DOI Page / Citation link:
https://doi.org/10.11588/diglit.68735#0176
598-601 PART
removed. The specimen in the Mus. Civico of Vicenza
which reads DIVA ISABELLA &c., may represent the
earliest stage; but the medals at Vicenza appear to be
inaccessible and this point cannot be determined. (A similar
case of the substitution of an ornament for DIVA is pre-
sented by two medals of Eufrasia Placidi; see Georg Habich,
zwn 60. Geburtstag, 1928, p. 13.) Morsolin, however, thinks
it is a seventeenth-century restoration (cp. N. Arch. Ven.,
viii (1894), P- 418) ; there is an old tradition (although
most of the traditions reported by the same authority,
G. Gualdo, appear to be valueless) that two Vicentines,
Felice and Pasquale, pupils of Camillo Mariani working
about 1650, made a medal of Isabella Michiel. As to this,
see the next medal.
598. Obv. (vine-leaf on stalk) ISABELLA • SESSA •
MICHAEL • VENETA Bust 1., hair swathed in
voluminous drapery; wears mantle fastened on
1. shoulder over undergarment. Pearled border.
Rev. EK noAEMOY mhnizomenh Occasion;
all as on the other medal; in exergue, sign of
the artist, punch and graver.
Arm. I, 128, 9 (52 mm.). Kohler, xviii (1746), pp. 121-4.
Montini, loc. cit., no. 12. Morsolin, Riv. Ital., iii (1890),
pp. 250 if.
(«) Paris, f 50 mm.
This is obviously a later restitution on the basis of the
previous medal, and may be the work of the seventeenth-
century artists Felice and Pasquale mentioned in that
connexion.
599. Obv. ISABELLA a SESSA a MICHAEL a VENETA
Bust r., hair in net, low dress.
ill
Rev. AETERNA fortvna Occasion, nude,
with long fluttering forelock, standing to front,
her r. foot on a skull, her 1. on the visor of
a dragon-crested helmet; holds in raised r.
three nails, in lowered 1. a bridle. In field 1.,
the mark of the artist (without punch and
graver).
Arm. I, 128, 10 (32 mm.). Morsolin, Riv. Ital., iii (1890),
p. 255. Montini, loc. cit., no. 13. [a. Pl. 108.]
(a) Berlin, 33 mm. Friedl., p. 102, no. 6. Arm., loc. cit.
Fabr., p. 65, Pl. xiv, 3. Hab., Pl. Ixxii, 5. (6) Venice,
Correr. Catal., no. 129. (<;) Vienna, 33 mm. Original,
worn.
The Occasion of this reverse was copied in the round for
a bronze inkstand at Oxford attributed to Peter Vischer
the Younger [Munchener Jahrb. fur bild. Kunst, viii, 1913,
p. 286).
The type and mottoes on these three medals of Isabella
seem to refer to her warlike experiences as governess of
Vicenza for the Imperialists against Venice in 1511 (Mor-
solin, Riv. Ital., iii, 1890, p. 248). She retired in Nov. 1511
to Verona and is supposed to have returned to Vicenza
about 1517, when she sued for pardon (Sanuto, 23, p. 490,
Jan. 1517). The medals may have been made during this
interval. The Venetians confiscated her property, and the
reward promised to her by Maximilian seems to have
been illusory; hence the complaint against Fortune. The
middle form has apparently no classical authority.
There is considerable difference between the portraits on
the larger medal and on the small one, the nose on the
latter being stronger.
There is also an unsigned medal of this lady which seems
to me to be by another hand ; in the portrait it resembles
the small medal no. 599 (see below, no. 603, Pl. 108).
ATTRIBUTED
FRANCOIS I, King of France.
600. Obv. FR* FR* REGI • VICTORI • MAX* AC • VIN
D1C1*OPT* Bust r., young, with long straight
hair cut off at nape of neck, wearing cap with
brim turned up fore and aft, and large plume;
dress with turned-down collar. Pearled border.
Rev. F*NIBII*NOVAR*CVRA*OBEIVS*PATRIAM*
DOMVMCi* SERVA7 • Diomede, nude but for
cloak on 1. arm, seated r. on cippus on which
his 1. foot rests; holds in 1. Palladium, in r.
dagger; garland hangs from corner of cippus
and trails on ground. Pearled border.
Arm. II, 187, 5 (48 mm.). Tres. de Num., Med. fr. I, x, 7.
N. Rondot, Les Medailleurs et les Graveurs de Monnaies, &c.
(1904), Pl. xiv, 7. [e. Pl. 108.]
(a) Berlin. Zeit. f. Num., xiv, p. 27. (Z») Vienna,
J 48 mm. Old cast, (c) T. W. Greene, | 48 mm.
(o?) Formerly Lobbecke, 49 mm. Catal., no. 65, Pl. vii.
(e) Henry Oppenheimer, J 48 mm., ex T. W. Greene
(1910). (/) Formerly J. C. Robinson, 48 mm., lot 162
(doubtless identical with one of the above).
The reverse is copied either from the well-known Medici
gem (Muntz, Precurseurs de la Ren., p. 143 and Plate at
p. 192, no. 6) or from the medallion, reproducing the gem,
in the Riccardi palace.
TO P0MEDELL1
F. Nibbia of Novara (who must be Francesco Nibbia I,
created Knight of Malta 1502: B. del Pozzo, Ruolo generate,
p. 54; Cotta, Museo Novarese, p. 276, no. 563*) had this
medal made in gratitude to Francois I for ‘saving his
country and his house’, possibly during the campaign of
Marignano (1515). The attribution to Pomedelli is not
improbable, judging from its style; it is certainly of Italian,
not French, workmanship. But it has not his usual stops,
or his usual adjustment of obv. to rev.
MAXIMILIAN I,Emperor,andCHARLES
V, as King of Castile, Aragon, &c.
601. Obv. MAXIMILIANVS a CAESAR Bust r.,
hair bobbed, wearing flat cap with fore- and
back-flaps turned up and tied over front; robe
with ermine collar, and collar and pendant of
the Fleece. Border of short strokes alternating
with pairs of pellets.
Rev. KAROLVS A REX a catolicvs Bust
1., youthful, hair bobbed; flat cap with fore- and
back-flaps turned up and tied over front ;
figured robe with falling collar over doublet,
and collar and pendant of the Fleece. Border
of short strokes alternating with single pellets.
* A Franciscus de Nibia, a cleric of Novara, received certain grants from Leo X in 1513: Hergenroether, Reg.
Leonis X, i, pp. 20 (313) and 90 (1618).
[ 152]
removed. The specimen in the Mus. Civico of Vicenza
which reads DIVA ISABELLA &c., may represent the
earliest stage; but the medals at Vicenza appear to be
inaccessible and this point cannot be determined. (A similar
case of the substitution of an ornament for DIVA is pre-
sented by two medals of Eufrasia Placidi; see Georg Habich,
zwn 60. Geburtstag, 1928, p. 13.) Morsolin, however, thinks
it is a seventeenth-century restoration (cp. N. Arch. Ven.,
viii (1894), P- 418) ; there is an old tradition (although
most of the traditions reported by the same authority,
G. Gualdo, appear to be valueless) that two Vicentines,
Felice and Pasquale, pupils of Camillo Mariani working
about 1650, made a medal of Isabella Michiel. As to this,
see the next medal.
598. Obv. (vine-leaf on stalk) ISABELLA • SESSA •
MICHAEL • VENETA Bust 1., hair swathed in
voluminous drapery; wears mantle fastened on
1. shoulder over undergarment. Pearled border.
Rev. EK noAEMOY mhnizomenh Occasion;
all as on the other medal; in exergue, sign of
the artist, punch and graver.
Arm. I, 128, 9 (52 mm.). Kohler, xviii (1746), pp. 121-4.
Montini, loc. cit., no. 12. Morsolin, Riv. Ital., iii (1890),
pp. 250 if.
(«) Paris, f 50 mm.
This is obviously a later restitution on the basis of the
previous medal, and may be the work of the seventeenth-
century artists Felice and Pasquale mentioned in that
connexion.
599. Obv. ISABELLA a SESSA a MICHAEL a VENETA
Bust r., hair in net, low dress.
ill
Rev. AETERNA fortvna Occasion, nude,
with long fluttering forelock, standing to front,
her r. foot on a skull, her 1. on the visor of
a dragon-crested helmet; holds in raised r.
three nails, in lowered 1. a bridle. In field 1.,
the mark of the artist (without punch and
graver).
Arm. I, 128, 10 (32 mm.). Morsolin, Riv. Ital., iii (1890),
p. 255. Montini, loc. cit., no. 13. [a. Pl. 108.]
(a) Berlin, 33 mm. Friedl., p. 102, no. 6. Arm., loc. cit.
Fabr., p. 65, Pl. xiv, 3. Hab., Pl. Ixxii, 5. (6) Venice,
Correr. Catal., no. 129. (<;) Vienna, 33 mm. Original,
worn.
The Occasion of this reverse was copied in the round for
a bronze inkstand at Oxford attributed to Peter Vischer
the Younger [Munchener Jahrb. fur bild. Kunst, viii, 1913,
p. 286).
The type and mottoes on these three medals of Isabella
seem to refer to her warlike experiences as governess of
Vicenza for the Imperialists against Venice in 1511 (Mor-
solin, Riv. Ital., iii, 1890, p. 248). She retired in Nov. 1511
to Verona and is supposed to have returned to Vicenza
about 1517, when she sued for pardon (Sanuto, 23, p. 490,
Jan. 1517). The medals may have been made during this
interval. The Venetians confiscated her property, and the
reward promised to her by Maximilian seems to have
been illusory; hence the complaint against Fortune. The
middle form has apparently no classical authority.
There is considerable difference between the portraits on
the larger medal and on the small one, the nose on the
latter being stronger.
There is also an unsigned medal of this lady which seems
to me to be by another hand ; in the portrait it resembles
the small medal no. 599 (see below, no. 603, Pl. 108).
ATTRIBUTED
FRANCOIS I, King of France.
600. Obv. FR* FR* REGI • VICTORI • MAX* AC • VIN
D1C1*OPT* Bust r., young, with long straight
hair cut off at nape of neck, wearing cap with
brim turned up fore and aft, and large plume;
dress with turned-down collar. Pearled border.
Rev. F*NIBII*NOVAR*CVRA*OBEIVS*PATRIAM*
DOMVMCi* SERVA7 • Diomede, nude but for
cloak on 1. arm, seated r. on cippus on which
his 1. foot rests; holds in 1. Palladium, in r.
dagger; garland hangs from corner of cippus
and trails on ground. Pearled border.
Arm. II, 187, 5 (48 mm.). Tres. de Num., Med. fr. I, x, 7.
N. Rondot, Les Medailleurs et les Graveurs de Monnaies, &c.
(1904), Pl. xiv, 7. [e. Pl. 108.]
(a) Berlin. Zeit. f. Num., xiv, p. 27. (Z») Vienna,
J 48 mm. Old cast, (c) T. W. Greene, | 48 mm.
(o?) Formerly Lobbecke, 49 mm. Catal., no. 65, Pl. vii.
(e) Henry Oppenheimer, J 48 mm., ex T. W. Greene
(1910). (/) Formerly J. C. Robinson, 48 mm., lot 162
(doubtless identical with one of the above).
The reverse is copied either from the well-known Medici
gem (Muntz, Precurseurs de la Ren., p. 143 and Plate at
p. 192, no. 6) or from the medallion, reproducing the gem,
in the Riccardi palace.
TO P0MEDELL1
F. Nibbia of Novara (who must be Francesco Nibbia I,
created Knight of Malta 1502: B. del Pozzo, Ruolo generate,
p. 54; Cotta, Museo Novarese, p. 276, no. 563*) had this
medal made in gratitude to Francois I for ‘saving his
country and his house’, possibly during the campaign of
Marignano (1515). The attribution to Pomedelli is not
improbable, judging from its style; it is certainly of Italian,
not French, workmanship. But it has not his usual stops,
or his usual adjustment of obv. to rev.
MAXIMILIAN I,Emperor,andCHARLES
V, as King of Castile, Aragon, &c.
601. Obv. MAXIMILIANVS a CAESAR Bust r.,
hair bobbed, wearing flat cap with fore- and
back-flaps turned up and tied over front; robe
with ermine collar, and collar and pendant of
the Fleece. Border of short strokes alternating
with pairs of pellets.
Rev. KAROLVS A REX a catolicvs Bust
1., youthful, hair bobbed; flat cap with fore- and
back-flaps turned up and tied over front ;
figured robe with falling collar over doublet,
and collar and pendant of the Fleece. Border
of short strokes alternating with single pellets.
* A Franciscus de Nibia, a cleric of Novara, received certain grants from Leo X in 1513: Hergenroether, Reg.
Leonis X, i, pp. 20 (313) and 90 (1618).
[ 152]