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https://doi.org/10.11588/diglit.68735#0039
PIETRO DA MILANO
51-2
PIETRO DA MILANO
PIETRO DI MARTINO DA MILANO, sculptor and medallist, not to be confused
with Pietro di Giovanni da Como, who was also employed on the Arch at Naples, is
first certainly mentioned as being there 31 Jan. 1458. After the death of Alfonso, who
had knighted him, he and Laurana both migrated to the Court of Rene d’Anjou,
probably when Ferdinand’s prospects were so gloomy after the battle of the Sarno
(7 June 1460). In 1461 and 1462 he made medals of Rene and Jeanne de Laval. Two
other medals, of Ferry II de Lorraine and Margaret of Anjou, were doubtless made at
Bar-le-Duc, where Ren£ held his court from 16 June 1463 to 27 Aug. 1464, and these
two were present Pietro was employed there on sculpture, and is last mentioned there
at the end of 1463. He is then found (18 May 1465) at Naples at work on the Arch;
he died there between 6 and 13 April 1473.
Pietro as a medallist is strongly under the influence of Pisanello, but his productions
are mediocre in conception, lifeless, and wholly lacking in technical accomplishment.
Arm. I, pp. 38-9, II, p. 286. Bolzenthal, p. 46. Heiss, Francesco Laurana, &c. (1882), pp. 39-52. Friedlander, Ital.
Schaumunzen, pp. 196-9. H. de La Tour, Rev. Num. (1893), PP- 85-110. Fabriczy in Jahrb., xx (1899), pp. 8-22. Ital. Med.
(1904), pp. 39, 41. W. Rolfs, Laurana (1907), pp. 203-28. Venturi, Storia, vi, pp. 848-53. Forrer, Diet., iv (1909), pp. 71-6.
Hab., p. 51.
DATED MEDALS
RENE D’ANJOU, formerly King of Sicily,
1461.
51. Obv. * RE NAT VS • DEI • GRACIA • IHERVSA
LEM • ET • SICILIE REX • TCETERA • Bust r.,
wearing cap with edge turned up at back, and
robe with two large buttons.
Rev. • M • CCCCLXI (above), OPVS | PETRVS |
DE • MEDIOLANO below. An object resembling
a weight or a bell-case, supported by four cords,
knotted at the ends, running in grooves, tied
together at the top; the strands of the cords
spread over the field; a bar with knobs
at ends passes through the object and bears
the letters EN VN; on the object itself, r I; border
of eight tree-trunks, each with four lopped
branches.
Arm. 1,39,3(84mm.). Rolfs,Laurana,^.208. E.Babelon
in Rev. de I' art anc. et mod., xvii (1905), pp. 286-7. Hab.
Pl. xxii, 1. [c PL 12.]
(a) Aix en Provence, 91 mm. Alabaster. Fauris de Saint-
Vincens, Monnoies des Ctes. de Provence, Aix, an IX (no
pagination, last plate but one). G. Vallier, Iconogr.
num. du roi Rene, Mem. Acad. Sci., &c., diAix, xii
(1882), Pl. ii. Heiss, Laurana, &c., p. 40, no. 1, Pl. iv, 1.
(6) Berlin, 84 mm., without inscr. on obv. Friedl.,
p. 197, no. 1. (c) Florence, 85 mm. Tres. de Num. II,
xiv, 2. Sup., no. 49. Rolfs, loc. cit., Pl. 25, 2. (</) Paris,
82 mm.
The meaning of the impresa is quite obscure (see sum-
mary of views in Rolfs). It somewhat resembles old Celtic
bell-cases (cp. Cabrol, Diet. d'Arch, chret., iii, 1988). The tree-
trunks are heraldic symbols for members of Rene’s family;
the four branches and the four ropes allude to his four
children. The gothic initials are for Renatus and lohanna.
RENk D’ANJOU and JEANNE DE
LAVAL, 1462.
52. Obv. :ET • PIETATE* GRAVES • ET • LVSTRES •
LILII • FLORES • CONCORDES • ANIMI • IAM • CECO •
CARPIMVR • IGNI. Busts of Rene and Jeanne
jugate r. Rene wears cap with edge turned up
and plume in front, buttoned robe and chain ;
Jeanne’s hair is bound with double band.
Rev. • OPVS • PETRI • DE • MEDIOLANO |
• MCCCC • LXH in exergue. Judgement of Solo-
mon (?). Before an architectural background
(classical building with attica and central tower,
and wings) is seated a king, wearing turban
and long robe, with girdle, holding sceptre in
r.; before him, on the ground, a dog lying r.;
on either side, groups of people, among whom,
on L, one of the women carrying away her baby.
Arm. I, 39, 4 (104 mm.). Babeion, loc. cit., p. 288.
[c. Pl. 13.]
(a) Berlin, 104 mm. Rolfs, Laurana, p. 210, Pl. 25, 1.
(b) Marseille. G. Vallier, op. cit., p. 67. (c) Paris, 103 mm.
Tres. de Num. II, xiv, 3. G. Vallier, op. cit., Pl. v.
Friedl., p. 198, no. 4, Pl. xxxix. Heiss, Laurana, p. 42,
no. 3, Pl. iv, 3.
The second hexameter is from Aen. iv. 2. The inscrip-
tion is usually transcribed as beginning with it, but the
beginning is marked here as in no. 55 by j Habich (p. 51)
explains the reverse as a scene in the Court at Bar-le-Duc.
But the Court was not there in 1462.
[ 15 ]
51-2
PIETRO DA MILANO
PIETRO DI MARTINO DA MILANO, sculptor and medallist, not to be confused
with Pietro di Giovanni da Como, who was also employed on the Arch at Naples, is
first certainly mentioned as being there 31 Jan. 1458. After the death of Alfonso, who
had knighted him, he and Laurana both migrated to the Court of Rene d’Anjou,
probably when Ferdinand’s prospects were so gloomy after the battle of the Sarno
(7 June 1460). In 1461 and 1462 he made medals of Rene and Jeanne de Laval. Two
other medals, of Ferry II de Lorraine and Margaret of Anjou, were doubtless made at
Bar-le-Duc, where Ren£ held his court from 16 June 1463 to 27 Aug. 1464, and these
two were present Pietro was employed there on sculpture, and is last mentioned there
at the end of 1463. He is then found (18 May 1465) at Naples at work on the Arch;
he died there between 6 and 13 April 1473.
Pietro as a medallist is strongly under the influence of Pisanello, but his productions
are mediocre in conception, lifeless, and wholly lacking in technical accomplishment.
Arm. I, pp. 38-9, II, p. 286. Bolzenthal, p. 46. Heiss, Francesco Laurana, &c. (1882), pp. 39-52. Friedlander, Ital.
Schaumunzen, pp. 196-9. H. de La Tour, Rev. Num. (1893), PP- 85-110. Fabriczy in Jahrb., xx (1899), pp. 8-22. Ital. Med.
(1904), pp. 39, 41. W. Rolfs, Laurana (1907), pp. 203-28. Venturi, Storia, vi, pp. 848-53. Forrer, Diet., iv (1909), pp. 71-6.
Hab., p. 51.
DATED MEDALS
RENE D’ANJOU, formerly King of Sicily,
1461.
51. Obv. * RE NAT VS • DEI • GRACIA • IHERVSA
LEM • ET • SICILIE REX • TCETERA • Bust r.,
wearing cap with edge turned up at back, and
robe with two large buttons.
Rev. • M • CCCCLXI (above), OPVS | PETRVS |
DE • MEDIOLANO below. An object resembling
a weight or a bell-case, supported by four cords,
knotted at the ends, running in grooves, tied
together at the top; the strands of the cords
spread over the field; a bar with knobs
at ends passes through the object and bears
the letters EN VN; on the object itself, r I; border
of eight tree-trunks, each with four lopped
branches.
Arm. 1,39,3(84mm.). Rolfs,Laurana,^.208. E.Babelon
in Rev. de I' art anc. et mod., xvii (1905), pp. 286-7. Hab.
Pl. xxii, 1. [c PL 12.]
(a) Aix en Provence, 91 mm. Alabaster. Fauris de Saint-
Vincens, Monnoies des Ctes. de Provence, Aix, an IX (no
pagination, last plate but one). G. Vallier, Iconogr.
num. du roi Rene, Mem. Acad. Sci., &c., diAix, xii
(1882), Pl. ii. Heiss, Laurana, &c., p. 40, no. 1, Pl. iv, 1.
(6) Berlin, 84 mm., without inscr. on obv. Friedl.,
p. 197, no. 1. (c) Florence, 85 mm. Tres. de Num. II,
xiv, 2. Sup., no. 49. Rolfs, loc. cit., Pl. 25, 2. (</) Paris,
82 mm.
The meaning of the impresa is quite obscure (see sum-
mary of views in Rolfs). It somewhat resembles old Celtic
bell-cases (cp. Cabrol, Diet. d'Arch, chret., iii, 1988). The tree-
trunks are heraldic symbols for members of Rene’s family;
the four branches and the four ropes allude to his four
children. The gothic initials are for Renatus and lohanna.
RENk D’ANJOU and JEANNE DE
LAVAL, 1462.
52. Obv. :ET • PIETATE* GRAVES • ET • LVSTRES •
LILII • FLORES • CONCORDES • ANIMI • IAM • CECO •
CARPIMVR • IGNI. Busts of Rene and Jeanne
jugate r. Rene wears cap with edge turned up
and plume in front, buttoned robe and chain ;
Jeanne’s hair is bound with double band.
Rev. • OPVS • PETRI • DE • MEDIOLANO |
• MCCCC • LXH in exergue. Judgement of Solo-
mon (?). Before an architectural background
(classical building with attica and central tower,
and wings) is seated a king, wearing turban
and long robe, with girdle, holding sceptre in
r.; before him, on the ground, a dog lying r.;
on either side, groups of people, among whom,
on L, one of the women carrying away her baby.
Arm. I, 39, 4 (104 mm.). Babeion, loc. cit., p. 288.
[c. Pl. 13.]
(a) Berlin, 104 mm. Rolfs, Laurana, p. 210, Pl. 25, 1.
(b) Marseille. G. Vallier, op. cit., p. 67. (c) Paris, 103 mm.
Tres. de Num. II, xiv, 3. G. Vallier, op. cit., Pl. v.
Friedl., p. 198, no. 4, Pl. xxxix. Heiss, Laurana, p. 42,
no. 3, Pl. iv, 3.
The second hexameter is from Aen. iv. 2. The inscrip-
tion is usually transcribed as beginning with it, but the
beginning is marked here as in no. 55 by j Habich (p. 51)
explains the reverse as a scene in the Court at Bar-le-Duc.
But the Court was not there in 1462.
[ 15 ]