Hill, George Francis: A corpus of Italian medals of the Renaissance before Cellini: in 2 volumes (Volume 1): Text (London: British Museum, 1930)

748-51 PART
Not signed, but unmistakably in the style of Guacialoti.
Venuti (p. 17, no. ii) describes a reduction of this medal as
novissime restitutum.

PIUS II, Pope, 1458-64.
748. Obv. PIVS ♦ PAPA ♦ SECVNDVS and in arc
below • ENEAS • SENEN • Bust 1., tonsured,
wearing cope (with incised decoration) and
small morse.
Rev. MCCCCLX PONT’ ANMO SECVNDO
Heater-shaped shield charged with Piccolomini
arms ([arg.] a cross [az.] charged with five
crescents [or]), placed on crossed-keys (which
are united by a cord) surmounted by tiara.
Arm. I, 50, 9 (56 mm.). Bonanni, i, p. 65, no. 7.
Venuti, p. 20, no. ii. Friedl., Andr. Guacialoti, p. 14,
no. 4; Ital. Schaumiinzen, p. 135, no. 4. Martinori, Annali
della Zecca di Roma, Nicolo V, &c., p. 54 (f). \a. Pl. 126.]
(d) London (George III), | bronze gilt, 56 mm. Hill,
Rom. Medallists, Pl. i, 1. (b) Milan, Med. Mun. (Ta-
verna), | 56 mm. Friedl., loc. cit. (c) Paris, 56 mm.
Tres. de Num. I, xxii, 2. Heiss, Flor., i, p. 50,
Pl. iii, 1.
Unsigned, but showing all the characteristics of Guacia-
loti’s style. Observe the barred A on obverse, the unbarred
form on reverse. The broken D on obverse is also found
on the medal of Nicolas V.
Venuti (loc. cit., no. iii) describes a recent reproduction.
749. Obv. • ENAEAS P1VS SENENSIS PAPA SECVN
DVS Bust L, tonsured, wearing cope (with
incised decoration) and small morse.
Rev. ALESVTHECCORD1SPAVI (cinquefoil) DES
ANGVINENATOS ♦ Pelican 1. in her piety.
Arm. I, 50, 8 (56 mm.). Bonanni, i, p. 65, no. 4. Venuti,
p. 21, no. v. Martinori, op. cit., p. 54 (c). [e. Pl. 126.]
(a) Berlin, 54 mm. Friedl., Andr. Guacialoti, p. 14,
no. 3, Pl. ii, 3; Ital. Schaumiinzen, p. 135, no. 5,
Pl. xxiv. Hab., Pl. xxxiii, 3. (b) Another, 54-5 mm.
Simon, no. 165. (c) Brescia, 55 mm. Rizz., Pont.,no. 12.
(d) Florence, 54 mm. Sup., no. 60. Worn, (e) Lon-
don (George HI), 55 mm. Keary, no. 308. S.I.M.,
Pl. 25, 1. Hill, Rom. Medallists, Pl. i, 2. Martinori,
p. 37- (/~0 Naples, | 54 mm. Rin., nos. 53-6 (one
fair), (k) Paris, 56 mm. Tres. de Num. I, xxii, 3 and
4. Heiss, Flor., i, p. 50, no. 2, Pl. iii, 2. (I) Vienna,
silver, 53 mm. After-cast, without rev. (m) Another,
complete, bronze, | 55 mm. Good old cast.
And many others.
On good specimens it may be seen that the bar of
the A, lacking in the model, was supplied by incision. The
fifth word on the rev. was doubtless originally PAVIT;
the erroneous T has been removed and a cinquefoil sub-
stituted. The bust on the obverse is probably from the
same model as that on the medal of 1460, but the incised
decoration of the cope has been completely altered. The
reverse type is closely copied from Pisanello’s Vittorino da
Feltre (no. 38).
Giov. Antonio Campano (Bishop of Cotrone 1462-3, of
Teramo 1463-77), who frequented the court of Pius, refers
to one or both of these medals of the Pope in an epigram
addressed ad Andream Pratensem sculptorem, which begins

V
Aere Pium Andrea caelas Pratensis et auro,
Vivo ut credatur vivus in aere loqui.
Raphael Maffei of Volterra also refers to a medal of Pius II,
but calls the artist Andreas Cremonensis (Andreas Cremo-
nensis Pium ii Iconicum (sic) in numismate expressit); since,
however, he in the same breath continues ‘in quern est
Campani epigramma', Cremonensis is obviously a slip for
Pratensis.
ESTOUTEVILLE (Guillaume d’), Cardi-
nal Archbishop of Rouen.
750. Obv. G • CARDINALIS • DEESTOTA • VILLA y
ARH1E • ROTO • Bust r., tonsured, wearing
pleated vestment.
Rev. GLORIA FRA NCOR? On an architectural
corbel, a genius, nearly nude, but for drapery
about legs, standing to front, holding in r.
a large bouquet, shaped like a cornucopiae;
in 1. kite-shaped shield of Estouteville arms
(quarterly, 1 and 4, burely [arg. and gu.], a lion
[sa.] armed lampasse and crowned [or] for
Estouteville; 2 and 3 [gu.] two bars [or] for
Harcourt; over all an escutcheon [az ], three
lis [or] debruised by a cotice [gu.] for Bourbon)
surmounted by a cardinal’s hat with tassels.
Arm. II, 41, 5 (40 mm.). N. Rondot, Medailleurs et
graveurs (1904), Pl. xiii, 4. Hill, Roman Medallists,
p. 20. [/. PL 126.]
(a) Berlin, 40 mm. Friedl., p. 138, no. 11, Pl. xxiv.
Heiss, Flor., i, p. 55, Pl. iv, 6. (b) Florence, 40 mm.
Sup., no. 215. Fair, (c) London (George HI), lead,
| 40 mm. Old cast, (d) Milan (Med. Mun.), | 40 mm.
(e) Paris. Tres. de Num., Med. fr., I, xli, 2. (/) For-
merly Rosenheim, | 40-5 mm. Sale Catal. (1923),
no. 70. Hill, Roman Medallists, Pl. ii, 2.
Friedlander first suggested the attribution to Guacialoti,
with hesitation, since the work seemed to him too neat.
But the motive of a figure nearly nude standing on a corbel,
the handling of the relief, and the form of the motto are all
characteristic. Armand supposes that the medal was made
before 1461, otherwise the cardinal would probably have
been called Bishop of Ostia.
He quarters the Harcourt arms and assumes the Bourbon
escutcheon because his mother was Marie d’Harcourt,
daughter of Catherine de Bourbon. See another medal of
him attributed to Cristoforo di Geremia (no. 757).
The figure on the reverse is inspired by the Apollo on
the Apollo and Marsyas Medici gem (Furtwangler, Die
antiken Gemmen, PI. xlii, 28; Kris, Steinschneidekunst,
Pl. 12, no. 29).
SIXTUS IV, Pope 1471-1484.
751. Obv. ySIXTVSyHIIyPONy yMAXySA CRICVLT’
Bust 1., wearing tiara, cope and morse. Pearled
border.
Rev. • PARCERE • SVB1ECTIS • ETDEBELLARE
SVPERBOS; in exergue • CONSTANTIA •; across
field MCCCC LXXX1 (engraved) and • SIXTE
POTES Constancy, nude, standing to front,
looking 1.; she rests 1. arm on fluted column,
r. on tall staff, and holds long scarf passing
across her middle. At her feet, on r. a group of

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