DOI Page / Citation link:
https://doi.org/10.11588/diglit.68735#0150
477~8o part hi
ATTRIBUTED TO FRA ANTONIO DA BRESCIA
OF the following four medals which have by various writers been attributed to this
medallist, that of Savorgnan may safely be accepted as his; of the other three the only
one which has much claim is that of Niccold Tempesta; and that seems to be too coarse
in style, and the portrait to be not sufficiently characterized, for the attribution to be
accepted.
BALANZANO (Pietro).
477. Obv. petro BALANZANO v Bust 1., elderly,
wearing round cap, and robe. In high relief.
Rev. NVLA EST REDENCIO ► A human skull
1. In high relief.
Arm. II, 128, 3 (60 mm.); Ill, 205, c. Cicogna, Inscr.
Ven., iv, p. 214 (Valmarana Coll.), v, p. 650, vi, p. 909.
Hab., Pl. XXX, 2. [6. Pl. 89.]
(a) London (George III), f 60 mm. (Z») London, V. A. M.
(204-1866), f 61 mm. Arm., loc. cit. [The Lanna
(no. 115) and Vogel (no. 28) specimen is a modern
reproduction of this specimen.] (c) Another, Salting,
f 60 mm. (d) Vienna, f 59 mm. After-cast, (e) For-
merly J. C. Robinson, 60 mm. (Ratal., no. 152), ex
Piot.
Cicogna rightly rejects the identification of this person
(who doubtless belongs to the Venetian family of Balan-
zano) with the Ridolfo Bellenzano of Trento who was
beheaded in 1412. The skull is merely a memento mori.
Regling (in Lanna Catal., loc. cit.) notices the resemblance
to the work of Fra Antonio, which had also occurred to
myself; cp. also Habich, p. 59. But the lettering and
stops are not characteristic, and the relief is coarser and
higher than in the authenticated work of that artist.
of stops on the base line, precludes the attribution to Fra
Antonio himself.
SAVORGNAN (Girolamo).
479. Obv. HIERONYMVS . SAORNIANVS . OSOPI .
D. Bust 1., with long hair, plain close-fitting
dress.
Rev. OSOPVM IN . IESV DEFENSVM . Young
male figure, cloak fastened round neck, and
falling behind and over r. thigh, seated 1. on
rock, holding in outstretched r. model of city
Osopo; behind him, standing on a shield,
a Victory, with palm over 1. shoulder, places a
wreath on his head; in front, on the ground,
shield, battle-axe, and spear (?).
Arm. I, 103, 7 (48 mm.). Van Mieris, ii, p. 17. Tres.
de Num. I, xx, 3. [d. Pl. 89].
(a) Brescia (Brozzoni), 49 mm. Rizz., no. 134. (Z») Paris,
f 49 mm. Heiss, Ven., p. 118, Pl. vi, 6. (r) Vienna,
j'Somm. Good, (d) T.W. Greene, f 49mm. (e) Henry
Oppenheimer, f 48 mm.
Not earlier than 1514, when Savorgnan defended Osopo
for Venice against the Emperor.
GALIO (Alvise), of Treviso.
478. Obv. •PyALOVISIVSaGALIVS^/TARVISINVSV
ANNOR?-< xxxxand, below, M-<D XIII ► Bust
1., wearing round cap, hair full but not long,
plain gown.
Rev. None.
Arm. II, 127, 16 (72x60 mm.). Foville, Rev. Num.
(1912), p. 425, note 2 (says inaccurately that Hill assigns
this medal to the ‘ Medallist of 1523 ’). [a. Pl. 89.]
(«) London, V. A. M. (Salting), 72 x 60 mm. Burl. Mag.,
xx (1911), p. 24, Pl. II, G (association with Fra Ant. da
Brescia suggested). This is perhaps the Gavet speci-
men (Arm., loc. cit.). (b) Lyon, Musee, 71x60 mm.
Contemporary ?
The unusual lettering (note the curious G, and the
narrow O with pointed top and bottom; the short left leg
of the M is probably accidental), together with absence
TEMPE[STA?] (Niccoid), of Treviso.
480. Obv. NICOLA VS TEMPE . TAR . Bust 1.,
with long hair, wearing robe.
Rev. No inscr. A dragon, winged, two-
legged, seyant r., on a rock, holding in his
jaws a pair of scales.
Arm. II, 72, 14 (48 mm.). [e. Pl. 89.]
(a) London (George HI), f 48 mm. (b) London, V. A. M.
(Salting), f 47 mm. Burl. Mag., xx (1911), p. 24,
Pl. ii, j. (c) Milan (Med. Mun.), f 47 mm. (d) Paris,
48 mm. Arm., loc. cit. (e) Formerly Rosenheim, 48 mm.
Catal. (1923), no. 46.
Armand noticed the resemblance to the style of Fra
Antonio. The lettering is like, except for the bar-less A,
but the style is somewhat coarser.
The name is probably to be extended to Tempesta, which
belonged to an important Trevisan family.
MAFFEO OLIVIERI
THERE seems to be good reason to follow Max Rosenheim in attributing to this
Brescian bronze worker (who in 1527 made for Altobello Averoldo a pair of candlesticks
now in St Mark’s) the medals which have long been grouped together as the work of
the ‘ Medallist of 1523’. There is considerable likeness between such designs as that of
the unveiling of Truth on the medal of Averoldo and the compositions on the candlesticks,
and the peculiar motif of the figure of Venetia on the medal of Renier is reflected in
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ATTRIBUTED TO FRA ANTONIO DA BRESCIA
OF the following four medals which have by various writers been attributed to this
medallist, that of Savorgnan may safely be accepted as his; of the other three the only
one which has much claim is that of Niccold Tempesta; and that seems to be too coarse
in style, and the portrait to be not sufficiently characterized, for the attribution to be
accepted.
BALANZANO (Pietro).
477. Obv. petro BALANZANO v Bust 1., elderly,
wearing round cap, and robe. In high relief.
Rev. NVLA EST REDENCIO ► A human skull
1. In high relief.
Arm. II, 128, 3 (60 mm.); Ill, 205, c. Cicogna, Inscr.
Ven., iv, p. 214 (Valmarana Coll.), v, p. 650, vi, p. 909.
Hab., Pl. XXX, 2. [6. Pl. 89.]
(a) London (George III), f 60 mm. (Z») London, V. A. M.
(204-1866), f 61 mm. Arm., loc. cit. [The Lanna
(no. 115) and Vogel (no. 28) specimen is a modern
reproduction of this specimen.] (c) Another, Salting,
f 60 mm. (d) Vienna, f 59 mm. After-cast, (e) For-
merly J. C. Robinson, 60 mm. (Ratal., no. 152), ex
Piot.
Cicogna rightly rejects the identification of this person
(who doubtless belongs to the Venetian family of Balan-
zano) with the Ridolfo Bellenzano of Trento who was
beheaded in 1412. The skull is merely a memento mori.
Regling (in Lanna Catal., loc. cit.) notices the resemblance
to the work of Fra Antonio, which had also occurred to
myself; cp. also Habich, p. 59. But the lettering and
stops are not characteristic, and the relief is coarser and
higher than in the authenticated work of that artist.
of stops on the base line, precludes the attribution to Fra
Antonio himself.
SAVORGNAN (Girolamo).
479. Obv. HIERONYMVS . SAORNIANVS . OSOPI .
D. Bust 1., with long hair, plain close-fitting
dress.
Rev. OSOPVM IN . IESV DEFENSVM . Young
male figure, cloak fastened round neck, and
falling behind and over r. thigh, seated 1. on
rock, holding in outstretched r. model of city
Osopo; behind him, standing on a shield,
a Victory, with palm over 1. shoulder, places a
wreath on his head; in front, on the ground,
shield, battle-axe, and spear (?).
Arm. I, 103, 7 (48 mm.). Van Mieris, ii, p. 17. Tres.
de Num. I, xx, 3. [d. Pl. 89].
(a) Brescia (Brozzoni), 49 mm. Rizz., no. 134. (Z») Paris,
f 49 mm. Heiss, Ven., p. 118, Pl. vi, 6. (r) Vienna,
j'Somm. Good, (d) T.W. Greene, f 49mm. (e) Henry
Oppenheimer, f 48 mm.
Not earlier than 1514, when Savorgnan defended Osopo
for Venice against the Emperor.
GALIO (Alvise), of Treviso.
478. Obv. •PyALOVISIVSaGALIVS^/TARVISINVSV
ANNOR?-< xxxxand, below, M-<D XIII ► Bust
1., wearing round cap, hair full but not long,
plain gown.
Rev. None.
Arm. II, 127, 16 (72x60 mm.). Foville, Rev. Num.
(1912), p. 425, note 2 (says inaccurately that Hill assigns
this medal to the ‘ Medallist of 1523 ’). [a. Pl. 89.]
(«) London, V. A. M. (Salting), 72 x 60 mm. Burl. Mag.,
xx (1911), p. 24, Pl. II, G (association with Fra Ant. da
Brescia suggested). This is perhaps the Gavet speci-
men (Arm., loc. cit.). (b) Lyon, Musee, 71x60 mm.
Contemporary ?
The unusual lettering (note the curious G, and the
narrow O with pointed top and bottom; the short left leg
of the M is probably accidental), together with absence
TEMPE[STA?] (Niccoid), of Treviso.
480. Obv. NICOLA VS TEMPE . TAR . Bust 1.,
with long hair, wearing robe.
Rev. No inscr. A dragon, winged, two-
legged, seyant r., on a rock, holding in his
jaws a pair of scales.
Arm. II, 72, 14 (48 mm.). [e. Pl. 89.]
(a) London (George HI), f 48 mm. (b) London, V. A. M.
(Salting), f 47 mm. Burl. Mag., xx (1911), p. 24,
Pl. ii, j. (c) Milan (Med. Mun.), f 47 mm. (d) Paris,
48 mm. Arm., loc. cit. (e) Formerly Rosenheim, 48 mm.
Catal. (1923), no. 46.
Armand noticed the resemblance to the style of Fra
Antonio. The lettering is like, except for the bar-less A,
but the style is somewhat coarser.
The name is probably to be extended to Tempesta, which
belonged to an important Trevisan family.
MAFFEO OLIVIERI
THERE seems to be good reason to follow Max Rosenheim in attributing to this
Brescian bronze worker (who in 1527 made for Altobello Averoldo a pair of candlesticks
now in St Mark’s) the medals which have long been grouped together as the work of
the ‘ Medallist of 1523’. There is considerable likeness between such designs as that of
the unveiling of Truth on the medal of Averoldo and the compositions on the candlesticks,
and the peculiar motif of the figure of Venetia on the medal of Renier is reflected in
[126]