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

PART VI

963-8
artist of personages of the Burgundian Court, such as he
might have been expected to produce at the same time.
It may be added that the medal may well have been made
at Florence, as Anthony passed through it on his way, and
not necessarily at Rome.
For the barbacane, see above, p. 215, no. 829.
CASTIGLIONE (Antonio di Dante).
963. Obv. V ANTONIVS V FLO y DANTIS y F y DE
CASTIL1ONIO y Bust 1., with zazzera, wearing
plain round cap and robe.
Rev. None.
Arm. I, 94, 6 (69 mm.). [a. Pl. 158.]
(a) Gustave Dreyfus, 69 mm. Arm., loc. cit. Heiss,
Flor., i, p. 83, Pl. xi, 3. Hab., Pl. xlii, 4.
CASTIGLIONE (Roberto di Dante).
964. Obv. Y ROBERTVS Y DANTIS y y CASTEL
LIONEN SIS Y FLOREN Bust 1., with long hair,
wearing plain dress.
Rev. y 1SPERO y y INDEO and, across field,
y AN XXVIH Hope, wearing fluttering tunic,
standing three-quarters 1., hands joined in
prayer, looking up 1. at radiant sun.
Arm. I, 94, 5 (69 mm.). [c. Pl. 158.]
(a) Milan (Med. Mun.), f 69 mm. (Z>) Another (Brera),
f 71 mm. (c) Paris (Valton). Arm., loc. cit. Heiss,
Flor., i, p. 83, no. 1, Pl. xi, 4.
According to Armand (from Milanesi), Roberto was
born in 1464, which would make the date of this medal
about 1492. Five other sons of Dante Castiglione, but
not Antonio or Roberto, appear among the priori from 1496
to 1527. The reverse was probably made in the first
instance for the smaller medal of Giuliano Particini of
1492 (no. 996), as the excess of margin outside the in-
scription indicates.
965. Obv. y ROBERTVS y DANTIS y CASTELLI
ONENS IS y FLOR Bust 1., reduction of that on
the larger medal (no. 964).
Rev. y FIRM AVI y Hope standing r., with
hands joined in prayer, looking up at radiant
sun, all as on medal of Bonaldi (no. 1043,
same model); reduced copy of reverse of
Giovanni Tornabuoni (no. 1023).
Copenhagen, f 34 mm. [Pl. 158.]
966. Obv. Same as preceding (same model).
Rev. FIDES Y CHARI TAS y SPES y Faith-
Charity-Hope; all from same model as medals
of Greudner and Filiasio Roverella (nos. 1048,
1061).
Arm. HI, 26, 2? (34 mm.).
(a) Vienna, f 34 mm. Arm., loc. cit. Heiss, Flor., i,
p. 83, no. 2, Pl. xi, 5. Old after-cast, broken.
CIBd (Francesco).
967. Obv. Y FRANC1 Y CIBO Y INNO CIO y VII! y
NEPOS y Bust 1., with long hair, wearing round
cap with back edge turned up, and robe.
1 In his MS. at Siena, Milanesi, in one place, corrects 1468 to
[256]

Rev. No inscription. Francesco, wearing cap
as on obv., in armour, riding r. on prancing
horse, holding baton in r. ; he is accompanied
by another rider, in helmet, and preceded by
a man on foot, carrying drawn sword and
looking back at him.
Arm. HI, 174, b (49 mm.). [a. Pl. 158.]
(«) Paris (Valton), 49 mm. Arm., loc. cit.
INNOCIO by error for INNOCENCII. The medal
represents Franceschetto, who was really the son, not the
nephew, of Innocent (born of a Neapolitan mother in 1449),
as general of the armies of the Church. Since his title of
Count of Cervetri and Anguillara is not mentioned, the
medal is probably before 1490, when he received these
counties. In 1488 (20 Apr.) he was made a Florentine
citizen (Viani, Famiglia Cybb, p. 79, note 61). This would
be an occasion for the making of the medal. So would
his marriage with Maddalena, daughter of Lorenzo il Mag-
nifico, in 1487.
CIGLAMOCHI (Lorenzo di Francesco).
968. Obv. y LORENZO y D1FRANC ESCHOCIGLA
MOCHI y Bust 1., with long hair, wearing small
flat cap with back-flap turned up, and loose
gown.
Rev. Y ARIDEAT Y VSQVE y Fortune, nude,
advancing three-quarters 1. on dolphin over
waves; she holds up in r. yard of sail, sheet
of which she grasps in her lowered 1.; before
her, the sun’s face, radiant, rising from, or
reflected in, the sea; in field r. i49y; in arc
onl. yLyCyMy (all same model, but for date
and initials, as on medal of Gianozzo Salviati,
no. 1065).
Arm. I, 98, 1 (84 mm.); Ill, 28, a. Fabr., p. 128.
Bode, Jahrb.) xxv (1904), p. 12; Flor. Bildh?, p. 282.
[a. Pl. 158.]
(a) London, V.A. M. (Salting), f 85 mm. (6) Paris,
845 mm. R) Formerly Gavet. Arm., loc. cit. Heiss,
Flor., i, p. 88, Pl. xiii, 2. Hab., Pl. xlvi, 2.
Milanesi, who provided Armand with 1468 for the birth
and ‘vers 1512’for the death of the Florentine Lorenzo
Ciglamochi1 or Ciglia Mochi, also made the very plausible
suggestion that the initials L.C.M. on the reverse stand
for Lorenzo Ciglia Mochi and may be regarded as an
artist’s signature. Fabriczy viewed this suggestion with
some favour; it is scouted by Bode and not mentioned
by Habich. The portraits with the Fortune reverse do
indeed resemble each other, but not more so than they
resemble many others with different reverses. Actually
the same model, with the date and initials taken out, was
used for the medal of Gianozzo Salviati; if L.C.M. were
an artist’s signature, for what reason should the initials
as well as the date be removed ? Those who hold with
Fabriczy might reply that the design was borrowed by
another hand for attachment to the Salviati medal; but if
so, then the grouping of these medals as the work of the
‘ Fortune Medallist’is fallacious. How then explain the
initials L.C.M. ? Possibly they may be read in continua-
tion of A(r)rideat usque: ‘may (Fortune) continue to smile
on Lorenzo Ciglia Mochi’, thus merely making the motto
personal to him.
1482, and says that Lorenzo was already dead in 1509.