DOI Page / Citation link:
https://doi.org/10.11588/diglit.68735#0094
280-2
PART II
GIANFRANCESCO ENZOLA OF PARMA
GIAN FRANCESCO DI LUCA, goldsmith, medallist, and die-engraver, working
1456-78; the artist mentioned by Cicognara and Zani (Encicl. met., viii) as living in
1513 may be another person. In his earlier manner (1456-71) his medals are on a small
scale, frequently from dies, although actual struck originals are excessively rare. He
was employed especially by Francesco Sforza, Cecco Ordelaffi of Forli, Taddeo Manfredi
of Faenza, and Pier Maria Rossi of Berceto. He is recorded as working in Parma
1467-71, and as master of the mint at Ferrara 1472-3. In the last year his style and
method changed, and he produced large cast medals for Costanzo Sforza of Pesaro
(where he became a citizen) and Federigo of Urbino. Besides his medals there are
a number of plaquettes, some signed, and a seal of Parma (signed), on the basis of
which other seals are attributed to him. He must have produced coins, but the
attribution of any to him is conjectural. His portrait of Costanzo Sforza is magnificent,
but his composition of reverses is spoiled by over-elaboration of details. On the large
medals the inscription is usually on a raised band, and may have been impressed separ-
ately in the mould from a metal ring, as was done by other goldsmiths (e. g. Amadio da
Milano). His signature on medals takes the form iohannis francisci (enzolae) parmen
sis opvs (variously abbreviated), ihoannis francisi henzole avrificis parmensis opvs, &c.
opvs is sometimes placed first or omitted.
In his lettering Enzola often uses the early Roman form of p for P, and his A has
a cross-bar so faint that it is often imperceptible.
Arm. I (1883), pp. 43-6; III (1887), p. 7. Bolzenthal, p. 52. Friedl., Ital. Schaumiinzen (1882), pp. 115-20; Die gepragt.
ital. Med. (1883), Pl. 1, 10, 11. Molinier, Les Plaquettes (1886), i, p. 60, ii, p. 199. A. Venturi in Riv. Star. Ital., iv (1887),
p. 593- Gruyer, Part ferrarais (1897), ii, p. 436. Fabriczy, Ital. Med. (1904), pp. 96-7. Forrer, Diet., ii (1904), pp. 22-3.
Bode, Berlin Br. (1904), p. 81. Hill in Burl. Mag., xv (1909), p. 94; xx (1912), p. 200. Bode in Amtl. Ber. Berl., xxxii
(1911), p. 121. Hill in Thieme-Becker, Kunstler-Lexikon, x (1914), p. 572 (Bibliography). Bange, p. 81 f. Hab., pp. 78-9.
H. Nussbaum, Fiirstenportr. auf ital. Miinzen d. Quattrocento (Frankf. a. M. Diss. 1924), p. 38f. — Zeit.f. Num., xxxv (1925),
pp. 182 ff.
DATED MEDALS
ROSSI (Pier Maria), Count of Berceto.
280. Obv. PETRVS MARIA DE RVBEIS B'CETI CO
MES AC TVR1SCLARE FONDATOR • Across field
•v» *F* and »M * | CCCC LV Bust 1., with thick
hair, in plate-armour over shirt of mail.
Rev. IO • FRANCISCI • PARMENSIS • OPVS • A
square donjon, with higher central portion,
battlemented; on the top, a bird sitting to front;
on either side, a pilgrim’s staff with wallet
hanging from it; above, on r., sun shining;
pearled border.
(a) Naples, 41 mm. Cast from struck original. Rin.,
no. 39. [Pl. 45-]
SFORZA (Francesco I), Duke of Milan.
281. Obv. (Biscione) FR°SFORTIAVICECOMES*ME.I*
D VX • HUBELLIPATER • ET-PACIS • AVTOR -M • CCCC
LVP Bust r., elderly, in shirt of mail under
plate; across field »v« *F* Border made up of
wedges between two plain circles.
Rev. • IO*FR*ENZOLAE* ’PARMENSIS*OPVS*
On rocky ground, a greyhound seated 1. under
a fruitful tree; a hand issuing from a radiant
cloud touches him; below him on the ground
a bridle attached by a chain to the tree. Border
of wedges.
Struck.
Arm. I, 44, 6 (43 mm.). Roville, Promptuaire (1553),
ii, p. 205. Hab., Pl. Ivii, 5. [a. Pl. 45.]
(a) Berlin, 42 mm. Friedl., p. 115, no. 1, Pl. xxi.
(6) Another, 42-5 mm. Simon, no. 128. (c) Brescia
(Martinengo), 42 mm. Rizz., no. 71. (d) Florence,
41mm. Sup.,no.5i. Good, (e) London (George HI),
f 42 mm. Cast. Gilt. (/) Milan (Brera), f 42 mm.
Litta, Sforza, Pl. ii, 3.
The reverse shows the Duke’s impresa (motto : Quietum
nemo me impune lacesset); cp. Giovio, p. 41 ; Friedlander,
loc. cit., p. 116. The letters V F on this and other medals
by Enzola are unexplained. Friedlander places this among
Enzola’s cast medals; although I have never seen a struck
original, it cannot be separated from such a piece as no. 282
of Bianca Pellegrini, which was originally struck.
PELLEGRINI (Bianca), mistress of Pier-
maria Rossi.
282. Obv. DIVAE • BLANCHINAE • CVMANAE • SI
MVLACRVM • MCCCCLVII • Bust r., wearing
veil on back of head, and placed on a kind of
[ 70]
PART II
GIANFRANCESCO ENZOLA OF PARMA
GIAN FRANCESCO DI LUCA, goldsmith, medallist, and die-engraver, working
1456-78; the artist mentioned by Cicognara and Zani (Encicl. met., viii) as living in
1513 may be another person. In his earlier manner (1456-71) his medals are on a small
scale, frequently from dies, although actual struck originals are excessively rare. He
was employed especially by Francesco Sforza, Cecco Ordelaffi of Forli, Taddeo Manfredi
of Faenza, and Pier Maria Rossi of Berceto. He is recorded as working in Parma
1467-71, and as master of the mint at Ferrara 1472-3. In the last year his style and
method changed, and he produced large cast medals for Costanzo Sforza of Pesaro
(where he became a citizen) and Federigo of Urbino. Besides his medals there are
a number of plaquettes, some signed, and a seal of Parma (signed), on the basis of
which other seals are attributed to him. He must have produced coins, but the
attribution of any to him is conjectural. His portrait of Costanzo Sforza is magnificent,
but his composition of reverses is spoiled by over-elaboration of details. On the large
medals the inscription is usually on a raised band, and may have been impressed separ-
ately in the mould from a metal ring, as was done by other goldsmiths (e. g. Amadio da
Milano). His signature on medals takes the form iohannis francisci (enzolae) parmen
sis opvs (variously abbreviated), ihoannis francisi henzole avrificis parmensis opvs, &c.
opvs is sometimes placed first or omitted.
In his lettering Enzola often uses the early Roman form of p for P, and his A has
a cross-bar so faint that it is often imperceptible.
Arm. I (1883), pp. 43-6; III (1887), p. 7. Bolzenthal, p. 52. Friedl., Ital. Schaumiinzen (1882), pp. 115-20; Die gepragt.
ital. Med. (1883), Pl. 1, 10, 11. Molinier, Les Plaquettes (1886), i, p. 60, ii, p. 199. A. Venturi in Riv. Star. Ital., iv (1887),
p. 593- Gruyer, Part ferrarais (1897), ii, p. 436. Fabriczy, Ital. Med. (1904), pp. 96-7. Forrer, Diet., ii (1904), pp. 22-3.
Bode, Berlin Br. (1904), p. 81. Hill in Burl. Mag., xv (1909), p. 94; xx (1912), p. 200. Bode in Amtl. Ber. Berl., xxxii
(1911), p. 121. Hill in Thieme-Becker, Kunstler-Lexikon, x (1914), p. 572 (Bibliography). Bange, p. 81 f. Hab., pp. 78-9.
H. Nussbaum, Fiirstenportr. auf ital. Miinzen d. Quattrocento (Frankf. a. M. Diss. 1924), p. 38f. — Zeit.f. Num., xxxv (1925),
pp. 182 ff.
DATED MEDALS
ROSSI (Pier Maria), Count of Berceto.
280. Obv. PETRVS MARIA DE RVBEIS B'CETI CO
MES AC TVR1SCLARE FONDATOR • Across field
•v» *F* and »M * | CCCC LV Bust 1., with thick
hair, in plate-armour over shirt of mail.
Rev. IO • FRANCISCI • PARMENSIS • OPVS • A
square donjon, with higher central portion,
battlemented; on the top, a bird sitting to front;
on either side, a pilgrim’s staff with wallet
hanging from it; above, on r., sun shining;
pearled border.
(a) Naples, 41 mm. Cast from struck original. Rin.,
no. 39. [Pl. 45-]
SFORZA (Francesco I), Duke of Milan.
281. Obv. (Biscione) FR°SFORTIAVICECOMES*ME.I*
D VX • HUBELLIPATER • ET-PACIS • AVTOR -M • CCCC
LVP Bust r., elderly, in shirt of mail under
plate; across field »v« *F* Border made up of
wedges between two plain circles.
Rev. • IO*FR*ENZOLAE* ’PARMENSIS*OPVS*
On rocky ground, a greyhound seated 1. under
a fruitful tree; a hand issuing from a radiant
cloud touches him; below him on the ground
a bridle attached by a chain to the tree. Border
of wedges.
Struck.
Arm. I, 44, 6 (43 mm.). Roville, Promptuaire (1553),
ii, p. 205. Hab., Pl. Ivii, 5. [a. Pl. 45.]
(a) Berlin, 42 mm. Friedl., p. 115, no. 1, Pl. xxi.
(6) Another, 42-5 mm. Simon, no. 128. (c) Brescia
(Martinengo), 42 mm. Rizz., no. 71. (d) Florence,
41mm. Sup.,no.5i. Good, (e) London (George HI),
f 42 mm. Cast. Gilt. (/) Milan (Brera), f 42 mm.
Litta, Sforza, Pl. ii, 3.
The reverse shows the Duke’s impresa (motto : Quietum
nemo me impune lacesset); cp. Giovio, p. 41 ; Friedlander,
loc. cit., p. 116. The letters V F on this and other medals
by Enzola are unexplained. Friedlander places this among
Enzola’s cast medals; although I have never seen a struck
original, it cannot be separated from such a piece as no. 282
of Bianca Pellegrini, which was originally struck.
PELLEGRINI (Bianca), mistress of Pier-
maria Rossi.
282. Obv. DIVAE • BLANCHINAE • CVMANAE • SI
MVLACRVM • MCCCCLVII • Bust r., wearing
veil on back of head, and placed on a kind of
[ 70]