; above,
God the Father stipponed by two angels.
Venetian, XV Century
Bronze, d. 7 1/8 in.
Fighting Tritons
Paduan, About 1500
A 538.260B
Bronze, d. 2 7/16 in. A 375.98B Bronze, d. I 27/32 in. A 411.134B
Seaside Scene Leda and the Swan
Caradosso, c. 1+45-1527 Riccio, 1470-1532
Bronze A. 2 3/8 in.
A 395.118B
Left (obverse): Abundance and satyr. Right (reverse): Sleeping mother and ttvo satyrs.
Pseudo Fra Antonio da Brescia, Act. 1487-1513
Bronze, h. 4 3/16, w. 3 5/16 in.
Judith {after a design by Mantegna)
Riccio, 1470-1532
A 402.125B
C J.
5 o
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a o
Bronze, h. 5 3/8, w. 4 11/32 in.
A 415.138B
Satyr and his Family
Riccio, 1470-1532
Bronze, h. 3 1/16, w. 3 11/16 in.
A 418.141B
Sacrifice of a Swine
Riccio, 1470-1532
Bronze, h. 3 7/16, w. 3 15/16 in.
Combat at the Gate
Riccio, 1470-1532
A 419.142B
<n *i y
S u
u x
s, X
Bronze, h. 4 17/32, w. 3 1/16 in.
Modkrno, Late XV-Early XVI Century
A 447.170B
Bronze, parcel-gilt, d. 2 3/4 in. A 462.1 85B
Mars surrounded by Trophies
Moderno, Late XV-Eari.y XVI Century
Bronze, d. 3 5/16 in. A 465.188B
Cupid riding on a Dragon
Moderno, Late XV-Early XVI Century
Bronze, d. 4 7/32 in. A 484.206B
Orpheus descending into Hades
Moderno, Late XV-Early XVI Century
Bronze, d. 4 7/32 in. A 485.207B
Orpheus redeeming Eurydice
Moderno, Late XV-Early XVI Century
Bronze, d. 4 1/8 in.
Orpheus losing Eurydice
A 486.208B
Moderno, Late XV-Early XVI Century
Bronze, d. 4 3/16 in. A 487.209B
Orpheus charming the beasts of the field
Moderno, Late XV-Early XVI Century
s X
Bronze, d. 2 1/4 in. A 616.338B Bronze, d. 2 17/32 in. A 615.337B
Ariadne in Naxos P/iaedra and Hippolytus
'Master lO.F.F.', Early XVI Century 'Master IO.F.F.', Early XVI Century
Bronze, d. 3 3/16 in. A 540.262B Bronze, d. 3 3/16 in. A 539.261F
Mercury Abundance
Paduan, Early XVI Century Paduan, Early XVI Century
Bronze, d. 8 15/32 In.
A 583.305B
Triumph of Neptune
North Italian, Early XVI Century

*> z
- X
Bronze, h. 2 9/16, w. 4 27/32 in.
Triumph of Justice
Flemish, XVI Century
A 708.430B
Bronze, h. 2 9/16, w. 4 7/8 in.
Triumph of Poverty
Flemish, XVI Century
Bronze, h. 2 23/32, w. 4 27/32 In
Triumph of Wisdom
Flemish, XVI Century
Bronze, h. 2 21/32, w. 5 in.
A 705.42715
Triumph of Religion
Flemish, XVI Century
Bronze, h. 8, w. 5 21/32 in.
Orpheus and Eurydice
Peter Vischer, the Elder, c. 1460-1529
A 709.431R
Bronze, h. 5 1/32, w. 2 23/32 in.
Venus and Cupid
German, Early XVI Century
A 718.440B
A 739.3A
Filippo Maria Visconti, Duke of Milan 1412-47. Rev. Duke riding to left,
with page and armed horseman, in mountainous landscape.
Pisanello, About 1441
D. 4 1/16 In.
Leonello d'Este, Marquess of Ferrara 1441-50
A 746.10A
Rev. Cupid teaching a lion
(Leonello) to sing. On pillar, Este impresa (mast and sail),- at left, Esle eagle.
Pisanello, 1444
3 17/32 in.
Sigismontio Malatesta, Lord of Rimini 1432-6S'. Rev. Sigismondo standing,
fully armed; on left, his casque on heraldic rose tree; on right, his shield.
Pisanello, About 1445
A 748.12A
D. 3 1/8 in.
A 758.22A
Don Ihigo d'Avalos, Grand Chamberlain of Naples from 1442. Rev. Sphere
representing earth between starry heavens and sea (inspired by Homeric de-
scription of shield of Achilles); above, shield of Avalos.
Pisanello, About 1448-49
D. 3 11/16 in.
A 791.55A
Guarino da Verona, humanist. Rev. Within a laurel-wreath, a fountain sur-
mounted by a nude male figure with mace and shield.
Matteo dei Pasti, About 1446
D. 3 5/16 in. A 795.59A
Isotta degli Atti da Rimini, mistress, then wife, of Sigismondo Malatesta.
Rev. Elephant, symbol of magnanimity, in flowery meadow, flanked by he-
raldic rose tree.
Matteo dei Pasti, 1446
D. 3 1/4 in.
A 796.60A
Sigismondo Malatesta, Lord of Rimini 1432-68. Rev. The castle of
Sigismondo at Rimini.
Matteo dei Pasti, 1446
D. 3 1/8 in.
A 804.68A
Lodovico III Gonzaga, second Marquess of Mantua 1444-78. Rev. Lodovico
seated to right, on seat adorned with Gonzaga hound; before him Faith and
Minerva standing.
Bartolommeo Melioli, 1475
D. 3 5/32 in. A 833.96A
Costanzo Sforza, Lord of Pesaro 1473-83. Rev. His father, Alessandro,
Lord of Pesaro 1445-68.
GlAnFrAnceScO EnZOlA, ACT. 1456-1478
D. 3 11/16 .n.
A 837.100A
Federigo da Montefeltro, Count of Urbino 1444, and Duke 1474-82. Rev.
Eagle on a torse (wreath), supporting a plate on which are a cuirass, shield,
and sword; a globe (symbol of Jupiter) ; and brush with olive branch (symbol
of peace); above, stars of Jupiter between Mars and Venus.
Clemente da Urbino, 1468
tyj <
D. 3 11/32 in.
a 844.10;A
Elisabetta Gonzaga, Duchess of Urbino 1489-1528. Rev. Female figure lying
on a rock, leaning her head against a closed gate(?) and holding a bridle;
in the air, a mass of flame (symbol of the soul). The allegory is obscure though
the inscription alludes to the flight of Fortune.
Adriano Fiorentino, Abol't 1495
D. 3 5/16 in. A 849.112A
Bartolommeo Pendaglia, merchant of Ferrara. Rev. Male figure seated on a
cuirass, holding globe and spear; his left foot on a bag from which money
flows. An allusion to the knighthood conferred on Pendaglia in 1452 by the
Emperor Frederick III.
Sperandio, About 1462
D. 3 3/8 in. A 852.115A
Francesco I Sforza, Duke of Milan 1450-66. The portrait is doubtless copied
from a painting. Rev. Renaissance building with four cupolas (probably in-
tended as a memorial to the Duke).
Sperandio, About 1466
D. 3 17/32 in.
A 86I.124A
Alessandro Tartagni, jurisconsult of Imola. Rev. On the summit of a hill
(Parnassus) Mercury is seated on a dragon from whose mouth issues the motto
Sperandio, About 1478
A 865.128A
Giovanni II Bentivoglio, Lord of Bologna 1462-1506.
armed, riding to right; the horse trappings adorned l
behind him, a mounted squire.
Sperandio, About 1478-1482
Rev. Giovanni, fully
ith Bentivoglio arms;
D. 3 3/4 in. A 868.131A
Francesco II Gonzaga, fourth Marquess of Mantua 1484-1519. Rev. The
Marquess on horseback accompanied by a number of horsemen and foot soldiers.
Sperandio, About 1495
D. 2 25/32 in.
A 876.139A
Filippo Maserano of Venice, poet or musician. Rev. Arion on a dolphin.
Giovanni Boldu, 1457
D. 3 11/32 in. A 879.142A
Self-Portrait. Rev. The artist seated, head in hands; before him a winged
putto (genius of death) holding a flame (symbol of the soul) and resting
on a skull.
Giovanni Boldu, 1458
D. 3 5/8 in.
A 880.143A
The Emperor Caracalla (the head loosely copied from a Roman coin). Rev.
The same memento mori design as on the preceding medal,
Giovanni Boi.di' (r), 1466
D. 3 21/32 in.
A 898.161A
Altobello Averoldo of Brescia, Bishop of Pola 1497, Apostolic Legate at
Venice 1526. (Compare the portrait of Averoldo by Francesco Francia in the
Kress Collection). Rev. Nude female figure of Truth unveiled by two men.
Maffeo Olivieri, 1484-1543/44
H. 6 3/16, w. 4 24/32
A 925.188A
Giangaleazzo Visconti, -first Duke of Milan 1395-1402. Without reverse.
This is a ''restitution'' made about a century after the subject's death.
Milanese, Late XV Century
D. 2 7/32 in.
A 931.194A
Julius II, Pope 1503-13. Rev. View of St. Peter's according to Bramante's
design. This medal is to be identified with those which were buried in the
foundations of the Church in 1506.
Caradosso, 1 506
D. 4 15/32 in
A 939.202A
Nero, Roman Emperor A. D. 54-68. Rev. Nero, laureate, seated under palm
tree holding a patera; facing him is a nude man, also laureate, standing behind
a large vase.
'Medallist of the Roman Emperors'
Active Last Quarter of the XV Century
D. 2 15/16 in.
A 984.246A
Cosimo de' Medici, Pater Patriae. Rev. Female figure symbolic of Florence
seated, holding orb and triple olive branch.
Florentine, About 1464-1470
D. 3 11/16 in.
A 986.248A
Mohammad II, Sultan of Turkey 1442-81. Rev. Triumphal car led by Mars;
on the car, a man carrying a small figure in his left hand, with his right hold-
ing a cord binding three crowned nude women representing Greece, Trebi-
zond, and Asia; on the side of the car. Siege Perilous; below are reclining
figures of Sea and Earth. di Giovanni, About 1480
19/32 in.
A 990.252A
Lorenzo de' Medici, il Magnifico, and Giuliano de' Medici. Each head is
placed above the choir of the Cathedral of Florence; within, priests celebrating
Mass; outside, conspirators attacking Lorenzo and killing Giuliano. This medal
commemorates the Pazzi Conspiracy against the Medici (26 April 1478) when
Giuliano was murdered. It was cast from Bertoldo's model by Andrea Guacia-
loti in September 1478. The portraits were probably copied from paintings,
doubtless by Botticelli.
Bertoldo di Giovanni, 1478
D. 2 25/32 in. A 994.2 5 6A
Alfonso 1 d'Este, afterwards third Duke of Ferrara 1505-34. Rev. Alfonso{?)
in a triumphal car.
Niccolo Fiorentino, 1492
D. 3 3/4 in.
A 10U0.262A
Without reverse. The medal was
Charles VIII, King of France 1483-98
made during the French expedition to Italy.
Niccolo Fioren rino(r ), About 1494-1495
D. 3 17/32
A 1010.272A
Maria de1 Mucini. Rev. Eagle or falcon on an armillary sphere, resting on
a blazing framework; across the field, on a scroll, expecto; below, a dog
(for trustworthiness) with scroll assiduus and a lamb (for gentleness) with
scroll mitis esto; field seme with plumes. The allegory is obscure but seems
intended to remind us of the inevitability of death.
Manner of Niccolo Fiorentino, About 1485-1500
Girolamo Savonarola, Dominican preacher and religious reformer, executed
1498. Rev. Map of Italy, the chief cities marked with their initials; above,
issuing from a cloud, the hand of God threatens the land with a dagger. Many
medals of Savonarola were cast about 1497, bearing the text of his prophecy
of the sword of the Lord {the French invasion).
Manner of Niccolo Fiorentino, About 1497
D. 3 7/8 in.
A 1024.286A
Filippo Strozzi, Florentine merchant-prince. Rev. Eagle perched on a stump
to which is tied a shield with the Strozzi arms; landscape with pine trees; the
field seme with plumes. Probably made for the inauguration of the Strozzi
Palace on 6 August 1489.
Manner op Niccolo Fiorentino, 1+89
A I026.288A
U. 3 1/16 in.
Giovauua Aibizzi, wife of Lorenzo Toruabuoni. Rev. The Three Graces
(copied from the antique}, the center one a portrait of Giovanna Aibizzi.
Manner of Niccolo Fiorentino, About 1486
A 1037.299A
Dante Alighieri, Florentine poet. Rev. Dante stands gazing at mountain of
Purgatory, on summit of which are Adam and Eve under the Tree of Knowl-
edge; at the base of the mountain are two figures; to the left, a lesser moun-
tain with two en-trances to Hell; above, seven circles of Heaven. The reverse
is based on the painting, made in 1465 by Domeniro di Michelino, in the
Cathedral at Florence.
Florentine, Late XV Century
1). 2 1/4 in.
A 1155.418A
Giovanni de' Medici delle Bande Nere, celebrated condottiere and father of
the Grand Duke Cosimo I. Rev. Thunderbolt issuing from a cloud.
Danese Cattaneo, 1508-1573
D. 2 23/32 in. A 1067.330A D. 2 9/16 in. A 1065.328A
Girolama Sacrata of Ferrara. Isabella Manfro de' Pepoli of Bologna.
Pastorino, 155 5 Pastorino, 1571
D. 2 5/32 in.
A 1159.422A
Pietto Bembo, writer, Cardinal 1538-47. Rev. The fountain Hippocrene
produced by a stroke of the hoofs of Pegasus. This, and the following medal,
were formerly attributed to Benvenuto Cellini.
Milanese, Middle XVI Century
D. 1 31/32 in.
A 1160.42 3 A
Pietro Piantanida of Milan. Rev. Figure of Faith holding a chalice in her
left hand and pointing with her right to heaven.
Milanese, Middle XVI Century
D. 2 3/8
A 1164.427 A
Pietro Aretino, satirist, the 'Scourge of Princes'. Rev. Truth seated, crowned
by Victory; her right foot rests on a crouching satyr; she points to him and
looks up at Jupiter(?) in the clouds.
Leone Leoni, 1509-1590
D. 3 5/32 in.
A 1172.43 5 A
Gianello della Torre of Cremona, engineer in the service of Charles V for
whom he made the clock referred to in the inscription fnorOi-oc. [n]
architect [us],). Rev. Fountain of Sciences; a female figure holding on
her head an urn from which two jets of water spurt; on either side figures
bring vessels to catch the flow.
Leone Leoni(?), 1509-1590
D. 2 23/32 in.
A 1175.43 8A
Ippolita di Ferdinando Gonzaga. Rev. Aurora riding through the heavens,
dratcn h\ a uinged horse, and carrying a torch and scattering flowers.
Jacopo da Trkzzo, 15 52
D. 2 27/32 in.
Fernando Francesco II d'Acalos of Aquino, Marquess of Pescara. Rev. Fer
nando as Hercules, his foot on the dragon, -plucking the apples of the Hes
per ides; landscape and cities in background.
Anmbale Fontana, 15+0-1587
A 1179.442A
Lead, d. 2 23/32 in.
A 1183.446 A
Ercole 11 d'Este, fourth Duke of Ferrara 1534-59. Rev. Standing woman,
with hands crossed on her breast, is chained by her left foot to a rock on
which is a vase surmounted by a celestial globe; liquid flows from the spout
of the vase; landscape background.
Pompeo Leoni, About 1535-1610
D. 3 1/8 in. A 1186.448A D. 2 23/32 in. A 1188.4>0A
Self-Portrait. Without reverse. Unknown lady. Without reverse.
Alfonso Ruspagiari, 1521-1576 Alfonso Ruspagiari, 1521-1576
Silver, d. 2 7/32
A 1202.464A
Maximilian II, Emperor 1564-76. Rev. Maria, his wife.
Antonio Abondio, 1575
U. 2 9/16 in.
Larinia Tontana, Bolognese painter. Rev. Lavinia, with flying hair, painting
at an easel; itnplemcnts of her art lie on the ground and in the margin below.
Felice Antonio Casoni, 1611
). 3 3/4 in.
A 1263.524A
Constantine the Cheat, Emperor 307-37. Rev. Fountain of Life, surmounted
by a cross; on the left, a female figure symbolizing the Church; on the right,
another figure symbolizing Paganism.
Bukgundian or North French, Late XIV Century
3 7/8 in.
A 1264.525A
Heraclius I, Emperor 610-11. Rev. The Emperor holding a cross, in a car
drawn by three horses led by a man with a forked stick. A companion to the
preceding medal, this commemorates the recovery of the Holy Cross from
the Persian captivity.
BUrGUnDIAn Or North FrenCH, LatE XIV CEnturY
D. 4 15/32
A 1266.527A
Louis XII, King of France and his wife, Anne of Brittany. After the gold
medal offered by the rity of Lyon to Queen Anne of France upon her second
entry into the city, in March 1500.
Nicolas Leclerc and Jean de Saint-Priest', 1499
D. 4 1/16 In.
A 1267.528A
Philibert II le Beau, Duke of Savoy 1497-1504, and Margaret of Austria,
his wife. Rev. Arms of Philibert impaling those of Margaret; Savoy knots
and marguerites in the field and the Savoy motto per t. After the gold
medal presented to Margaret upon her entry into Bourg-en-Bresse on
2 August 1502
Jean MarEnde, 1502
Gilt bronze, d. 2 11/16 in.
A 1295.556A
Henry IV, King of France 1589-1610, and Marie de Medicis, jugate to
right. Rev. Henry as Mars joining hands with Marie as Minerva; between
them the nude infant Louis XIII, his foot on a dolphin, putting on his father'1 s
helmet; above, an eagle flying down with a crown.
GuiI.lAUME DlPre, 1603
D. 6 13/32 in.
Francesco V Gonzaga, Duke of Mantua 16!2. Without reverse.
A 1300.561 A
D. 7 15/32 in. A 1303.564A
Pierre Jeannin, Councillor of the King, Superintendent of Finances.
Without reverse.
GUIlI.aUME DuPRE, 1618
D. 4 1/16 in. A 1307.568A
Marie tie Metiicis. Without reverse. Retrograde inscription,
Giii.laume Dupre, 1624
D. 5 13/16 in. A 1321.582A
Albertine de Nivenheim, Without reverse. After a terracotta medallion.
Jean-Baptiste Mini, 1768
Lead, d. 2 27/32 in.
A 1322.583A
Charles V, Emperor 1519-56. On a raised border, 14 coats of arms; above,
two Pillars of Hercules. Rev. The Imperial double-headed eagle, charged
on the breast with shield of Austria-Burgundy; below, in wreath, Ar (for
Nurnberg); on a raised border 13 coats of arms. The medal was struck from
dies made from designs by Diirer, to the order of the Council of Nurnberg,
for presentation to the Emperor.
Al.BRECHT Di'RER, 1521
I). 2 17/32 In.
A 1323.584A
Kunz von der Rosen, confidential Councillor
of Maximilian I. Without reverse.
Hans Schwarz, 1492-r. 1527
ad, d. 4 31/32 in. A 1328-1329.589A
Sebastian Liegsalz and his wife Ursula, of Munich. These are separate old
. lead castings of obverse and reverse, from the wooden originals in Munich.
Friedrich HagEnauEr, Act. 1525-After 15+3
Silver, 13/4x2 3/32 in. A 1363.623A
Willibald Pirkheimer and Alhrecht
Diirer, the latter at an easel drawing
the former. Without reverse.
Georg Hoi.dermann, Act. 1610-1629
Lead, d. 1 17/32
A 1447.707A
Christoph Kress of Kressemtein, councillor, diplomat, and warrior in the
service of Numberg. Rev. The coat of arms of Kress.
Attributed to Mathes Gebel, 1526
A 1346.606A
Silver, d. 2 17/32 in.
Charles V, Emperor 1519-56. Rev. The Imperial double-headed eagle,
crowned, and charged with the shield and collar of the Order of the Golden
Fleece; at the sides, the two Pillars of Hercules.
Hans Reiniiart, the Elder, 1537
D. 2 9/16 in.
A 1348.608A
Hieronymus Pau?ugartner, a Nurnberg churchwarden. Rev. The coat of
arms of Paumgartner.
Joachim Deschler, 15 53
Lead, d. 3 15/16 in- A 1408.668A
Erasmus of Rotterdam, the great humanist. Without reverse.
Quentin Metsys, 1519
The check list which follows includes all bronzes in the Kress (formerly
Dreyfus) Collection, totaling 1,306 items. It is arranged in the categories of
small bronzes, reliefs and plaquettes, medals, and coins, according to the
countries in which they were made. The listing is chronological, by artist and
schoo1. The attributions, with but few exceptions, are those published in the
three volume catalogue of the Dreyfus Collection. Since that Catalogue is
available in most art libraries and because of limited space, the notes and ref-
erences contained in the Dreyfus Catalogue have been omitted here. For the
same reasons, detailed descriptions have not, for the most part, been included
(except in the case of medals).
Unless otherwise noted, all objects are cast (except coins, which are struck),
and the material is bronze. Dimensions are given in inches and centimeters,
height preceding width. The number which follows the measurements
(A 168.6C, for example) is the accession number of the National Gallery of
Art; the digit or digits following the period are the catalogue numbers of the
Dreyfus Catalogue. The final letter identifies the particular volume of that
Catalogue (A for Medals, B for Reliefs and Plaquettes, and C for Bronzes).
Four plaquettes and sixty-four medals belonging to the Dreyfus Collection, but
not published in the Catalogue, are included here. The numbering of these
continues the enumeration of the Dreyfus volumes.
Check List
VERROCCHIO, Andrea (1435-1488). Dancing Faun. H. 6 (0.152).
A 168.6C. 111. p. 23
FLORENTINE, XV century. Spinario. H. 5 3/4 (0.147). A 167.5C.
///. p. 25
FLORENTINE, XV century. Saint George and the Dragon. H. 5 3/16
(0.132). A 169.7C. 111. p. 24
FLORENTINE, XV century. The She-Wolf suckling Romulus and Remus.
H. 2 13/32 (0.061), L. 3 7/8 (0.098). A 225.66C
FLORENTINE, XV century. Panther. H. 3 15/16 (0.100), L. 5 19/32
(0.142). A 226.67C.
LOMBARD, c. 1490. Table bell with portrait of Lodovico il Moro. Signed:
opuszanini.albergeti- H. 6 (0.152), D. 3 29/32 (0.099). A 263.107C.
///. p. 42
ITALIAN, XV century. Child with a crow. H. 2 17/32 (0.064). A 193.31C.
ITALIAN, XV century. Handle in form of three seated cupids. H. 2 1/2
(0.064). A 194.32C.
NORTH ITALIAN, XV century. Bowl. H. 2 31/32 (0.075), D. 7 23/32
(0.196). A 248.92C. ///. p. 45
ITALIAN, late XV century. Cupid. H. 3 (0.076). A 189.27C.
ITALIAN, late XV century. Cupid with bow. H. 3 25/32 (0.096). A 190.28C.
ITALIAN, late XV century. Cupid. H. 4 1/8 (0.105). A 191.29C.
ITALIAN, late XV century. Child. H. 4 3/8 (0.111). A 192.30C.
PADUAN, c. 1500. Casket with scenes from the life of a saint. H. 3 (0.076).
L. 7 7/16 (0.189), W. 5 7/16 (0.138). A 213.54C, A-E. III. p. 39
PADUAN, c. 1500. Oblong casket. H. 3 1/16 (0.078), L. 8 (0.203),
W. 4 23/32 (0.120). A 214.55C ///. p. 40
PADUAN, c. 1500. Sandbox. H. 3 1/8 (0.080), W. 4 5/32 (0.106).
A 215.56C.
PADUAN, c. 1500., Sandbox. H. 2 29/32 (0.074), W. 6 11/16 (0.170).
A 216.57C. ///. p. 41
PADUAN, c. 1500. Rectangular box. H. 2 (0.051), L. 7 5/32 (0.182),
W. 3 1/8 (0.079). A 217.58C.
PADUAN, c. 1500. Lid of a box. H. 1 (0.026), L. 8 1/2 (0.215),
W. 4 27/32 (0.123). A 218.59C.
PADUAN, c. 1500. Three-wick lamp. H. 2 (0.050), D. 4 5/16 (0.110)
A 219.60C.
RICCIO, Andrea Briosco, called (1470-1532). Saint Sebastian. H. 9 11/16
(0.246). A 170.8C. III. p. 26
RICCIO. Judith. H. 2 19/32 (0.066). A 171.9C.
RICCIO. Musician on a shell. H. 3 7/16 (0.087). A 172.10C.
RICCIO. Pomona. H. 6 7/16 (0.164). A 173.11C.
RICCIO. Seated nymph. H. 8 1/2 (0.216). A 174.12C. ///. p. 27
RICCIO. Satyr. H. 3 3/16 (0.081). A 185.23C.
RICCIO. Satyr. H. 2 7/8 (0.074). A 186.24C.
RICCIO. Seated child. H. 2 1/2 (0.063). A 187.25C.
RICCIO. Child carrying a sea shell. H. 4 7/16 (0.116). A 188.26C.
///. p. 28
RICCIO. Bust of a youth (St. John?). H. 3 3/32 (0.079). A 208.47C.
///. p. 29
RICCIO. Head of a man (Vulcan?). H. 2 1/4 (0.057). A 209.49C.
III. p. 29
RICCIO. Head of a faun. H. 1 11/32 (0.059). A 210.50C.
RICCIO. Sea monster. H. 1 3/4 (0.045), L. 5 7/32 (0.133). A 227.68C.
RICCIO. Sea monster. H. 3 1/2 (0.089), L. 8 7/8 (0.227). A 228.69C.
///. p. 36
RICCIO. Sphinx-shaped object. H. 4 1/8 (0.105), L. 4 13/16 (0.122),
W. 3 19/32 (0.091). A 229.70C.
RICCIO. Goat. H. 3 3/4 (0.095), L. 3 5/8 (0.092). A 230.71C.
RICCIO. Box in the shape of a crab. H. 1 7/8 (0.048), W. 6 23/32 (0.175).
A 239.80C. ///. p. 36
RICCIO. Box in the shape of a crab on a toad. H. 2 5/32 (0.055), W.
4 7/16 (0.113). A 240.82C.
PADUAN, early XVI century. Saint Sebastian. Traces of gilding. H.
6 5/16 (0.160). A 175.13C.
PADUAN, early XVI century. Head of a Negro. Cast iron. H. 2 1/4
(0.057). A 207.46C. III. p. 29
PADUAN, early XVI century. Lamp in the shape of a satyr's head.
H. 3 1/16 (0.078), L. 4 (0.102). A 211.51C.
PADUAN, early XVI century. Lamp. H. 3 5/8 (0.092), L. 4 21/32
(0.118). A 220.61C.
PADUAN, early XVI century. Lamp. H. 2 23/32 (0.069), L. 5 3/8
(0.137). A 221.62C. ///. p. 37
PADUAN, early XVI century. Lamp. H. 1 9/32 (0.033), L. 5 7/8 (0.149).
A 222.63C.
PADUAN (or South German?), early XVI century. Hound scratching its
left ear. H. 2 9/32 (0.058). A 231.72C. ///. p. 38
PADUAN (or South German?), early XVI century. Dog seated on a
cushion. H. 3 9/16 (0.091). A 232.73C.
PADUAN, early XVI century. Ram's head. H. 1 23/32 (0.044), L. 2 1/2
(0.063). A 233.74C.
PADUAN, early XVI century. Bear. H. 2 9/16 (0.066). A 234.75C.
PADUAN, early XVI century. Small vase in the form of a monkey. H. 3
(0.078). A 235.76C.
PADUAN, early XVI century. Cock. H. 3 7/16 (0.088). A 236.77C.
PADUAN, early XVI century. Toad with a tiny toad on its back- H.
2 11/32 (0.060), L. 5 1/8 (0.131). A 241.84C. ///. p. 37
PADUAN, early XVI century. Inkwell in the shape of a frog. H. 2 7/8
(0.074). A 242.86C.
PADUAN, early XVI century. Toad. H. 2 13/32 (0.061). A 243.87C.
PADUAN, early XVI century. Oval box in the shape of a toad. H.
2 27/32 (0.072), L. 5 (0.128). A 244.88C.
PADUAN, early XVI century. Frog. H. 2 3/4 (0.070), W. 5 3/4 (0.146).
A 245.89C.
PADUAN, early XVI century. Toad. H. 2 9/32 (0.023), W. 2 9/16
(0.065). A246.90C.
PADUAN, early XVI century. Toad. H. 1 3/4 (0.045), W. 4 1/8 (0.105).
A 247.91C.
NORTH ITALIAN, early XVI century. Table bell. Inscr.: petrus massa-
rotus anisi ... H. 5 7/8 (0.149), D. 4 1/8 (0.105). A 264.108C.
NORTH ITALIAN, early XVI century. Table bell. Inscr.: B (repeated).
H. 5 5/32 (0.131), D. 4 (0.102). A 265.109C.
NORTH ITALIAN, early XVI century. Table bell with Grimaldi arms.
H. 5 (0.128), D. 4 5/32 (0.105). A 266.1 IOC. ///. p. 42
NORTH ITALIAN, early XVI century. Table bell. H. 5 9/16 (0.142),
D. 3 25/32 (0.096). A 267.111C.
NORTH ITALIAN, early XVI century. Table bell with Mow arms.
. H. 5 1/4 (0.133), D. 4 5/16 (0.110). A 268.112C.
NORTH ITALIAN, early XVI century. Table bell. H. 5 3/32 (0.129),
D. 3 23/32 (0.091). A 269.113C. ///. p. 43
NORTH ITALIAN, early XVI century. Table bell. H. 4 5/8 (0.117),
D. 2 7/8 (0.073). A 270.114C.
FLORENTINE, early XVI century. Bacchus. H. 7 1/8 (0.181). A 179.17C.
///. p. 30
ITALIAN, early XVI century. Child with a puppy. H. 4 1/4 (0.108).
A 196.34C.
ITALIAN, early XVI century. Child holding a large pouch. H. 3 9/16
(0.090). A 197.35C.
ITALIAN, early XVI century. Standing child. H. 3 3/4 (0.096). A 198.36C.
ITALIAN, early XVI century. Standing child. H. 3 23/ 32 (0.095). A 199.37C.
ITALIAN, early XVI century. Triton astride a dolphin. Gilt. H. 1 3/4
(0.045). A 200.38C.
ITALIAN, early XVI century. Walking child. H. 2 7/16 (0.062). A 201.39C.
ITALIAN, early XVI century. Cupid and a pigeon. H. 3 (0.076). A 202.40C.
ITALIAN, early XVI century. Cupid on a dolphin. H. 3 3/16 (0.081).
A 203.41C.
ITALIAN, early XVI century. Standing cupid. H. 4 3/16 (0.106).
A 204.42C.
ITALIAN, early XVI century. Running cupid. H. 3 (0.076). A 205.43C.
ITALIAN, early XVI century. Child with a ball. H. 3 5/8 (0.092).
ITALIAN, early XVI century. Mortar with two dolphin-shaped handles.
H. 5 7/8 (0.150), W. 7 9/32 (0.186). A 250.94C.
ITALIAN, early XVI century. Mortar with two dolphin-shaped handles.
H. 5 (0.128), W. 6 1/4 (0.159). A 251.95C.
ITALIAN, early XVI century. Mortar ornamented with putti and gryphons.
H. 5 1/4 (0.133), D. 7 (0.177). A 252.96C.
ITALIAN, early XVI century, Mortar with pestle, rope-shaped handle. H. 6
(0.153), W. 6 11/16 (0.170). A 253.97C. ///. p. 44
ITALIAN, early XVI century. Mortar ornamented with garlands, bucranes
and sphinxes. H. 4 (0.102), D. 5 3/16 (0.132). A 254.98C.
ITALIAN, early XVI century. Mortar with two rope-shaped handles.
H. 3 3/4 (0.095), W. 4 5/8 (0.118). A 255.99C.
ITALIAN, early XVI century. Mortar with two dolphin-shaped handles.
H. 5 9/32 (0.134), W. 6 5/8 (0.168). A 256.100C. ///. p. 44
ITALIAN, early XVI century. Mcrtar. H. 3 13/32 (0.087), D. 3 15/16
(0.100). A 257.101C.
ITALIAN, early XVI century. Mortar with two handles in the shape of
dolphins' snouts. H. 1 17/32 (0.039), W. 2 17/32 (0.065). A 258.102C.
ITALIAN, early XVI century. Mortar with two handles in the shape of
dolphins' snouts. H. 1 1/2 (0.038), W. 2 13/32 (0.061). A 259.103C.
ITALIAN, early XVI century. Mortar with two handles. H. 1 3/4 (0.045),
W. 2 11/16 (0.068). A 260.I04C
ITALIAN, early XVI century. Pair of appliques in the shape of a double
scallop shell between dolphins. Gilt. H. 5 1/8 (0.130), L. 10 3/4 (0.273).
A 276.120C and A 277.121C. ///. p. 46
VENETIAN, XVI century. Pair of altar candlesticks, with arms of the
Garzoni family. H. 22 1/2 (0.572). A 223.64C and A 224.65C.
///. p. 45
VENETIAN, XVI century. Vestal Virgin (Allegory of Love or Charity?).
H. 8 5/32 (0.208). A 182.20C. III. p. 32
VENETO-SARACENIC, XVI century. Bowl ornamented with engraved
arabesques. Signed: Hntim. H. 2 1/16 (0.052), D. 5 19/32 (0.142).
A 249.93C.
ITALIAN, XVI century. Venus. H. 5 1/4 (0.134). A 176.14C.
ITALIAN, XVI century. The nail-cutter. H. 3 7/32 (0.082). A 177.15C.
ITALIAN, XVI century. Bacchus. H. 4 1/2 (0.114). A 178.16C.
ITALIAN, XVI century. Two kneeling men. A 180.18C. H. 4 1/16 (0.103).
A 181.19C. H. 3 13/16 (0.098). Gilt. ///. p. 31
ITALIAN, XVI century. Crow perched on a branch. H. 2 7/8 (0.073).
A 237.78C.
ITALIAN, XVI century. Mortar ornamented with tritons and goats' heads.
H. 3 3/16 (0.081), W. 4 9/16 (0.116). A 261.105C.
ITALIAN, XVI century. Mortar with loop and ring. H. 3 13/32 (0.087),
D. 4 (0.102). A 262.106C.
ITALIAN (VENETIAN?), XVI century. Door knocker ornamented with
two cornucopias and two interlaced dolphins. H. 8 9/32 (0.211),
W. 6 13/32 (0.163). A 272.116C. ///. p. 47
ITALIAN (VENETIAN?), XVI century. Dcor knocker in the shape of
a siren. H. 6 1/4 (0.159), W. 4 13/32 (0.112). A 273.117C.
ITALIAN, XVI century. Pair of door knockers in the shape of horned and
bearded masks. H. 7 9/32 (0.185), W. 4 29/32 (0.124). A 274.118C
and A 275.119C. ///. p. 46
ITALIAN, XVII century. Circular applique in the shape of a child's head
against a laurel-wreath. Traces of gilding. D. 8 5/32 (0.209), T. 3 9/32
(0.083). A 212.53C. ///. p. 48
FLEMISH, XVI century. Table bell. H. 6 1/4 (0.159), D. 4 1/16 (0.103).
A 271.115C.
FRENCH, XV century. Virgin of the Annunciation. H. 6 3/4 (0.172).
A 183.21C. ///. p. 33
SOUTH GERMAN, c. 1500. Venus. Parcel-gilt. H. 9 (0.230). A 184.22C.
III. p. 34
VISCHER, Peter, the elder (1460-1529). Child on a dolphin. H. 5 23/32
(0.146). A 195.33C. ///. p. 35
GRAS, Caspar (1590-1674). Crow. H. 4 11/32 (0.110). A 238.79C.
///. p. 38
ALBERTI, Leone Battista (1404-1472). Self-Portrait. Insc: -lbap.
H. 7 29/32 (0.201), W. 5 11/32 (0.136). A 278.1B. ///. p. 51
DONATELLO, Attributed to. (<r. 1386-1466). Saint John the Baptist. In-
scr.: DONATELLI OPUS. The incised letters, of unusual shape, are
probably a later addition. H. 20 7/32 (0.514), W. 11 3/4 (0.299).
A 166.3C. 111. p. 53
DONATELLO, Attributed to. A satyr and a bacchante. D. 6 23/32 (0.171).
Later cast. A 280.3B. ///. p. 52
DONATELLO, Attributed to. A satyr. H. 4 3/16 (0.107), W. 3 3/16
(0.081). A 281.4B.
DONATELLO, Attributed to. A bacchante. H. 4 5/16 (0.110), W. 3 3/8
(0.085). A 282.5B.
DONATELLO, Attributed to. Madonna and Child with two angels. Gilt.
H. 6 21/32 (0.169), W. 4 11/32 (0.110). A 283.6B. ///. p. 54
DONATELLLO, Attributed to. Madonna and Child. Gilt. H. 8 (0.203),
W. 6 (0.152). A 284.7B. III. p. 55
DONATELLO, Attributed to. Madonna and Child with four angels. D.
8 23/32 (0.222). A 285.8B. ///. p. 56
DONATELLO, Attributed to. The dead Christ supported by angels. H. 3 3/4
(0.095), W. 4 5/8 (0.118). A 286.9B. 'III. p. 57
DONATELLO, Attributed to. Saint Jerome. H. 5 9/16 (0.142), W. 4 9/32
(0.109). A 287.10B. ///. p. 58
DONATELLO, Attributed to. Triumph of Cupid. D. 3 1/16 (0.077).
A 288.1 IB.
DONATELLO, Attributed to. Five cupids at play. H. 1 3/4 (0.044),
W. 3 1/8 (0.080). A 289.12B.
DONATELLO, Attributed to. Ornamental applique. Gilt. H. 3 (0.076),
W. 5 1/2 (0.139). A 290.13B.
ROSSELLINO, Antonio (1427-1478). Madonna and Child. Applique. H.
7 1/2 (0.190), W. 5 13/32 (0.137). A 291.14B. 111. p. 59
FRANCESCO DI GIORGIO (1439-1502). Saint Jerome. H. 21 5/8
(0.550), W. 14 11/16 (0.373). A 165.2C. ///. p. 61
FRANCESCO DI GIORGIO. Judgment of Paris. H. 5 3/8 (0.137),
W. 5 5/32 (0.132). A 293.16B. III. p. 60
FRANCESCO DI GIORGIO. Saint Sebastian. D. 8 (0.203). A 400.123B.
III. p. 62
FRANCESCO DI GIORGIO. Saint John the Baptist. D. 7 3/4 (0.198).
A 401.124B. III. p. 62
FLORENTINE, XV century. Bust of Aristotle. H. 8 11/16 (0.221),
W. 5 3/4 (0.147). A 279.2B. ///. p. 63
FLORENTINE, XV century. Madonna and Child. Applique. H. 5 11/32
(0.136), W. 1 3/8 (0.035). A 294.17B.
FLORENTINE, XV century. Madonna and Child. H. 5 3/16 (0.132),
W. 3 5/16 (0.085). A 295.18B.
FLORENTINE, XV century. Triumph of Cupid. H. 4 3/16 (0.107),
W. 4 11/16 (0.120). A 296.19B. ///. p. 64
FLORENTINE, XV century. The She-Wolf suckling Romulus and Remus.
D. 3 5/16 (0.084). A 297.20B.
FLORENTINE, XV century. Sphinx, to right. Applique. H. 2 9/16 (0.065),
W. 2 29/32 (0.078). A 298.21B.
FLORENTINE, XV century. Sphinx, to left. Applique. H. 2 5/16 (0.059),
W. 2 3/16 (0.056). A 299.22B.
FLORENTINE, XV century. Noah entering the Ark. H. 1 11/16 (0.043),
W. 2 3/16 (0.055). A 300.23B.
FLORENTINE, XV century. Apollo and Marsyas. H. 1 5/8 (0.042),
W. 1 5/16 (0.034). A 301.24B.
FLORENTINE, XV century. Apollo and Marsyas. H. 1 1/2 (0.038),
W. 1 1/4 (0.032). A 302.25B.
FLORENTINE, XV century. Bacchus and Ariadne in a chariot. H. 1 9/32
(0.033), W. 1 5/8 (0.042). A 303.26B.
FLORENTINE, XV century. Cupid driving a chariot. H. 2 7/32 (0.056),
W. 3 (0.075). A 304.27B.
FLORENTINE, XV century. Minerva in a chariot. H. 1 3/8 (0.035),
W. 1 11/16 (0.043). A 305.28B.
FLORENTINE, XV century. Hermaphrodite and three cupids. H. 1 3/16
(0.031), W. 1 7/16 (0.037). A 306.29B.
FLORENTINE, XV century. Ceres and Triptolemus. H. 1 3/4 (0.045),
W. 1 3/8 (0.035). A 307.30B.
FLORENTINE, XV century. Neptune. H. 1 5/8 (0.042), W. 2 (0.051).
A 308.3IB.
FLORENTINE, XV century. Hercules and the Nemean Lion. H. 1 7/16
(0.036), W. 1 (0.025). A 309.32B.
FLORENTINE, XV century. Aesculapius. H. 2 1/4 (0.057), W. 1 7/16
(0.037). A 310.33B.
FLORENTINE, XV century. Centaur. H. 1 9/16 (0.049), W. 1 5/8
(0.041). A 311.34B.
FLORENTINE, XV century. Triumph of Silenus. H. 1 (0.025), W. 1 1/4
(0.032). A 312.35B.
FLORENTINE, XV century. Diomedes and the Palladium. H. 1 1/2
(0.038), W. 1 9/32 (0.033). A 313.36B.
FLORENTINE, XV century. Diomedes and the Palladium. H. 2 (0.051),
W. 1 5/8 (0.041). A 314.37B.
FLORENTINE, XV century. Diomedes, Ulysses and the Palladium. H. 1
(0.025), W. 1 5/16 (0.034). A 315.38B.
FLORENTINE, XV century. Bust of Minerva. H. 1 9/16 (0.040),
W. 1 7/32 (0.031). A 316.39B.
FLORENTINE, XV century. Warrior fighting a horseman. H. 1 9/16
(0.040), W. 2 3/32 (0.053). A 317.40B.
FLORENTINE, XV century. Bust of Alexander. H. 2 3/16 (0.056),
W. 1 13/16 (0.046). A 318.41B.
FLORENTINE, XV century. Scipio and Dido (or Diana). H. 1 15/16
(0.049), W. 2 1/2 (0.064). A 320.43B.
FLORENTINE, XV century. Diana. H. 1 29/32 (0.049), W. 1 5/16
(0.034). A 321.44B.
FLORENTINE, XV century. Abundance. H. 2 (0.051), W. 1 9/16 (0.040).
A 322.45B.
FLORENTINE, XV century. Antinous (?). D. 1 19/32 (0.040). A 323.46B.
FLORENTINE, XV century. Bust of a youth. H. 1 3/8 (0.034), W. 1 1/16
(0.027). A 324.47B.
FLORENTINE, XV century. Cicero. Lead. H. 1 21/32 (0.042), W. 1 3/8
(0.035). A 325.48B.
FLORENTINE, XV.century. Hippolyte. D. 7/8 (0.023). A 326.49B.
FLORENTINE, XV century. Triumph of Chastity. D. 1 3/16 (0.031).
A 327.50B.
FLORENTINE, XV century. Augustus. H. 1 13/16 (0.046), W. 1 1/4
(0.032). A 328.51B.
FLORENTINE, XV century. Julius Caesar. D. 1 5/8 (0.041). A 329.52B.
FLORENTINE, XV century. Bust of a Roman emperor. H. 1 3/4 (0.044),
W. 1 3/8 (0.035). A 330.53B.
FLORENTINE, XV century. Jupiter. H. 2 3/8 (0.061), W. 1 5/8 (0.041).
A 331.54B. /
BELLANO, Bartolommeo (c. 1434-c. 1497). The dead Christ between two
angels. Gilt. H. 9 11/32 (0.237), W. 7 3/16 (0.183). A 292.15B.
///. p. 65
GEREMIA, Cristoforo di (c. 1410-c. 1475). Augustus and Abundance. H.
2 25/32 (0.071), W. 2 3/4 (0.070). A 332.55B.
GEREMIA. Allegorical figure. D. 3 1/2 (0.089). A 333.56B. ///. p. 66
PIETRO DA MILANO (act. 1458-73). Christ healing the sick. H. 2 1/4
(0.058), W. 3 5/8 (0.093). A 334.57B.
ENZOLA, Gianfrancesco (act. 1456-78). Saint Jerome. H. 2 (0.051), W.
3 1/8 (0.079). A 335.58B.
ENZOLA. Martyrdom of Saint Sebastian. Inscr.: ihoannisfrancisi parmen-
sis-opus.. H. 2 (0.051), W. 3 3/8 (0.086). A 336.59B.
ENZOLA. Child on a lion. Inscr.: -iofr-parmensis-. D. 2 (0.051).
A 337.60B.
ENZOLA. Two soldiers fighting a horseman. Inscr.: mcccclxviii ihoannis-
francisiparmesis-opus-. D. 2 1/2 (0.063). A338.61B.
ENZOLA. Horseman fighting three lions. Inscr.: ioannisfrancisi parmen-
sis.. H. 2 3/4 (0.070), W. 2 23/32 (0.069). A 339.62B. III. p. 67
ENZOLA. Madonna and Child wih two angels. Inscr.: opus-io hannis-
fran ciscipar MEnsis-. H. 3 3/32 (0.079), W. 1 3/4 (0.045). A
340.63B. ///. p. 66
ENZOLA. Child on a lion. Inscr.: ioannis francisi parmensis. D. 2
13/16 (0.071). A 341.64B.
ENZOLA. Saint George and the Dragon. H. 1 29/32 (0.048), W. 2 1/4
(0.057). A 342.65B.
'MASTER M. C (c. 1500). Nymph carried off by a horseman. Inscr.:
m-c. D. 2 (0.050). A. 343.66B. III. p. 67
'MASTER M. C Apollo, Venus, Mars and Vulcan. D. 2 7/32 (0.057).
A 344.67B. 111. p. 67
MELIOLI, Pseudo (late XV-early XVI century). The Judgment of Solomon.
D. 2 (0.050). A 345.68B.
MELIOLI, Pseudo. Warrior and a sleeping youth. D. 2 5/16 (0.059).
A 346.69B.
MELIOLI, Preudo. Warrior and a sleeping nymph. Lead. D. 2 (0.050).
A 347.70B. .
MELIOLI, Pseudo. Vulcan forging the arms of Aeneas. Gilt. D. 2 1/4
(0.057). A 348.71B.
MELIOLI, Pseudo. Vulcan forging the arms of Aeneas. Gilt. D. 2 3/8
(0.060). A 349.72B.
MELIOLI, Pseudo. Hercules and the Nemean Lion. D. 1 7/8 (0.047).
A 350.73B.
MELIOLI, Pseudo. An allocution. D. 2 (0.050). A 351.74B.
MELIOLI, Pseudo. Mucius Scaevola. D. 2 23/32 (0.069). A 352.75B.
MELIOLI, Pseudo. Meleager on horseback- On the reverse, a similar sub-
ject. D. 3 9/16 (0.091). A 353.76B. ///. p. 68
MELIOLI, Pseudo. Romans passing under the yoke. D. 1 3/4 (0.044).
A 354.77B.
MELIOLI, Pseudo. Horseman and two soldiers. D. 1 15/16 (0.049).
A 355.78B.
MELIOLI, Pseudo. Warrior and horseman fighting. D. 2 (0.050). A 356.79B.
MELIOLI, Pseudo. Youth riding on a bull. Gilt. D. 1 3/16 (0.030).
A 357.80B.
MELIOLI, Pseudo. A fruit offering. D. 2 (0.050). A. 358.81B.
MELIOLI, Pseudo. Orpheus. Parcel-gilt. D. 2 1/2 (0.063). A 359.82B.
MELIOLI, Pseudo. Death of Cyrus. Gilt. D. 2 3/4 (0.070). A 360.83B.
MELIOLI, Pseudo. Death of Absalom. H. 1 5/8 (0.042), W. 2 1/2 (0.063).
A 361.84B.
MELIOLI, Pseudo. The Justice of Trajan. H. 1 1/2 (0.037), W. 2 1/4
(0.057). A 362.85B.
SPERANDIO (Bartolommeo di Sperandio Savelii, c. 1425-c. 1504). Flagel-
lation. H. 4 27/32 (0.123), W. 5 1/4 (0.134). A 363.86B. ///. p. 69
ITALIAN, f. 1480. Horseman fighting. H. 2 1/2 (0.063), W. 4 (0.101).
A 364.87B. III. p. 69
ITALIAN, c. 1480. A combat. D. 1 1/8 (0.029). A 365.88B.
ITALIAN, c. 1480. Bull-baiting. H. 3/4 (0.019), W. 7/8 (0.023). A 366.89B.
ITALIAN, c. 1480. Martyrdom of Saint Sebastian. H. 7/8 (0.023), W. 1 1/8
(0.028). A 367.90B.
MILANESE, <r. 1490. Saint Sebastian. H. 3 (0.076), W. 2 17/32 (0.065).
A 368.9IB. ///. p. 70
MILANESE, c. 1490. Two bacchantes. H. 1 7/16 (0.037), W. 1 1/4
(0.032). A369.92B.
MILANESE, c. 1490. Mucius Scaevola. H. 1 1/2 (0.038), W. 1 1/4 (0.032).
A 370.93B.
MILANESE, c. 1490. A triumph. This has been used here as the reverse
of a medal of Elogius Honnu (1524) by Christoph Weiditz. D. 2 1/16
(0.052). A 371.94B.
PADUAN, XV century. Madonna and Child. Lead. H. 3 (0.077), W.
2 5/8 (0.067). A 510.232B.
PADUAN, XV century. Madonna and Child. H. 4 3/4 (0.121), W. 3 3/8
(0.086). A 511.233B.
PADUAN, XV century. Madonna and Child. H. 3 3/4 (0.096), W. 3
(0.075). A 512.234B.
PADUAN, XV century. Madonna and Child with six cherubs. H. 2 7/16
(0.062), W. 1 3/8 (0.036). A 513.235B.
PADUAN, XV century. Madonna and Child. H. 3 3/8 (0.087), W. 2
(0.050). A 514.236B.
PADUAN, XV century. Madonna and Child. H. 2 1/16 (0.052), W. 1 1/2
(0.038). A 515.237B.
PADUAN, XV century. Madonna and Child. The same plaquette as the
preceding, but cast with a broad border. H. 3 1/4 (0.083), W. 2 1/4
(0.057). A 516.238B.
PADUAN, XV century. Dead Christ between the Virgin and Saint John.
Has t.-.e same border as that of the preceding plaquette. H. 3 1/8 (0.080),
W. 2 3/16 (0.056). A 517.239B.
PADUAN, XV century. Madonna and Child with angels. H. 5 5/16
(0.135), W. 3 1/2 (0.089). A 518.240B. ///. p. 71
PADUAN, XV century. Entombment. H. 1 7/16 (0.037), W. 1 1/8
(0.028). A 519.241B.
PADUAN, XV century. Entombment. H. 1 11/16 (0.043), W. 1 17/32
(0.039). A 520.242B.
PADUAN, XV century. Flagellation. H. 2 13/16 (0.071), W. 2 3/32
(0.053). A 521.243B.
PADUAN, XV century. Descent from the Cross. H. 2 3/4 (0.069), W.
2 1/16 (0.052). A 522.244B.
PADUAN, XV century. Dead Christ supported by the Virgin and Saint
John. H. 3 3/16 (0.081), W. 2 1/4 (0.058). A 523.245B.
PADUAN, XV century. Lamentation over the dead Christ. H. 3 1/16
(0.078), W. 4 13/32 (0.112). A 524.246B.
PADUAN, XV century. Saint Jerome. H. 3 7/16 (0.088), W. 2 11/16
(0.068). A 525.247B.
PADUAN, XV century. Saint Jerome. H. 3 11/32 (0.085), W. 4 27/32
(0.123). A 526.248B.
PADUAN, XV century. Funeral of a bishop. Belongs to the same series as
those of the bronze box, A 213.54C (p. 137). H. 2 1/4 (0.057), W.
2 5/16 (0.059). A 527.249B.
PADUAN, XV century. An assembly of Gods. H. 2 9/16 (0.065), W.
5 29/32 (0.150). A 528.250B. 111. p. 74
PADUAN, XV century. Obv. Mercury and Minerva. Rev. Venus and
Cupid. H. 2 3/4 (0.070), W. 1 3/4 (0.045). A 529.251B.
PADUAN, XV century. Horseman. H. 1 11/16 (0.043), W. 2 (0.050).
A 530.252B.
PADUAN, c. 1500. Cupid playing on a lyre. H. 1 23/32 (0.044), W. 1 1/4
(0.032). A 531.253B.
PADUAN, <r. 1500. Apollo. H. 2 23/32 (0.069), W. 1 7/16 (0.037). A
PADUAN, c. 1500. Cupids and stags. H. 2 1/2 (0.063), W. 3 1/4 (0.082).
A 533.255B.
PADUAN, c. 1500. Decorative plaquette, with circular medallion enclosing
the bust of a girl. Another example of the same plaquette is used as one
of the sides of the bronze sandbox, A 215.56C (p. 137). H. 2 17/32
(0.064), W. 4 (0.102). A 534.256B.
PADUAN, c. 1500. Bust of a girl. The same as that of the preceding pla-
quette. H. 1 13/16 (0.046), W. 1 5/16 (0.033). A 535.257B.
PADUAN, c. 1500. Triumph of Silenus. From the same series as the fol-
lowing plaquette. H. 1 21/32 (0.042), W. 4 (0.101). A 536.258B.
PADUAN, c. 1500. Allegorical scene. Examples of this and of the preced-
ing plaquette are used as two sides of the bronze sandbox, A 216.57C
(p. 137). H. 1 3/4 (0.045), W. 4 3/16 (0.106). A 537.259B.
PADUAN, c. 1500. Fighting Tritons. D. 7 1/8 (0.181). A 538.260B.
///. p. 73
VENETIAN, XV century. Madonna and Child. H. 2 11/16 (0.068), W.
1 1/2 (0.038). A 545.267B.
VENETIAN, XV century. Madonna and Child with two angels. Above,
God the Father supported by two angels. Pax. Parcel-gilt. H. 7 5/8
(0.194), W. 4 1/2 (0.115). A 546.268B '///. p. 72
VENETIAN, XV century. Child angel. From a pax identical with the pre-
ceding. Parcel-gilt. H. 2 11/32 (0.060). A 547.269B.
VENETIAN, XV century. Pieta. Probably a small pax. H. 2 9/16 (0.065),
W. 1 7/8 (0.048). A 548.270B.
VENETIAN, XV century. Resurrection. Above, God the Father. Mounted
as a pax. H. 6 9/16 (0.167), W. 4 3/16 (0.106). A 549.271B.
VENETIAN, XV century. Christ appearing to the Apostles. Gilt. H. 3 3/4
(0.095), W. 2 1/2 (0.064). A 550.272B.
VENETIAN, XV century. Madonna and Child with four saints. Pax. H.
5 3/32 (0.129), W. 3 3/16 (0.081). A 551.273B.
VENETIAN, XV century. Madonna and Child with four saints. Exact
repetition, but slightly smaller, of the preceding plaquette. H. 4 27/32
(0.123), W. 3 1/16 (0.078). A 552.274B.
NORTH ITALIAN, XV century. Madonna and Child. Applique. H.
5 1/16 (0.128), W. 2 11/32 (0.060). A 553.275B.
NORTH ITALIAN, XV century. Saint George and the Dragon. Applique.
H. 5 (0.125), W. 2 7/32 (0.056). A 554.276B.
NORTH ITALIAN, XV century. Holy Family. Applique. H. 3 1/2
(0.089), W. 3 7/32 (0.082). A 555.277B.
NORTH ITALIAN, XV century. Saint Sebastian. Applique. Gilt. H.
4 7/8 (0.124), W. 1 3/16 (0.031). A 556.278B.
NORTH ITALIAN, XV century. Saint Sebastian. Applique. Gilt. H.
3 1/8 (0.080), W. 1 11/32 (0.034). A 557.279B.
NORTH ITALIAN, XV century. Judith. Applique. Gilt. H. 2 (0.050),
W. 1 13/32 (0.036). A 558.280B.
NORTH ITALIAN, XV century. Bust of Christ. H. 3 15/16 (0.100),
W. 2 11/16 (0.068). A 559.281B. ///. p. 70
NORTH ITALIAN, XV century. The dead Christ. For a pax. Gilt.
H. 4 7/16 (0.113), W. 2 13/16 (0.072). A 560.282B.
NORTH ITALIAN, c. 1500. Saint John the Baptist. D. 2 5/16 (0.059).
A 561.283B.
NORTH ITALIAN, c. 1500. Saint Jerome. H. 2 9/16 (0.065), W. 1 15/16
(0.049). A 562.284B.
NORTH ITALIAN, c. 1500. Female saint. This and the following three
gilt bronze reliefs are part of the same series of appliques, which may
have decorated one or more choir books, or have been affixed to a taber-
nacle or shrine. H. 3'11/32 (0.085), W. 3 1/16 (0.078). A 563.285B.
NORTH ITALIAN, c. 1500. Saint John the Evangelist. H. 3 7/32 (0.082),
W. 2 11/32 (0.059). A 564.286B.
NORTH ITALIAN, c. 1500. Saint John the Evangelist (?). H. 3 9/32
(0.084), W. 2 7/16 (0.062). A 565.287B.
NORTH ITALIAN, c. 1500. The Magdalen. H. 3 3/32 (0.079), W. 2 3/32
(0.053). A 566.288B.
NORTH ITALIAN, c. 1500. Martyrdom of a female saint. H. 1 7/16
(0.037), W. 3 1/4 (0.082). A 567.289B.
NORTH ITALIAN, c. 1500. A triumph. H. 1 7/8 (0.047), W. 2 15/32
(0.063). A 568.290B.
NORTH ITALIAN, c. 1500. Allegorical figure. D. 2 5/32 (0.055).
A 569.291B.
NORTH ITALIAN, c. 1500. Vulcan, Venus and Cupid. D. 2 5/32 (0.055).
A 570.292B.
NORTH ITALIAN, c. 1500. Allegory of Fortune. D. 2 7/16 (0.062).
A 571.293B.
NORTH ITALIAN, c. 1500. Constantia. D. 2 3/16 (0.056). A 572.294B.
NORTH ITALIAN, c. 1500. Mercury and Judith. H. 1 29/32 (0.048),
W. 1 7/32 (0.031). A 573.295B.
NORTH ITALIAN, c. 1500. A sacrifice. H. 2 5/32 (0.055), W. 1 17/32
(0.038). A 574.296B.
NORTH ITALIAN, c. 1500. Amazon. H. 2 5/8 (0.067), W. 1 5/8
(0.041). A 575.297B.
NORTH ITALIAN, c. 1500. A triumph. H. 1 15/16 (0.049), W. 2 29/32
(0.074). A 576.298B.
NORTH ITALIAN, c. 1500. Family scene (Adam and Eve, with Cain and
Abel [?]). H. 1 21/32 (0.042), W. 2 27/32 (0.072). A 577.299B.
NORTH ITALIAN, c. 1500. Combat of horsemen. H. 2 1/8 (0.054),
W. 2 3/8 (0.061). A 578.300B.
NORTH ITALIAN, c. 1500. Continence of Scipio. H. 2 1/4 (0.058),
W. 2 15/16 (0.075). A 579.301B.
NORTH ITALIAN, c. 1500. Female bust. D. 1 13/16 (0.046). A 580.302B.
NORTH ITALIAN, c. 1500. Female bust. D. 1 13/16 (0.046). A 581.303B.
NORTH ITALIAN, c, 1500. Flagellation. Pax. Parcel-gilt and tooled. H.
6 1/16 (0.152), W. 3 11/32 (0.085). A 582.304B.
CARADOSSO, Cristoforo Foppa, called (c. 1445-1527). Rape of Ganymede.
Gilt. H. 3 11/32 (0.085), W. 3 5/16 (0.084). A 372.95B.
CARADOSSO. Battle of Centaurs and Lapiths. H. 2 (0.051), W. 1 31/32
(0.050). A 373.96B.
CARADOSSO. Silenus attacked by bacchantes. H. 1 31/32 (0.050),
W. 1 15/16 (0.049). A 374.97B.
CARADOSSO. Seaside scene. D. 2 7/16 (0.062). A 375.98B. ///. p. 75
CARADOSSO. Seaside scene. Nearly identical with the preceding; it has
been reduced in size to match nos. A 372-374.95-97B (see above),
doubtless as sides of a small inkwell. H. 1 31/32 (0.050), W. 1 15/16
(0.049). A 376.99B.
CARADOSSO. Justice, Science and Might. D. 1 21/32 (0.042). A 377.100B.
CARADOSSO. A triumph. H. 2 1/8 (0.054), W. 1 3/16 (0.030). A
CARADOSSO. Part of a sword pommel. H. 1 1/2 (0.038), W. 1 15/32
(0.037). A 380.103B.
CARADOSSO. Hercules and Geryon. H. 2 13/32 (0.061), W. 1 15/32
(0.037). A 381.104B.
CARADOSSO (?). The Magdalen. D. 1 13/16 (0.046). A 378.101B.
'MASTER OF THE ORPHEUS LEGEND' (late XV-early XVI century).
Apollo and Daphne. D. 2 1/8 (0.054). A 382.105B.
'MASTER OF THE ORPHEUS LEGEND.' Meleager and Atalanta (or
Venus and Adonis?) D. 2 9/16 (0.065). A 383.106B.
'MASTER OF THE ORPHEUS LEGEND.' Sacrifice of Iphigenia. D. 2
1/4 (0.057). A 384.107B.
'MASTER OF THE ORPHEUS LEGEND,' The Centaur Chiron. D. 2
3/16 (0.056). A 385.108B.
'MASTER OF THE ORPHEUS LEGEND.' Orpheus before Pluto. D 2
5/32 (0.055). A 386.109B.
'MASTER OF THE ORPHEUS LEGEND.' Orpheus surrounded by ani-
mals. D. 2 3/16 (0.056). A 387.110B.
'MASTER OF THE ORPHEUS LEGEND.' Death of Orpheus. Gilt. D.
2 9/16 (0.065). A 388.11 IB.
'MASTER OF THE ORPHEUS LEGEND.' Aeneas entering Hades. D.
2 5/16 (0.059). A 389.112B.
'MASTER OF THE ORPHEUS LEGEND.' Sacrifice of a bull. D. 2
9/16 (0.065). A 390.113B.
'MASTER OF THE ORPHEUS LEGEND.' Mars and Venus. D. 2 1/4
(0.057). A 391.114B.
'MASTER OF THE ORPHEUS LEGEND.' Meleager hunting the Wild
Boar. D. 2 1/2 (0.064). A 392.115B.
FRA ANTONIO DA BRESCIA, Pseudo (act. 1487-1513). Jason and the
Dragon. D. 2 5/8 (0.067). A 393.116B.
FRA ANTONIO DA BRESCIA, Pseudo. Sleeping cupid. D. 2 5/8 (0.067).
FRA ANTONIO DA BRESCIA, Pseudo. Obv. Abundance and a satyr.
Rev. Sleeping mother and two satyrs. The reverse forms a distinct
plaquette. D. 2 3/8 (0.060). A 395.118B ///. p. 75.
FRA ANTONIO DA BRESCIA, Pseudo. Satyr uncovering a nymph. H.
2 3/8 (0.060), W. 2 13/16 (0.072). A. 396.119B.
L'ANTICO, Pier Jacopo Alari Bonacolsi, called (c. 1460-1528). Triumphant
warrior. Gilt. D. 1 5/8 (0.041). A 397.120B.
L'ANTICO. A triumph. D. 1 5/8 (0.041). A 398.121B.
CAMELIO, Vittore Gambello, called (1460-1539). A lion. Signed. D. 2
1/8 (0.054). A 399.122B.
RICCIO, Andrea Briosco, called (1470-1532). Entombment. Inscribed, on
the jug, AERDNA (signature ANDREA reversed). H. 19 13/16
(0.504), W. 29 11/16 (0.755). A 164.1C. ///. p. 76
RICCIO. Judith. Signed with monogram, on reverse. After a design by
Mantegna. H. 4 3/16 (0.107), W. 3 5/16 (0.084). A 402.125B.
///. p. 77
RICCIO. Entombment. Large R on reverse. H. 4 7/16 (0.113), W. 5 3/4
(0.146). A 403.126B.
RICCIO. Entombment. H. 4 7/16 (0.113), W. 6 1/4 (0.159). A 404.127B.
RICCIO. Entombment. H. 5 11/16 (0.145), W. 8 3/16 (0.208). A
405.128B. III. p. 78
RICCIO. Entombment. Large R on reverse. H. 3 (0.076), W. 3 1/16
(0.078). A 406.129B.
RICCIO. Augustus and the Sibyl. H. 2 3/4 (0.070), W. 2 1/2 (0.063). A
RICCIO. Saint George and the Dragon. H. 2 3/32 (0.053), W. 2 17/32
(0.064). A 408.131B.
RICCIO. Death of Marcus Curtius. H. 3 1/16 (0.078), W. 2 1/2 (0.064).
A 409.132B.
RICCIO. Venus chastising Cupid. H. 4 3/16 (0.106), W. 3 7/32 (0.082).
A 410.133B. ///. p. 79
RICCIO. Leda and the Swan. D. 1 27/32 (0.047). A 411.134B ///. p. 75
RICCIO. Venus, Vulcan and Cupid. D. 3 1/32 (0.077). A 412.135B.
RICCIO. Venus, Vulcan and Cupid. H. 4 9/32 (0.109), W. 3 1/16 (0.078).
A 413.136B. ///. p. 79
RICCIO. Meleager and Atalanta. H. 3 1/16 (0.078), W. 2 1/2 (0.063).
A 414.137B.
RICCIO. Satyr and his family. H. 5 5/8 (0.143), W. 4 11/32 (0.111).
A 415.138B. ///. p. 80
RICCIO. Fame. Large R on reverse. H. 2 1/32 (0.051), W. 1 21/32
(0.042). A 416.139B.
RICCIO. Triumph of a hero. H. 3 1/32 (0.077), W. 4 3/32 (0.104).
A 417.140B.
RICCIO. Sacrifice of a swine. H. 3 1/16 (0.078), W. 3 11/16 (0.094). A
418.141B ///. p. 81
RICCIO. Combat at the gate. H. 3 7/16 (0.087), W. 3 15/16 (0.100).
A 419.142B. ///. p. 81
ULOCRINO (late XV-early XVI century). Mythological scene. At top,
erased inscription ulocrino. H. 2 9/16 (0.066), W. 1 27/32 (0.047).
A 429.152B.
ULOCRINO. Saint Jerome. At top, inscribed ULOCRINO. H. 3 1/16
(0.078), W. 1 31/32 (0.050). A 430.153B.
ULOCRINO. Saint Jerome. H. 3 25/32 (0.096), W. 2 9/16 (0.065). A
ULOCRINO. Saint Romedius. At top, inscribed ulocrino. H. 2 21/32
(0.067), W. 1 15/16 (0.049). A 432.155B.
ULOCRINO. Saint Romedius (?). H. 2 23/32 (0.069), W. 2 1/32 (0.052).
A 433.156B.
LTLOCRINO. Apollo and Marsyas. H. 2 13/16 (0.071), W. 2 3/32
(0.053). A 434.157B.
ULOCRINO. Hercules and Antaeus. At top, inscribed ulocrino. H. 2
3/4 (0.070), W. 2 1/32 (0.052). A 435.158B.
ULOCRINO. Death of Meleager (?). H. 2 27/32 (0.072), W. 2 3/32
(0.053). A 436.159B.
ULOCRINO. Aristotle and Alexander of Aphrodisias. H. 2 27/32 (0.072),
W. 2 3/16 (0. 056). A 437.160B.
ULOCRINO. Saint Cecilia. H. 2 13/16 (0.071), W. 2 3/32 (0.053). A
'MASTER OF CORIOLANUS' (early XVI century). Coriolanus meeting
Volumnia. H. 1 21/32 (0.042), W. 1 31/32 (0.050). A 420.143B.
'MASTER OF CORIOLANUS.' Coriolanus leaving Rome. D. 2 1/2
(0.063). A 421.144B.
'MASTER OF CORIOLANUS.' Roman triumph. This and the two fol-
lowing plaquettes belong to the same series. H. 1 21/32 (0.042), W. 1
29/32 (0.048). A 422.145B.
'MASTER OF CORIOLANUS.' Roman triumph. H. 1 21/32 (0.042), W.
2 1/8 (0.054). A 423.146B.
'MASTER OF CORIOLANUS.' Banishment of Coriolanus. H. 1 11/16
(0.043), W. 2 (0.051). A 424.147B.
'MASTER OF CORIOLANUS.' Coriolanus in battle before Rome. H. 1
9/16 (0.040), W. 1 31/32 (0.050). A 425.148B.
'MASTER OF CORIOLANUS.' Obv. Battle of Cannae. Rev. Armorial
shield supported by Hercules and Janus. D. 2 3/32 (0.052). A 426.149B.
'MASTER OF CORIOLANUS.' Aeneas crossing the Styx. This and the
following plaquette belong to the same series. D. 2 1/2 (0.063). A
'MASTER OF CORIOLANUS.' Aeneas attacking a gate. D. 2 1/2 (0.063).
A 428.151B.
MODERNO (late XV-early XVI century). David and dead Goliath. D. 4
5/32 (0.106). A 439.162B. ///. p. 83
MODERNO. Madonna and Child. Signed on reverse. H. 4 3/8 (0.111),
W. 2 19/32 (0.066). A 440.163B.
MODERNO. Madonna and Child. H. 2 23/32 (0.069), W. 2 1/8 (0.054).
A 441.164B.
MODERNO. Madonna and Child. Gilt. H. 2 1/2 (0.064), W. 2 3/32
(0.053). A442.165B.
MODERNO. Adoration of the Magi. H. 3 15/16 (0.100), W. 2 19/32
(0.066). A 443.166B.
MODERNO. Presentation in the Temple. H. 3 29/32 (0.099), W. 2 17/32
(0.064). A 444.167B.
MODERNO. Presentation in the Temple. Same plaquette as the preceding,
but reworked with a too1. H. 3 15/16 (0.100), W. 2 17/32 (0.064). A
MODERNO. Flagellation. H. 5 5/16 (0.135), W. 3 15/16 (0.100). A
MODERNO. Crucifixion. H. 4 17/32 (0.115), W. 3 1/16 (0.078). A
447.170B. ///. p. 85.
MODERNO. Entombment. H. 4 (0.102), W. 2 21/32 (0.068). A
MODERNO. Entombment. H. 4 3/16 (0.106), W. 2 23/32 (0.069). A
MODERNO. Entombment. H. 2 3/4 (0.070), W. 2 27/32 (0.072). A
MODERNO. Entombment. H. 3 9/32 (0.083), W. 2 19/32 (0.066). A
MODERNO. Resurrection. H. 3 15/16 (0.100), W. 2 9/16 (0. 065). A
MODERNO. Martyrdom of Saint Sebastian. Inscribed, in the cartouche, m.
H. 5 5/32 (0.131), W. 3 19/32 (0.091). A 453.176B.
MODERNO. Saint Sebastian. H. 3 1/32 (0. 077), W. 2 1/4 (0.057). A
MODERNO. Saint Jerome. H. 3 1/16 (0.078), W. 2 11/32 (0.060). A
MODERNO. Saint Jerome. H. 2 9/32 (0.058), W. 1 23/32 (0.044). A
MODERNO. Saint Roch. H. 3 (0.076), W. 2 1/8 (0.054). A 457.180B.
MODERNO. Augustus and the Sibyl. D. 2 1/4 (0.057). A 458.181B.
MODERNO. Mars and Victory. D. 4 5/32 (0.105). A 459.182B.
MODERNO. Mars and Victory. H. 2 3/4 (0.070), W. 2 3/8 (0.056). A
MODERNO. Mars surrounded by trophies. Inscribed, in a cartouche, mf.
Parcel-gilt. D. 2 3/4 (0.070). A 462.185B. ///. p. 86
MODERNO. Mars surrounded by trophies. Variant of the preceding
plaquette. D. 2 17/32 (0.064). A 463.186B.
MODERNO. Vulcan, Victory and Cupid. D. 1 1/4 (0.032). A 464.187B.
MODERNO. Cupid riding on a dragon. D. 3 5/16 (0.084). A 465.188B.
///. p. 86
MODERNO. Fall of Phaethon. D. 4 1/8 (0.105). A 466.189B.
MODERNO. Hercules strangling the serpents. H. 3 17/32 (0.090), W. 3
(0.076). A 467.190B.
MODERNO. Hercules and Cacus. Companion to the following. H. 2 3/4
(0.070), W. 2 1/8 (0. 054). A 468.191B.
MODERNO. Hercules and a centaur. Signed. H. 2 23/32 (0. 069), W.
2 5/32 (0.055). A 469.192B.
MODERNO. Hercules and the Lernaean Hydra. Companion to A 478.20IB.
H. 3 25/32 (0. 096), W. 3 1/16 (0. 077). A 470.193B. ///. p. 82
MODERNO. Hercules and the Nemean Lion. H. 3 1/16 (0.078), W. 2
19/32 (0.066). A 471.194B.
MODERNO. Hercules and the Nemean Lion. D. 4 3/16 (0.105). A
472.195B ///. p. 83
MODERNO. Hercules and the Nemean Lion. H. 2 1/4 (0. 057), W. 2 1/2
(0.064). A 473.196B.
MODERNO. Hercules and the Nemean Lion. H. 3 5/8 (0.092), W. 1
21/32 (0.042). A 474.197B.
MODERNO. Nessus and Dejamra. H. 3 23/32 (0.094), W. 1 11/16
(0.043). A 475.198B.
MODERNO. Hercules and Antaeus. H. 2 15/16 (0.075), W. 2 5/16
(0.059). A 476.199B.
MODERNO. Hercules and Antaeus. Variant of the preceding. H. 2 15/16
(0.075), W. 2 5/16 (0.059). A 477.200B.
MODERNO. Hercules and Antaeus. Companion to A 470.193B. H. 3 13/15
(0.097), W. 3 1/32 (0.077). A 478.201B. ///. p. 82
MODERNO. Hercules and the oxen of Geryon. Signed. H. 2 25/32
(0.071), W. 2 1/8 (0.054). A 479.202B.
MODERNO. Hercules and the dead Antaeus. Signed. H. 2 23/32
(0.069), W. 2 5/32 (0.055). A 480.203B.
MODERNO. Arion captured by pirates. D. 4 5/32 (0.106). A 481.204B.
///. p. 84
MODERNO. Anon on the dolphin. D. 4 1/8 (0.105). A 482.205B.
///. p. 84
MODERNO. Orpheus descending into Hades. D. 4 7/32 (0.107). A
484.206B. ///. p. 87
MODERNO. Orpheus redeeming Eurydice. D. 4 7/32 (0.107). A 485.207B.
///. p. 87
MODERNO. Orpheus losing Eurydice. D. 4 1/8 (0.105). A 486.208B.
///. p. 88
MODERNO. Orpheus charming the beasts of the field. D. 4 3/16 (0.106).
A 487.209B. ///. p. 88
MODERNO. Death of Orpheus. D. 2 13/32 (0.061). A 488.210B.
MODERNO. Lucretia and Brutus. H. 3 11/16 (0.094), W. 3 1/16 (0.078).
A 492.214B. ///. p. 89
MODERNO. Lucretia stabbing herself. D. 2 (0.051). A 493.215B.
MODERNO. Cavalry combat. D. 2 3/32 (0.053). A 494.216B.
MODERNO. Lion hunt. D. 3 7/32 (0.082). A 495.217B.
MODERNO. Nude man. D. 1 17/32 (0.037). A 496.218B.
MODERNO. Ornamental frieze. H. 15/16 (0.024), W. 2 5/32 (0.055).
A 497.219B.
MODERNO (?). Sculptor carving a statue of Cupid. D. 1 27/32 (0.047).
A 489.21 IB.
MODERNO (?). Head of Medusa. D. 1 3/4 (0.045). A 490.212B.
MODERNO (?). Head of Medusa. Adaptation of the preceding plaquette.
H. 1 3/16 (0.030), W. 1 27/32 (0.047). A 491.213B.
'MASTER L.C.R.I.I.S.' (early XVI century). Sacrifice to Cupid. Signed
with monogram. H. 2 3/8 (0.060), W. 2 1/16 (0.052). A 498.220B.
'MASTER OF SEMNEKLOPIA' (early XVI century). Allegorical scene.
D. 2 1/2 (0.063). A 499.221B.
'MASTER OF SEMNEKLOPIA.' Allegorical scene. D. 2 1/2 (0.063).
A 500.222B.
'MASTER I.S.A.' (early XVI century). Allegorical scene. D. 2 11/32
(0.060). A 501.223B.
'MASTER I.S.A.' Allegorical scene. D 2 3/16 (0.056). A 502.224B.
'MASTER I.S.A.' Allegorical scene. Inscribed, in cartouche, isa. D. 2 3/16
(0.056). A 503.225B.
'MASTER I.S.A.' Allegorical scene. D. 1 15/16 (0.049). A 504.226B.
'MASTER I.S.A.' Allegorical scene. Dl 17/32 (0.039). A 505.227B.
'MASTER I.S.A.' Obv. Nude putto with serpent. Rev. Cupid presenting a
skull to Fame. Treated as a meda1. D. 2 1/8 (0.054). A 506.228B.
'MASTER I.S.A.' Apollo and Vulcan. Gilt. H. 1 11/16 (0.043), W. 1 5/8
(0.041). A 507.229B.
'MASTER I.F.P.' (early XVI century). Resurrection. Inscribed, on shield,
i.P.p.. H. 3 7/32 (0.082), W. 2 5/16 (0.059). A 508.230B. ///. p. 89
GIOVANNI DA PISA (act. late XV century). The Holy Family. H. 3
15/32 (0.088), W. 3 (0.076). A 509.231B.
'MASTER A.L.' (1507). Dancing faun. Incised, on reverse, 1507 al.
D. 3 7/16 (0.087). A 601.323B.
'MASTER IO.F.F.' (early XVI century). Obv. Jupiter. Rev. Assembly of
Gods. H. 1 21/32 (0.042), W. 1 13/32 (0.036). A 614.336B.
'MASTER IO.F.F.' Phaedra and Hippolytus. D. 2 17/32 (0.064).
A 615.337B. ///. p. 90
'MASTER IO.F.F.' Ariadne in Naxos. In exergue, -iof-f-. D. 2 1/4
(0.057). A 616.338B. ///. p. 90
'MASTER IO.F.F.' Two hunters. In exergue, iof. D. 1 9/32 (0.033).
A 617.339B.
'MASTER IO.F.F.' Two hunters. Reoetition, on larger scale, of the preced-
ing plaquette. D. 2 3/4 (0.070).' A 618.340B.
'MASTER IO.F.F.' Judgment of Paris. In exergue, -io ff-. D. 2 3/16
(0.056). A 619.341B.
'MASTER IO.F.F.' Judgment of Paris. Another example, with moulded rim,
of the preceding. Gilt. D. 2 25/32 (0. 071). A 620.342B.
'MASTER IO.F.F.' Sacrifice of Iphigema. D. 2 5/32 (0.055). A 621.343B.
MASTER IO.F.F.' Allegorical scene. D. 2 1/4 (0.057). A 622.344B.
'MASTER IO.F.F.' Horatius Codes defending the bridge. H. 2 13/32
(0.061), W. 2 3/8 (0.060). A 623.345B.
'MASTER IO.F.F.' Mucins Scaevola. In exergue, -iof-f-. H. 2 13/32
(0.061), W. 2 5/16 (0.059). A 624.346B.
'MASTER IO.F.F.' Death of Marcus Curtius. H. 2 7/16 (0.062), W. 2.
3/8 (0.060). A 625.347B.
'MASTER IO.F.F.' Allegory of union. In exergue, -iof-f-. H. 2 15/32
(0.063), W. 2 3/8 (0.060). A 626.348B.
PADUAN, early XVI century. Abundance. D. 3 3/16 (0.081). A 539.261B.
///. p. 90
PADUAN, early XVI century. Mercury. D. 3 3/16 (0.081). A 540.262B.
///. p. 90
PADUAN, early XVI century. Cimon and Pero. D. 3 7/32 (0.082). A
PADUAN, early XVI century. Vulcan forging the arms of Aeneas. D. 2
11/16 (0.068). A 542.264B.
PADUAN, early XVI century. Birth of Venus. D. 2 1/8 (0.054). A
PADUAN, early XVI century. Venus and Cupid. Applique. Gilt. H. 1
11/16 (0.043), W. 1 11/32 (0.034). A 544.266B.
VENETIAN, early XVI century. Baptism of Christ. Gilt. H. 2 29/32
(0.074), W. 2 1/8 (0.054). A 602.324B.
NORTH ITALIAN, early XVI century. Triumph of Neptune. D. 8 15/32
(0.215). A 583.305B. ///. p. 91
NORTH ITALIAN, early XVI century. Entombment. H. 4 11/16
(0.119), W. 4 (0.102). A 584.306B.
NORTH ITALIAN, early XVI century. Diana and Actaeon. Incuse re-
verse with same subject. D. 2 3/8 (0.060). Probably struck. A
NORTH ITALIAN, early XVI century. Mucins Scaevola. D. 1 15/16
(0.049). A 586.308B.
NORTH ITALIAN, early XVI century. Hagar (?) and the Angel. D. 2
(0.051). A 587.309B.
NORTH ITALIAN, early XVI century. Psyche and Cupid (?). H. 1
15/32 (0.037), W. 1 1/8 (0.029). A 588.310B.
NORTH ITALIAN, early XVI centurv. Cincinnatus at the plough. H. 1
9/32 (0.033), W. 2 15/32 (0.063). A 589.311B.
NORTH ITALIAN, early XVI century. Allegory of Faith. Obv. Nude
youth devoured by three lions. Rev. Circular frieze of Tritons and
Nereids. D. 2 3/8 (0.060). A 590.312B.
NORTH ITALIAN, early XVI century. Circular frieze of Tritons and
Nereids. Same frieze as that of the preceding plaquette. Gilt. D. 2
9/16 (0.065). A 591.313B.
NORTH ITALIAN, early XVI century. Circular frieze of Centaurs and
Tritons. D. 2 5/8 (0.066). A 592.314B.
NORTH ITALIAN, early XVI century. Music. H. 4 1/2 (0.115), W. 2
25/32 (0.071). A 593.315B.
NORTH ITALIAN, early XVI century. Fighting sea monsters. Companion
to the following. H. 1 27/32 (0.047), W. 3 13/32 (0.097). A 594.316B.
NORTH ITALIAN, early XVI century. Fighting sea monsters. H. 1 27/32
(0.047), W. 3 3/4 (0.095). A 595.317B.
NORTH ITALIAN, early XVI century. Toilet of Venus. H. 2 9/32
(0.058), W. 1 11/16 (0.043). A 596.318B.
NORTH ITALIAN, early XVI century. Saint George and the Dragon (?).
H. 1 27/32 (0.047), W. 2 1/8 (0.054). A 597.319B.
NORTH ITALIAN, early XVI century. Victorious hero. Gilt. H. 1
29/32 (0.048), W. 2 (0.050). A 598.320B.
NORTH ITALIAN, early XVI century. Madonna and Child. Pax. Gilt.
H. 4 3/32 (0.104), W. 2 15/32 (0.063). A 599.321B.
NORTH ITALIAN, early XVI century. The Last Supper. H. 2 9/16
(0.065), W. 4 7/32 (0.107). A 600.322B.
ITALIAN, early XVI century. Bust of Scipio Africanus. For an earlier
and smaller version of the head see No. A 320.43B (p. 143). H.
2 15/16 (0.075), W. 2 5/16 (0.059). A 319.42B.
ITALIAN, early XVI century. Pan and Syrinx (or Polyphemus and Gala-
tea?). H. 1 31/32 (0.042), W. 1 11/32 (0.034). A 603.325B.
ITALIAN, early XVI century. Death of Laocoon. Based on the celebrated
antique group of the death of Laocoon and his children. D. 1 13/16
(0.046). A 604.326B.
ITALIAN, early XVI century. Rape of Proserpine. D. 2 3/32 (0.053).
A 605.327B.
ITALIAN, early XVI century. Five putti making wine. H. 1 23/32 (0.043),
W. 3 15/16 (0.100). A 606.328B.
ITALIAN, early XVI century. Five putti at play. H. 15/16 (0.024), W. 3
5/16 (0.084). A 607.329B.
ITALIAN, early XVI century. Triumph of Amphitrite. H. 2 3/8 (0.060),
W. 3 5/32 (0.081). A 608.330B.
ITALIAN, early XVI century. Minerva and Vulcan. On the anvil, incised
a. D. 2 1/2 (0.064). A 609.331B.
ITALIAN, early XVI century. Fame, Victory, and Peace. H. 2 15/32
(0.063), W. 3 3/32 (0.079). A 610.332B.
ITALIAN, early XVI century. Silenus. D. 1 7/16 (0.037). A 611.333B.
ITALIAN, early XVI century. Justice of Trajan. H. 3 31/32 (0.101), W.
2 3/8 (0.060). A 612.334B.
ITALIAN, early XVI century. Allegorical plaquette. Obv. Hybrid monster.
Rev. Standing Janus holding a key and sceptre, surrounded by celestial
bodies. H. 3 11/32 (0.085), W. 2 9/32 (0.058). A 613.335B.
BELLI, Valerio (c. 1468-1546). Adoration of the Shepherds. Signed. H. 3
17/32 (0.080), W. 2 23/32 (0.069). A 627.349B.
BELLI. Adoration of the Magi. Signed. From same series as the follow-
ing plaquette. H. 2 3/8 (0.060), W. 2 3/8 (0.060). A 628.350B.
BELLI. Baptism of Christ. H. 2 3/8 (0.060), W. 2 5/16 (0.059). A
BELLI. Adoration of the Magi. Lead. H. 2 19/32 (0.066), W. 2 3/16
(0.056). A 630.352B.
BELLI. Jesus among the Doctors. Signed. H. 2 13/32 (0.061), W. 3 29/32
(0.099). A 631.353B.
BELLI. The Betrayal. Signed. H. 3 15/32 (0.088), W. 3 27/32 (0.097).
A 632.354B. ///. p. 92
BELLI. Christ before Pilate. Signed. H. 2 3/8 (0.060), W. 3 29/32
(0.099). A 633.355B.
BELLI. Christ bearing the Cross. Incuse. H. 3 1/32 (0.077), W. 4 21/32
(0.118). A 634.356B.
BELLI. Christ bearing the Cross. Signed. H. 3 7/16 (0.087), W. 3 25/32
(0.096). A 635.357B. ///. p. 92
BELLI. Entombment. H. 2 13/32 (0.061), W. 3 7/8 (0.099). A 636.358B.
BELLI. Entombment. Signed. H. 3 1/2 (0.089), W. 3 7/8 (0.098). A
BELLI. Entombment. H. 3 11/32 (0.085), W. 2 3/8 (0.060). A 638.360B.
BELLI. Noli me tangere. H. 1 5/8 (0.041), W. 2 5/32 (0.055). A 639.361B.
BELLI. Incredulity of St. Thomas. Signed. H. 2 7/16 (0.062), W. 3 13/16
(0.100). A 640.362B.
BELLI. Christ appearing to the Apostles. H. 3 11/32 (0.085), W. 2 1/8
(0.054). A 641.363B.
BELLI. Christ appearing to the Apostles. Signed. H. 3 11/32 (0.085), W.
2 1/8 (0.054). A 642.364B.
BELLI. Apollo. Signed. H. 1 1/32 (0.026), W. 27/32 (0.022). A
BELLI. Venus. Lead. H. 2 (0.051), W. 1 21/32 (0.042). A 644.366B.
BELLI. Neptune, Amfhitrite and Cupid. H. 1 23/32 (0.044), W. 1 1/2
(0.038). A 645.367B.
BELLI. Hercules between Minerva and Venus. H. 1 27/32 (0.047), W. 1
21/32 (0.042). A 646.368B.
BELLI. Triumph of Amphitrite. H. 2 9/32 (0.058), W. 1 7/8 (0.048).
A 647.369B.
BELLI. Perseus mounted on Pegasus. Same subject on reverse, incuse. H.
1 11/32 (0.034), W. 1 1/16 (0.027). A 648.370B.
BELLI. Hercules and Antaeus. H. 1 23/32 (0.044), W. 1 11/32 (0.034).
A 649.371B.
BELLI. Peace and Abundance. Signed. Lead. D. 1 11/16 (0.043). A
BELLI. Peace. H. 1 23/32 (0.044), W. 1 5/16 (0.033). A 651.373B.
BELLI. Cupid crowning two lovers. Lead. H. 2 (0.050), W. 1 9/16 (0.040).
A 652.374B.
BELLI. Lion hunt. Signed. H. 2 23/32 (0.069), W. 3 5/32 (0.080). A
BELLI. Seated man. H. 1 5/16 (0.033), W. 1 1/32 (0.026). A 654.376B.
BERNARDI, Giovanni (1496-1553). Adoration of the Magi. H. 3 1/16
(0.078), W. 2 25/32 (0.071). A 655.377B.
BERNARDI. Adoration of the Magi. Blue glass. Unique example of a
glass impression from a bronze plaquette; identical with the preceding
plaquette, except that it is complete at top. H. 3 7/8 (0.098), W. 2
27/32 (0.072). A 656.378B.
BERNARDI. Justice of Brutus. Lead. H. 2 (0.050), W. 2 11/16 (0.068).
A 657.379B.
BERNARDI. Pan, Apollo, Venus and Cupid. Lead. H. 1 1/2 (0.038), W.
1 13/16 (0.046). A 658.380B.
BERNARDI. Fall of Phaethon. Inscribed, in exergue, ioanei. H. 3
9/16 (0.090), W. 2 11/16 (0.068). A 659.381B.
BERNARDI. Rape of Ganymede. H. 2 11/16 (0.068), W. 3 9/16 (0.091).
A 660.382B.
BERNARDI. Cupid on a flying swan. Companion to the following. H. 2
15/16 (0.075), W. 2 19/32 (0.066). A 661.383B.
BERNARDI. Cupid with a swan. H. 2 7/8 (0.073), W. 2 15/32 (0.063).
A 662.384B.
BERNARDI. Rape of the Sabines. Inscribed, in exergue, ioant-de-castro-
bon.. H. 2 19/32 (0.066), W. 2 15/16 (0.075). A 663.385B.
BERNARDI. Continence of Scipio. In exergue, -iober-f-. Lead. H. 2
(0.050), W. 2 3/8 (0.060). A 664.386B.
BERNARDI. Panther hunt. Lead. H. 2 19/32 (0.066), W. 3 5/16 (0.084).
A 665.387B.
BERNARDI. Apollo and Marsyas. H. 2 (0.050), W. 1 19/32 (0.041). A
BERNARDI. Allegorical figure (Narcissus?). H. 1 13/16 (0.046), W. 1
17/32 (0.039). A 667.389B.
BERNARDI. Neptune. Signed iohannes. H. 3 1/8 (0.080), W. 2 19/32
(0.066). A. 668.390B.
BERNARDI. Boar hunt. On reverse, portrait in oil of bearded man, Dutch,
XVII century. H. 3 25/32 (0.096), W. 4 15/32 (0.114). A 669.391B.
LEONI, Leone (<r. 1509-90). Admiral Andrea Doria as Neptune. H. 3
7/16 (0.087), W. 2 15/16 (0.075). A 670.392B.
FLORENTINE, XVI century. Narcissus. H. 2 3/8 (0.060), W. 1 7/8
(0.048). A 672.394B.
FLORENTINE, XVI century. Incredulity of St. Thomas. H. 3 23/32
(0.069), W. 2 1/4 (0.057). A 673.395B.
FLORENTINE, XVI century. Baptism of Christ. Later cast (?). H. 3
3/16 (0.097), W. 2 11/16 (0.068). A 674.396B.
FLORENTINE, XVI century. Ornamental frieze. Gilt. H. 1 7/16 (0.036),
W. 6 17/32 (0.166). A 675.397B.
FLORENTINE, XVI century. Ornamental frieze. Gilt. H. 1 7/16 (0.036),
W. 6 17/32 (0.166). A 676.398B.
NORTH ITALIAN, XVI century. Mars and Victory, with three warriors.
A slightly later adaptation of two plaquettes by Moderno (nos. A
459-60.182-83B). Gilt. H. 2 3/4 (0.069), W. 3 3/4 (0.095). A
ITALIAN, XVI century. Standing Hercules. H. 4 5/16 (0.110), W. 2
11/32 (0.059). A 671.393B.
ITALIAN, XVI century. Lamentation over the dead Christ. Gilt. H. 4
3/16 (0.106), W. 2 15/16 (0.074). A 677.399B.
ITALIAN, XVI century. The Holy Women at the Tomb. For insertion,
as lunette, in framework with preceding plaquette. H. 1 1/2 (0.038),
W. 2 31/32 (0.075). A 678.400B.
ITALIAN, XVI century. Saint Matthew. D. 1 1/2 (0.038). A 679.40IB.
ITALIAN, XVI century. Head of Christ. Lead. D. 2 1/16 (0.052). A
ITALIAN, XVI century. Lot and his daughters. H. 1 21/32 (0.042), W.
2 3/32 (0.053). A 681.403B.
ITALIAN, XVI century. Two cupids with flutes. H. 1 13/32 (0.036), W.
1 11/32 (0.034). A 682.404B.
ITALIAN, XVI century. Saint Jerome. H. 2 7/8 (0.073), W. 1 27/32
(0.047). A 683.405B.
ITALIAN, XVI century. Judgment of Paris. D. 2 (0.050). A 684.406B.
ITALIAN, XVI century. Mars. D. 2 5/8 (0.067). A 685.407B.
ITALIAN, XVI century. Spring and Summer. Companion to the follow-
ing. H. 3 25/32 (0.096), W. 3 7/32 (0.082). A 686.408B. ///. p. 93
ITALIAN, XVI century. Autumn and Winter. H. 3 25/32 (0.096), W.
3 3/8 (0.086). A 687.409B. ///. p. 93
ITALIAN, XVI century. Madonna and Child. H. 1 27/32 (0.047), W. 1
19/32 (0.041). A 688.410B.
ITALIAN, XVI century. Venus in armor. D. 2 15/32 (0.063). A 689.41 IB.
ITALIAN, XVI century. Lamentation over the dead Christ. H. 1 5/8
(0.041), W. 1 11/32 (0.034). A 690.412B.
ITALIAN, XVI century. Adoration of the Shepherds. H. 5 15/32 (0.139),
W. 4 1/8 (0.105). A 691.413B.
ITALIAN, XVI century. Cupid playing on a lute. Gilt. D. 2 1/8 (0.054).
A 692.414B.
ITALIAN, XVI century. Bull-batting. H. 2 17/32 (0.064), W. 3 11/16
(0.094). A 693.415B.
ITALIAN, XVI century. Judgment of Paris. Monogram WI(?)G. H.
2 17/32 (0.064), W. 2 15/32 (0.063). A 733.455B.
ITALIAN, XVI century. Lamentation over the dead Christ. H. 5 (0.127),
W. 8 (0.203). A 734.456B.
ITALIAN, XVI century. Profile of a girl. H. 2 3/32 (0.053), W. 1 19/32
(0.041). A 735.457B.
ITALIAN, XVIII century. Hercules and the Nemean Lion. H. 1 11/16
(0.043), W. 1 15/16 (0.049). A 694.416B.
ITALIAN, XVIII century. Warrior fighting a centaur. H. 1 13/16 (0.046).
W. 2 3/32 (0.053). A 695.417B.
RELIEFS AND PLAQUETTES--Flemish, French, German
FLEMISH, XV century. Dead Christ between the Virgin and Saint John.
Mounted later as pax, with architectural border (Venetian, early XVI
century). H. 3 17/32 (0.090), W. 2 7/8 (0.073). A 700.422B.
FLEMISH, XV century. Saint Matthew. D. 2 9/32 (0.058). A 701.423B.
FLEMISH, XV century. Madonna and Child on a crescent. H. 4 (0.101),
W. 2 7/16 (0.062). A 702.424B.
FLEMISH, XV century. Judgment of Paris. D. 2 3/32 (0.053). A
FLEMISH, XV century. The Angel Gabriel. Applique. Gilt. H. 2 11/32
(0.060), W. 1 13/32 (0.036). A 704.426B.
FLEMISH, XVI century. Triumph of Religion. H. 2 21/32 (0.067), W.
5 (0.126). A 705.427B. ///. p. 95
FLEMISH, XVI century. Triumph of Wisdom. H. 2 23/32 (0.069), W.
4 27/32 (0.123). A 706.428B. ///. p. 95
FLEMISH, XVI century. Triumph of Poverty. H. 2 9/16 (0.065), W. 4
7/8 (0.124). A 707.429B. ///. p. 94
FLEMISH, XVI century. Triumph of Justice. H. 2 9/16 (0.065), W. 4
27/32 (0.123). A 708.430B. ///. p. 94
FRENCH, XV century. Herod and Herodias. D. 1 15/32 (0.037). A
FRENCH, c. 1510. Virgil suspended in a basket. D. 2 1/8 (0.054). A
FRENCH, early XVI century. Nativity. H. 2 5/8 (0.067), W. 2 3/32
(0.053). A 698.420B.
FRENCH (?), XVI century. Decorative plaque. Gilt. H. 1 11/32 (0.034),
W. 4 5/16 (0.106). A 699.421B.
VISCHER, Peter, the elder (c. 1460-1529). Orpheus and Eurydice. The only
receded example of this plaquette, which De Ricci calls "the finest
work of its kind in the whole German Renaissance." H. 8 (0.195), W.
5 21/32 (0.150). A 709.431B. ///. p. 96
FLOETNER, Peter (c. 1493-1536). Allegorical figure (Fortitude). From a
series of the seven Cardinal Virtues. H. 3 1/16 (0.078), W. 2 5/32
(0.055). A 710.432B.
FLOETNER, Peter. Allegorical figure (Thalia). From a series of the nine
Muses. H. 2 29/32 (0.074), W. 2 (0.050). A 711.433B.
FLOETNER, Peter. Victorious warrior (Arminius). From a series of twelve
early German kings. H. 2 1/8 (0.054), W. 1 5/8 (0.041). A 712.434B.
FLOETNER, Peter. Allegorical scene. Gilt. H. 2 1/4 (0.057), W. 3 11/32
(0.085). A 713.435B.
GERMAN, early XVI century. Allegorical scene. H. 2 11/16 (0.068), W.
2 11/32 (0.060). A 714.436B.
GERMAN, early XVI century. Judgment of Paris. Traces of gilding. D.
1 1/2 (0.038). A 717.439B.
GERMAN, early XVI century. Venus and Cupid. H. 5 1/32 (0.128), W.
2 23/32 (0.069). A 718.440B. ///. p. 97
GERMAN, early XVI century. Allegorical scene. D. 3 3/16 (0.081). A
GERMAN, early XVI century. Lamentation over the dead Christ. Ap-
plique. Gilt. H. 1 5/8 (0.041), W. 1 23/32 (0.044). A 720.442B.
GERMAN, early XVI century. Madonna and Child. Applique. Gilt. H.
3 5/16 (0.085), W. 3 (0.076). A 723.445B.
'MASTER P.G.' (c. 1550). Christ and Nicodemus. D. 2 3/32 (0.053). A
'MASTER F. MAR.' (XVI century). Nymph on a dolphin. D. 1 25/32
(0.045). A 716.438B.
GERMAN, XVI century. Madonna and Child with four angels. H. 5 7/16
(0.137), W. 4 1/32 (0.103). A 721.443B.
GERMAN, XVI century. Obv. Crucifixion. Rev. Adam and Eve. Gilt.
D. 2 19/32 (0. 066). A 722.444B.
GERMAN, XVI century. Christ crowned with thorns. Applicme. Gilt. H.
5 5/8 (0.143), W. 4 1/16 (0.103). A 724.446B.
GERMAN, XVI century. Christ risen from the dead. Applique. Gilt. H.
7 15/16 (0.202), W. 3 9/16 (0.090). A 725.447B.
GERMAN, XVI century. Mars. H. 1 13/16 (0.046), W. 1 1/8 (0.029).
A 726.448B.
GERMAN, XVI century. Minerva. H. 1 13/16 (0.046), W. 1 1/8 (0.029).
A 727.449B.
GERMAN, XVI century. Temperance. Applique. H. 1 13/32 (0.036),
W. 1 7/16 (0.037). A 728.450 B.
GERMAN, XVI century. Birth of Venus. Gilt. H. 3 29/32 (0.099). W.
2 3/16 (0.056). A 729.451B.
GERMAN, XVI century. Leda and the Swan. H. 2 7/16 (0.062), W. 1
29/32 (0.048). A 730.452B.
GERMAN, XVI century. Venus and Cupid. From a series of Bacchic scenes,
probably of Italian inspiration. H. 4 1/16 (0.103), W. 3 1/32 (0.077).
A 731.453B.
RUSSIAN, XVI (?) century. Two male saints. H. 2 21/32 (0.068), W.
1 3/8 (0.035). A 732.454B.
PISANELLO, Antonio Pisano, called (c. 1395-1455). John VIII Palaeolo-'
gus, Emperor of Constantinople 1425-48. Rev. Emperor riding to r.,
passing wayside cross; on 1., mounted page seen from behind. 1438.
Signed, as are the following, except A 756.20A. Lead. 4 1/16 (0.103).
A 737.1A.
PISANELLC. Gianfrancesco I Gonzaga, 1st Marquess of Mantua 1433-44.
Rev. Marquess riding to 1.; on r., mounted page seen from behind. C.
1439. Lead. 3 15/16 (0.100). A 738.2A.
PISANELLO. Filippo Maria Visconti, Duke of Milan 1412-47. Rev.
Duke riding to 1.; on r., mounted page seen from behind; between them
armed horseman to front; mountainous landscape with tops of build-
ings in background. C. 1441. 4 3/32 (0.104). A 739.3A. ///. p. 101
PISANELLO. Niccolo Piccinino (c. 1386-1444), condottiere. Rev. She-
griffin of Perugia suckling two infants, Braccio da Montone and Pic-
cinino. C. 1441. 3 17/32 (0.090). A 740.4A.
PISANELLO. Francesco I Sforza (1401-66), Duke of Milan 1450-66. Rev.
Bust of charger to 1.; three closed books and sword. C. 1441. 3 15/32
(0.088). A 741.5A.
PISANELLO. Leonello d'Este (d. 1450), Marquess of Ferrara 1441-50. Rev.
Head with three infantile faces; on either side a kneepiece suspended
from olive branch. C. 1440-44. 2 11/16 (0.068). A 742.6A.
PISANELLO. Leonello d'Este. Rev. Two nude men each carrying basket
filled with olive branches; in background, two vessels on which rain drops
from clouds. C. 1443. 2 11/16 (0.068). A 743.7A.
PISANELLO. Leonello d'Este. Rev. Blindfolded lynx seated to 1. on cush-
ion. 2 23/32 (0.069). A 744.8A.
PISANELLO. Leonello d'Este. Rev. Nude youth lying to r. before rock
on which is a vase containing olive branches, ends of which pierce sides
of vase; attached to each handle, an anchor, that on r. being broken.
2 3/4 (0.070). A 745.9A.
PISANELLO. Leonello d'Este. Rev. Cupid teaching a lion (Leonello) to
sing; in background, pillar on which a mast and inflated sail, the Este
impresa, and date MCCCCXLIIII; Este eagle on rocks at 1 .4 1/16
(0.103). A 746.10A. III. p. 101
PISANELLO. Leonello d'Este. Another specimen, in lead. 4 1/16 (0.103).
A 747.11 A.
PISANELLO. Sigismondo Malatesta (1417-68), Lord of Rimini 1432-68.
Rev. Sigismondo standing, fully armed, holding sword; on 1., on heraldic
rose tree, his casque, crowned, and elephant's-head crest; on r., his shield.
C. 1445. 3 17/32 (0.090). A 748.12A. III. p. 102
PISANELLO. Sigismondo Malatesta, as Captain General of the Roman
Church 1445. Rev. Sigismondo on charger to 1. before fortress, on walls
of which the date MCCCCXLV and his shield of arms. Lead. 4 3/32
(0.104). A 749.13A.
PISANELLO. Sigismondo Malatesta. Another specimen. Lead, 4 (0.102).
A 750.14A.
PISANELLO. Domenico Novello Malatesta (1418-65), Lord of Cesena
1429-65. Rev. Malatesta in full armor, kneeling r., clasping feet of
crucifix; on 1., his horse seen from behind. C. 1445. 3 11/32 (0.085).
A 751.15A.
PISANELLO. Lodovico III Gonzaga (1414-78), 2nd Marquess of Mantua
1444-78. Rev. Marquess in full armor, with globular crest to his hel-
met, riding r.; in field above, sun and sunflower. C. 1447-48. 4 (0.102).
A 752.16A.
PISANELLO. Cecilia Gonzaga (1424?-1451?), daughter of Gianfrancesco
I. Rev. In rocky moonlit landscape, figure of Innocence and unicorn; on
r., square column with date MCCCCXLVII. Lead. 3 3/8 (0.086). A
PISANELLO. Vittorino Ramboldi da Feltfe (1379-1446), humanist. Rev.
Pelican in her piety. C. 1446. 2 5/8 (0.067). A 754.18A.
PISANELLO. Alfonso V of Aragon (1394-1458), King of Naples and
Sicily 1442-58. Rev. In rocky landscape, eagle on tree stump above dead
fawn, surrounded by lesser birds of prey. Dated 1449. Lead. 4 5/16
(0.110). A 755.19A.
PISANELLO. Alfonso V of Aragon. Without rev. Octagonal, 3 15/32
(0.088), 2 5/16 (0.059). A 756.20A.
PISANELLO. Alfonso V of Aragon. Rev. Angel with drawn sword seated
in car drawn r. by four horses led by two youths. 4 5/16 (0.110). Later
cast. A 757.21A.
PISANELLO. Don Inigo d'Avalos, Grand Chamberlain of Naples from
1442. Rev. Sphere representing earth between starry heavens and sea
(inspired by Homeric description of shield of Achilles); above, shield
of arms of Avalos. C. 1448-49. 3 1/8 (0.079). A 758.22A. ///. p. 102
PAOLO DA RAGUSA (act. c. 1450). Alfonso V of Aragon. Rev. Female
figure standing, holding purse and serpent-entwined sceptre. Signed. C.
1450. 1 25/32 (0.045). A 759.23A.
LAURANA, Francesco (1420/25-c. 1502). Rene d'Anjou, King of Naples
1435-42, and Jeanne de Laval, his second wife. Rev. Peace standing
holding olive branch; on r. olive tree, on 1. cuirass; in field,
MCCCCLXVIII. Signed. Lead. 3 17/32 (0.090). A 760.24A.
LAURANA. Rene d'Anjou and Jeanne de Laval. Another specimen. Lead
(much decayed). 3 17/32 (0.090). A 761.25A.
LAURANA. Jean d'Anjou (1427-70), Duke of Calabria and Lorraine. Rev.
Circular temple surmounted by archangel Michael: across field
MCCCCLXIIII. 3 11/32 (0.085). Late cast. A 762.26A.
LAURANA. Louis XI, King of France 1461-83. Rev. Concordia holding
lily-sceptre and olive branch, crested helmet at her feet. C. 1465. Lead
(considerably decayed). 3 3/8 (0.086). A 765.27A.
AMADIO DA MILANO (act. 1437-c. 1483). Bono, Marquess of Este
1450-71; Duke of Modena and Reggio 1452; 1st Duke of Ferrara 1471.
Rev. Marigold with two long leaves; hanging from rosette, a door
knocker with bar ending in dragon's head. Signed. C. 1441. 2 (0.051).
A 764.28A.
AMADIO DA MILANO. Niccolo III d'Este, Marquess of Ferrara 1393-
1441. Rev. On florally diapered field, Este shield between N M. 2
1/8 (0.054). Later cast. A 765.29A.
NICHOLAUS (act. c. 1441). Antonio Pisano, called Pisanello, the med-
allist. Without rev. C. 1445-50. 1 11/32 (0.034). A 766.30A.
MARESCOTTI, Antonio (act. 1444-62). Saint Bernardino of Siena (1380-
1444), famous preacher, canonized 1450. Rev. Trigram y h s in halo of
flames; top of h forms cross, to which is attached tablet with INRI.
Signed. C. 1444. 3 1/32 (0.077). After-cast. A 767.31 A.
MARESCOTTI. Antonio Pisano. called Pisanello, the medallist. Rev.
F.S.K.I.P.F.T. (initials of the seven Virtues) in laurel-wreath. C. 1440-
43. 2 9/32 (0.058). A 768.32A.
MARESCOTTI. Giulio Cesare Varano (c. 1430-1502), Lord of Camerino.
Without rev. Rectangular, 2 1/8 (0.054), 2 3/32 (0.053). A 769.33A.
MARESCOTTI. Galeazzo Maria Sforza, 5th Duke of Milan. Rev. Radiant
sun with human face. Signed and dated 1457. 1 7/8 (0.048). A
MARESCOTTI (?). Ginevra Sforza (c. 1440-1507), wife of Giovanni II
Bentivoglio. Without rev. Lead. 3 3/8 (0.086). A 770.34A.
LIXIGNOLO, Jacopo (act. c. 1460). Borso d'Este. Rev. In mountainous
landscape, unicorn dipping its horn into a stream; above, sun shining.
Signed and dated 1460. Lead. 3 7/32 (0.082). A 771.35A.
PETRECINO OF FLORENCE (act. c. 1460). Bono d'Este. Rev. In rocky
landscape, a hexagonal font (an Este device) with open lid, showing a
ring within; crosses incised on sides of font; above, sun's face shining.
Signed and dated 1460. Lead. 3 25/32 (0.096). A 772.36A.
ESTE, Baldassare d' (act. 1461-c. 1504). Ercole I d'Este, Duke of Ferrara,
Modena, and Reggio 1471-1505. Without rev. Dated 1472. Octagonal,
3 7/32 (0.082), 2 5/32 (0.055). A 773.37A.
ESTE, Baldassare d'. Ercole I d'Este. Rev. The Duke on horseback 1.; stony
ground. Signed. 3 9/16 (0.091). A 1411.671 A.
CORADINO, Lodovico (act. c. 1472). Ercole 1 d'Este. Rev. Hercules
standing, resting on spear, holding shield charged with Este device of
ring and flower; on 1. three Corinthian columns (gades hercvlis) in sea.
Signed and dated 1472. 2 1/4 (0.057). A 774.38A.
FERRARESE (ESTE), c. 1475-1505. Acarino d'Este, legendary ancestor of
the Estensi, c. 457 A.D. Without rev. Lead. Rectangular, 3 1/4 (0.083),
2 19/32 (0.066). A 775.39A.
FERRARESE (ESTE), c. 1475-1505. Borso d'Este. Rev. Shield of Este
between B D on floriated ground, in enclosure of six lobes and six points.
1 3/16 (0.030). A 776.40A.
FERRARESE (ESTE), c. 1475-1505. Borso d'Este. Without rev. 4 1/4
(0.109). A 1412.672A.
FERRARESE (ESTE), c. 1475-1505. Alfonso I d'Este, afterwards 3rd Duke
of Ferrara 1505-34, as an infant. Rev. On a cradle, decorated with
palmette and date MCCCCLXXVII, Alfonso as infant Hercules, nude
and grasping two snakes; in upper arc, fantastic inscription. 2 19/32
(0.066). Late cast. A 777.41 A.
FERRARESE (ESTE), c. 1475-1505. Ercole I d'Este. Rev. Four putti re-
ceiving from the sky a shower of Este diamond rings intertwined with
flowers. Dated 1505. 3 21/32 (0.093). A 778.42A.
FERRARESE (ESTE), c. 1475-1505. Another specimen; but without inscrip-
tion and reverse. Gilt. 2 23/32 (0.069). A 779.43A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown man.
Without rev. Rectangular, 2 23/32 (0.069), 1 7/8 (0.048). A 780.44A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown man
(Borso d'Este?). Without rev. Rectangular, 1 3/4 (0.044), 1 11/32
(0.034). A 781.45A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown man.
Without rev. 1 31/32 (0.050). A 782.46A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown boy.
Without rev. Rectangular, 1 11/16 (0.043), 1 15/32 (0.037). A 783.47A.
FERRARESE, SC other N. Italian schools, <r. 1470-1500. Unknown man.
Without rev. 2 9/16 (0.065). A 784.48A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown man.
Without rev. Rectangular, 2 5/32 (0.055), 1 1/2 (0.038). A 785.49A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown man.
Without rev. Rectangular, 2 3/8 (0.060), 1 15/32 (0.037). A 786.50A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown man. Rev.
Outline of object resembling double axe head, probably a casting mark.
2 29/32 (0.074). A 787.51A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown woman.
Without rev. Octagonal, 2 15/32 (0.063), 1 21/32 (0.042). A 788.52A.
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown woman.
Without rev. Rectangular to oval, 2 1/16 (0.052). 1 1/2 (0.038). A
FERRARESE, & other N. Italian schools, c. 1470-1500. Unknown woman.
Without rev. Rectangular, 1 7/8 (0.048), 1 15/32 (0.037). A 790.54A.
PASTI, Matteo dei (act. 1441-1467/68). Guarino da Verona (1374-1460),
humanist. Rev. Within laurel-wreath, a fountain surmounted by nude
male figure with mace and shield; all in a flowery meadow. Signed. C.
1446. 3 11/16 (0.094). A 791.55A. ///. p. 103
PASTI. Leone Battista Alberti (1404-72), architect and writer on art and
science. Rev. Within laurel-wreath, a winged human eye (possibly re-
ferring to Alberti's work on optics, cf. p. 51) and motto qvid tvm.
Signed. 1446-50. 3 21/32 (0.093). A 792.56A.
PASTI. Jesus Christ. Rev. Half-figure of dead Christ supported by winged
putto; on 1. weeping putto; behind, the Cross. Signed. 1446-50. 3 21/32
(0.093). A 793.57A.
PASTI. Sigismondo Malatesta. Rev. Achievement of Sigismondo (shield,
helmet, elephant-crest, and mantling). Signed and dated 1446. 1 11/16
(0.043). A 794.58A.
PASTI. Isotta degli Atti da Rimini (m. 1456, d. 1470), mistress, then wife,
of Sigismondo Malatesta. Rev. Elephant r., in flowery meadow, flanked
by heraldic rose tree. Signed and dated 1446. 3 5/16 (0. 084). A
795.59A." III. p. 103
PASTI. Sigismondo Malatesta. Rev. The castle of Rimini and date,
MCCCCXLVI. 3 1/4 (0.083). A 796.60A. ///. p. 104
PASTI. Same as no. A 796.60A, but sigismvndvs for sigismondvs. Rev. For-
titude, holding broken column, seated on a seat, sides of which are formed
by foreparts of Malatesta elephants; below, MCCCCXLVI. 3 7/32
(0.082). A 797.61A.
PASTI. Sigismondo Malatesta. Rev. Similar to no. A 796.60A, but sis-
mvndvm for sismondvm. Dated 1446. 3 3/16 (0.081). A 798.62A.
PASTI. Isotta degli Atti. Rev. Same as no. A 795.59A, but without sig-
nature and rose trees. 3 1/4 (0.083). A 799.63A.
PASTI. Same as no. 799.63A. Rev. Closed book and around, elegiae.
1 9/16 (0.040). A 800.64A.
PASTI. Same as no. A 795.59A. Rev. Same as preceding but inscription
reworked and increased in size. Dated 1446. 1 21/32 (0.042). A 801.65A.
PASTT, After. Sigismondo Malatesta. Rev. Front view of San Francesco at
Rimini, according to Alberti's proposed reconstruction, and MCCCCL.
'Foundation meda1.' 1 9/16 (0.040). A 802.66A.
PASTI, After. Similar to preceding. Without rev. Probably XVI century,
based on the portraits by Pasti. 3 9/16 (0.091). A 803.67A.
MELIOLI, Bartolommeo (1448-1514). Lodovico 111 Gonzaga. Rev. Lodo-
vico seated to r., on seat adorned with Gonzaga hound; before him Faith
and Minerva standing. Signed and dated 1475. 3 1/8 (0.079). A
804.68A. ///. p. 104
MELIOLI. Francesco II Gonzaga (b. 1466), afterwards 4th Marquess of
Mantua 1484-1519. Rev. Pandora (?) standing between a sea and a fire,
resting on staff, holding ears of corn and basket with inscribed scrol1.
Signed. Before 14 July 1481, when Federigo I died. 2 25/32 (0.071).
A 805.69A.
MELIOLI. Chiara Gonzaga (d. 1503), wife of Gilbert de Bourbon, Comte
de Montpensier and Dauphin d'Auvergne. Without rev. C. 1481.
2 9/32 (0.058). A 806.70A.
RUBERTI, Gianfrancesco (act. 1482-1526). Francesco II Gonzaga. Rev.
Battle scene. Signed. After 1484. 1 31/32 (0.050). A 807.71 A.
L'ANTICO, Pier Jacopo Alari Bonacolsi, called (c. 1460-1528). Gianfran-
cesco Gonzaga di Rodigo (1443-96). Rev. Fortune with Mars captive,
and Minerva holding spear. 1 19/32 (0.041). A 808.71 bis A.
L'ANTICO. Antonia del Balzo (1441-1538), wife of Gianfrancesco Gon-
zaga di Rodigo. Rev. Hope, standing on prow of brokenmasted vessel
drawn by two Pegasi, over which flying Cupid. 1 19/32 (0.041). A
L'ANTICO. Diva Julia, unknown. Rev. Battle scene; below, military and
naval arms. 1 11/32 (0.034). A 810.73A.
L'ANTICO, Manner of. Luca de' Zuhari, provost of Pomponesco. Rev.
Venus and Mars running to r.; below, armor. 1 19/32 (0.041). A
L'ANTICO, manner of. Giulia Astallia. Rev. Phoenix on pyre, looking up
at sun. 2 13/32 (0.061). Later cast. A 812.75A.
L'ANTICO, manner of. Maddalena of Mantua. Rev. Female figure (Op-
portunity) running r., attempting to seize another (Time), who holds in 1.
hourglass. Dated 1504. 1 25/32 (0.045). A 1465.725A.
ROMANO, Giancristoforo (c. 1465-1512). Isabella d'Este (1474-1539),
wife of Francesco II Gonzaga. Rev. Astrology, winged, with wand; be-
fore her, serpent rearing; above, sign of Sagittarius. 1 17/32 (0.039).
A 813.76A.
ROMANO. Isabella of Aragon (1470-1524), wife of Giangaleazzo Maria
Sforza. Rev. Nearly nude female figure seated before palm tree with
two bunches of dates, holding palm branch and snake-encircled wand.
1 13/16 (0.046). Late cast. A 814.77A.
ROMANO, neighborhood of. Lucrezia Borgia (1480-1519), wife of Alfonso
d'Este. Without rev. Probably 1502. 2 3/8 (0.060). A 815.78A.
ROMANO, neighborhood of. Lucrezia Borgia. Without rev. Probably 1502.
2 5/16 (0.059). A 816.79A.
ROMANO, neighborhood of. ]acoba Correggia, unknown. Rev. Captive
Love bound by strap to tree. C. 1500. 2 3/32 (0.053). A 817.80A.
ROMANO, neighborhood of. Maddalena Rossi, unknown. Rev. Captive
Love, and inscriptions, all as on no. A 817.80A. 1 31/32 (0.050). A
ROMANO, neighborhood of. Maddalena of Mantua, unknown. Rev. Swan,
wounded with arrow in its breast, standing on bow and quiver; above,
radiant cloud. 1 15/32 (0.037). A 819.82A.
ROMANO, neighborhood of. Beatrice of Aragon (1457-1508), wife of
Matthias, King of Hungary. Without rev. 1 3/4 (0.044). A 820.83A.
CAVALLI, Gian Marco (c 1454-c. 1506). Francesco II Gonzaga. Rev.
Marquess, in armor, giving corn to man on his r., behind whom is hel-
meted woman with palm branch; on r. man approaching to receive alms.
19/32 (0.033). Struck. A 821.84A.
CAVALLI. Francesco II Gonzaga. Rev. Marquess, in armor, giving alms to
three men. 1 9/32 (0.033). Struck. A 822.85A.
ME A (act. c. 1510). Francesco Bonatti of Mantua, jurisconsult. Rev. Book,
from which escapes Truth, naked, holding compasses; on 1., lighted can-
dle. 1 15/16 (0.049). A 823.86A.
MEA. Battista Spagnoli (1448-1516), of Mantua, Carmelite, poet. Rev. On
three pedestals, cherub, swan, and eagle. C. 1513. 1 15/16 (0.049). A
MEA. Giovanni Gonzaga, Marquess of Ariano(?). Rev. Port view of gal-
ley in full sail; above, two flames (St. Elmo's fire?). 1 3/8 (0.035). A
MANTUAN, early XVI century. Ortensia Piccolomini. Rev. Judgment of
Paris. C. 1500. 2 7/32 (0.056). A 826.89A.
MANTUAN, early XVI century. Federigo II Gonzaga (1500-40), 5th
Marquess 1519, and 1st Duke 1530, of Mantua. Rev. Saint Catherine
standing, holding palm and resting on whee1. 1519-30. 1 3/8 (0.035).
A 827.90A.
MANTUAN, early XVI century. Corrado Gonzaga (XIV century), of the
Nobili Gonzaga. Without rev. 3 3/16 (0.081). A 828.91A.
ENZOLA, Gianfrancesco (act. 1456-78). Francesco I Sforza. Rev. Grey-
hound seated under tree; hand issuing from radiant cloud touches him;
bridle on ground tied to tree by chain. Signed and dated 1456. 1 21/32
(0.042). A 829.92A.
ENZOLA. Francesco I Sforza. Rev. Galeano Maria Sforza, in shirt of
mai1. Dated 1459. 1 3/4 (0.044). A 830.93A.
ENZOLA. Taddeo Manfredi (act. 1449-93), Count of Faenza and Lord of
Imola. Rev. Nearly nude female figure seated with sword and wheel;
behind her, putto holding caduceus. Signed. 1 3/4 (0.044). A 831.94A.
ENZOLA. Costanzo Sforza, Lord of Pesaro 1473-83. Rev. Costanzo, fully
armed, riding to 1.; under horse, hound running; flowery foreground,
landscape with agriculture in background. Signed and dated 1475. Lead.
3 5/32 (0.080). After-cast. A 832.95A.
ENZOLA. Costamo Sforza, Lord of Pesaro 1473-83. Rev. Alessandro.
Lord of Pesaro 1445-68, his father, in plate armor over mai1. Dated
1475. 3 5/32 (0.080). A 833.96A. ///. p. 105
ENZOLA. Costanzo Sforza. Rev. Castle of Pesaro. Signed and dated 1475.
3 1/4 (0.083). Old cast, untrimmed, traces of gilt on reverse. A
ENZOLA. Francesco I Sforza. Without rev. Ova1. 1 21/32 (0.042), 1
7/32 (0.031). A 835.98A.
ENZOLA. Costanzo Sforza. Rev. Castle of Pesaro. 1 3/16 (0.030). Struck.
A 836.99A.
CLEMENTE DA URBINO (act. c. 1468). Federigo da Montefeltro
(1422-82), Count of Urbino 1444, and Duke 1474. Rev. Eagle on
torse supporting with spread wings plate on which are cuirass, shield,
sword, globe, and brush with olive branch; above, stars of Jupiter, Mars
and Venus. Signed and dated 1468. 3 11/16 (0.094). A 837.100A.
///. p. 105
FRANCESCO DI GIORGIO (1439-1502). Borghese Borghesi (1414-9C),
jurisconsult of Siena. Rev. Minerva to 1., holding spear and shield.
C. 1479. 2 17/32 (0.064). A 838.101 A.
COSTANZA DA FERRARA (act. c. 1475-1500). Mohammad II, Sultan
of the Turks 1442-81. Rev. Sultan riding to 1.; trees and buildings in
background. Signed. C. 1431. Unique specimen, called by Hill "the most
outstanding medal in the whole of the present collection." 4 25/32
(0.123). A839.102A. ///. p. 106
NEAPOLITAN, late XV centu-y. Andrea Matteo III d'Acquaviva(1457-
1528), Duke of Atri and Teramo. Rev. Crowned shield of arms. Be-
fore 1500. 13/4 (0.044). A 840.103A.
ADRIANO FIORENTINO, Adriano de' Maestri, called (act. ,1488-99?).
Ferdinand of Aragon, Prince of Capua, afterwards King Ferdinand II
1495-96. Rev. Female figure (Felicitas) holding ears of corn and wav-
ing cornucopia over her head; below her chair, W (unexplained per-
sonal device); in field 1., eagle. Before 1494. 2 15/16 (0.075). A
A. FIORENTINO. Ferdinand II of Aragon. Rev. Double-faced head
(bearded male-to 1., female to r.); on r., sword erect. C. 1495-96. 2 1/16
(0.052). A 842.105A.
A. FIORENTINO. Giovanni Gioviano Pontano (1426-1503), poet. Rev.
Urania walking to r., holding globe and lyre; before her, ivy plant.
3 5/16 (0.084). A 843.106A.
A. FIORENTINO. Elisabetta Gonzaga, Duchess of Urbino, m. Guidobaldo
I 1489, widowed 1508, d. 1528. Rev. Female figure lying on rock, lean-
ing head against closed gate(?), holding bridle; in the air, mass of flame
projecting sparks. About 1495. 3 11/32 (0.085). A 844.107A. ///. p. 107
A. FIORENTINO. Unknown boy. Without rev. Engraved inscription and
date MCCV added subs;quently and do not refer to boy represented.
3 11/32 (0.085). A845.108A.
SANTACROCE, Girolamo (1502-37). Andrea Caraffa, Count of Santa
Severina 1496-1526. Rev. Prudence seated, holding in r. double-faced
(male and female) head on staff, and serpent in 1. 1 1/2 (0.038). A
NEAPOLITAN, c. 1500-25. Andrea Caraffa. Rev. Shield of Caraffa arms;
steelyard on 1., jackscrew with scroll on r. 2 15/32 (0.063). A 847.110A.
NEAPOLITAN, c. 1500-25. Andrea Caraffa. Rev. Similar to preceding.
2 19/32 (0.066). A 848.111 A.
SPERANDIO (Bartolommeo di Sperandio Savelli, c. 1425-c. 1504). Gio-
vanni // Bentivoglio (1443-1508), Prince of Bologna. Rev. Two winged
putti holding shield. Signed. 1462. 4 1/16 (0.103). A 1413.673A.
SPERANDIO. Bartolommeo Pendaglia, merchant of Ferrara. Rev. Nude
male figure seated on cuirass, holding globe and spear, his 1. foot on bag
from which money flows; behind, two shields. Signed. C. 1462. 3 5/16
(0.084). A 849.112A. 111. p. 107
SPERANDIO. Antonio Sarzanella de' Manfredi of Faenza, Este diplomat.
Rev. Prudence (double-headed) seated on seat formed by two hounds,
holding Manfredi shield, pair of compasses, and mirror. Signed. C.
1463. 2 7/8 (0.073). A 850.113A.
SPERANDIO. Lodovico Carbone (c. 1436-82), of Ferrara, poet. Rev. Car-
bone receiving wreath from seated Calliope; in background, fountain.
Signed. C. 1462-63. 2 3/4 (0.070). A 851.114A.
SPERANDIO. Francesco I Sforza. Rev. Renaissance building with four
cupolas. Signed. C. 1466. Portrait probably not from life, but copied
from some painting. 3 3/8 (0.086). A 852.115A. ///. p. 108
SPERANDIO. Fra Cesario Contughi of Ferrara, Servite. Rev. Fra Cesario
seated on rock, contemplating death's head. Signed. C. 1467. 3 1/4
(0.083). A 1417.677A.
SPERANDIO. Ercole I d'Este and his wife, Eleonora of Aragon (m. 1473,
d. 1493). Without rev. Signed. C. 1473. Lead. 4 13/32 (0.112).
A 853.116A.
SPERANDIO. Sigismondo d'Este, son of Niccolo III. Rev. Nude winged
Cupid, holding palm branch and balance, leaning on sword. Signed.
1473(?). Lead. 3 7/16 (0.087). A 854.117A.
SPERANDIO. Sigismondo d'Este. The bust alone, from preceding meda1.
Without rev. Oval, 2 25/32 (0.071), 1 3/4 (0.044). A 855.118A.
SPERANDIO. Pietro Bono Avogario of Ferrara, physician and astrologer
(d. 1506). Rev. Aesculapius standing on dragon, holding phial and
branch, and Urania on globe engraved with names of Asia, Europe,
Africa, and holding astrolabe and book containing astrological diagrams.
Signed. C. 1472. 3 17/32 (0.090). Later cast. A 856.119A.
SPERANDIO. Agostino Buonfrancesco of Rimini, counselor of Ercole I
d'Este. Bust only, cut out from the meda1. Without rev. 1471-77. H.
2 11/16 (0.068). A 857.120A.
SPERANDIO. Pellegrino Prisciano (d. 1518) of Ferrara, man of letters and
Este agent. Rev. Man standing on body of eagle or vulture, holding in
r. long arrow, in 1. flame; leafless bushes on either side. Signed and dated
1473. Lead. 3 13/16 (0.097). Later cast. A 858.121A.
SPERANDIO. Parupus, unknown poet. Rev. Winged unicorn-pegasus. 2
3/32 (0.053). Late cast. A 859.122A.
SPERANDIO. Carlo Manfredi (1439-1484), Lord of Faenza. Without rev.
1477. Unfinished piece. Lead. 2 15/16 (0.075). A 860.123A.
SPERANDIO. Giovanni II Bentivoglio, Lord of Bologna 1462-1506. Rev.
Giovanni, armed, riding 1. on prancing horse. Signed. 1477-78. 3 1/16
(0.078). A 1430.690A.
SPERANDIO. Alessandro Tartagni (1424-77), of Imola, jurisconsult. Rev.
On summit of Parnassus, Mercury seated on dragon. Signed. C. 1478.
3 17/32 (0.090). A 861.124A. III. p. 108
SPERANDIO. Virgilio Malvezzi, noble of Bologna. Rev. Nude man seated
on moulded cippus, holding sword in r., places 1. foot on sleeping dragon,
r. on bag from which flows money, and looks up at rays of light pro-
ceeding from cloud. Signed and dated 1479. 3 1/4 (0.083). A
SPERANDIO. Andrea Barbazza (d. 1479) of Messina, legist. Rev. Fame,
body covered with feathers, having three pairs of wings, standing and
holding a closed and an open book; at her feet, other books. Signed.
1479. Lead. 4 15/32 (0.114). A 852.125A.
SPERANDIO. Niccold da Correggio (1450-1508), Count of Brescello. Rev.
Niccolo, fully armed, riding to 1. reaches his hand to bearded, cowled
friar; on either side, leafless tree. Signed. C 1480. Lead. 3 1/8 (0.079).
A 863.126A.
SPERANDIO. Niccold Sanuti (1407-82), noble of Bologna. Rev. Long
spiral inscription, recording his services to his city, the bequest of all his
goods to pious purposes, and his death on 26 June 1482. In center, pelican
in her piety. Signed. C. 1482. Gilt. 3 21/32 (0.093). A 864.127A.
SPERANDIO. Giovanni II Bentivoglio. Rev. Giovanni, fully armed, riding
to 1.; trappings on horse adorned with Bentivoglio arms. Behind him,
seen from front, mounted squire. Note: reverse is pastiche of two medals
of Pisanello, nos. A 738.2A and A 739.3A. Signed. 1478-82. 3 7/8
(0.098). A 865.128A. '///. p. 109
SPERANDIO. Guido Pepoli (1449-1505), noble of Bologna. Rev. King
Evilmerodach and philosopher playing chess. Signed. 1485-86. 3 1/4
(0.083). Later cast. A 866.129A.
SPERANDIO. Camilla (Covella) Sforza, wife of Costanzo Sforza. Rev.
Female figure on seat composed of foreparts of unicorn and hound; she
holds arrow in r.; her 1. arm entwined with dragon-headed serpent.
Signed. 1490-95. 3 5/16 (0.084). Rough, not contemporary casting.
A 867.130A.
SPERANDIO. Francesco II Gonzaga. Rev. Marquess on horseback accom-
panied by number of horsemen and foot soldiers. Signed. C. 1495. 3
3/4 (0.095). A868.131A. J ///. p. 109
SPERANDIO. Agostino Barbadigo, Doge of Venice 1486-1501. Rev. Doge,
holding banner of St. Mark, kneeling before winged lion. Signed. C.
1495. 3 7/16 (0.087). Later cast. A 869.132A.
SPERANDIO. Lodovico Brognolo, of the Observant Friars, patrician of
Mantua. Rev. Two forearms in sleeves, joined in prayer, rosary hang-
ing from them; above, cloud. Signed. 1495-96. 3 5/16 (0.084). Late
cast. A 870.133A.
SPERANDIO. Antonio Vinciguerra (d. 1502), poet, secretary to the Re-
public of Venice. Rev. Young man, seated under oak tree on low car
drawn by swans, playing violin. Signed. 1496-1504. 3 3/16 (0.081).
Late cast. A 871.134A.
PIETRO DA FANO (act. 1452-64). Pasquale Malipieri, Doge of Venice
1457-62. Rev. Giovanna Dandola, his wife, in flat cap and veil; below,
crown. 3 21/32 (0.093). A 872.135A.
GAMBELLO (Antonio Gambello da San Zaccaria, act. 1458-c. 1479).
Francesco Foscari, Doge of Venice 1423-57. Rev. Venetia seated, hold-
ing sword and shield, two Furies at her feet. 1 27/32 (0.047). A
ANTONELLO DELLA MONETA (act. c. 1454-84). Cristoforo Mow,
Doge of Venice 1462-71. Rev. Venetia etc. as on the preceding meda1.
1 9/16 (0.040). Late cast. A 874.137A.
GUIDIZANI, Marco (act. c. 1454-62). Bartolommeo Colleone (1400-75)
of Bergamo, condottiere. Rev. Laureate nude male figure seated on
cuirass; holds above his head end of plummet line which passes through
ring, the plummet by his knee, and with r. he points to vertical line.
Signed. C. 1454. Lead. 3 1/4 (0.083). A 875.138A.
BOLDU, Giovanni (act. 1454-77). Filippo Maserano of Venice, poet or
musician. Rev. Arion to 1. riding on dolphin. Signed and dated 1457.
2 25/32 (0. 071). A 876.139A. "III. p. 110
BOLDU. Nicolaus Schlifer, German musician. Rev. Apollo, with lyre and
long scrol1. Signed and dated 1457. 3 3/16 (0.081). A 877.140A.
BOLDU. Self-Portrait. Rev. Boldu seated, pensive, between Faith, angel
holding up chalice, and Penitence, as old woman, who scourges him; at
his feet, skull symbolizing Death. Signed and dated 1458. 3 7/16
(0.087). A 878.141A.
BOLDU. Self-Portrait. Rev. Boldu seated, head in hands; before him
winged putto (genius of death) holding flame (symbol of soul) and
resting on skul1. Signed and dated 1458. 3 11/32 (0.085). A 879.142A.
///. p. 110
BOLDU (?). The Emperor Caracalla. Rev. The same memento mori design
as on the preceding meda1. Dated 1466. Head is loosely copied from a
Roman coin. 3 5/8 (0.092). A 880.143A. ///. p. HI
BELLINI, Gentile (1429-1507). Mohammad II, Sultan of the Turks. Rev.
Three crowns: of Constantinople, Iconium, and Trebizond. Signed. C.
1480. 3 5/8 (0.092). Later cast. A 881.144A.
'MASTER G.T.F.' (act. late XV-early XVI century). Giovanni Mocenigo
(1408-85), Doge of Venice. Without rev. Signed. 2 29/32 (0.074).
A 1419.679A.
CAMELIO, Vittore Gambello, called (1460-1539). Sixtus IV, Pope 1471-84.
Rev. Pope enthroned on 1., receiving audience, assisted by two cardinals.
Architectural background. Adapted from medal of Paul III. Signed.
C. 1482(?). 2 (0.051). A 882.145A.
CAMELIO. Giovanni Bellini (c. 1430-1516), painter. Rev. Owl perched
1. on fragment of branch. Signed. 2 5/32 (0.055). Late cast. A
CAMELIO. Gentile Bellini (1429-1507), painter. Rev. Three vine leaves
on stalk, inscription. Signed. C. 1500. 2 17/32 (0.064). Late cast. A
884.147 A.
CAMELIO. Self-Portrait. Rev. Sacrificial scene with seven figures; altar with
remains of victim; wreath on side; beside it, two goats. Signed and dated
1508. 1 15/32 (0.037). Struck. A 885.148A.
CAMELIO Classical subjects. Nude male figure carrying dead stag; behind
him, Pan seated, two other satyrs in background; on 1. two putti olaying
and seated figure. Rev. Flaming tripod on square altar; on r. wine-skin
at foot of tree; on 1. ram tied to altar, and goat; faggot, axe, torch, sword
and helmet on ground. Signed. 1 3/16 (0.030). Struck. A 886.149A.
CAMELIO. Augustus (?). Rev. Nude male figure seated r. in attitude of
the Ludovisi Ares; before him, winged caduceus rising out of cuirass,
with spear, helmet, and shield leaning against it; behind him, sapling
andowl(?). Signed. 1 1/8 (0.029). Struck. A 887.150A.
CAMELIO, Manner of. Marco Barbadigo, Doge of Venice 1485-86. Rev.
Inscription in ivy wreath. 3 1/16 (0.078). A 888.151A.
CAMELIO, Manner of. Leonardo Loredano, Doge of Venice 1501-21. Rev.
Equity holding scales and scepter. C. 1508-10. 2 15/32 (0.063). A
CAMELIO, Manner of. Andrea Gritti, Doge of Venice 1523-38. Rev.
Venetia crowned, enthroned, holding scales and cornucopia; behind her,
arms (banner, lance, bow, cuirass, helmet); 1. background, galleys at sea.
2 19/32 (0.066). A 890.153A.
CAMELIO, Manner of. Giuliano II de' Medici (1478-1516), Duke of
Nemours. Rev. Veiled figure of Virtue giving right hand to figure of
Fortune, holding cornucopia. Dated 1513. 2 1/8 (0.054). A 891.154A.
CAMELIO, Manner of. Agostino Barbadigo, Doge of Venice, 1486-1501.
Rev. Venetia enthroned, holding sword erect; around her, shield, spears,
battle-ax, lance with banner, bow and quiver, cuirass. 1 1/4 (0.032). A
FALIER, Giovanni (XVI century). Andrea Gritti, as procurator of St.
Mark's. Rev. Gritti in armor on horseback; before him, a nude man with
raised right arm. In background, city with flag flving from tower, and
breach in the walls. Signed. 2 19/32 (0.066). A 893.156A.
FRA ANTONIO DA BRESCIA (act. 1487-1513). Niccolo Tempesta (?)
of Treviso. Rev. Winged dragon seyant on rock, holding a pair of
scales in its jaws. 1 27/32 (0.047). A 894.157A.
OLIVIERI, Maffeo (1484-1543/44). Francesco dt Andrea Malipieri, Venetian.
Rev. Pelican in her piety, standing on tree stump which has two leafy
branches. Dated 1523. 2 17/32 (0.064). A 895.158A.
OLIVIERI. Vincenzo di Andrea Malipieri, Venetian. Rev. Crowned eagle
on mound amidst waters. Dated 1523. 2 17/32 (0.064). A 896.159A.
OLIVIERI. Augusto da Udine (act. c. 1493-1519), poet and astrologer.
Rev. Nude female figure with long hair. C. 1519. 1 1/4 (0.032). A
897.160 A.
OLIVIERI. Altobello Averoldo of Brescia (d. 1531), Bishop of Pola 1497,
Apostolic Legate at Venice 1526. Rev. Nude female figure of Truth un-
veiled by two nude men. 3 21/32 (0.093). A 898.161A. III. p. Ill
OLIVIERI. Sebastiano Mcntagnacco (d. 1540), patrician of Venice. Rev.
Fortress with tall tree in background. 1520-30. 2 17/32 (0.064). A
899.162 A.
VENETIAN, c. 1450-75. Beato Lorenzo Giustinian (1380-1456). Without
rev. C. 1472. Rectangular, 3 17/32 (0.090), 2 7/8 (0.073). A 900.163A.
VENETIAN, c. 1500-25. Antonio Grimani, Doge of Venice 1521-23. Rev.
Female figures of Justice and Peace clasping hands. 1 1/4 (0.032). A
VENETIAN, c. 1500-25. Giovanni Fasiol. Rev. Nude figure holding small
figure of Victory and branch. 1 11/16 (0.043). A 902.165A.
VENETIAN, c. 1500-25. Simone Michiel (d. 1525), protonotary, after-
wards canon of Verona 1498, and of Treviso 1510. Without rev. 2 1/16
(0.052). A 903.166A.
VENETIAN, c. 1500-25. Tommaso Mocenigo, procurator of St. Mark's
1504(?). Rev. Toilet of Venus(?). On 1., nude female figure looking
into mirror (?); beside her, a second, nude to waist, holding casket; on r.,
a third turning her back on other two. 1 17/32 (0.039). Struck. A
VENETIAN, c. 1500-25. Fra Giovanni Comaro, Benedictine monk, abbot
of Santa Giustina at Padua 1507-14. Rev. Shepherd holding crook, car-
rying a sheep on his shoulders and driving his flock past a palm tree on
which is a pelican in her piety. 1 11/16 (0.043). A 905.168A.
VENETIAN, c. 1500-25. Paolo Diedo, Venetian. Without rev. Dated 1507.
1 25/32 (0.045). A 906.169A.
VENETIAN, c. 1500-25. Giovanni Mannelli, prior of Florence 1508. With-
out rev. 2 9/32 (0.058). A 907.170A.
VENETIAN, c. 1500-25. Alvise da Noale (act. 1509-33), Venetian jurist.
Rev. Inscription. 1512-20. 1 15/32 (0.037). A 908.171A.
BELLANO, Bartolommeo (c. 1434-c. 1497). Antonio Roselli of Arezzo
(1380-1466), jurist. Rev. Roselli seated, semi-nude, on architectural
bracket. 1460-66(?). 127/32 (0.047). A 909.172A.
PADUAN, 1515. Girolamo di Benedetto Pesaro, Captain of Padua 1515-17.
Rev. Inscription in wreath. Dated 1515. 2 9/16 (0.065). A 910.173A.
PADUAN, 1515. Girolamo di Benedetto Pesaro. Rev. Inscription in wreath.
Dated 1515. 1 1/4 (0.032). A 911.174A.
POMEDELLI, Giovanni Maria (1478/9-c. 1537). Stefano di Andrea
Magno (c. 1499-1572). Rev. Neptune seated on dolphin, spearing lob-
ster with trident and holding wreath. Signed and dated 1519. 2 7/32
(0.056). A 912.175A.
POMEDELLI. Giovanni Emo, Podesta of Verona 1527. Rev. Pallas on 1.,
plucking branch from olive tree; Mars, in armor, on r., resting on spear
beside his horse. Signed and dated 1527. 2 1/16 (0.052). A 913.176A.
POMEDELLI. Tommaso Moro, Captain of Verona 1527. Rev. Phoenix on
pyre, gazing at sun. Signed and dated 1527. 2 1/16 (0.052). A
POMEDELLI. Charles V (1500-58), King of Spain 1516, Emperor 1519-
56. Rev. Kneeling winged genius, writing on shield hung on oak tree;
vase behind him; eagle holding wreath flying above him. Signed.
C. 1516-19. 1 3/8 (0.035). A 915.178A.
POMEDELLI. Francis I, King of France 1515-47. Rev. On large tazza,
a salamander in flames; above, crown. Signed. 1515-18. 131/32 (0.050).
Later cast. A 916.179A.
POMEDELLI. Unknown Lady. Rev. Nude bearded man kneeling 1., sup-
porting basket of fruit on his head; behind him, Cupid with bow and
arrows, standing on globe inscribed aso; caduceus on 1., vine on r.
Signed. 2 1/8 (0.054). A 917.180A.
POMEDELLI. Federigo II Gonzaga (1500-40). Rev. Altar of Faith on
mountain-top, all in wreath. Signed. 1523-30. 1 17/32 (0.039). A
POMEDELLI. Isabella Michiel, wife of Giambattista Sesso. Rev. Oppor-
tunity seated 1., semi-nude, holding bridle and three nails, right foot on
skull; behind her, leafless tree and sphinx-crested helmet. Signed. 1
25/32 (0.045). A 919.182A.
POMPEDELLI(?). Francis I. Rev. Diomedes, nude, seated on cippus, holding
/palladium and dagger. 1 7/8 (0.048). Not a contemporary cast. A
FRANCIA (?), Francesco (c. 1450/3-1517). Giovanni II Bentivoglio. Rev.
Inscription. Dated 1493. 1 3/32 (0.028). Struck. A 921.184A.
FRANCIA (?). Giovanni II Bentivoglio. Rev. Shield of Bentivoglio. Silver.
.23/32 (0.018). A922.185A.
FRANCIA, School of. Francesco degli Alidosi (d. 1511), Cardinal of Pavia
1505, Legate of Bologna and Romagna 1508. Rev. Jupiter, nude, holding
thunderbolt, standing on car drawn by two eagles; below, signs of Pisces
and Sagittarius. 2 5/16 (0.059). A 923.186A.
FRANCIA, School of. Bernardo de' Rossi (1468-1527), Bishop of Treviso
1499, Governor of Bologna 1519-23. Rev. Female figure in tunic and
mantle, holding sunflower, standing in car drawn by eagle and winged
dragon. 2 9/16 (0.065). A 924.187A.
MILANESE, late XV century. Giangaleazzo Visconti, 1st Duke of Milan
1395-1402. Without rev. Rectangular, 6 3/16 (0.157), 4 3/4 (0.122).
A 925.188A. ///. p. 112
MILANESE, late XV century. Lodovko Maria Sforza, called II Moro, 7th
Duke of Milan 1494-1500. Without rev. Oval, 1 1/32 (0.026), 27/32
(0.022). A 926.189A.
CARADOSSO, Cristoforo Foppa, called (c. 1445-1527). Francesco I
Sforza. Rev. Francesco on horseback, under canopy, accompanied by
soldiers, approaching city from which issue people. 1 9/16 (0.040). Late
cast. A 927.190A.
CARADOSSO. Lodovico Maria Sforza. Rev. Doge of Genoa (?) seated
on platform at 1., receiving a procession of horsemen headed by Lodo-
vico(?); in background, harbor of Genoa. 1 19/32 (0.041). A 928.191 A.
CARADOSSO. Giangiacomo Trivulzio, Marshal of France 1499-1518. Rev.
Inscription. Dated 1499. Square, 1 13/16 (0.046), 1 13/16 (0.046).
A 929.192A.
CARADOSSO. Donato di Angelo Bramante (c. 1444-1514), architect. Rev.
Figure of Architecture seated, holding compasses and square, her r. foot
on a weight; in background, view of St. Peter's according to Bramante's
design. 1 11/16 (0.043). A 930.193A.
CARADOSSO. Julius II, Pope 1503-13. Rev. View of St. Peter's according
to Bramante's design. Dated 1506. 'Foundation meda1.' 2 7/32 (0.056).
A931.194A. * ///. p. IB
CARADOSSO. Similar to preceding. Rev. Same as preceding. 2 1/4
(0.057). A 932.195A.
CARADOSSO. Niccolb Orsini (1442-1510), Count of Pitigliano and Nola,
Captain of the Army of the Roman Church and of the Florentine Re-
public. Rev. Orsini in armor, riding to r., accompanied by two hal-
berdiers. 1485-95. 1 19/32 (0.041). A 933.196A.
MILANESE, early XVI century. Simone Taverna of Milan. Without rev.
1 11/16 (0.043). A 934.197A.
MILANESE, early XVI century. Scaramuccia di Gianfermo Trivulzio (d.
1527), Bishop of Como 1508, Cardinal 1517. Rev. Figure of Prudence
walking to r., holding compasses in r., mirror in 1., and looking down at
small dragon at her feet. Probably 1518-25. 2 3/8 (0.060). A 935.198A.
MILANESE, early XVI century. Giangiacomo Trivulzio. Rev. Bust to r.,
in cap and cuirass. 1 11/16 (0.043). A 936.199A.
SAVOY, early XVI century. Filippo (c. 1490-1533), son of Filippo II, 7th
Duke of Savoy; Count of Genevois 1514, Duke of Nemours, 1528. With-
out rev. 1514-28. 127/32 (0.047). Late cast. A 937.200A.
BATTISTA (DI?) ELIA DA GENOVA (act. 1480). Battista II di
Campofregoso, Doge of Genoa 1478-83. Rev. Trochilus flying down into
crocodile's mouth. 1 21/32 (.0.042). A 938.201A.
'MEDALLIST OF THE ROMAN EMPERORS' (act. last quarter of XV
century). Nero. Rev. Nero, laureate, seated to r. under palm tree
holding a patera; facing him a nude man, also laureate, standing behind
large vase. 4 15/32 (0.114). A 939.202A. ///. p. 113
in crested helmet, cuirass and mantle, riding to r., carrying standard.
Only known specimen. 4 (0.102). A 940.203A.
toninus Pius. Rev. Pius, in cuirass and paludamentum, and Faustina, in
tunic and mantle, seated facing each other, grasping hands. 4 5/16
(0.110). A 941.204A.
Same man riding to 1., carrying standard; below, helmet and shield. 2 3/8
(0.060). A 942.205A.
ceding. 2 15/32 (0.063). A 943.205 bis A.
ROMAN 1455. Pier Barbo, Cardinal of San Marco, afterwards Pope Paul II.
Rev. Shield with the Barbo arms, surmounted by cardinal's hat. Dated
1455. 1 11/32 (0.034). A 944.206A.
TORREGIANI, Pietro (1472-1528). Federigo II da Montefeltro (1422-82),
1st Duke of Urbino. Rev. Group of five winged putti supporting shield
which displays eagle standing on globe between two cornucopias, bearing
arms of Montefeltro around his neck. 4 5/16 (0.110). A 1467.727A.
GUACIALOTI, Andrea (1435-95). Niccold Palmieri, Bishop of Orte 1455-
67. Rev. Nude figure, with drapery at back, standing 1. on architectural
bracket, holding spear in 1., hourglass in r. Signed and dated 1467.
2 15/32 (0.063). A 945.207A.
GUACIALOTI. Alfonso cf Aragon, Duke of Calabria, afterwards King of
Naples. Rev. Triumphal entry of Alfonso, seated on a high car drawn
by two horses, into Otranto; procession of soldiers and horsemen preceding
him through gate; beyond gate, fortifications, buildings in flames, lion's-
head fountain, and forepart of wolf rising out of water; background, tall
hills capped with buildings. Signed and dated 1481. 2 3/8 (0.060).
A 1470.730A.
GUACIALOTI. Calixtus III, Pope 1455-58. Rev. Shield with Borgia arms
surmounted by tiara and crossed-keys. 1 21/32 (0.042). A 946.208A.
GUACIALOTI. Aeneas Piccolomini, Pope Pius II 1458 64. Rev. Pelican
feeding her young. 2 3/32 (0.053). A 1429.689A.
GUACIALOTI. Sixtus IV, Pope 1471-84. Rev. Nude standing figure of
Constancy, resting 1. arm on fluted column, r. on tall staff, and holding
long scarf; at her feet, Turkish captives, arms and banners and galleys
in harbor. Dated 1481. 2 3/8 (0.060). A 947.2C9A.
CRISTOFORO DI GEREMIA (c. 1410-c. 1475). Alfonso V of Aragon.
Rev. Alfonso in armor and mantle, seated on cippus decorated with
sphinxes, holding sword and orb; Bellona, 1., wearing tunic and mantle,
places crown on his head; Mars, nude, wearing helmet, also touches
crown while walking r. Signed. C. 1458. 2 15/16 (0.075). A 948.210A.
CRISTOFORO DI GEREMIA. Constantine the Great. Rev. Constantine,
laureate, wearing toga and holding caduceus, grasping hand of female
figure of Church, holding cornucopia. Signed. Probably 1468. 2 27/32
(0.072). A 949.211 A.
CRISTOFORO DI GEREMIA. Lodovico Scarampi (Mezzarota) (1402-65),
Patriarch of Aquileia 1444. Rev. Triumphal procession moving to 1.; in
background, classical temple. Probably 1461-65. 1 17/32 (0.039).
A 950.212A.
CRISTOFORO DI GEREMIA. Guillaume d'Estouteville (d. 1483),
Cardinal 1439; Archbishop of Rouen 1453; Bishop of Ostia 1461; Papal
Chamberlain. Rev. Shield with Estouteville arms, surmounted by cardi-
nal's hat with tassels. C. 1461. 1 27/32 (0.047). A 951.213A.
CRISTOFORO DI GEREMIA. Paolo Dotti(?), General of Militia, Vicenza
1289. Rev. Nude female figure of Constancy, resting 1. arm on fluted
column, r. on tall staff, and holding long scarf. 2 13/32 (0.061). A
ROMAN, under Paul II. Paul II, Pope 1464-71, shown in public consistory.
Rev. Christ in Glory, in mandorla of cherubs' heads, among saints; sun,
moon and stars; lower, Doctors of the Church, and Resurrection of the
Dead; at bottom, the Virgin and the Baptist on either side of altar.
Probably 1466-67. 3 1/8 (0.079). A 953.215A.
ROMAN, under Paul II. Paul II. Rev. Palazzo di Venezia. Dated 1465.
1 11/32 (0.034). A 954.216A.
LYSIPPUS JUNIOR (Pseudonym) (act. 1471-84). Bartolommeo Parthenio
of Brescia (act. 1480-85), humanist. Rev. A lily growing. 1 3/8 (0.035).
Late cast. A 955.217A.
LYSIPPUS JUNIOR (Pseudonym). Giovanni Francesco de Rangoni. Un-
known. Rev. Armed figure standing on prostrate wolf or fox, resting
on spear with r., which grasps a serpent. Large letters S M in field.
1 15/32 (0.037). A 956.218A.
LYSIPPUS JUNIOR (Pseudonym). Sixtus IV, Pope 1471-84. Rev. Pope
enthroned, being crowned by St. Francis and St. Anthony. 1 19/32
(0.041). A 957.219A.
LYSIPPUS JUNIOR (Pseudonym). Giovanni Alvise Toscani (d. 1475),
Milanese jurisconsult, consistorial advocate under Sixtus IV. Rev. Nude
figure of Neptune, mantle arched over his head, holding trident in r.,
dolphin in 1., standing in car drawn by two sea horses. 1 9/16 (0.040).
A 958.220A.
LYSIPPUS JUNIOR (Pseudonym). Giovanni Alvise Toscani. Rev. In-
scription in laurel-wreath. 2 7/8 (0.073). A 959.221A.
CANDIDA(?), Giovanni (act. 1472-95). Giovanni Candida, the medallist,
Without rev. Oval 2 9/32 (0.058), 1 7/8 (0.048). Only known speci-
men. A 960.222A.
CANDIDA (?). Charles the Bold (1433-77), Duke of Burgundy 1467-77.
Rev. Ram couchant between two briquets inscribed vellvs avrevm, with
flint darting sparks on either side; above and below, Ie lai emprins bien
en aviengne; all on a field seme with sparks, in wreath. 1474 (?). 1 1/2
(0.038). A961.223A.
CANDIDA (?). Antoine (1421-1504), Grand Bastard of Burgundy. Rev.
Barbacane discharging its fiery contents; in field, device of Antoine; all in
wreath. 1472-80. 1 3/4 (0.044). A 962.224A.
CANDIDA (?). Maximilian of Austria, afterwards Emperor. Rev. Maria
of Burgundy (d. 1482); at 1., two M's interlaced and crowned. Probably
done for marriage, 1477. 1 7/8 (0.048). A 963.225A.
CANDIDA (?). Jean Carondelet, President of the Parliament of Burgundy.
Rev. Marguerite de Chassey, his wife, wearing pointed headdress with
vei1. Dated 1479. 1 13/16 (0.046). A 964.226A.
CANDIDA(?). Raimondo Lavagnoli. Commissary of Saxony in XI or XII
century. Rev. Arms of Lavagnoli. 1472-80. 2 9/32 (0.058). A 965.227A.
CANDIDA (?). Robert Briconnet, President of the Court of Inquiry. Rev.
Briconnet's device. 1488-93. 2 13/32 (0.061). Of doubtful age. A
CANDIDA (?). Nicolas Maugras, Bishop of Uzes 1483-1503. Rev. Arms of
Maugras over a crozier. C. 1503. 3 5/16 (0.084). A 967.229A.
CANDIDA (?). Giuliano della Rovere, afterwards Julius II. Rev. Clemente,
his brother, Bishop of Mende 1483-1504. C. 1494. 2 5/16 (0.059).
A 968.230A.
CANDIDA (?). Thomas Bohier (d. 1524), General des Finances of Nor-
mandy 1496. Rev. Arms and motto of Bohier. 2 9/16 (0.065). Later
cast. A 969.231 A.
CANDIDA (?). Francois de Valois, afterwards King Francis I. Rev. Sala-
mander in flames (first appearance as device of Francis I). Dated 1504.
2 9/16 (0.065). A970.232A.
ROMAN, 1484-1513. Don Rodrigo de Bivar y Mendoza (d. 1523), 1st
Marquess of Cenete 1491. Rev. Mars, in armor, on 1., confronting Venus,
nude except for scarf; dolphin at her feet. C. 1497. 1 3/8 (0.035).
A 971.233A.
ROMAN, 1484-1513. Mar cello Capodiferro, Roman noble and student of
Roman history, one of Conservatori of Rome 1478. Rev. Ox walking 1.
1 13/32 (0.036). A 972.234A.
ROMAN, 1484-1513. Bernardino Carvajal (d. 1522), Cardinal of Santa
Croce 1493, deposed 1511, restored 1513. Rev. Female figure of Philoso-
phy, wearing crown, veil, and mantle, holding rolls of manuscript and
sceptre; ladder descends from her breast to her feet, with 8 at top,
P at bottom. 1493-1507. 1 11/16 (0.043). A 973.235A.
ROMAN, 1484-1513. Domenico Grimani, Cardinal 1493-1523. Rev. Stand-
ing female figure of Philosophy, 1., points with r. to radiant cloud, and
grasps with 1. wrist of veiled female figure of Theology, seated under
tree, holding manuscript. C. 1493. 2 3/32 (0.053). A 974.236A.
ROMAN, 1484-1513. Guillaume de Poitiers (d. 1503), Marquis of Cotrone,
French Ambassador to Pope 1487. Rev. Nude Mercury, holding caduceus,
clasps right hand of female figure (the Church?) in tunic and mantle,
holding cornucopia; border of four cornucopias from which issue flames
or water. 1487(?). 2 1/4 (0.057). A 975.237A.
ROMAN, 1484-1513. Julius II, Pope 1503-13. Rev. Shield of Rovere sur-
mounted by crossed-keys and tiara. 1506(?). 1 7/32 (0.031). Struck.
A 976.238A.
ROMAN, 1513-15. Leo X, Pope 1513-21. Rev. Shield of Medici arms sur-
mounted by crossed-keys and tiara. 3 1/16 (0.078). A 977.239A.
ROMAN, "1513-15. Giuliano II de' Medici, Duke of Nemours 1478-1516,
patrician of Rome 1513. Rev. Female figure of Florence reclining under
a tree, leaning on Medici shield. C. 1513. 3 7/16 (0.087). A 978.240A.
ROMAN, 1513-15. Giuliano II de' Medici. Rev. Figure of Roma, seated 1.
on cuirass and shields, holding figure of Victory in r. 1513. Gilt on rev.
1 11/32 (0.034). A 979.241 A.
ROMAN, c. 1500. Girolamo Arsago, Bishop of Nice 1511-42. Rev. In-
scription. Dated 1513. 1 25/32 (0.045). A 980.242A.
ROMAN, c. 1500. Jems Christ. Rev. Inscription (St. John xi:27) within
wreath. 3 17/32 (0.090). A 981.243A.
ROMAN, c. 1500. St. Paul. Rev. Inscription (Ps. lxvii:27-8) within wreath.
Companion-piece to preceding. 3 15/32 (0.088). A 982.244A.
FLORENTINE, c. 1464-70. Cosimo de' Medici (1389-1464), Pater Patriae.
Rev. Female figure of Florence seated, holding orb and triple olive
branch. After 1465. 2 15/16 (0.075). A 983-245A.
FLORENTINE, c. 1464-70. Cosimo de' Medici. Rev. Similar to preceding.
After 1465. 3 1/16 (0.078). A 984.246A. ///. p. 114
FLORENTINE, c. 1464-70. Cosimo de' Medici. Rev. Similar to preceding.
1 15/32 (0.037). A 985.247A.
BERTOLDO DI GIOVANNI (c. 1420-91). Mohammad II. Rev. Tri-
umphal car drawn by two horses, led by Mars; on car, standing man
carrying small figure in 1., with r. holding cord which binds three crowned
nude women representing Greece, Trebizond, and Asia; on side of car,
Siege Perilous; below, reclining figures of Sea and Earth. Signed.
1480-81. 3 11/16 (0.094). A 986.248A. III. p. 114
BERTOLDO DI GIOVANNI. Frederick III (1416-93), Emperor 1452.
Rev. Emperor, Pope and cardinals on horseback, with attendants on foot,
meeting on Ponte Sant'Angelo. Dated 1469. 2 5/32 (0.055). A
BERTOLDO DI GIOVANNI. Antonio Gratiadei (d. 1491), Venetian
theologian, astrologer, imperial envoy. Rev. Triumphal car drawn r.
by lion, ridden by female torchbearer, and checked by man wearing
conical cap and fluttering cloak; on car, numerous figures, including
Mars(?) and Mercury; above, in the air, Luna holding crescent, and
Sun in his car. 1480-81. 2 13/32 (0.061). A 988.250A.
BERTOLDO DI GIOVANNI. FHippo de' Medici, Archbishop of Pisa
1462-74. Rev. Last Judgment; Christ standing in mandorla, surrounded
by cherubs and angels; below, Resurrection of the Dead, angels dividing
the blessed from the damned. C. 1474. 2 5/32 (0.055). A 989.251 A.
BERTOLDO DI GIOVANNI. Lorenzo il Magnifico (1449-92) and Giuli-
ano de' Medici, the Pazzi Conspiracy, 1478. Each head placed above
choir of the Cathedral, Florence; within, priests celebrating Mass; outside,
conspirators attacking. 2 19/32 (0.066). A 990.252A. ///. p. 115
BERTOLDO DI GIOVANNI. Lorenzo de' Medici. Rev. Male figure in
armor standing, resting r. on spear, sword in 1.; at his feet seated figure
with hand to head, and two river gods, reclining against urns from which
water flows. 1 9/32 (0.033). A 991.253A.
BERTOLDO DI GIOVANNI. Reverse of medal of Francesco Diedo.
Hercules, wearing lion-skin and carrying club, pursues centaur Nessus,
who escapes to 1., carrying Dejanira on his back; in background, on high
rock, figure (Virtus?) on a seat supported by lion and ox. Dated
1475. Obv. later and by another hand. Gilt. 3 7/32 (0.082). A 992.254A.
BERTOLDO DI GIOVANNI (?). Matthias Corvinus, King of Hungary
1458-90. Rev. Cavalry battle between Hungarians and Turks; in fore-
ground, statue on column. 2 1/16 (0.052). A 993.255A.
FIORENTINO, Niccolo di Forzore Spinelli, called (1430-1514). Alfonso
I d'Este. Rev. Figure in armor (Alfonso?) seated r. on triumphal car
drawn by four rearing horses. Signed and dated 1492. 2 25/32 (0.071).
A 994.256A. III. p. 115
N. FIORENTINO. Lorenzo de Medici. Without rev. C. 1490. 3 17/32
(0.090). Late cast of obv. of signed meda1. A 995.257A.
N. FIORENTINO(?). Innocent VIII, Pope 1484-92. Rev. Female figures
of Justice, 1., holding sword and scales; Peace, center, laureate, holding
branch and cornucopia; Abundance, r., laureate, holding two cars of
corn and cornucopia. C. 1480-86. 2 1/8 (0.054). A 996.258A.
N. FIORENTINO(?). Guglielmo Batonatti, clerk of Roman curia (?).
Rev. Within wreath, unicorn springing 1. and tau cross above. 1480-86.
1 1/2 (0.038). A 997.259A.
N. FIORENTINO(?). Bernardino Gamberia (d. 1507), private chamberlain
of Innocent VIII, Bishop of Cavaillon 1501. Rev. God the Father in
clouds. Dated 1485. 2 13/32 (0.061). A 998.260A.
N. FIORENTINO(?). Rinaldo Orsini, Archbishop of Florence 1474-1510.
Rev. Figur; of Fortune, crowned, seated holding rudder and cornucopia.
1485 (?). 2 3/8 (0.060). A 999.261 A.
N. FIORENTINO (?). Charles VIII (1470-98), King of France 1483-98.
Without rev. 1494-95 (French invasion of Italy). 3 3/4 (0.095).
A 1000.262A. ///. p. 116
N. FIORENTINO(?). Jean Du Mas de I'Isle (d. 1495), Councillor of
Charles VIII. Rev. Jean Du Mas riding 1., in armor and carrying baton,
on horse wearing chanfron and bardings with arms of Du Mas de I'Isle.
1494-95. 3 15/32 (0.088). A 1001.263A.
N. FIORENTINO, Manner of. Lionora Altovitu Without rev. 1487(?).
2 3/4 (0.070). Late cast. A 1002.264A.
N. FIORENTINO, Manner of. Nicolo Gander. Fictitious Portrait. Without
rev. 4 17/32 (0.115). A 1262.523A.
N. FIORENTINO, Manner of. Nonina Strozzi, wife of Bernardo Barbigia.
Rev. Female figure of Hope, standing looking up at radiant sun, hands
clasped in prayer. 3 15/32 (0.088). A 1415.675A.
N. FIORENTINO, Manner of. Fra Alberto Belli{?) (d. 1482), Canon of
Ferrara. Rev. Female figure of Faith, holding chalice with wafer, and
cross. C. 1497 (?). 2 7/32 (0.056). A 1003.265A.
N. FORENTINO, Manner of. Antonio di Dante Castiglione. Unknown.
Without rev. C. 1485-1500. 2 23/32 (0.069). Only known specimen.
A 1004.266A.
N. FIORENTINO, Manner of. Ercole I d'Este. Rev. Minerva, resting r.
on spear, 1. on shield. C. 1490-95. 2 (0.051). A 1005.267A.
N. FIORENTINO, Manner of. Marsilio Ficino (1433-99), Florentine hu-
manist. Rev. platone across field. C. 1499. 2 5/32 (0.055). A
N. FIORENTINO, Manner of. Pietro Machiavelli (1460/61-1519), son
of a painter Zanobi. Rev. Eagle with wings displayed, standing on a
stump to which is fastened shield of Machiavelli arms. C. 1480-85. 2 7/8
(0.073). Only recorded specimen. A 1007.269A.
N. FIORENTINO, Manner of. Roberto di Ruggiero de' Macinghi. Rev.
Nude female figure with scarf about her, standing, holding round conical
shield, in r., and peacock by its neck in 1. Dated 1495. 1 9/32 (0.033).
Only known specimen. A 1008.270A.
N. FIORENTINO, Manner of. Lorenzo de' Medici. Without rev. C. 1485-
1500. 1 3/8 (0.035). A 1009.271 A.
N. FIORENTINO, Manner of. Maria de' Mucini. Unknown. Rev. Eagle (?)
on armillary sphere, resting on blazing framework; across field, on a
scroll, expecto; below, dog with scroll assidvvs and lamb with scroll
mitis esto; field seme with plumes. C. 1485-1500. 3 17/32 (0.090). A
1010.272A. ///. p. 116
N. FIORENTINO, Manner of. Roberto di Bernardo Nasi (b. 1479), prior
of liberty, 1513. Rev. Female figure of Virginity fastening nude, winged
Love to tree; at his feet, his bow and quiver; between them, unicorn
lying on the ground. C. 1495 (?). 2 5/32 (0.055). Rev. probably bor-
rowed from A 1019.281 A (p. 180). A 1011.273A.'
N. FIORENTINO, Manner of. Giovanni Paolo Orsini (d. 1502), Count of
Atripaldi 1486. Rev. Orsini, in fluttering cloak, on prancing horse r.
1485-90. Lead. 1 3/8 (0.035). Recent cast. A 1012.274A.
N. FIORENTINO, Manner of. Giuliano Particini. There are two men of
this name, both born 1470, either of whom may be represented. Rev.
Female figure of Hope gazing at sun in prayer. 2 7/16 (0.062). Not
contemporary casting. A 1013.275A.
N. FIORENTINO, Manner of. Costanza Bentivoglio, wife of Antonio Pico
della Mirandola (m. 1473), Countess of Concordia 1483. Rev. Borrowed
from A 952.214A (p. 175). After 1483. 2 5/16 (0.059). A 1014-276A.
N. FIORENTINO, Manner of. Giovanni Pico della Mirandola (1463-94),
philosopher and poet. Rev. The Three Graces. C. 1489. 3 3/16 (0.081).
Late cast. A 1015.277A.
N. FIORENTINO, Manner of. Antonio Ptzzamani (1462-1512), Venetian
scholar and protonotary apostolic, Bishop of Feltre 1504. Rev. Half-
figures of Felicity, carrying a peacock; Virtus, holding palm branch;
Fame, helmeted, with trumpet. C. 1490. 2 13/32 (0.061). A 1016.278A.
N. FIORENTINO, Manner of. Angelo Poliziano (1454-94), humanist. Rev.
Maria Poliziano, probably his sister. C. 1494. 2 5/32 (0.055). Late
cast. A 1017.279A.
N. FIORENTINO, Manner of. Maria Poliziana. Rev. Female figure of
Constancy, nude but for scarf, leaning on bundle of arrows bound with
ribbon. C. 1485-1500. 2 9/32 (0.058). Late cast. A 1018.280A.
N. FIORENTINO, Manner of. Bianca Riario, wife of Girolamo Riario,
Prince of Imola. Rev. The Three Graces. 1 3/16 (0.030). A 1428.688A.
N. FIORENTINO, Manner of. Costanza Rucellai, possibly daughter of
Girolamo Rucellai who married Francesca Dini 1471. Rev. Same as
A 1011.273A (p. 179). C. 1485-90. 2 5/32 (0.055). A 1019.281A.
N. FIORENTINO, Manner of. Girolamo Savonarola (1452-98), Dominican
preacher. Rev. Map of Italy, showing chief cities (marked with initials);
above, hand of God holding dagger, issuing from cloud. C. 1497. 3 3/4
(0.095). A 1020.282A." 7//. p. 117
N. FIORENTINO, Manner of. Caterina Sforza-Riario (1463-1509),
Countess of Fori! and Imcla. Rev. Winged Victory, holding palm branch,
driving r. a car drawn by two prancing winged horses; on side of car,
shield with Sforza biscione. C. 1488. 2 27/32 (0.072). Late cast.
A 1021.283A.
N. FIORENTINO, Manner of. Ottaviano Sforza-Riario, Count of Forli
and Imola. Rev. Ottaviano with drawn sword, riding to r. C. 1498.
2 15/16 (0.075). A 1022.284A.
N. FIORENTINO, Manner of. Giovanni di Andrea da Stia, unknown. Rev.
Standing female figure of Hope, hands clasped, gazing at Sun. C. 1485-
90. 3 1/16 (0.078). A 1023.285A.
N. FIORENTINO, Manner of. Filippo Strozzi (1426-91), Florentine mer-
chant-prince. Rev. Eagle, with spread wings, on stump to which is tied
shield of the Strozzi arms; landscape with pine trees in meadow: field
seme with plumes. 1489. 'Foundation medal' 3 7/8 (0.098). A
1024.286A. III. p. 117.
N. FIORENTINO, Manner of. Achille Tiberti (d. 1501) of Cesena, lieu-
tenant of Cesare Borgia. Without rev. C. 1495. 2 7/8 (0.073). A
N. FIORENTINO, Manner of. Giovanna Albizzi. wife of Lorenzo Torna-
buoni. Rev. The Three Graces, the center one a portrait of Giovanna
Albizzi. C. 1486. 3 1/16 (0.078). Perhaps the most generally admired
medal of the Florentine schoo1. A 1026.288A. ///. p. 118
N. FIORENTINO, Manner of. Giovanni di Francesco Tornabuoni. Floren-
tine banker, treasurer of Sixtus IV, ambassador to Rome 1480, 1484, and
1523. Rev. Female figure of Hope with clasped hands, looking up at
sun, and date MCCCCLXXXXIII across field. 1 9/32 (0.033). A
N. FIORENTINO, Manner of. Alessandro di Gino Vecchietti (1472-1532).
Rev. Nude female figure of Fortune, holding sail, advancing over waves
on dolphin; sun's face reflected in water; on rock at r., an ermine holding
scroll inscribed privs mori ova(m) tvrpari. C. 1498. 3 5/32 (0.080).
A 1028.290A.
N. FIORENTINO, Manner of. Unknown Man. Without rev. C. 1485-
1500. Lead. 3 1/16 (0.078). A 1029.291A.
N. FIORENTINO, Manner of. Ippolito d'Este (1479-1520), son of Ercole
I d'Este, Cardinal 1493. Without rev. Probably 1503. 1 25/32 (0.045).
A 1030.292A.
N. FIORENTINO, Manner of. Francesco Lancilotti (b. 1472), painter.
Without rev. 2 3/4 (0.070). Late, rough cast. A 1031.293A.
N. FIORENTINO, Manner of. Gianozzo di Bernardo Salviati (b. 1462),
prior of liberty 1515. Rev. Fortune, with sail, advancing over the waves
on dolphin; radiant reflection of the sun in the water. C. 1500. 3 1/2
(0.089). A 1032.294A.
N. FIORENTINO, Manner of. Michelangelo di Guglielmino Tanagli
(1437-1512), mentioned in a letter of Michelangelo (Buonarroti) as
interested in medals and gem-engraving. Rev. Half-figure of youth with
long hair, wearing peaked hat and animal's skin, carrying staff and scroll
inscribed bona fortvna. 1 13/16 (0.046). Note: Rev. seems ill-adapted
to obv. A 1033.295A.
N. FIORENTINO, Manner of. Lorenzo di Giovanni Tornabuoni (1466-97).
Rev. Mercury, walking r., armed with sword, carrying caduceus. Probably
after Medici Restoration, 1512. 3 1/16 (0.078). A 1034.296A.
N. FIORENTINO, Manner of. Lodovica, sister of Lorenzo di Giovanni
Tornabuoni. Rev. Unicorn lying to 1. before tree on which is perched a
dove. Above, blank scrol1. Companion piece to preceding. 2 15/16
(0.075). A 1035.297A.
FLORENTINE, late XV century. Aristotle. Without rev. 3 11/32 (0.085). >
A 1036.298A.
FLORENTINE, late XV century. Dante Alighieri (1265-1321), Florentine
poet. Rev. Dante, in cap and long robe, stands at r. gazing at Mountain
of Purgatory, on summit of which are Adam and Eve under Tree of
Knowledge; at base of mountain, two figures; to 1., lesser mountain with
two entrances to Hell; above seven circles of Heaven. 2 11/16 (0.068),
with moulded frame. A 1037.299A. ///. p. 118. "
FLORENTINE, late XV century. Giovanni Boccaccio (1313-75), Florentine /
writer. Rev. Female figure of Wisdom, in tunic and mantle, gazing
at serpent which she holds up. 2 7/32 (0.056). Late cast. A 1038.300A.
FLORENTINE, late XV century. Francesco Petrarca (1304-74) of Arezzo,
poet. Rev. Female figure (Poetry) walking 1. in wood, plucking laurels.
2 5/32 (0.055). Late cast. Companion piece to preceding. A 1039.301A.
ITALIAN, before c. 1530. Gianfrancesco Pallavicino (perhaps Marchese
di Zibello, partisan of Lodovico Sforza, who died 1497). Without rev.
Lead. 2 (0.051). A 1040.302A.
ITALIAN, before c. 1530. Laura de Noves (1307/08-1348), friend of Pe-
trarch. Inscr.: diva lavra (pa) rixiensis. Hill reconstructed the inscrip-
tion as (b) rixiensis and identified the girl, "perhaps wrongly," as Laura
of Brescia (d. 1469). As pointed out by W. Suida, who saw in the art
market some years ago another cast of this plaquette, with the inscription
parixiensis intact, together with its pendant, representing Petrarch, the
subject is definitely the celebrated Laura of Petrarch. Without rev. Lead.
Rectangular, 5 1/4 (0.133), 3 3/16 (0.081). A 1041.303A.
ITALIAN, before c. 1530. A Carrara(?). Rev. The heraldic carro, incised.
C. 1500. Original Carraresi extinct at this time, but the boy may have
belonged to an allied family. 1 1/4 (0.032). A 1042.304A;
ITALIAN, before <r. 1530. Baldassare di Cristoforo Castiglione (b. 1478),
author of "The Courtier." Rev. Aurora stepping from her car; on
either side a Psyche with butterfly wings restraining a horse; the car rises
above the edge of globe, on which part of Mediterranean is shown. C.
1518. 1 15/32 (0.037). A 1043.305A.
ITALIAN, before c. 1530. Charles VIII, King of France 1470-98. Rev.
King on horseback, followed by Glory also on horseback. 2 5/32 (0.055).
A 1425.685A.
ITALIAN, before c. 1530. Louis XII, King of France 1498-1515. Rev.
Seated woman at 1., head in hand; toward her runs semi-nude woman
pursued by veiled woman with raised dagger, followed in turn by Mars
on horseback, holding torch and whip and accompanied by two hunting
leopards; above, in clouds, thunder-bearing Jupiter. Dated 1513. 2 25/32
(0.071). A 1044.306A.
ITALIAN, before c. 1530. Louis XII. Rev. LVD(ovicus) xii incised.
1 3/8 (0.035). A 1045.307A.
ITALIAN, before c. 1530. Francis I. Rev. Trophy of arms. 2 (0.051). A
ITALIAN, before c. 1530. Bernardino Francesconi of Siena. Rev. Shield of
Francesconi arms. Dated 1520, the year the Palazzo Francesconi was
founded in Siena. 1 25/32 (0.045). A 1047.309A.
ITALIAN, before <r. 1530. Mania Ugoni, Bishop of Famagusta 1504-30.
Rev. Ludovico Ugoni, unknown, wearing armor, hair in net cap; below,
two branches. 2 9/32 (0.058). A 1048.310A.
ITALIAN, before c. 1530. Unknown man. Without rev. C. 1500. 1 3/4
(0.044). A 1049.311 A.
ITALIAN, before c. 1530. Castruccio Castracane degli Antelminelli of
Lucca (1281-1328). Without rev. 1 3/32 (0.028). A 1050.312A.
FRANCESCO DA SANGALLO (1494-1576). Reverse of a medal of Fran-
cesco da Sangallo, the medallist. Elena Marsupini, his wife, in profile to
left. Dated 1551. 3 3/4 (0.095). A 1464.724A.
FRANCESCO DA SANGALLO. Francesco da Sangallc, th; medallist.
Without rev. 3 3/4 (0.095). A 736.731A.
FRANCESCO DA SANGALLO. Giovanni de Medici delle Bande Nere
(1498-1526), celebrated condottiere. Rev. Winged thunderbolt. Signed
and dated 1522, but made probably c. 1570. 3 5/8 (0.092). A
DOMENICO DI POLO, Domenico de' Vetri, called (after 1480-1547).
Cosimo I de' Medici (1519-74), 1st Grand Duke of Tuscany, 1569.
Rev. Capricorn 1.; above, eight stars. 1 3/8 (0.035). Struck. A
DOMENICO Dl POLO (?). Alessandro de Medici, 1st Duke of Florence
1523. Rev. Ccsimo I de' Medici, to left, beardless. 1 11/32 (0.034).
A 1053.316A.
FRANCESCO DAL PRATO (1512-62). Alessandro de' Medici. Rev.
Peace, holding olive branch, seated to r.; with a torch she fires a pile of
arms. Below, sign of Mars. Dated 1534. 1 11/16 (0.043). A 1054.317A.
CESARE DA BAGNO (1530-64). Alfonso II d'Avalos (d. 1571), Mar-
quess of Vasto, Captain General of Charles V. Without rev. Lead. 2
19/32 (0.066). A 1055.318A.
PASTORINO de' Pastorini (1508-92). Beatrice da Siena, unknown. Rev.
Sheaf of wheat. Signed (initial P., as in every case). 1 9/16 (0.040).
A 1056.319A.
PASTORINO. Costanza Buti, unknown. Without rev. 1 3/8 (0.035). Late
cast. A 1057.320A.
PASTORINO. Camilla Castiglione (1517-98), son of Baldassare Castiglione.
Without rev. Signed and dated 1561. 2 11/16 (0.068). A 1058.321A.
PASTORINO. Cornelia Siciliana, unknown. Rev. Truth nude, seated, un-
veiling herself. 1 11/32 (0.034). Later cast. A 1059.322A.
PASTORINO. Ercole II d'Este, 4th Duke of Ferrara, 1534-59. Without
rev. 1 17/32 (0.039). Sometimes found attached to following. A
PASTORINO. Francesco d'Este (1516-78), son of Alfonso I, Marquess of
Massa. Without rev. Signed and dated 1554. 1 9/16 (0.040). Often
found combined with portraits of others of Este family by same hand.
A 1061.324A.
PASTORINO. Lucrezia de' Medici (1545-61), daughter of Cosimo I, first
wife of Alfonso II d'Este. Without rev. Signed and dated 1558. Gilt.
2 19/32 (0.066). A 1062.325A.
PASTORINO. Eleonora of Austria (1534-94), Duchess of Mantua, wife
of Guglielmo I Gonzaga. Without rev. Signed and dated 1561. 2 23/32
(0.069). A 1063.326A.
PASTORINO. Isabella Trotti Negrisoli (b. 1523), of Ferrara. Without
rev. Dated 1550. 2 7/32 (0.056). A 1064.327A.
PASTORINO. Isabella Manfro de' Pepoli of Bologna. Without rev. Signed
and dated 1571. 2 9/16 (0.065). A 1065.328A. ///. p. 119
PASTORINO. Lodovica Felecina Rossi of Bologna. Without rev. Signed
and dated 1557. 2 15/32 (0.063). A 1066.329A.
PASTORINO. Girolama Sacrata of Ferrara. Without rev. Signed and
dated 1555. 2 23/32 (0.069). A 1067.330A. ///. p. 119
PASTORINO. Girolama Sacrata. Without rev. Signed and dated 1560.
2 7/16 (0.062). A 1068.331A.
PASTORINO. Girolama San Vitale, daughter of Galeazzo Farnese, wife
of Alfonso San Vitale, widowed 1560. Without rev. Signed and dated
1556. 2 17/32 (0.064). A 1069.332A.
PASTORINO. Ginevra Trotti. Without rev. Signed and dated. Date has
been read 1536 and 1586. 2 9/32 (0.058). Late cast. A 1070.333A.
PASTORINO. Nicolosa Vasari, wife of Giorgio Vasari, the painter. With-
out rev. Signed and dated 1555. 2 9/32 (0.058). Not an early cast.
A 1071.334A.
PASTORINO. Francesco Visdomini of Ferrara (1509-73), humanist and
Hebraist. Rev. Right hand issuing from a cloud, holding upright a flam-
ing sword. Signed and dated 1564. 2 5/8 (0.067). A 1072.335A.
PASTORINO. Unidentified Man. Bust only, cut out from the meda1.
Without rev. Signed and dated 1557. Gilt. H. 1 15/32 (0.037). A
PASTORINO. Unknown Lady. Without rev. Gilt. 1 3/16 (0.030). A
POGGINI, Giampaolo (1518-82). Philip II, King of Spain 1556-98. Rev.
Nude figure of Hercules bearing the globe on his shoulders. Signed and
dated 1557. Silver. 1 21/32 (0.042). Struck. A 1075.338A.
POGGINI(?), G. Alessandro Farnese (1545-92), 3rd Duke of Parma and
Piacenza. Without rev. C. 1558. 1 15/32 (0.037). A 1228.490A.
POGGINI, Domenico (1520-90). Lodovico Ariosto (1474-1533), the poet.
Without rev. Signed. 2 (0.051). A 1076.339A.
POGGINI, D. Alfonso II d'Este, 5th Duke of Ferrara, 1559-97. Rev. Lu-
crezia de' Medici, his wife. 1 27/32 (0.047). Late cast. A 1077.340A.
POGGINI, D. Cosimo I de' Medici. Rev. View of the Uffizi, with Palazzo
Vecchio in the background; in front, female figure of Equity holding
scales and cornucopia. Dated 1560. " 1 19/32 (0.041). Struck. A
POGGINI, D. Giulio Nobili (1537-1612), Florentine Senator. Rev. Nude
female figure standing to front, holding scales; a swan at her side. Dated
1570. 1 21/32 (0.042). A 1080.343A.
POGGINI, D. Camilla Peretti (d. 1591), sister of Sixtus V. Rev. Facade
of the Church of S. Lucia at Grottamare; on a panel under the pediment,
the inscription Camilla peretta. Signed and dated 1590. 1 27/32
(0.047). A 1081.344A.
POGGINI, D. Niccold Todini of Ancona, Captain of Castel Sant'Angelo,
1585-91. Rev. View of Castel Sant'Angelo, with flags flying from the
battlements. 1 3/4 (0.044). A 1082.345A.
POGGINI, D. Benedetto Varchi (1502-65), Florentine historian and man
of letters. Rev. Man lying on ground at foot of laurel tree. Signed.
2 (0.051). Late cast. A 1083.346A.
POGGINI (?), D. Eleonora de Toledo (d. 1562), first wife of Cosimo I
de' Medici. Rev. Peahen standing to front, sheltering six young ones
under her spread wings. 1 11/16 (0.043). A 1079.342A.
'MASTER R.C.,' unknown medallist influenced by Domenico Poggini.
Camilla Albizzi. Rev. Apollo pursuing Daphne, whose hands sprout
into laure1. Signed and dated 1556. 1 25/32 (0.045). Late cast. A
ROMANO, Pier Paolo Galeotti, called (act. 1532-84). Antonio Calmone,
secretary of Philip II. Rev. Flowering shrub growing up through thorns.
Signed. 1 11/16 (0.042). A 1085.348A.
ROMANO. Bianca Pansana Carcania. Rev. Island in a stormy sea, in which
people are drowning; on the island a circular wall enclosing a high rock,
at foot of which a kneeling figure. Signed. 2 5/32 (0.055). A
ROMANO. Girolamo Figino, Milanese painter. Rev. Minerva armed, stand-
ing to front; at her feet, instruments of music and sculpture. 1 15/32
(0.037). A 1087.350A.
ROMANO. Franco Lercari. Rev. Female figure walking 1., carrying cornu-
copia; on 1., tree; landscape background and starry sky. 2 7/32 (0.056).
A 1088.351A.
ROMANO. Cristoforo Madruzzo (d. 1578), Cardinal, Prince Bishop of
Trento 1539, of Brixen 1542. Rev. Female figure on a pedestal beside a
river, pointing to sun, which is reflected in the waters. Signed and dated
1551 (?). The date has been read as 1552 and 1556. 1 3/8 (0.035). A
ROMANO. Cristoforo Madruzzo. Rev. Harbor, containing ships, closed by
a chain beside which is inscribed tranqvill (itas); without, Neptune,
holding trident, reclining on back of dolphin. Signed. 1 3/4 (0.044).
A 1090.353A.
ROMANO. Tommaso Marini of Genoa, Duke of Terranuova. Rev. Sun
shining on waves of the sea. Signed. 2 1/16 (0.052). A 1091.354A.
ROMANO. Jacopo de Medici (1497-1555), Marquess of Marignan, Gen-
eral of Charles V. Without rev. Signed. 2 7/32 (0.056). A
ROMANO. Cassandra Marinoni (d. 1575), wife of Deifobo II Melilupi.
Rev. Circular colonnaded temple; city in background. Signed. 2 1/4
(0.057). A 1093.356A.
ROMANO. Giampaolo Melilupi, son of Deifobo II and Cassandra Marinoni.
Rev. A child (Giampaolo) at 1., addressing a warrior (Deifobo II) who
stands holding up a baton in r.; both in armor; arms at feet of Deifobo.
Signed. 1 31/32 (0.050). A 1094.357A.
ROMANO. Elisabetta Scotti, wife of Giovanni Alvise Gonfalonieri. Rev.
Type obliterated. 1 9/16 (0.040). Note: This medal made from speci-
men which bore portraits of husband and wife. Late cast from a wax
positive in which the lady's name was erased and the man's portrait
pressed out with the fingers, whose prints are still visible. A 1095.358A.
ROMANO. Chiara Taverna, wife of Francesco Taverna. Rev. Female fig-
ure, holding caduceus, in car drawn r. by two lions, on clouds; below,
landscape. Signed. 2 7/16 (0.062). A 1096.359A.
ROMANO. Francesco Taverna (1488-1560), Milanese jurisconsult, Count
of Landriano. Rev. In landscape, hound seated on base of column, look-
ing up to 1. at constellation of the Goat; r. background, columns of a
temple. Signed. C. 1554. 2 7/32 (0.056). A 1097.360A.
ROMANO (?). Alessandro Caimo, jurist of Milan. Rev. Boat sailing to 1.
over the waves; in the bows, Fortune, nude, holding up sail; in stern,
helmeted figure with spear, seated, steering. 1 13/16 (0.046). A
ROMANO(?). Cornelio Musso of Piacenza (d. 1574), a Franciscan, Bishop
of Bitonto 1544. Rev. Unicorn to r., purifying a stream by dipping his
horn in it; in background, landscape with shepherd, and flock; below,
shield of arms between two horns of plenty. 2 3/8 (0.060). A 1232.495A.
ROMANO(?). Gianfrancesco Trivulzio (d. 1573), Marquess of Vigevano,
Count of Mesocco 1518-49. Rev. Fortune standing on dolphin, blown
to r. by winds, passing over sea full of swimmers and drowning people.
2 3/8 (0.060). A 1243.505A.
ROMANELLI, Gasparo (act. 1560-80). Pietro Vettori, the Younger
(1499-1585), Florentine scholar. Rev. Olive branch. 1 25/32 (0.045).
A 1098.361A.
ROMANELLI. Pietro Vettori. Rev. Minerva, walking 1., holding olive
branch and spear. 1574. 1 1/2 (0.038). Struck. A 1099.362A.
MOLA (or Molo), Gaspare (act. 1598-1640). Vincenzo Gonzaga, 4th Duke
of Mantua, 1587-1612. Rev. St. George, mounted, in armor, to r., at-
tacking the dragon. Signed. 1 11/16 (0.043). A 1100.363A.
BERNARDI(?), Giovanni (1496-1553). Charles V. Coronation Medal.
Without rev. Dated 1530. 3 1/4 (0.083). A 1101.364A.
BERNARDI(?). Clement VII, Pope 1523-34. Rev. Joseph revealing him-
self to his brethren. 1 9/32 (0.033). Restrike, from cracked dies. A
IL GRECHETTO, Alessandro Cesati, called (act. 1538-1564). Paul III,
Pope 1534-49. Rev. Nude Ganymede, 1. hand resting on neck of eagle
at r., pouring water from a jug on Farnese lilies, at 1. 1545. 1 9/16
(0.040). Struck. A 1103.366A.
IL GRECHETTO. Emanuele Filiberto, 10th Duke of Savoy, 1553-80. Rev.
Marguerite of France (d. 1574), his wife, in rich dress with light vei1.
Signed A.F. Once gilt. 1 19/32 (0.041). Struck. A 1104.367A.
IL GRECHETTO. Dido, Queen of Carthage. Rev. View of walled city of
Carthage, with galleys lying in harbor before it. 1 25/32 (0.045). A
IL GRECHETTO. Priam, King of Troy. Rev. View of Troy, with galleys
in harbor before it. 1 17/32 (0.039). A 1106.369A.
ROSSI, Giannantonio (1517-c. 1575). Marcellus II, Pope 1555. Rev. Fe-
male figure of Fortune (?), seated 1., leaning r. arm on desk and holding
book from which she reads; in 1., a rudder. 3 (0.076). A 1107.370A.
ROSSI. Vincenzo Bovio of Bologna, apostolic protonotary 1550. Rev. Fe-
male figure of Religion, standing to front, holding cross and looking up
at sun's rays; behind her, an ox (for Bovio), to r.; on ground at r., a yoke
to which she points. Gilt. 2 27/32 (0.072). A 1108.371A.
BONZAGNA, Gian Federigo (act. 1554-c. 1586). Pius IV, Pope 1559-65.
Rev. The Porta Pia at Rome. 1 7/32 (0.031). Struck. A 1109.372A.
BONZAGNA. Pius V, Pope 1566-72. Rev. Naval battle of Lepanto; on a
galley, angel with cross and chalice; God hurling lightning from above.
Signed and dated 1571. Silver. 1 15/32 (0.037). Struck. A 1110.373A.
BONZAGNA. Ippolito II d'Este (1509-72), son of Alfonso I d'Este, Car-
dinal 1509. Without rev. Signed. 1 13/16 (0.046). A 1111.374A.
BONZAGNA. Pierluigi Farnese, 1st Duke of Parma and Piacenza 1545-47.
Rev. Bird's-eye view of the citadel of Parma, with gate opening on
stream. Signed. 1 9/16 (0.040). Struck. A 1112.375A.
FEDERIGO COC . . . (known only as author of two following medals).
Jean Parisot de la Vallette, Grand Master of Malta 1557-68. Rev. Da-
vid striking off head of prostrate Goliath; Philistines fleeing r. Signed.
C. 1565. 1 31/32 (0.050). A 1113.376A.
FEDERIGO COC . . . Prospero Publicola Santacroce (1514-89), Cardinal
1565. Rev. Bird's-eye view of building with formal garden in front.
Signed and dated 1579. 2 1/8 (0.054). A 1114.377A.
FRAGNI, Lorenzo (act. 1572-c. 1618). Sixtus V, Pope 1585-90. Rev. Fe-
male figure of Securitas seated to r., holding fleur-de-lis sceptre in 1., her
upraised head resting on her r.; beside her, flaming altar. Signed. 1
15/32 (0.037). Struck. A 1115.378A.
PALADINO, Giovanni (act. 1566-72). Leo X, Pope 1513-21. Rev. Female
figure of Liberality emptying money from a horn; around her, mitre,
cardinal's hat, crown, books, instruments of music, etc. 1 9/32 (0.033).
Modern restrike. A 1116.379A.
ITALIAN, PAPAL MEDALS. Clement VII, Pope 1523-34. Without rev.
2 11/16 (0.068). A 1117.380A.
ITALIAN, PAPAL MEDALS. Paul III, Pope 1534-49. Rev. Fight be-
tween winged griffin and serpent; all in wreath. C. 1540. 2 7/16 (0.062).
A 1118.381A.
ITALIAN, PAPAL MEDALS. Paul III. Bust only, cut out from the
meda1. Without rev. H. 3 5/16 (0.084). A 1119.382A.
ITALIAN, PAPAL MEDALS. Julius III, Pope 1550-55. Without rev.
Lead. 3 5/32 (0.080). Cast of uncertain age. A 1120.383A.
ITALIAN, PAPAL MEDALS. Pius IV, Pope 1559-65. Without rev. 2 5/8 (0.067). A 1121.384A.
RICCIO, Follower of. Andrea Briosco, called Riccio (1470-1532). Rev. A
broken tree with withered top falling over to r.; new leafy branch
springing from the trunk lower down; above, a star. 2 1/16 (0.052). A
1122.385 A.
BELLI, Valerio (c. 1468-1546). Pietro Bembo (1470-1547), afterwards
Cardina1. Rev. A man (Bembo?) partially draped, reclining under trees
beside a stream, holding a branch in 1. 1 11/32 (0.034). Struck. A
BELLI. Helen of Troy. Rev. Concord seated, holding cornucopia. 1 1/8
(0.029). A 1124.387A.
BELLI. Valerio Belli, the medallist. Without rev. Lead. 1 7/8 (0.048). A
CAVINO, Giovanni dal (1500-70). Alfonso II d'Avalos. Rev. Palm tree;
on 1., man in cloak with hands behind his back, and a pile of arms; on
r., a woman (Africa) seated on cuirass, mourning, beside a ship's prow.
1 15/32 (0.037). A 1125.388A.
CAVINO. Alessandro Bassiano, Paduan scholar, and Giovanni dal Cavino,
the medallist. Rev. Partially draped male figure of Genius, standing,
holding dolphin in r., sacrificing with patera in r. over flaming altar. 1
13/32 (0.036). Struck. A 1126.389A.
CAVINO. Giampietro Mantova Benavides (d. 1520), Paduan physician.
Rev. Facade of temple; within, statue of goddess holding cornucopia. 1
13/32 (0.036). Struck. A 1127.390A.
CAVINO. Girolamo Cornaro. Rev. Cornaro seated to 1. on platform, dis-
tributing alms; at 1., the poor, three adults and a child, reach out their
hands to him. 1 15/32 (0.037). Struck. A 1128.391A.
CAVINO. Giovanni Antonio Vincenzo Dolce (1482-1554?), Paduan jurist,
canon of Padua 1516. Rev. Same as A 1126.389A. 1 15/32 (0.037).
Struck. A 1129.392A.
CAVINO. Giovanni Mels (d. 1559), jurist, born at Udine. Rev. Mels as
Genius sacrificing with patera on flaming altar; holds cornucopia in 1.
1 1/2 (0.038). Struck. A 1130.393A.
CAVINO. Balduino del Monte (d. 1556), brother of Julius III, Count of
Montesansavino 1550. Rev. Combat between two horsemen; the one at
1., riding r., aims spear at second, whose horse has fallen to its knees;
temple in background. Note: Rev., too large for this obv., belongs to
medal of Antinous by Cavino. 1 21/32 (0.042). Struck. A 1131.394A.
CAVINO. Girolamo (d. 1558), Count of Panico, Paduan poet and musician,
and Pompeo Ludovisi (d. 1565) of Bologna. Rev. Same as A 1126.389A.
1 15/32 (0.037). Struck. A 1132.395A.
CAVINC. Francesco Quirini (act. 1544), Venetian patrician, poet and sol-
dier. Rev. She-wolf suckling Romulus and Remus. 1 15/32 (0.037).
Struck. A 1133.396A.
CAVINO. Luca Sahioni, Paduan jurist. Rev. Ceres standing, holding book
in outstretched r., cornucopia in 1.; at her feet, a boar's head. 1 1/2
(0.038). Struck. A 1134.397A.
CAVINO. Cosimo Scapti. Rev. Female figure of Salus seated to 1., before
statuette of Bacchus placed on a column under a vine; she gives drink
from a patera to a serpent which rears itself from the ground over a
branch of the vine. 1 1/2 (0.038). Struck. A 1135.398A.
CAVINO. Homer. Rev. Armed male figure standing holding spear, eagle
at his feet; on 1., seated woman with cornucopia; on r., seated man with
globe and spear, approached by Victory; below, two reclining river dei-
ties, one with a dragon, the other with another monster. 1 3/8 (0.035).
Struck. A 1136.399A.
CAVINO(?). Imitation of Syracusan Medallion: Arethusa. Rev. Chariot
on pedestal drawn to 1. by four horses; above, Victory flying to crown
charioteer; below, two shields, cuirass, and helmet. 1 1/2 (0.038).
Struck. A 1I37.400A.
CAVINO. Agrippina Senior (d. A.D. 33). Rev. Funeral car drawn by two
mules; in field, memoriae agrippina: above s(enatus) p(opulus) o(ue)
Romanus). 1 3/8 (0.035). Struck. "Sestertius." A 1138.401A.
CAVINO. Antonia (d. A.D. 37), daughter of Marc Antony. Rev. Claudius
standing, toga drawn over his head, holding simpulum. 1 7/32 (0.031).
Struck. "Dupondius." A 1139.402A.
CAVINO. Nero. Rev. Ceres seated, holding torch and ears of corn; facing
her, Annona standing, holding cornucopia; between them, modius on a
cippus; in background, galley. 1 3/8 (0.035). Struck. "Sestertius." A
1140.403 A.
CAVINO Sabina (d. A.D. 136), wife of Hadrian. Rev. Ceres seated to 1.
on modius, holding three ears of corn and lighted torch. 1 11/32 (0.034).
Struck. "Sestertius." A 1141.404A.
CAVINO. Antinous (d. A.D. 130), the favorite of Hadrian. Rev. Mer-
cury, nude and holding caduceus, taming rearing Pegasus. 1 1/2 (0.038) .
A 1142.405A.
CAVINO. Another example of preceding, but struck, brass center and cop-
per outer ring. 1 19/32 (0.041). A 1466.726A.
CAVINO. Antoninus Pius, Emperor A.D. 138-61. Rev. Helmeted figure of
Roma, seated to 1. on cuirass, her r. foot on a helmet; Emperor approaches
from 1., holding sceptre, offering her with his r. a fleur-de-lis; behind her,
winged figure of Victory, carrying palm branch, approaches to crown
her. 1 15/32 (0.037). Struck. "Medallion." A 1143.406A.
CAVINO. Faustina Junior (d. A.D. 176), wife of Marcus Aurelius. Rev.
The Empress and five other women and a child sacrificing before a cir-
cular temple containing statue of Mars(?). 1 3/8 (0.035). Struck.
"Sestertius." A 1144.407A.
CAVINO. Lucius Verus, Emperor A.D. 161-69. Rev. Same as A 1143.406A.
1 1/2 (0.038). Struck; center brass, outer ring copper. "Medallion." A
1145.408 A.
CAVINO. Commodus, Emperor A.D. 177-92. Rev. Same as A 1135.398A.
1 21/32 (0.042). Struck. "Medallion." A 1146.409A.
CAVINO. Septimius Severus, Emperor A.D. 193-2] 1. Rev. Mars resting on
spear and shield; cuirass on ground behind him. 1 17/32 (0.039). Struck.
"Medallion." A 1147.410A.
CAVINO(?). Lorenzino de Medici (1514-47), son of Pierfrancesco II.
Rev. Cap of liberty between two daggers. 1 15/32 (0.037). Struck. A
'MONOGRAMMIST HB' (act. c. 1525-50). Hercules. Rev. Hercules in
cuirass, lion-skin over arm, standing to 1. leaning on spear; messenger
approaches from 1. with shirt of Nessus. Below, monogram HB and a
bird. 1 9/16 (0.040). A 1148.411 A.
MOSCA, Giovanni Maria (act. in Poland 1532-73). Sigismund Augustus
(1520-72), King of Poland. Rev. Lion walking to 1. Dated 1532. 2
19/32 (0.066). Later cast. A 1149.412A.
SPINELLI, Andrea (act. 1534-72). Andrea Gritti. Rev. Church of S.
Francesco della Vigna, in Venice. Signed and dated 1534. 1 13/32
(0.036). A 1150.413A.
SPINELLI. Antonio Mulct, Duke of Crete 1536, member of Council of Ten
and Councillor 1538. Rev. Mula and another man, in robes, joining r.
hands. Signed and dated 1538. 1 9/16 (0.040). Struck. A 1151.414A.
SPINELLI. Girolamo Zane, Venetian senator. Rev. St. Jerome kneeling in
landscape, holding stone in outstretched r., baring his breast. Signed
and dated 1540. Gilt. 1 9/16 (0.040). Struck. A 1152.415A.
SPINELLI. Venice. Obv. Doge Pietro Lando and senators kneeling before
Christ. Rev. Venice, crowned, seated on lion, holding cornucopia and
scales; on 1., galley at sea; on r., arms. Signed and dated 1539. 1 9/16
(0.040). Struck. A 1153.416A.
SPINELLI (?). Eternity. Rev. Fame, winged, seated on a celestial globe,
blowing two trumpets. Dated 1541. 1 13/32 (0.036). Struck. A
'MASTER I.A.V.F.,' unidentified. Pietro Lauro, Modenese poet and scholar.
Rev. Inscription and date 1555 in wreath. 2 1/4 (0.057). A 1154.417A.
CATTANEO, Danese (1508-73). Giovanni de' Medici delle Bande Nere.
Rev. Thunderbolt issuing from a cloud. 2 1/4 (0.057). A 1155.418A.
111. p. 119
CATTANEO. Elisabetta Quirini, daughter of Venetian Francesco Quirini,
wife of Lorenzo Massolo, widowed 1556. Rev. The Three Graces. 1
19/32 (0.041). A 1156.419A.
CATTANEO(?). Giovanni de' Medici delle Bande Nere. Rev. Cavalry
charge, with banners flying. 3 7/8 (0.098). A 1469.729A.
VITTORIA, Alessandro (1525-1608). Gaspare Borgia (d. 1556), Bishop
of Segorbe. Without rev. 2 1/16 (0.052). A 1157.420A.
VITTORIA. Caterina Sandella, wife of Pietro Aretino. Without rev. Prob-
ably c. 1548. 2 7/32 (0.056). A 1158.421A.
VITTORIA (?). Don Nicola Vicentino (b. 1511), priest, author of treatise
on music 1555. Rev. Organ (arciorganvm incised) and cymbalum
(archicembalvm incised). C. 1555. 1 31/32 (0.050). A 1244.508A.
SANSOVINO(?), Jacopo (1486-1570). Tommaso Rangoni (1493-1577),
known as Philologus, a physician of Ravenna. Rev. Female figure at 1..
placing wreath on horns of ox; above, God the Father (copied from Sis-
tine Chapel ceiling) in clouds. 2 1/8 (0.054). A 1238.500A.
SANSOVINO(?). Tommaso Rangoni. Rev. Apollo seated 1.: placing
wreath on head of a lion. 23/32 (0.018). A 1239.501A.
SANSOVINO(?). Tommaso Rangoni. Rev. Juno, nude, recumbent with-
in circle of stars; eagle brings infant Hebe to her; below, lilies growing
and three birds. 1 17/32 (0.039). A 1240.502A.
MARTINO DA BERGAMO (act. c. 1565). Marco Benavides of Mantua
(1489-1582), jurist and litterateur. Rev. Cow reclining on ground to 1.
3 1/4 (0.083). A 1418.678A.
MILANESE, middle of XVI century. Pietro Bembo, writer, Cardinal 1538-
47. Rev. Fountain Hippocrene starting from ground under hoofs of
Pegasus. 2 5/32 (0.055). A 1159.422A." 111. r,. 120
MILANESE, middle of XVI century. Pietro Piantanida of Milan. Rev.
Female figure of Faith, holding chalice in 1., pointing with r. to heaven.
1 31/32 (0.050). A 1160.423A. "III. p. 120
MILANESE, middle of XVI century. Jean de Lorraine (1498-1550), Car-
dinal 1518. Rev. Female figure of Prudence, holding mirror in 1., com-
passes in r., advancing to r., a dragon at her feet. 2 (0.051). A
MILANESE, middle of XVI century. Gianfrancesco Martinioni, Milanese
physician. Rev. Bust of Hippocrates (?) to 1., with long beard, wearing
tall round hat, Greek inscription on the band. 1 7/8 (0.048). A
LEONI, Leone (1509-90). Charles V. Rev. Jupiter, borne on an eagle,
thundering against the Giants who seek to scale Mount Olympus. C.
1547. 2 27/32 (0.072). Late cast. A 1163.426A.
LEONI, L. Pietro Aretino (1492-1557), satirist. Rev. Nude female figure
of Truth, seated, crowned by Victory; her r. foot rests on crouching
satyr before her; she points to him and looks up at Jupiter (?) in the
clouds at 1. 2 3/8 (0.060). A 1164.427A. ///. p. 121
LEONI, L. Baccio Bandinelli (1487-1559), Florentine sculptor. Rev. Within
a laurel wreath, chandor illesvs. 1 17/32 (0.039). A 1165.428A.
LEONI, L. Michelangelo Buonarroti (1475-1564), Florentine artist. Rev.
Blind man with staff and water flask, led by a dog. C. 1561. 2 5/16
(0.059). A 1166.429A.
LEONI, L. Andrea Doria (1468-1560), Genoese admira1. Rev. Leone
Leoni, the medallist, to r.; behind, galley and fetterlock; below, anchor
at end of chain attached to galley; all in circle of fetters. 1541. 1 11/16
(0.043). A 1167.430A.
LEONI, L. Same as preceding. Rev. Starboard view of galley at sea; stand-
ard with double-headed eagle on poop; small boat containing two rowers
coming away; fisherman angling from rock in foreground. 1 21/32
(0.042). A 1168.431 A.
LEONI, L. Ippolita di Ferdinando Gonzaga (1535-63). Without rev. Lead.
2 23/32 (0.069). A 1169.432A.
LEONI, L. Paul III, Pope 1534-49. Rev. Roma, helmeted, seated on the
seven hills, holding spear in her left, small column on her knees; beside
her, Wolf and Twins; below, river Tiber seated, holding urn from which
water flows. 1 3/4 (0.044). Struck. A 1171.434A.
LEONI, L. Philippine! Welser (1527-80), secretly affianced to Archduke
Ferdinand in 1557. Without rev. Lead. 2 7/32 (0.056). Not con-
temporary. A 1173.436A.
LEONI(?), L. Ippolita di Ferdinando Gonzaga. Rev. Ippolita, holding a
book, looking up at crown of seven stars; around her, musical and scien-
tific instruments. 2 13/32 (0.061). Later cast. A 1170.433A.
LEONI (?), L. Gianello della Torre of Cremona (d. 1583), engineer in
the service of Charles V. Rev. Fountain of Sciences; a female figure
holding on her head an urn from which two jets of water spurt; figures
on either side bring vessels to catch the flow. 3 5/32 (0.080). A
1172.435A." ///. p. 121
LEONI, L., Manner of. Maria of Aragon (d. 1568), wife of Alfonso II
d'Avalos. Rev. Assembly of the GodsMars, Cupid at his knee, Venus
(holding tall torch), Jupiter (?) with globe, Mercury, Vulcan, and oth-
ers. Oval, 1 21/32 (0.042), 1 19/32 (0.041). Note: Hybrid, rev. ill
adapted to obv. A 1222.484A.
LEONI, L., Manner of. Girolamo Cardano (1501-76), Paduan physician
and philosopher. Rev. Vision of several people advancing towards a
vine; below, the word oneipon (dream). 1 31/32 (0.050). A 1227.489A.
TREZZO, Jacopo da (c. 1515-87). Philip II. Without rev. Signed and
dated 1555. Lead. 2 27/32 (0.072). Late cast. A 1174.437A.
TREZZO. Ippolita di Ferdinando Gonzaga. Rev. Aurora riding through
the heavens, drawn by winged horse, carrying torch, scattering flowers.
Signed. 2 23/32 (0.069). A 1175.438A. ///. p. 122
TREZZO. Isabella Capua (d. 1559), Princess of Malfretto, wife (1529) of
Ferrante Gonzaga. Rev. Isabella, in classical attire, veiled, standing to r.
at flaming altar, on side of which the sun's face and nvbifvgo. Signed.
2 3/4 (0.070). After-cast. A 1176.439A.
TREZZO. Juan de Herrera (c. 1530-97), architect of the Escorial. Rev.
Draped female figure of Architecture, seated, holding compasses and
square; architectural background, with domed chapel (Escorial). Signed
and dated 1578. 2 (0.051). A 1177.440A.
TREZZO. Ascanio Padula. Rev. Apollo, cloak around neck and falling
behind, holding bow and lyre; on 1., blazing tripod; on r., raven perched
on cauldron. Signed and dated 1577. 1 31/32 (0.050). A 1178.441A.
FONTANA, Annibale (1540-87). Fernando Francesco II d'Avalos (1530-
71) of Aquino, Marquess of Pescara. Rev. Fernando, nude, as Her-
cules, his foot on the dragon, plucking apples of the Hesperides; land-
scape and cities in background. 2 27/32 (0.072). A 1179.442A.
///. p. 122
FONTANA. Giovanni Paolo Lomazzo (1538-1600), Milanese painter and
writer on art. Rev. Lomazzo, to 1., bowing to Fortune, to whom he is
presented by Mercury. 1 31/32 (0.050). A 1180.443A.
ANNIBAL (Annibale Fontana?). Giambattista Castaldi (d. 1562), Count
of Piadena, General of Charles V. Rev. Castaldi in armor, receiving
sceptre from a woman, behind whom is a Turk; kilted man approaches
on r. 1 13/16 (0.046). A 1181.444A.
ANNIBAL (Annibale Fontana?). Gonsalvo de Cordova (1443-1515), called
the Great Captain. Rev. Battle under walls of city; one horseman car-
ries Gonsalvo's banner; flag of France flying from the keep. C. 1550. 2
9/32 (0.058). A 1182.445A.
LEONI, Pompeo (c. 1535-1610). Ercole II d'Este, 4th Duke of Ferrara
1534-59. Rev. Standing woman, hands crossed on breast, chained by 1.
foot to rock on which is vase surmounted by celestial globe; liquid ilows
from spout of vase; landscape background. Lead. 2 23/32 (0.069). A
1183.446A. III. p. 123
RUSPAGIARI, Alfonso (1521-76). Camilla Ruggieri. Without rev. 2
11/16 (0.068). A 1184.447A.
RUSPAGIARI. Another specimen of preceding. 2 23/32 (0.069). A
1185.447 bis A.
RUSPAGIARI. Self-Portrait. Without rev. 3 1/8 (0.079). A 1186.448A.
///. p. 123
RUSPAGIARI. Unknown Lady. Without rev. Oval, 2 3/4 (0.070), 2 1/8
(0.054). A 1187.449A.
RUSPAGIARI. Unknown Lady. Without rev. Lead. 2 23/32 (0.069).
A 1188.450A. ///. p. 123
SIGNORETTI, Nicolo (act. 1556-1612). Costanza Bocchi (d. 1566),
daughter of Bolognese writer Achille Bocchi, wife of Gianfrancesco Mal-
vezzi. Without rev. Signed (S) and dated 1560. Lead. 2 17/32 (0.064).
A 1189.451A.
SIGNORETTI. Gabriele Lippi of Reggio d'Emilia. Without rev. Signed
(S). Lead. 2 27/32 (0.072). A 1190.452A.
SIGNORETTI. Giulia Pratonieri of Reggio d'Emilia. Without rev. Signed
(S). Lead. 2 19/32 (0.066). A 1191.453A.
BOMBARDA, Andrea Cambi, called (act. 1560-75). Leonora, wife of An-
drea Cambi, the medallist. Without rev. Signed. 2 23/32 (0.069). A
BOMBARDA. Isabella Mariani, wife of Gianfrancesco Carcass . . . With-
out rev. Lead. 2 25/32 (0.071). A 1193.455A.
BOMBARDA. Anna Maurella Oldofredi d'Iseo. Without rev. Lead. 2 3/8
(0.060). A 1194.456A.
BOMBARDA. Same as preceding, with altered inscription. Rev. Judgment
of Paris; in the heavens, banquet of the gods. 2 15/32 (0.063). A
1195.457 A.
BOMBARDA. Same as preceding. Without rev. Lead. 2 17/32 (0.064).
A 1196.458A.
BOMBARDA. Violante Pigna, wife of Ferrarese physician, poet, and his-
torian Giambattista Pigna. Without rev. Signed. Lead. 2 3/4 (0.070).
A 1197.459A.
BOMBARDA. Unknown Lady. Without rev. Signed. Lead. 2 3/4
(0.070). A 1198.460A.
EMILIAN, XVI century. Unknown Lady. Without rev. Lead. 2 9/16
(0.065). A 1199.461A.
EMILIAN, XVI century. Unknown Lady. Without rev. Lead. 2 5/32
(0.055). A 1200.462A.
EMILIAN, XVI century. Unknown Lady. Without rev. 3 (0.076). A
1201.463 A.
ABONDIO, Antonio (1538-1596). Maximilian 11, Emperor 1564-76. Rev.
Maria (1528-1603), his wife, to 1., hair in coif, ruff and gown with high
collar. Signed and dated 1575. Silver. 2 7/32 (0.056); 2 17/32 (0.064)
with loop. A 1202.464A. ///. p. 124
ABONDIO. Rudolph II, Emperor 1576-1612. Rev. Eagle flying upwards
into clouds, which disclose a radiant wreath. Silver. 1 25/32 (0.045).
A 1203.465 A.
ABONDIO. Johann Baron von Khevenhuller (1538-1606). Rev. Minerva
leading Hercules to 1.; he gestures farewell to female figure of Vice who
slinks away to r.; hilly landscape background. Signed. C. 1571. 2 3/32
(0.053). A 1204.466A.
ABONDIO. Caterina Riva. Without rev. Signed. Before 1565. Lead. 2
3/4 (0.070). A 1205.467A.
ABONDIO, Manner of. Jacopo Antonio Sorra. Rev. Sorra, nude, shoot-
ing at a mark on 1.; two arrows have missed the target; behind, a tree.
Above, non semper. Dated 1561. 1 31/32 (0.050). A I206.468A.
ABONDIO. Sebastian Zah (1527-98). Rev. Susanna Schlecht, his wife, to
1., wearing flat cap, hair in net. Signed and dated 1572. 1 17/32 (0.039).
A 1207.469 A.
VICENTINO, Antonio (c. 1530). Altobello Averoldo. Rev. Prince seated,
receiving man who holds bridle; two other persons, one with cornucopia,
in background. 1530/1. 2 5/8 (0.067). A 1208.470A.
VICENTINO. Guido Rangoni (1485-1539), Lord of Spilimberto. Rev. Fe-
male figure, holding palm branch and thunderbolt, riding on bull to r.; a
flying angel places wreath on her head; basket of fruit, cornucopia on
ground. Lead. 2 5/8 (0.067). A 1209.471A.
VICENTINO. Argentina Pallavicini (d. 1550), wife of Guido Rangoni,
poetess and botanist. Without rev. 2 17/32 (0.064). A 1210.472A.
'MASTER IAC. URB.' (XVI century). Giulia Orsini (1537-98), wife of
Baldassare Rangoni. Rev. In a landscape, large two-handled vass. Signed
and dated 1554. 2 (0.051). A 1211.473A.
'MASTER T.R.' (c. 1570). Benedetto Lomellini of Genoa, Cardinal 1565-79.
Rev. Female figure of Gentleness, standing to 1. on serpent, holding dove.
Signed. Lead. Oval, 1 11/32 (0.034), 1 3/32 (0.028). A 1212.474A.
'MASTER T.R.' Giovanni Pico della Mirandola. Without rev. Signed. 1
7/8 (0.048). A 1213.475A.
CASONI, Felice Antonio (1559-1634). Dionisio Ratta of Bologna (d. 1597).
Rev. Inscription recording building of Church of St. Peter Martyr
(Rome) and of his own tomb in 1592. Signed 2 5/8 (0.067). A
CASONI. Lavinia Fontana (1552-1612), Bolognese painter. Rev. Lavinia,
with flying hair, seated to 1. painting at an easel; implements of her art
on the ground and in margin below. Signed and dated 1611. 2 9/16
(0.065). A 1215.477A. ///. p. 124
MARIANI, Camillo (1556-1611). Aldus Caecina Alienus, general of Vitel-
lius A.D. 68. Rev. G. E. across field. 1 31/32 (0.050). A 1216.478A.
'MASTER A. G.' (c. 1509). Paula Carlina (with Cupid). Without rev.
Signed. C. 1590-1600. Lead. 3 11/16 (0.094). A 1217.479A.
'MASTER M. A. S.' (<r. 1650). Ercole Teodoro Trivulzio, Prince of the
Holy Roman Empire and of Valle Misolcina. Count of Mesocco 1656-64.
Without rev. Signed. 1 19/32 (0.041). A 1218.480A.
CORMANO, Johann Jakob Kornmann, called (act. 1630-49). Francesco Mo-
rosini (1618-94), Venetian admiral, Doge 1688. Without rev. Signed.
2 1/16 (0.052). A 1219.481 A.
CORMANO. Francesco Maria Brancacci, Cardinal 1634-75. Without rev.
Signed and dated 1636. 3 1/4 (0.083). A 1220.482A.
SELVI, Antonio (d. 1755). Giovanna of Austria (d. 1578), second wife of
Francesco II de' Medici. Without rev. 3 3/8 (0.086). A 1221.483A.
ITALIAN, XVI century. Vittoria Colonna (1490-1547), wife of Fernando
Francesco I d'Avalos. Without rev. 1 15/16 (0.049). Late chasing. A
ITALIAN, XVI century. Lucia Bertani (1521-67), Bolognese poetess. Rev.
The Three Graces. Lead, with bronze rim. 2 5/8 (0.067). A 1224.486A.
ITALIAN, XVI century. Barbara Borromeo (d. 1572), wife of Camillo
Gonzaga. Rev. Two summits of Pindus, on each a flaming vase; on 1.,
Pegasus flying. 1 15/16 (0.049). A 1225.487A.
ITALIAN, XVI century. Faustina Romana(?). Rev. Leda and the Swan.
1 27/32 (0.047). A 1229.491A.
ITALIAN, XVI century. Matthias Corvinus. Without rev. 3 3/8 (0.086).
A 1230.492A.
ITALIAN, XVI century. Giovanni de Nores, Count of Tripoli 1489-1544.
Without rev. 1530-40. 3 3/4 (0.095). A 1233.495 bis A."
ITALIAN, XVI century. Enrico Orsini. Rev. Bees Hying around hive.
Oval, 1 3/8 (0.035), 1 3/32 (0.028). A 1234.496A.
ITALIAN, XVI century. Giulia Orsini. Without rev. 2 1/16 (0.052). A
1235.497 A.
ITALIAN, XVI century. Girolamo Priuli, Doge of Venice 1559-67. Rev.
Alvise (or Lodovico?) Diedo, scholar and poet, Primicerius of St. Mark's,
1563. Dated 1566. 3 25/32 (0.096). A 1236.498A.
ITALIAN, XVI century. Beatrice Roverella (d. 1573), wife of Ercole Ran-
goni. Rev. Three-masted ship, without sails, in stormy sea. Rectangular,
2 13/32 (0.061), 2 9/32 (0.058). A 1237.499A.
ITALIAN, XVI century. Marguerite of France. Rev. Same as obv.; bust to
1., in rich dress with high collar. 2 (0.051). Late cast. A 1241.503A.
ITALIAN, XVI century. Marcantonio Trevisan, Doge of Venice 1553-54.
Rev. In wreath, inscription recording death of the Doge in 1554. 2
15/32 (0.063). A 1242.504A.
ITALIAN, XVI century. Laura Gonzaga Trivukio (b. 1525/30). Rev.
River god Mincio reclining to 1., hand on urn from which water flows; on
1., tree; in background, town on hil1. C. 1550. 1 27/32 (0.047). A
ITALIAN, XVI century. Andrea della Valle, Roman Cardinal 1517-34.
Rev. Faith, pointing to heaven, extends 1. hand over vase on an altar;
on 1. golden door of St. Peter's, incised with Cross, surmounted by
cherub's head. 1 17/32 (0.039). A 1245.507A.
ITALIAN, XVI century. Piero Valeriano Bokanio (1475-1558), scholar of
Belluno. Rev. Mercury, holding caduceus and resting 1. hand on broken
obelisk inscribed with hieroglyphics. C. 1545-50. 2 13/32 (0.061). A
1246.507 bis A.
MEDALSItalian, French
ITALIAN, XVI century. Calidonia Visconti, wife of Lucio Cavanago. Rev.
Eagle standing on arms, looking up at sun above clouds. 1 19/32 (0.041).
A 1248.509A.
ITALIAN, XVI century. Carlo Visconti (1523-65), Cardinal 1565. Rev.
Stalk of branching cora1. 2 23/32 (0.069). A 1249.510A.
ITALIAN, XVI century. Unknown Lady. Without rev. 2 5/8 (0.067).
A 1250.511 A.
ITALIAN, XVI century. Unknown Lady. Without rev. 3 3/16 (0.081).
A 1251.512A.
ITALIAN, XVI century. Unknown Lady. Without rev. C. 1550-75. 2
1/4 (0.057). A 1251.513A.
ITALIAN, XVI century. Unknown Lady. Without rev. 2 7/16 (0.062).
A 1253.514A.
ITALIAN, XVI century. A Turk. Bust only, cut out from the meda1.
Without rev. 3 21/32 (0.093). A 1254.515A.
ITALIAN, XVI century (?). Antinous. Rev. Male figure reclining on back
of griffin. 1 21/32 (0.042). A 1255.516A.
ITALIAN, XVI century. A Senator. Without rev. 2 29/32 (0.074). A
ITALIAN, XVI (?) century. This and the following four medals are fic-
titious portraits. Enrico Ambanelli. Without rev. 2 23/32 (0.069). A
ITALIAN, XVI (?) century. Caterina Capalla. Rev. Branch of cora1. 2
23/32 (0.069). A 1258.519A.
ITALIAN, XVI (?) century. Filippo Casoli. Rev. Young man in antique
cuirass, walking around fortified town, holding fiddle and bow. 2 11/16
(0.068). A 1259.520A.
ITALIAN, XVI (?) century. Elvira (d. 1524), daughter of Gonsalvo de
Cordova. Rev. Before a round temple, Time carrying scythe, and another
person. 1 13/16 (0.046). A 1260.521 A.
ITALIAN, XVI (?) century. Euclid. Rev. evclides across field. 2 3/32
(0.053). A 1261.522A.
BURGUNDIAN or NORTH FRENCH, late XIV century. Constantine
the Great, Emperor 307-37, on horseback. Rev. Fountain of Life, sur-
mounted by a cross; on 1., draped female figure representing the Church;
on r., semi-nude female figure representing Paganism. 3 3/4 (0.095).
A 1263.524A. ///. p. 125
BURGUNDIAN or NORTH FRENCH, late XIV century. Heraclius I,
Emperor 610-11. Rev. The Emperor holding a cross, seated in a car
drawn to r. by three horses led by man with forked stick; in field, Greek
inscription "Glory to God in the Highest" etc. 3 7/8 (0.098). Com-
panion to preceding. A 1264.525A. ///. p. 125
LE PERE, Louis and Jean, and NICOLAS DE FLORENCE (1494).
Charles VIII. Rev. Anne of Brittany, bust to r., crowned and wearing
ermine robe; field mi-parti of fleurs-de-lis and ermines; below, in margin,
a lion. Dated 1493. 1 9/16 (0.040). Designed by painter Jean Perrea1.
Struck. A 1265.526A.
LECLERC, Nicolas, and SAINT-PRIEST, Jean de (1500). Louis XII.
Rev. Anne of Brittany, bust to 1., crowned and veiled, on field seme with
ermines; below, lion of Lyon. Dated 1499. 4 15/32 (0.114). A
1266.527A. ///. p. 126
MARENDE, Jean (1502). Philibert II le Beau, Duke of Savoy 1497-1504,
and Margaret of Austria (m. 1501, d. 1530). Rev. Arms of Philibert
impaling those of Margaret; in margin, Savoy knots and marguerites, and
across field Savoy motto fert. 4 1/16 (0.103). A 1267.528A. ///. p. 127
FRENCH, early XVI century. Louis XII, King of France 1498-1515. With-
out rev. Dated 1500. 2 5/16 (0.059). A 1268.529A.
FRENCH, early XVI century. Francis I. Rev. King on horseback, facing
1. Bronzed lead. 3 5/8 (0.092). A 1424.684A.
FRENCH, early XVI century. Francis I. Rev. Unicorn dipping its horn into
stream at foot of high rock. 1 17/32 (0.039). Struck. A 1276.537A.
FRENCH, early XVI century. Francis, Dauphin, Duke of Brittany 1532-36,
eldest son of Francis I. Without rev. 2 1/16 (0.052). A 1277.538A.
FRENCH, early XVI century. Antoine, Duke of Lorraine 1508-44. Rev.
Renee de Bourbon, his wife (m. 1515, d. 1539), to 1., wearing coif with
vei1. Gilt. 1 21/32 (0.042). A 1278.539A.
FRENCH (or Italian?), early XVI century. Tommaso Guadagni, Floren-
tine consul at Lyon 1505, municipal councillor 1506-27, councillor of
Francis I 1523. Rev. Shield of Guadagni. 4 1/16 (0.103). A 1273.534A.
'MEDALLIST OF 1518,' of Lyon (act. 1518-24). Jean de Talaru, Arch-
bishop of Lyon 1375-93. Without rev. Dated 1518. 1 27/32 (0.047).
Later cast. A 1269.530A.
'MEDALLIST OF 1518.' Jacques de Larriere de Vitry, Cardinal 1228-44.
Rev. Putto holding shield of arms of Vitry. Dated 1518. 1 7/8 (0.048).
A 1270.531A.
'MEDALLIST OF 1518.' Antonio Gonzalo de Toledo, physician at Lyon.
Rev. Nude woman, a basket of fruits on her head, sits on a saddle with
stirrups attached, holding basket of flowers and some plants. Dated 1518.
1 7/8 (0.048). A 1271.532A.
GAUVAIN, Jacques (act. c. 1516-47). Bartolommeo Panciatichi (1468-
1533) of Florence. Rev. Shield of arms of Panciatichi. Dated 1517. 1
25/32 (0.045). A 1272.533A.
NASSARO, Matteo dal (act. c. 1515-39). Francis I. Without rev. 1 19/32
(0.041). A 1274.535A.
'MASTER L. N.' Francis I. Rev. In a wreath, salamander in flames; below
it, L N; above, crown. Silver. 1 11/16 (0.043). A 1275.536A.
DANET, Regnault. Unknown Man. Rev. Unknown woman, to 1., in coif.
1 13/32 (0.036). A 1279.540A.
LAUNE, Etienne de (1518/19-83). Henry II, King of France 1547-59. Rev.
Victory seated on a globe, holding palm and wreath. Silver. 25/32
(0.020). Struck. A 1280.541 A.
LAUNE. Henry II. Rev. Fame, holding trumpet, with banner of France
modern attached, in quadriga to r.; with her, Abundance and Victory.
2 1/16 (0.052). Late cast. A 1281.542A.
PRIMAVERA, Jacopo (act. 1568-85). Mary Stuart, Queen of Scots (exe-
cuted 1587). Without rev. Lead. 2 17/32 (0.064). Later cast. A
1282.543 A.
WOERIOT DE BOUZET, Pierre II (1532-c. 1596). Simon Costiere of
Lyon (1469-after 1572). Without rev. Dated 1566. 2 5/8 (0.067). A
FRENCH, XVI century. Henry II. Rev. Perseus rescuing Andromeda. 1
15/16 (0.049). Late cast. A 1284.545A.
FRENCH, XVI century. Francis I, Henry II, and Francis II, jugate to 1.
Without rev. 1 1/2 (0.038). A1285.546A.
FRENCH, XVI century. Catherine de Medicis (1519-89), wife of Henry
II of France. Without rev. Lead. 3 17/32 (0.090). A 1286.547A.
FRENCH, XVI century. Isabelle (Elizabeth) de Valois (1545-68), third
wife of Philip II of Spain. Without rev. Lead. 3 11/32 (0.085). In-
scription not contemporary. A 1287.548A.
FRENCH, XVI century. "Charles IX," King of France 1560-74. This is
really a medal of Francis II from which the proper inscription has been
removed and the present one substituted. Without rev. Lead. 3 17/32
(0.090). A 1288.549A.
FRENCH, XVI century. Charles III de Lorraine (1543-1608), Duke of
Guise. Rev. In a landscape, a man plowing; above, sun dispelling clouds.
Silver. 1 7/8 (0.048). Modern strike. A 1289.550A.
FRENCH, XVI century. Diane de Poitiers (1499-1566), Duchess of Valen-
tinois 1548, wife of Louis de Breze. Rev. Diane, with bow, standing to
r., trampling on Cupid. 2 3/32 (0.053). Late cast. A 1290.551A.
FRENCH, XVI century. Michel de I'Hopital, Chancellor of France 1560-68.
Rev. A tower on a rock in the sea, struck by lightning. 1 3/8 (0.035).
A 1291.552A. "__
FRENCH, XVI century. Anne de Montmorency, Constable of France 1538.
Rev. Three nude female figures; the middle one, winged (Prudence),
draws together one at 1. (Courage), who holds banner, arms at her feet,
and one at r. (Fortune), who carries a sail, anchor at her feet. 2 1/8
(0.054). A 1292.553A.
FRENCH, XVI century. Jean Viret (d. 1583), scholar and mathematician.
Without rev. 2 5/8 (0.067). A 1293.554A.
BRIOT, Nicolas (1579/80-1646). Louis XIII, King of France 1610-43. Rev.
Hand issuing from clouds, holding the sacred ampulla over the citv of
Rheims. Dated 1610. Silver. 1 7/8 (0.048). Struck. A 1294.555A.
DUPRE. Guillaume (c. 1576-1643). Henry IV, King of France 1589-1610,
and Marie de Medicis (m. 1600, d. 1642), jugate to r. Rev. Henry as
Mars, on 1., joining hands with Marie as Minerva, on r.; between them,
nude infant Louis XIII, his foot on a dolphin, putting on his father's
helmet; above, eagle flying down with crown. Signed and dated 1603.
Gilt. 2 11/16 (0.068). A 1295.556A. ///. p. 127
DUPRE, G. Jean-Louis de Nogaret de Lavalette (1554-1642), Duke of
Epernon, Colonel General of the infantry. Rev. Seated lion, watched by
a fox from his den at 1., looks up at a Fury holding two torches on r.
Signed and dated 1607. 2 5/32 (0.055). A 1296.557A.
DUPRE, G. Henry IV. Without rev. 4 (0.102). A 1297.558A.
DUPRE, G. Louis XIII. Rev. The young Louis, nude, holding orb, stand-
ing on 1., facing Minerva (Marie de Medicis) who holds olive branch
and thunderbolt. Signed and dated 1610. Oval, 2 7/32 (0.056), 1 21/32
(0.042). A 1298.559A.
DUPRE, G. Henri de Bourbon (1588-1646), Prince of Conde, first Prince of
the Blood. Rev. Charlotte-Marie de Montmorency (d. 1650), to r., in
court dress. Signed and dated 1611. 2 7/32 (0.056). A 1299.560A.
DUPRE, G. Francesco V Gonzaga, Duke of Mantua 1612. Without rev.
Signed and dated 1612. 6 13/32 (0.163). A 1300.561A. ///. p. 128
DUPRE, G. Maria Magdalena (d. 1636), Grand Duchess of Tuscany, wife
of Cosimo II. Signed and dated 1613. Without rev. 3 21/32 (0.093).
A 1301.562A.
DUPRE, G. Nicolas Brulart de Stllery (d. 1624), Chancellor of France
1607. Rev. Apollo driving the Sun's car across the sphere of the heav-
ens. Signed and dated 1613. 2 7/8 (0.073). A 1302.563A.
DUPRE, G. Pierre Jeannin (1540-1622), Councillor of the King, Superin-
tendent of Finances. Without rev. Signed and dated 1618. 7 15/32
(0.190). A 1303.564A. ///. p. 129
DUPRE, G. Louis XIII. Rev. Anne of Austria (1601-66), Queen of
France, to r., in court dress with large ruff. Signed. Obv. dated 1623,
rev. dated 1620. 2 19/32 (0.066). A 1304.565A.
DUPRE, G. Louis XIII. Rev. Female figure of Justice seated to r. with
sword and scales. Signed and dated 1623. 2 3/8 (0.060). A 1305.566A.
DUPRE, G. Marie de Medicis. Rev. The Queen standing center, as Mother
of the Gods, with orb and sceptre, lion beside her; around her, five other
deities; in clouds above, car drawn by two lions. Signed and dated 1624.
2 1/8 (0.054). A 1306.567A.
DUPRE, G. Marie de Medicis. Without rev. Retrograde inscription.
Signed and dated 1624. 4 1/16 (0.103). A 1307.568A. ///. p. 130
DUPRE, G. Antoine Ruze (1581-1632), Marquis of Effiat and of Long-
jumeau, Superintendent of Finances 1626. Rev. Hercules helping Atlas
to bear the globe. Dated 1629. 2 9/16 (0.065) A 1308.569A.
DUPRE, G. Jean de Caylar de Saint-Bonnet (1585-1636), Marquis of
Toyras, Marshal of France 1630. Rev. Radiant sun in clouds above
landscape. Signed and dated 1634. 2 5/16 (0.059). A 1309.570A.
DUPRE, G. Christine de France (d. 1663), Duchess of Savoy, wife of Vic-
tor Amadeus 1619, regent 1637-48. Without rev. Signed and dated
1635. 2 5/32 (0.055). A 1310.571A.
DUPRE, Abraham (1604-47). Jacques Boiceau, Lord of the Barauderie,
Intendant of the King's Gardens. Rev. Landscape with caterpillars
crawling on the ground; in the air, butterflies. Signed and dated 1624.
2 27/32 (0.072). A 1311.572A.
JACQUET, Nicolas Gabriel (act. 1601-30). Pomponne de Bellievre (1520-
1607), Chancellor of France 1599. Rev. Female figures of Justice and
Piety at a flaming altar. Signed and dated 1601. 2 5/32 (0.055). A
LALIAME, Philippe (act. 1600-28). Nicolas de Lange, President of the
Seneschal's Court, Lyon. Rev. Apollo leaning on olive tree trunk and
hold lyre; on each side, obv. and rev. of coin of Augustus. Dated 1603.
2 (0.051). A 1313.574A.
J 98
MEDALSFrench, German
LORFELIN, Jean Darmand, called (c. 1600-69). Anne of Austria. Rev.
Crown surrounded by stars in clouds; below, flowers growing. Signed.
1642. 2 (0.051). A 1314.575A.
WARIN, Jean (c. 1604-1672). Armand-Jean Duplessis (1585-1642), Cardi-
nal Richelieu. Rev. Globe within circle of the planets, which is turned
by little winged genius. Signed and dated 1631. 2 (0.051). Modern
strike. A 1315.576A.
FRENCH, XVII century. Nicolas de Bailleul (d. 1662), Provost of the
Merchants, Paris, 1622-28. Rev. Nymph of the Seine reclining in a
landscape, resting r. arm on urn from which water flows. Dated 1623.
2 1/16 (0.052). A 1316.577A.
FRENCH, XVII century. Noel Brulart de Sillery, Knight of St. John 1632.
Rev. Achievement of Brulart, shield placed on a Cross of Malta and
surrounded by collar of the Order. Silver. 2 (0.051). A 1317.578A.
FRENCH, XVII century. Joachim de Chateauvieux (d. 1615), Count of
Confolens. Without rev. 1 25/32 (0.045). A 1318.579A.
FRENCH, XVII century. Antoine de Lomenie (1560-1638), Councillor and
Secretary of State. Rev. Above a landscape, Sun in car driving along
the Zodiac, accompanied by Mercury. Dated 1630. 1 7/8 (0.048).
A 1319.580A.
FRENCH, XVII century. Jean de Saulx, Viscount of Tavanes and of Lugny.
Rev. Rampant lion on chain; crown at r., flame at 1. 2 15/16 (0.075).
A 1320.581A.
FRENCH, XVII century. Anne of Austria. Without rev. Lead. 2 7/8
(0.073).. A 1443.703A.
NINI, Jean-Baptiste (1717-86). Albertine de Nivenheim. Without rev. After
a terracotta medallion. Dated 1768. 5 13/16 (0.148). A 1321.582A.
///. p. 131
DURER, Albrecht (1471-1528). Charles V. Rev. Imperial double-headed
eagle, charged on breast with shield of Austria-Burgundy; below, in
wreath, N (for Nurnberg); on raised border, 13 coats of arms. 1521.
Lead. 2 27/32 (0.072). A 1322.583A. ///. p. 132
DAUCHER(?), Hans (act. 1514-37). Henry VIII, King of England
1509-47. Rev. A portcullis, with crown and chain at top. Letters R.R.R.
on rim. 2 5/16 (0.059). A 1420.680A.
SCHWARZ, Hans (1492-c. 1527). Kunz von der Rosen (d. 1519), con-
fidential Councillor of Maximilian I. Without rev. Signed. 2 17/32
(0.064). A 1323.584A. ///. p. 132
SCHWARZ. Melchior Pfiming (1481-1535), Provost of St. Sebald in Nurn-
berg. Rev. Inscription in wreath. Dated 1519. 1 3/4 (0.044). A
SCHWARZ. Conrad Peutinger (1465-1547), German humanist. Without
rev. C. 1517. Lead. 3 7/16 (0.087). A 1460.720A.
SCHWARZ, Manner of. Henry VIII. Without rev. Silver. 2 3/8 (0.060).
A 1422.682A.
SCHWARZ, Manner of. Henry VIII. Without rev. Silvered brass. 3 7/8
(0.098). A 1423.683A.
BRUCHSAL, Alexander von (act. 1505-45). Self-Portrait. Without rev.
1 25/32 (0.045). A 1325.586A.
WEIDITZ, Christoph. Ambrosius Jung (1471-1548), city-physician of Augs-
burg. Rev. Arms. Dated 1528. 2 3/4 (0.070). A 1326.587A.
WEIDITZ. Francisco Covo (Deloscopos), Chancellor of Charles V in Spain,
in Augsburg 1530. Rev. Nude man riding to 1. towards a cliff, carrying
scroll inscribed fata viam invenient. Dated 1531. Lead. 2 3/8
(0.060). A 1327.588A.
HAGENAUER, Friedrich (act. 1525-after 1543). Sebastian and Ursula
Liegsalz of Munich. Separate old lead castings of obv. and rev., from
wooden originals in Munich. Dated 1527. 4 31/32 (0.126). A 1328.
589A and A 1329.589A. ///. p. 133
HAGENAUER. Giovanni Alessandro Balbiani of Chiavenna, Captain in the
army of Georg von Frundsberg 1529. Without rev. Signed and dated
1529. 2 9/32 (0.058). A 1330.590A.
HAGENAUER. Unknown man. Without rev. 2 1/16 (0.052). A 1331.
HAGENAUER. Johannes Mulicum, Infirmarer in Cistercian monastery of
Kamp near Neuss. Rev. Inscription. 1540. 1 27/32 (0.047). A 1332.
HAGENAUER. Philipp Melancthon (1497-1560), reformer. Rev. Inscrip-
tion from Psalm xxxvi. Signed and dated 1543. 1 17/32 (0.039). A
HAGENAUER. Philipp Melancthon. Rev. Inscription from Psalm xxxvi.
Dated 1543. 1 27/32 (0.047). A 1334.594A.
HAGENAUER. Kaspar von Muhlheim (1506-70/1), Councillor of Cologne
1543. Rev. Small shield with house-mark. Dated 1543. Lead. 1 13/16
(0.046). A 1335.595A.
HAGENAUER. Hans Hauschel (b. 1520). Rev. Inscription. Dated 1544.
1 17/32 (0.039). A 1336.596A.
HAGENAUER. Caspar Medio (1495-1522), German writer and reformer.
Without rev. 1543. Lead. 1 13/16 (0.046). A 1436.696A.
HAGENAUER. Jakob von Strassburg, called in French "Le Gros Saquez."
Without rev. Signed Lead. 1 31/32 (0.050). A 1441.701A.
HAGENAUER. Ludwig Senfl (1492/3-c. 1554), musician, composer. Rev.
Inscription. Signed. Lead. 2 17/32 (0.064). A 1442.702A.
HAGENAUER. Margaret von Firmian, wife of Caspar von Fruntsberg
(1500-36). Without rev. Signed and dated 1529. Lead. 2 13/32 (0.061).
A 1445.705A.
HAGENAUER, Caspar Winntzrer. Rev. Inscription. Signed and dated
1526. Lead. 2 11/16 (0.068). A 1450.710A.
HAGENAUER. Georgius Vitillius. Without rev. Dated 1527. Lead. 2 9/32
(0.058). A 1457.711 A.
HAGENAUER. Joachim IZ Prince of Brandenburg. Rev. Inscription. Signed
and dated 1530. Lead. 2 23/32 (0.069). A 1454.714A.
HAGENAUER. Augustin Lesch, Chancellor of the Duchy of Bavaria.
Without rev. Dated 1526. Lead. 2 5/8 (0.067). A 1457.717A.
HAGENAUER. Ladislaus of Prague. Baron of Winthag 1505. Without
rev. Signed. Lead. 2 7/16 (0.062). A 1462.722A.
HAGENAUER. Conrad Peutinger. Without rev. Signed and dated 1527.
Lead. 2 25/32 (0.071). A 1463.723A.
HAGENAUER (?). Michael Mercator, Netherlands General, of Venloo.
Rev. Inscription. Dated 1539. Lead. 1 27/32 (0.047). A 1449.709A.
KELS, Hans (act. 1541-1565/6). Lorenz Kreller. Without rev. Dated
1520 (?). Lead. 2 5/16 (0.059). A 1444.704A.
KELS. Elisabeth Krelerin. Without rev. Lead. 2 5/16 (0.059). A 1453.713A.
KELS. Barbara Reihingin, wife of Georg Hermann (A 1440.700A, below).
Rev. Coat of arms. Dated 1538. Lead. 2 1/16 (0.052). A 1461.721A.
DELL(?), Peter, the Elder (act. 1501-49). Willibald von Redwitz, Canon
of Bamberg. Rev. Inscription, with blazon of arms. 4 13/32 (0.112).
A 1452.712A.
GEBEL, Mathes (act. 1523-74). Philipp Count Palatine (1503-48). Rev.
Shield with two casques and crests. Dated 1528. 1 21/32 (0.042).
A 1337.597A.
GEBEL. Marx Rechlinger. Without rev. Before 1530(?). Lead. 1 3/4
(0.044). A 1338.598A.
GEBEL. Charles V. Rev. In wreath, fvndatori qvietis mdxxx. Silver (base).
1 15/32 (0.037). A 1339.599A.
GEBEL. Ludwig V, Elector Palatine, 1508-44. Rev. Shield with two crests.
Dated 1535. Lead. 1 11/16 (0.043). A 1340.600A.
GEBEL. Wilhelm Loffelholz von Kolberg. Rev. Shield, cuirass, casque, and
crest. Dated 1541. Silver. 1 15/32 (0.037). A 1341.601A.
GEBEL. Hieronymus Holzschuher (d. 1529), known from the famous
portrait of him by Albrecht Diirer, 1526. Rev. Coat of arms. Dated
1529. Lead. 1 9/16 (0.040). A 1434.694A.
GEBEL. Lorenz Truchses von Pommersfelden. Rev. Inscription and tablet.
Lead. 1 19/32 (0.041). A 1438.698A.
GEBEL. Georg Hermann (1491-1552), connected with the Fugger House.
Rev. Blazon of arms and inscription. Dated 1529. Lead. 1 1/2 (0.038).
A 1440.700A.
GEBEL. Frederick, Archduke of Brandenburg. Rev. Inscription and blazon
of arms. Dated 1528. Lead. 1 1/2 (0.038). A 1455.715A.
GEBEL (Attributed to). Christoph Kress von Kressenstein. Rev. Blazon of
arms. Dated 1526. Lead. 1 17/32 (0.039). A 1447.707A. ///. p. 134
GEBEL(?) or FLOETNER(?), Peter. Raimond Fugger (1489-1535), Ger-
man scholar and patron of the fine arts. Rev. Figure standing on globe
amidst birds; below, liberalitas. 1 21/32 (0.042). A 1437.697A.
KRAFFT(?), Hans, the Younger (act. 1513-27). Frederick the Wise of Sax-
ony (1463-1525). Rev. c(rux) c(hristi) n(ostra) s(alus) in angles of
a Cross, within a circle. Dated 1522. Silver. 1 21/32 (0.042). Struck.
A 1358.618A.
'MASTER OF THE PISTORIUS MEDAL' (act. 1535-44). Emelia
(1515-91), Margravine of Brandenburg. Without rev. 1 11/32 (0.034).
Aftercast. A 1342.602A.
'MASTER M. P.' Wenzeslaus Beyer (d. 1526), physician. Rev. Rider on
rearing horse (?) in landscape; in foreground, book, skull, and bones.
1526(?). 2 1/4 (0.057). Iron casting, late(?). A 1343.603A.
NEUFAHRER, Ludwig (act. 1530-62). Charles V. Rev. Double-headed,
crowned eagle standing on two pillars of Hercules with scroll inscribed
plvs vltra. Dated 1542. Pewter. 1 19/32 (0.041). A 1344.604A.
'MASTER L.' Lorenz Stduber, German writer and orator. Rev. His wife, to
1. Signed L, and dated 1535. Lead. 1 1/2 (0.038). A 1439.699A.
REINHART, Hans, the Elder (act. 1539-81). Johann Friedrich, Elector of
Saxony 1532-54. Rev. Shield with three helms and crests. Dated 1535.
Silver. 2 9/16 (0.065). A 1345.605A.
REINHART. Charles V. Rev. Double-headed eagle, crowned, charged with
shield and collar of the Fleece; at sides, two pillars of Hercules and
plvs ovltre. Signed and dated 1537. Silver. 2 17/32 (0.064). A
1346.606A. III. p. 134
BOLSTERER, Hans (act. 1540-67). Johann Fichard, Syndic of Frankfurt a.
Main. Rev. Elizabeth, his wife, to 1., in cap. Dated 1547. 1 27/32
(0.047). A 1347.607A.
DESCHLER, Joachim (c. 1500-1571/2). Hieronymus Paumgartner (1498-
1565) of Nurnberg. Rev. Arms of Paumgartner. Dated 1553. 2 9/16
(0.065). A 1348.608A. 7//. p. 135
DESCHLER. Margarethe Balbus, nee Ganzhorn. Rev. Two shields; above,
inscription. Dated 1565. Silver. 1 17/32 (0.039). A 1349.609A.
DESCHLER. Georg Olinger of Nurnberg. Rev. Psalm in German script.
Signed and dated 1556. Silver. 2 7/32 (0.056). A 1459-719A.
HOFMANN, Jakob (act. c. 1555). Anna Hofmann, wife of the medallist.
Rev. Venus kneeling on 1.; Cupid running towards her, escaping from
bees that issue from a tree trunk; above, another Cupid, flying; a third
behind Venus. 1 11/32 (0.034). A 1350.610A.
MALER, Valentin (act. 1563-93). Jakob Muff el (1509-69), of Nurnberg.
Without rev. Signed (traces of VM on truncation of arm) and dated
1569. Lead. 2 5/32 (0.055). A 1351.611A.
MALER. Matthaus Schyrer, Secretary to Nurnberg Counci1. Rev. Fortune,
nude, with veil, on globe on the sea. Dated 1584. 1 9/32 (0.033). A
MALER. Jakob Fugger, the Elder. Without rev. Lead. Oval, 1 27/32
(0.047), 1 21/32 (0.042). A 1353.613A.
MALER. Wenzel Jamnitzer (1508-85), German silversmith. Without rev.
Dated 1568. Lead. 2 29/32 (0.074). A 1409.669A.
MALER. Jobst Tetzel. Without rev. Signed and dated 1569. Lead. 2 7/32
(0.056). A 1458.718A.
CARL, Matthaus. Hans Schel (c. 1518-92). Rev. Arms; around, in field,
soli deo gloria. Lead. 1 11/16 (0.043). A 1354.614A.
NURNBERG MASTER (act. 1591-93). Julius Gender. Without rev.
Silver. 1 3/4 (0.044). A 1355.615A.
GERMAN, XVI century. Johann Friedrich, Elector of Saxony 1532-54. Rev.
Inscription and blazon of arms. Lead. 1 13/16 (0.046). A 1435.695A.
GERMAN, XVI century. Melchior, Chancellor of Saxony. Rev. Inscription
and blazon of arms. Lead. 1 17/32 (0.039). A 1446.706A.
GERMAN, XVI century. Albrecht, 5th Cardinal-Archbishop of Magdeburg.
Rev. Inscription and blazon of arms. 1 7/8 (0.048). A 1448.708A.
AUSTRIAN, 1522-23. Michael Ott. von Aechtertingen (c. 1479-c. 1540).
Rev. Coat of arms. Dated 1522. 2 13/32 (0.061). A 1431.691 A.
AUSTRIAN, 1522-23. Ferdinand, Archduke of Austria, and Anne of Hun-
gary. Rev. Letters FA encircled by chain of the Order of the Golden
Fleece. Dated 1523. 2 3/32 (0.053). A 1432.692A.
GERMAN or AUSTRIAN, XVI century. Maximilian I as Archduke of
Austria. Rev. Maria of Burgundy, to r., wearing hennin and vein. Dated
1479, but made after 1500. Silver. 1 21/32 (0.042). Struck. A
GERMAN or AUSTRIAN, XVI century. John Huss Centenary. Rev.
Huss at the stake; across field, condemnatur. Silver. 1 11/16 (0.043).
Struck. A 1357.617A.
GERMAN or AUSTRIAN, XVI century. Ferdinand I, Archduke of Aus-
tria, afterwards Emperor. Rev. Anna, his wife, to 1., in broad hat. 1524.
2 3/8 (0.060). A 1359.619A.
GERMAN or AUSTRIAN, XVI century. Ludwig II of Hungary. Rev.
Maria, his wife. Silver. 1 19/32 (0.041). Struck. A 1360.620A.
GERMAN or AUSTRIAN, XVI century. Ferdinand I. Rev. Eagle dis-
played, charged with shield. Dated 1541. Silver. 2 3/32 (0.053). A
GERMAN or AUSTRIAN, XVI century. Luna. Rev. Diana to r., holding
horn and staff; across field, C W. Silver. 3/4 (0.019). Struck. A
HOLDERMANN, Georg (act. 1610-29). Willibald Pirkheimer and Al-
brecht Diirer, the latter at an easel drawing the former. Without rev.
Silver. Oval, 1 3/4 (0.044), 2 3/32 (0.053). A 1363.623A. III. p. 133
SCHWEIGGER, Georg (1613-90). Frederick III, Emperor 1463-93. With-
out rev. 1 7/8 (0.048). A 1364.624A.
SCHWEIGGER. Maximilian I. Without rev. 3 5/16 (0.084). A 1365.625A.
BRAUN, Johann Bartholomaus (act. 1636-84). Sigmund Gabriel Holtz-
schuher (1575-1642), of Nurnberg. Without rev. C. 1642. 1 15/16
(0.049). A 1366.626A.
BRAUN. Christoph Fiirer von Haimendorf, Nurnberg patrician 1645. Rev.
Shields of Fiirer and his two wives (Gruder and Poemerl. Dated 1645.
1 17/32 (0.039). A 1367.627A.
DURER, Pseudo (W. Sommer, act. 1880-1900). Sebald Schreier. Without
rev. Monogram of Albrecht Diirer and date 1512. Lead. 3 3/4 (0.095).
A 1368.628A.
FLEMISH, XV century (?). Mary of Burgundy. Without rev. Rectangular,
5 9/32 (0.133), 3 7/8 (0.098). A 1468.728A.
FLEMISH, XV century. William Shevez, Primate of Scotland. Rev. In-
scription and blazon of arms. Dated 1491. Silver. 2 27/32 (0.072). A
METSYS, Quentin (c. 1460-1530). Erasmus of Rotterdam. Without rev.
Dated 1519. Lead. 3 15/16 (0.100). A 1408.668A. ///. p. 135
MEDALSGerman, English
ZAGAR, Jacob (act. 1557-74). Frederic Perrenot, Sieur de Champagney,
Governor of Antwerp, 1571. Rev. Stern view of ship sailing through
strait between high rocks; over it, a putto hovers, bearing scales; above,
device of Perrenot, ni ca ni la. Signed and dated 1574. 2 7/16
(0.062). A 1370.630A.
JONGHELINCK, Jacob (1531-1606). Antoine Perrenot (1517-86), Bishop
of Arras 1540, Cardinal Granvelle 1561. Without rev. C. 1563. 2 29/32
(0.074). A 1371.631A.
JONGHELINCK. Viglius van Zuichem (1507-77), lawyer, Provost of Saint-
Bavon 1565, Chancellor of the Order of the Fleece, President of the Privy
Council, etc. Without rev. 1556. Lead. 2 1/8 (0.054). A 1372.632A.
JONGHELINCK. Viglius van Zuichem. Rev. On a table, candle burning,
hourglass, and open book on which, incised, devs op(timus) Ma(ximus).
Dated 1568. 2 (0.051). A 1373.633A.
JONGHELINCK. Viglius van Zuichem. Rev. Similar to preceding but
without date. Lead. 15/16 (0.024). A 1374.634A.
MELON, Giovanni V. (act. 1571-79). Antoine Perrenot. Rev. Ship at sea,
blown upon by winds; above, dvrate. Signed. Silver. 1 11/16 (0.043).
A 1375.635A.
HEERWIJCK, Steven van (act. 1557-65). Sigismund Augustus, King of
Poland 1530-72. Rev. King, in armor, on horseback, wielding sword.
1 21/32 (0.042). A 1376.636A.
HEERWIJCK(?). Antoms Mor (1519-75), the painter. Without rev. 2
15/32 (0.063). A 1377.637A.
BLOC, Conrad (act. 1575-1602). William I of Orange. Rev. Charlotte de
Bourbon, to 1., in ruff. Dated 1577. Silver. 1 3/4 (0.044). A
GIANNINI, Giuliano (act. c. 1580-99). Fernando Alvarez de Toledo (1508-
82), Duke of Alba. Rev. Pallas in car drawn to 1. by two owls; a little
Victory crowns her. C. 1580. 1 15/32 (0.037). A 1379.639A.
FLEMISH, XVI century. Adrian VI, Pope 1522-23. Without rev. 3 3/8
(0.086). A 1369.629A.
FLEMISH, XVI century (?). Philip II, King of Spain 1556-98. Rev. Nude
woman standing on an orb on a floating shell, holding a sail, and inscrip-
tion virtute et constancia. 2 1/8 (0.054). Rev. after Jongelinck.
A 1433.693A.
RANTWICK, Bernard (act. in England first half XVII century?). Sir Rich-
ard Shelley, Knight of Malta. Rev. Griffin, ducally gorged, in landscape.
2 3/4 (0.070). A 1380.640A.
ENGLISH, XVII century (West?). Mary Stuart, Queen of Scots (1542-
87). Rev. Inscription giving history of Mary Stuart. Inscribed ex matt
west f. 2 1/8 (0.054). A 1426.686A.
ENGLISH, XVII century (late restoration). Sir Thomas More (1478-
1535), Lord Chancellor of England. Rev. Felled cypress tree with axe
sticking in stump, and the motto svavivs. olet. 2 5/16 (0.059).
A 1427.687A.
HOUSE OF SAVOY, Filiberto II (1429-1504). Rev. Shield of Savoy, in-
clined, casque, crest and lambrequins, two Savoy knots in the field. Silver
half-testoon. 1 2/32 (0.027). A 1381.641 A.
HOUSE OF SAVOY. Carlo II (1504-53). Rev. Crowned shield, across
field, fe rt. Silver testoon. 1 1/8 (0.029). A 1382.642A.
CARMAGNOLA. Lodovico II, Marquess of Saluzzo 1475-1504. Rev.
Crowned shield inclined, with eagle crest, between L M. Gold ducat.
15/16 (0.024). A 1383.643A.
MANTUA. Francesco II Gonzaga. Rev. Pyxis of the Blood of Christ.
Silver testoon. 31/32 (0.025). A 1384.644A.
MANTUA. Francesco II Gonzaga. Rev. Pyxis of the Blood of Christ.
Silver half-testoon. 31/32 (0.025). A 1385.645A.
MANTUA. Francesco HI Gonzaga. Rev. Tobias conducted by the ange1.
Silver testoon. 1 3/16 (0.030). A 1386.646A.
MILAN. Francesco I Sforza. Rev. Duke in armor on horseback, wielding
sword. Gold ducat. 27/32 (0.022). A 1387.647A.
MILAN. Galeazzo Maria Sforza. Rev. Shield, inclined, casque and crest,
flanked by G3 M and brands with buckets. Silver testoon. 1 3/32
(0.028). A 1388.648A.
MILAN. Giangaleazzo Maria Sforza. Rev. Shield with two crests. Gold
double-testoon. 1 1/8 (0.029). A 1389.649A.
MILAN. Giangaleazzo Maria Sforza. Rev. Shield with two crests. Silver
testoon. 1 1/8 (0.029). A 1390.650A.
MILAN. Another specimen of preceding. A 1391.651A.
MILAN. Giangaleazzo Maria Sforza. Rev. Lodovico Maria Sforza, to r., in
cuirass. Silver testoon. 1 1/8 (0.029). A 1392.652A.
MILAN. Lodovico Maria Sforza. Rev. Crowned shield; on either side,
brand with buckets. Silver testoon. 1 2/32 (0.027). A 1393.653A.
MILAN. Lodovico Maria Sforza. Rev. Beatrice d'Este, his wife. Copper
impression from dies for a testoon. 1 2/32 (0.027). A 1394.654A.
MILAN. Louis XII of France, as Duke 1462-98. Rev. St. Ambrose on
horseback, wielding scourge; below, crowned shield of France modern.
Silver testoon. 1 3/32 (0.028). A 1395.655A.
FERRARA. Ercole I d'Este. Rev. Christ rising from the tomb, holding
banner. Gold ducat. 15/16 (0.024). A 1396.656A.
FERRARA. Ercole I d'Este. Rev. Nude man on horseback to r. Copper
impression from dies for a testoon. 1 3/32 (0.028). A 1397.657A.
FERRARA. Alfonso I d'Este. Rev. Helmeted nude figure seated, holding
lion's head from which issue bees. Cast of silver testoon. 1 3/32 (0.028).
A 1398.658A.
ANTIGNATE. Giovanni II Bentivoglio. Rev. Shield surmounted by eagle.
Gold ducat. 29/32 (0.023). A 1399.659A.
BOLOGNA. Julius II, Pope 1503-13. Rev. San Petronio seated, holding
model of city and crozier; below, arms of Cardinal Alidosi. Silver
giulio. 1 3/32 (0.028). A 1400.660A.
BOLOGNA. Leo X, Pope 1513-21. Rev. Lion rampant, holding banner;
above, on left, arms of Cardinal Giulio de' Medici. Silver bianco. 1
2/32 (0.027). A 1401.661 A.
PESARO. Giovanni Sforza (1489-1510). Rev. Inscription. Copper. 3/4
(0.019). A 1402.662A.
FLORENCE. Alessandro I de' Medici. Rev. SS. Cosmas and Damian. By
Benvenuto Cellini. Silver testoon. 1 3/32 (0.028). A 1403.663A.
ROME. Sixtus IV, Pope 1471-84. Rev. Shield of della Rovere, surmounted
by crossed-keys and tiara. Silver grosso. 15/16 (0.024). A 1404.664A.
NAPLES. Ferdinando I, King of Naples 1458-94. Rev. St. Michael spear-
ing the dragon. Silver coronato. 1 2/32 (0.027). A 1405.665A.
LORRAINE. Antoine, Duke of Lorraine 1508-44. Rev. Crowned shield,
dated 1523. Silver testoon of Nancy. 1 3/16 (0.030). A 1406.666A.
SPAIN. Ferdinand, King of Spain 1504-16, and Isabella (m. 1469, d. 1504),
his wife. Rev. Eagle displayed charged with crowned shield of Leon
and Castile quartering Aragon and Sicily; in field to r., T; to 1., five
pellets. Gold excelente. 1 1/8 (0.029). A 1407.667A.
The numbers refer to the pages of the check list.
Abondio, Antonio, 193
Adriano Fiorentino, see Fiorentino, Adri-
Alberti, Leone Battista, 141
Amadio da Milano, 162
Annibal, 191
Antico, 1', 149, 165
Antonello della Moneta, 170
Austrian.. 1522-23, 203
Battista Elia da Genova, 174
Bellano, Bartolommeo, 143, 172
Belli, Valerio, 156-157, 187
Bellini, Gentile, 170
Bernardi, Giovanni, 157, 185
Bertoldo di Giovanni, 177-178
Bloc, Conrad, 204
Boldu, Giovanni, 170
Bolsterer, Hans, 202
Bombarda, 192
Bonacolsi, Pier Jacopo, see Antico
Bonzagna Gian Federigo, 186
Braun, Joh. Bartholomaus, 203
Brescia, Fra Antonio da, 171
Brescia, Fra Antonio da, Pseudo, 149
Briosco, Andrea, see Riccio
Briot, Nicolas, 197
Bruchsal, Alexander von, 200
Burgurdian or North French, 195
Cambi, Andrea, see Bombarda
Camelio, 149, 170-171
Camelio, Manner of, 171
Candida. Giovanni, 175-176
Caradosso, 148, 173
Carl, Matthaus, 202
Casoni, Felice Antonio, 193
Cattaneo, Danese, 189
Cavalli, Gian Marco, 166
Cavino, Giovanni dal, 187-189
Cellini, Benvenuto, 206
Cesare da Bagno, 182
Cesati, Alessandro, see Grechetto, II
Clemente da Urbino, 167
Coradino, Lodovico, 163
Cormano, 194
Costanzo da Ferrara, 167
Cristoforo di Geremia, 143, 175
Danet, Regnault, 196
Darmand, Jean, see Lorfelin
Daucher, Hans, 199
Dell, Peter, the Elder, 201
Deschler, Joachim, 202
Domenico di Polo, 182
Donatello, Attributed to, 141
Durer, Albrecht, 199
Diirer, Pseudo, 203
Dupre, Abraham, 198
Dupre, Guillaume, 197-198
Emilian, XVI century, 192
English, XVII century, 204
Enzola, Gianfrancesco, 143-144, 166-167
Este, Baldassare d', 163
Falier, Giovanni, 171
Federigo Coc . . . , 186
Ferrarese, 163-164
Fiorentino, Adriano, 167
Fiorentino, Niccolo, 178
Fiorentino, Niccolo, Manner of, 178-181
Flemish, XV century, 159, 203
Flemish, XVI century, 141, 159, 204
FJpetner, Peter, 159, 201
Florentine, c. 1464-70, 177
Florentine, XV century, 137, 142-143
Florentine, late XV century, 181
Florentine, early XVI century, 139
Florentine, XVI century, 157
Fontana, Annibale, 191
Foppa, Cristoforo, see Caradosso
Fragni, Lorenzo, 186
Francesco di Giorgio, 142, 167
Francesco dal Prato, 182
Francesco da Sangallo, 182
Francia, Francesco, 173
Francia, School of, 173
French, XV century, 141, 159
French, c. 1510, 159
French, early XVI century, 159, 196
French, XVI century, 159. 197
French, XVII century, 199
Galeotti, Pier Paolo, see Romano
Gambello, Antonio, da San Zaccaria, 170
Gambello, Vittore, see Camelio
Gauvain, Jacques, 196
Gebel, Mathes, 201
German, early XVI century, 159-160
German, XVI century, 160, 202
German or Austrian, XVI century, 203
Giannini, Giuliano, 204
Giovanni da Pisa, 153
Gras, Caspar, 141
Grechetto, II, 186
Guacialoti, Andrea, 174-175
Guidizani, Marco, 170
Hagenauer, Friedrich, 200-201
Heerwijck, Steven van, 204
Hofmann, Jacob, 202
Holdermann, Georg, 203
Italian, c. 1480, 145
Metsys, Quentin, 203
Italian, XVcentury, 137
Italian, late XVcentury, 137
Italian, before c. 1530, 181
Italian, early XVI century, 139-140, 155
Italian, XVI century, 140, 158, 194-195
Italian, XVII century, 140
Italian, XVIII century, 158
Italian, Papal Medals, 186-187
Milanese, c. 1490, 145
Milanese, late XVcentury, 173
Milanese, early XVI century, 173-174
Milanese, middle of XVI century, 190
Modeino, 151-153
Mola or Molo, Gaspare, 185
Monogrammist HB, 189
Mosca, Giovanni Maria, 189
Jacquet, Nicolas Gabriel, 198
Jonghelinck, Jacob, 204
Kels, Hans, 201
Kornmann, Johann Jakob, see Cormano
Krafft, Hans, the Younger, 201
Laliame, Philippe, 198
Launa, Etienne de, 196
Laurana, Francesco, 162
Leclerc, Nicolas, 196
Leoni, Leone, 157, 190
Leoni, Pompeo, 192
Le Pere, Jean, 195
Le Pere, Louis, 195
Lixignolo, Jacopo, 163
Lombard, c. 1490, 137
Lorfelin, 199
Lysippus Junior, 175
Maestri, Adriano de', see Adriano Fioren-
Maler, Valentin, 202
Mantuan, early XVI century, 166
Marende, Jean, 196
Marescotti, Antonio, 162-163
Mariani, Camillo, 193
Martino da Bergamo, 190
Master A.G, 193
Master A.L., 153
Master of Coriolanus, 150-151
Master F. Mar, 160
Master G.T.F., 170
Master IAC. URB., 193
Master LA.V.F.. 189
Master I.F.P., 153
Master IO. F.F., 153-154
Master I.S.A., 153
Master L, 202
Master L.C.R.I.I.S., 153
Master L.N., 196
Master MAS, 193
Master M.C., 144
Master M.P., 201
Master of the Orpheus Legend, 148-149
Master P.G., 160
Master of the Pistorius Medal, 201
Master R.C., 184
Master of Semneklopia, 153
Master T.R., 193
Mea, 166
Medallist of 1518, 196
Medallist of the Roman Emperors, 174
Melioli, Bartolommeo, 165
Melioli, Pseudo, 144
Melon, Giovanni V., 204
Nassaro, Matteo dal, 196
Neapolitan, late XVcentury, 167
Neapolitan, c. 1500-25, 167-168
Neufahrer, Ludwig, 202
Niccolo Fiorentino, See Fiorentino, Nic-
Nicholaus, 162
Nicoias de Florence, 195
Nini, Jean-Baptiste, 199
Nizolla, Jacopo, see Trezzo
North Italian, XVcentury, 137, 147
North Italian, c. 1500, 147-148
North Italian, early XVI century, 139,
North Italian, XVI century, 157
Nurnberg Master, 202
Olivieri, Maffeo, 171
Paduan, XVcentury, 145
Paduan, c. 1500, 137, 146
Paduan, 1515, 172
Paduan, early XVI century, 138-139, 154
Paladino, Giovanni, 186
Paolo da Ragusa, 162
Pasti, Matteo dei, 164-165
Pastorino de' Pastorini, 182-183
Petrecino of Florence, 163
Pietro da Fano, 169
Pietro da Milano, 143
Pisanello, Antonio Pisano, called, 160-162
Poggini, Domenico, 184
Poggini, Giampaolo, 183-184
Pomedelli, Giovanni Maria, 172-173
Primavera, Jacopo, 197
Rantwick, Bernard, 204
Reinhart, Hans, the Elder, 202
Riccio, 137-138, 149-150
Riccio, Follower of, 187
Roman, 1455, 174
Roman, 1484-1513, 176-177
Roman, c. 1500, 177
Roman, 1513-1515, 177
Roman, under Paul II, 175
Romanelli, Gasparo, 185
Romano, Giancristoforo, 165
Romano, neighborhood of, 165-166
Romano, Pier Paolo Galeotti, called, 184-
Rossellino, Antonio, 142
Rossi, Giannantonio, 186
Ruberti, Gianfrancesco, 165
Ruspagiari, Alfonso, 192
Russian, XVI (?) century, 160
Saint-Priest, Jean de, 196
Ulocrino, 150
Sangallo, see Francesco da Sangallo
Sansovino, Jacopo, 189-190
Santacroce, Girolamo, 167
Savelli, Bartolommeo, see Sperandio
Savoy, early XVI century, 174
Schwarz, Hans, 199
Schweigger, Georg, 203
Selvi, Antonio, 194
Signoretti, Nicolo, 192
Sommer, W., see Diirer, Pseudo
South German, c. 1500, 141
Sperandio, 145, 168-169
Spinelli, Andrea, 189
Spinelli, Niccolo di Forzore, see Fioren-
Torregiani, Pietro, 174
Trezzo, Jacopo da, 191
Venetian, c. 1470-1475, 171
Venetian, XV century, 146-147
Venetian, c. 1500-1525, 171-172
Venetian, early XVI century, 154
Venetian, XVI century, 140
Veneto-Saracenic, XVI century, 140
Verrocchio, Andrea, 137
Vicentino, Antonio, 193
Vischer, Peter, the elder, 141, 159
Victoria, Alessandro, 189
Warin, Jean, 199
Weiditz, Christoph, 200
Woeiriot de Bouzet, Pierre, 197
Zagar, Jacob, 204
The numbers refer to the pages of this volume. Numbers appearing in bold face refer
to illustrations.
Acquaviva, Andrea Matteo III d', 167
Adrian VI, Pope, 204
Aechtertingen, Michael Ott. von, 203
Agrippina Senior, 188
Alba, Fernando Alvarez, Duke of, 204
Alberti, Leone Battista, 164
Albizzi, Camilla, 184
Albizzi, Giovanna, 118, 180
Albrecht, Cardinal-Archbishop of Magde-
burg, 202
Alfonso V of Aragon, King of Naples,
162, 174, 175
Alidosi, Francesco degli, 173
Altoviti, Lionora, 178
Ambaneili, Enrico, 195
Anjou, Jean d', 162
Anjou, Rene d', 162
Anne of Austria, Queen of France, 198,
Anne of Brittany, 126, 195, 196
Anne of Hungary, 203
Antelminelli, Castruccio degli, 182
Antinous, 188, 195
Antonia, 188
Antoninus Pius, 174, 188
Aragon-Naples, Kings of, see under per-
sonal names
Aragon, Beatrice of, 166
Aragon, Eleonora of, 168
Aragon, Isabella of, 165
Aragon, Maria of, 191
Aretino, Pietro, 121, 190
Ariosto, Lodovico, 184
Aristotle, 181
Arsago, Girolamo, 177
Astallia, Giulia. 165
Atti, Isotta degli, 103, 164, 165
Augusto da Udine, 171
Augustus. 171
Austria, Eleonora d\ 183
Austria, Margaret of. 127, 196
Avalos, Alfonso II d\ 182. 187
Avalo",, Don Inigo d', 102, 162
Avalos, Fernando Francesco II d', 122,
Averoldo, AltobeMo. 111. 171, 193
Avogario, Pietro Bono, 168
Bailleul, Nicolas de, 199
Balbiani, Giov. Alessandro, 200
Balbus, Margarethe, 202
Balzo, Antonia del, 165
Bandinelli, Baccio, 190
Barbadigo, Agostino, 169, 171
Barbadigo, Marco, 171
Barbazza, Andrea, 169
Barbo, Pier, see Paul II
Bassiano, Alessandro, 187
Batonatti, Guglielmo, 178
Bavaria, dukes of, see under personal
Beatrice da Siena, 182
Belli, Alberto, 178
Belli, Valerio, 187
Bellievre, Pomponne de, 198
Bellini, Gentile, 170
Bellini, Giovanni, 170
Bembo, Pietro, 120, 187, 190
Benavides, Giampietro Mantova, 187
Benavides, Marco, 190
Bentivoglio, Costanza, 179
Bentivoglio, Giovanni II, 109, 168, 169,
Bernardino, Saint, 162
Bertani, Lucia, 194
Beyer, Wenzeslaus, 201
Bivar y Mendoza, Rodrigo de, 176
Boccaccio, Giovanni, 181
Bocchi, Costanza, 192
Bohier, Thomas, 176
Boiceau, Jacques, 198
Boldu, Giovanni, 110, 170
Bolzanio, Piero Valeriano, 194
Bonatti, Francesco, 166
Borghesi. Borghese, 167
Borgia, Gaspare, 189
Borgia, Lucrezia, 165
Borromeo, Barbara, 194
Bourbon, Henri de, 198
Bourbon, Renee de, see Lorraine
Bovio, Vincenzo, 186
Bramante, Donato, 173
Brancacci, Francesco Maria, 193
Brandenburg, Emilia, Margravine of, 201
Brandenburg, Archduke Frederick of, 201
Brandenburg, Joachim, Prince of, 200
Briconnet, Robert, 176
Briosco, Andrea, 187
Brognolo, Lodovico, 169
Bruchsa1. Alexander von. 200
Brulart de Sillery, Nicolas. 198
Brulart de Sillerv, Noel, 199
Buonfrancesco, Agostino, 168
Burgundy, Antoine, Bastard of. 176
Burgundy, Charles the Bold. Duke of, 176
Burgundy, Maria of, 176, 203
Buti, Costanza, 183
Caecina, Aulus, 193
Elisabeth, see Isabelle de Valois
Caimo, Alessandro, 185
Calixtus III, 174
Calmone, Antonio, 184
Cambi, Leonora, 192
Gimpofregosa, Battista II di, 174
Candida, Giovanni, 175
Capalla, Caterina, 195
Capodiferro, Marcello, 176
Capua, Isabella, 191
Caracalla, 111, 170
Caraffa, Andrea, 167-168
Carbone, Lodovico, 168
Carcania, Bianca Pansana, 184
Cardano, Girolamo, 191
Carlina, Paula, 193
Carondelet, Jean, 176
Carrara, one of the, 181
Carvajal, Bernardino, 176
Casoli, Filippo, 195
Castaldi, Giambattista, 191
Castiglione, Antonio di Dante, 179
Castiglione, Baldassare, 181
Castiglione, Camillo, 183
Catherine, Queen of France, see Medicis
Cavino, Giovanni dal, 187
Caylar de Saint-Bonnet, Jean de, 198
Charles V, Emperor, 132, 134, 172, 185,
190, 199, 201, 202
Charles VIII of France, 116, 178, 182,
'Charles IX of France,' see Francis II
Chassey, Marguerite de, 176
Chateauvieux, Joachimde, 199
Christine de France, see Savoy
Clement VII, 186
Colleone, Bartolommeo, 170
Colonna, Vittoria, 194
Commodus, 189
Comoaing, Anne, 196
Conde, see Henri de Bourbon, Prince of
Constantine the Great, 125, 175, 195
Contughi (Fra Cesario), 168
Cordova, Elvira de, 195
Cordova, Gonsalvo de, 191
Cornaro, Giovanni, 172
Cornaro, Girolamo, 187
Carnelia Siciliana, 183
Correggia, Jacoba, 166
Correggio, Niccolo da, 169
Corvinus, Matthias, 178, 194
Costiere, Simon, 197
Covo, Francisco, 200
Croto, Marcus, 174
Dandolo, Giovanna, 169
Dante, 118, 181
Dido, 186
Diedo, Alvise, 194
Diedo, Lodovico, 194
Diedo, Paolo, 172
Dolce, Giov. Ant. Vincenzo, 187
Doria, Andrea, 190
Dotti, Paolo, 175
Durer. Albrecht, 133, 203
Du Mas de l'Isle, Jean, 178
Duplessis, see Richelieu
Emo, Giovanni, 172
Erasmus of Rotterdam, 135, 203
Este, Acarino d', 163
Este, Alfonso Id', 115, 163, 178
Este, Alfonso II d', 184
Este, Borso d', 162, 163
Este, Ercole I d', 163, 168, 179
Este, Ercole II d', 123, 183, 192
Este, Francesco d', 183
Este, Ippolito I d', 180
Este, Ippolito II d', 186
Este, Isabella d', 165
Este, Leonello d', 101, 161
Este, Lucrezia de' Medici d', 183, 184
Este, Niccolo III d', 162
Este, Sigismondo d', 168
Estouteville, Guillaume d', 175
Euclid, 195
Farnese, Alessandro, 184
Farnese, Pierluigi, 186
Fasiol, Giovanni, 171
Faustina I, 174
Faustina Junior, 188
Faustina Romana, 194
Feltre, Vittorino Ramboldi da, 162
Ferdinand II, King of Naples, 167
Ferdinand I, Archduke of Austria, 203
Fichard, Elisabeth, 202
Fichard, Johann, 202
Ficino, Marsilio, 179
Figino, Girolamo, 184
Firmian, Margaret von, 200
Fontana, Lavinia, 124, 193
Foscari, Francesco, 170
France, Kings of, see under names of
France. Marguerite of, Duchess of Savoy,
186, 194
Francesconi, Bernardino, 182
Francis I of France, 172, 173, 176, 182,
196, 197
Francis II of France. 197
Francis, Dauphin, 196
Frederick III, Emperor, 177, 203
Fuerer, Christoph, 203
Fugger, Jakob, the Elder, 202
Fugger, Raimond, 201
Gambello, Vittore, 170
Gamberia, Bernardino, 178
Gander, Niccolo, 178
Geuder, Julius, 202
Giovanna of Austria, see Medici
Giustinian. Beato Lorenzo, 171
Gonzaga, Cecilia, 162
Gonzaga, Chiara, 165
Gonzaga, Corrado, 166
Gonzaga, Elisabetta, 107, 167
Gonzaga, Federigo II, 166, 172
Gonzaga, Francesco II, 109, 165, 166, 169
Gonzaga, Francesco V, 128, 198
Gonzaga, Gianfrancesco I, 161
Gonzaga, Gianfrancesco, di Rodigo, 165
Gonzaga, Giovanni, Marquess of Ariano,
Gonzaga, Ippolita, 122, 190, 191
Gonzaga, Lodovico III, 104, 161, 165
Gonzaga, Vincenzo, 185
Granvelle, Cardinal, see Perrenot, Antoine
Gratiadei, Antonio, 177
Grimani, Antonio, 171
Grimani, Domenico, 176
Gritti, Andrea, 171, 189
Guadagni, Tommaso, 196
Guarino da Verona, 103, 164
Hadrian, Emperor, 174
Hauschel, Hans, 200
Hedio, Caspar, 200
Helen of Troy, 187
Henry II of France, 196, 197
Henry IVof France, 127, 197
Henry VIII, King of England, 199
Heraclius I, 125, 195
Hercules, 189
Hermann, Georg, 201
Herrera, Juan de, 191
Hofmann, Anna, 202
Holtzschuher, Sigmund Gabriel, 203
Holzschuher, Hieronymus, 201
Homer, 188
Hopital, Michel de 1', 197
Huss, John, 203
Innocent VIII, 178
Jakob von Strassburg, 200
Jamnitzer, Wenzel, 202
Jeannin, Pierre, 129, 198
Jesus Christ, 164, 177
John VIII Palaeologus, 160
Tulia, Diva, 165
Julius II. 113, 173, 176, 177
Julius III, 187
Jung, Ambrosius, 200
Khevenhiiller, Johann von, 193
Krelerin, Elisabeth, 201
Kreller, Lorenz, 201
Kress. Christoph, von Kressenstein, 134,
Ladislaus of Prague, 200
Lancilotti, Francesco, 181
Lando, Pietro, 189
Lange, Nicolas de, 198
Laura, Petrarch's, 181
Lauro, Pietro, 189
Lavagnoli, Raimondo, 176
Laval, Jeanne de, 162
Lavalette, Jean-Louis de Nogaret de, 197
Lavallette, Jean Parisot de, 186
Leo X, 177, 186
Leoni, Leone, 190
Lercari, Franco, 184
Lesch, Augustin, 200
Liegsalz, Sebastian, 133, 200
Liegsalz. Ursula, 133, 200
Lippi, Gabriele, 192
Loffelholz, Wilhelm, 201
Lomazzo, Giov. Paolo, 191
Lomellini, Benedetto, 193
Lomenie, Antoine de, 199
Loredano, Leonardo, 171
Lorraine, Antoine, Duke of, 196
Lorraine, Charles III de, Duke of Guise,
Lorraine, Jean de, Cardinal, 190
Lorraine, Renee de Bourbon, Duchess of,
Louis XI of France, 162
Louis XII of France, 126, 182, 196
Louis XIII of France, 197, 198
Ludovisi, Pompeo, 187
Ludwig II of Hungary, 203
Ludwig V, Elector Palatine, 201
Luna, 203
Machiavelli, Pietro, 179
Macinghi, Roberto de', 179
Maddalena of Mantua, 165, 166
Madruzzo, Cristoforo, 184
Magno, Stefano, 172
Malatesta, Domenico Novello, 161
Malatesta, Sigismondo Pandolfo, 102,
104, 161, 164, 165
Malipieri, Francesco, 171
Malipieri, Pasquale, 169
Malipieri, Vincenzo, 171
Malvezzi, Virgilio, 169
Manfredi, Antonio Sarzanella de', 168
Manfredi, Carlo, 168
Manfredi, Taddeo, 166
Manfro de' Pepoli, Isabella, 119, 183
Mannelli, Giovanni, 172
Marcellus II, 186
Maria, Empress, 193
Mariani, Isabella, 192
Marie, Queen of France, see Medicis
Marini, Tommaso, 185
Marinoni Melilupi, Cassandra, 185
Marsuppini, Elena, 182
Martinioni, Gianfrancesco, 190
Mary Stuart, Queen of Scots, 197, 204
Maserano, Filippo, 110, 170
Maugras, Nicolas, 176
Maximilian I, 176, 203
Maximilian II, 124, 193
Medici, Alessandro de', 182
Medici. Cosimo de', Pater Patriae, 114,
Medici, Cosimo I de', 182, 184
Medici, Filippo de', 177
Medici, Giovanna d'Austria de', 194
Medici, Giovanni de', delle Bande Nere,
119. 182, 189
Medici, Giuliano I de'. 177
Medici, Giuliano II de', 171, 177
Medici, Jacopo de', 185
Medici, Lorenzino de', 189
Medici, Lorenzo de', il Magnifico, 115,
177. 178, 179
Medici, Lucrezia de', d'Este, 183
Medici, Maria Magdalena de', 198
Medicis, Catherine de, 197
Medicis, Marie de, 127, 130, 197, 198
Melancthon, Philipp, 200
Melilupi, Cassandra, 185
Melilupi, Giampaolo, 185
Mels, Giovanni, 187
Philip II of Spain, 183, 191, 204
Mercator, Michael, 201
Michelangelo Buonarroti, 190
Michiel, Isabella, 173
Michiel, Simone, 172
Mocenigo, Giovanni, 170
Mocenigo, Tommaso, 172
Mohammad II, 106, 114, 167, 170, 177
Montagnacco, Sebastiano, 171
Monte, Balduino del, 187
Montefeltro, Federigo da, 105, 167, 174
Montmorency, Anne de, 197
Montmorency, Charlotte-Marie de, 198
Mor, Antonis, 204
More, Sir Thomas, 204
Moro, Cristoforo, 170
Moro, Tommaso, 172
Morosini, Francesco, 194
Mucini, Maria de', 116, 179
Muehlheim, Kaspar von, 200
Muffel, Jakob, 202
Mula, Antonio, 189
Mulicum, Johannes, 200
Musso, Cornelio, 185
Philipp Count Palatine, Duke of Bavaria,
Piantanida, Pietro, 120, 190
Piccinino, Niccolo, 161
Piccolomini, Aeneas, 174
Piccolomini, Ortensia, 166
Pico della Mirandola, Giovanni, 179, 193
Pigna, Violante, 192
Pirkheimer, Willibald, 133, 203
Pisano, Antonio, called Pisanello, 162
Pius II, see Piccolomini, Aeneas
Pius IV, 186, 187
Pius V, 186
Pizzamani, Antonio, 179
Poitiers, Diane de, 197
Poitiers, Guillaume de, 176
Poliziana, Maria, 179
Poliziano, Angelo, 179
Pontano, Giovanni Gioviano, 167
Pratonieri, Giulia, 192
Priam, 186
Prisciano, Pellegrino, 168
Priuli, Girolamo, 194
Naples, Kings of, see under personal
Nasi, Ruberto, 179
Negrisoli, Isabella, 183
Nero, 113, 174, 188
Nivenheim, Albertine de, 131, 199
Noale, Alvise da. 172
Nobili, Giulio, 184
Nores, Giovanni de, 194
Oldofredi, Anna, 192
dinger, Georg, 202
Orange, WilliamI of, 204
Orsini, Enrico, 194
Orsini, Giovanni Paolo, 179
Orsini, Giulia. 193, 194
Orsini, Niccolo, 173
Orsini, Rinaldo, 178
Padula, Ascanio, 191
Palatinate, see under personal names
Pallavicini, Argentina, 193
Pallavicini, Gianfrancesco, 181
Palmieri, Niccolo, 174
Panciatichi, Bartolommeo, 196
Panico, Girolamo, Count of, 187
Parthenio, Bartolommeo, 175
Parricini, Giuliano, 179
Parupus, 168
Paul, St., 177
Paul II, 174, 175
Paul III, 186, 187, 190
Paumgartner, Hieronymus, 135, 202
Pendaglia, Bartolommeo, 107, 168
Pepoli, Guido, 169
Peretti, Camilla, 184
Perrenot, Antoine, Card. Granvelle, 204
Perrenot, Frederic, 204
Pesaro, Girolamo, 172
Petrarca, Francesco, 181
Peutinger, Conrad, 199, 201
Pfinzing, Melchior, 199
Quirini, Elisabetta, 189
Quirini, Francesco, 188
Rangoni, Giov. Francesco de', 175
Rangoni, Guido, 193
Rangoni, Tommaso, 189, 190
Ratta, Dionisio, 193
Rechlinger, Marx, 201
Redwitz, Willibald von, 201
Reihingen, Barbara, 201
Riario, Bianca, 180
Richelieu, Armand-Jean, Cardinal de, 199
Riva, Caterina, 193
Roselli, Antonio, 172
Rosen, Kunz von der, 132, 199
Rossi, Bernardo de', 173
Rossi, Lodovica Felicina, 183
Rossi, Maddalena, 166
Rovere, Clemente della, 176
Rovere, Giuliano della, see Julius II
Roverella, Beatrice, 194
Rucellai, Costanza, 180
Rudolph II, 193
Ruggieri, Camilla, 192
Ruspagiari, Alfonso, 123. 192
Ruze, Antoine, Marquis d'Effiat, 198
Sabina, 188
Sacrata, Girolama, 119, 183
Salviati, Gianozzo, 181
Salvioni, Luca, 188
Sandella, Caterina, 189
Sangallo, Francesco da, 182
Santacroce, Prospero Publicola, 186
Sanuti, Niccolo, 169
San Vitale, Girolama Farnese di, 183
Saulx, Jean de, 199
Savonarola, Girolamo, 117, 180
Savoy, Christine de France, Duchess of,
Savoy, Emanuele Filiberto, Duke of, 186
Savoy, Filippo of, 174
Savoy, Margarita of Austria, Duchess of,
127, 196
Savoy, Philibert le Beau, Duke of, 127,
Saxony, Frederick the Wise, 201
Saxony, Johann Friedrich, Elector, 202
Saxony, Melchior, Chancellor of, 202
Scapti, Cosimo, 188
Scarampi, Lodovico, 175
Schel, Hans, 202
Schlecht, Susanna, 193
Schlifer, Nicolaus, 170
Schreier, Sebald, 203
Schyrer, Matthaus, 202
Scotti, Elisabetta, 185
Senfl, Ludwig, 200
Sesso, Isabella, 173
Severus, Septimius, 189
Sforza, Alessandro, 166
Sforza, Camilla (Covella), 169
Sforza, Costanzo, 105, 166, 167
Sforza, Francesco I, 108, 161, 166, 167,
168, 173
Sforza, Galcazzo Maria, 163, 166
Sforza, Ginevra, 163
Sforza, Lodovico Maria, 173
Sforza-Riario, Caterina, 180
Sforza-Riario, Ottaviano, 180
Shelley, Sir Richard, 204
Shevez, William, 203
Sigismund Augustus, King of Poland,
189, 204
Sixtus IV, 170, 175
Sixtus V, 186
Sorra, Jacopo Antonio, 193
Spagnoli, Battista, 166
Spain, Kings of, see under personal names
Stauber, Lorenz, 202
Stia, Giovanni di Andrea da, 180
Strozzi, Filippo, 117, 180
Strozzi, Nonina, 178
Toledo, Antonio Gonzalo de, 196
Toledo, Eleonora de, 184
Tornabuoni, Giovanni, 180
Tornabuoni, Lodovica, 181
Tornabuoni, Lorenzo, 181
Torre, Gianello della, 121, 191
Toscani, Giov. Alvise, 175
Trevisan, Marcantonio, 194
Trivulzio, Ercole Teodoro, 193
Trivulzio, Gianfrancesco, 185
Trivulzio, Giangiacomo, 173, 174
Trivulzio, Laura Gonzaga, 194
Trivulzio, Scaramuccia, 174
Trotti, Ginevra, 183
Truchses, Lorenz, von Pommersfelden, 201
Tuscany, see Medici
Ugoni, Ludovico, 182
Ugoni, Mattia, 182
Valle, Andrea della, 194
Vallette, Jean Parisot de la, 186
Valois, Isabelle de, 197
Varano, Giulio Cesare, 163
Varchi, Benedetto, 184
Vasari, Nicolosa, 183
Vecchietti, Alessandro, 180
Verus, Lucius, 188
Vettori, Pietro, 185
Vicentino, Nicola, 189
Vinciguerra, Antonio, 169
Viret, Jean, 197
Visconti, Calidonia, 195
Visconti, Carlo, 195
Visconti, Filippo Maria, 101, 161
Visconti, Giangaleazzo, 112, 173
Visdomini, Francesco, 183
Vitillius, Georgius, 200
Vitry, Jacques de, 196
Talaru, Jean de, 196
Tanagli, Michelangelo, 181
Tartagni, Alessandro, 108, 169
Taverna, Chiara, 185
Taverna, Francesco, 185
Taverna, Simone, 173
Tempesta, Niccolo, 171
Tetzel, Jobst, 202
Tiberti, Achille, 180
Todini, Niccolo, 184
Welser, Philippina, 191
Winntzrer, Caspar, 200
Winthag, Baron of, see Ladislaus of
Zah, Sebastian, 193
Zane, Girolamo, 189
Zuhari, Luca de', 165
Zuichem, Viglius van, 204