DOI Page / Citation link:
https://doi.org/10.11588/diglit.68735#0298
1049-53
PART VI
tunic, standing to front, looking up 1. at radiant
sun; she holds in 1. a chalice supporting sacred
wafer, and places r. on head of a child who
raises his hands to her. All from same model
as on medal of Filiasio Roverella (no. 1061,
Pl. 176).
Arm. Ill, 26, e (34 mm.). [a. Pl. 174.]
(a) Vienna, 33 mm. Arm., loc. cit. Heiss, Flor., i,
p. 84, Pl. xii, 1. Hab., Pl. xlvi, 3.
Johann Greudner, provost of Brixen, came to Florence
in Feb. 1501 (1502) as ambassador of the Emperor (Nardi,
Istorie, ed. Arbib, i, p. 229). Nardi calls him Graismer or
Gaismer.
LANCILOTTI (Francesco).
1049. Obv. v FRANC1SCHVS y LANC1 LOTTIS
FLOREN tinvs Bust 1., bearded, with long
hair, wearing cap with front and back edges
turned up, and dress with turn-down collar.
Rev. No inscription. Lancilotti on horse
pacing 1.; he wears armour and cloak flying
behind, and holds baton in r.
Arm. II, 50, 10 (73 mm.); Ill, 173, d. Bode, Jahrb.,
xxv (1904), pp. 9, 12; Flor. Bildh?, p. 277. Fabr., p. 138.
[6. PL i74d
(d) Berlin, 74 mm. Friedl., p. 158. Hab., Pl. xlvii, 5.
(6) Florence, f 73 mm. Old, rough cast. Arm., loc.
cit. Heiss, Flor., i, p. 150, Pl. xix, 6. Sup., no. 145,
Pl. l. Hill, P. M.I.A., p. 40, no. 16, Pl. xxi. (c) Na-
ples. Bell-metal, f 70 mm. Rin., no. 659. (<Z) Par-
ma, f 72 mm. Poor specimen, (e) Rome, Vatican,
68-5 mm. Poor cast, obv. only. (/) Gustave Dreyfus,
70 mm. Obv. only. Later casting.
According to Bode this is by Niccold Fiorentino, and
one of the latest of his medals. Fabriczy leaves the attri-
bution uncertain 1 and the work is certainly rather widely
removed from Niccold’s style. Lancilotti was a painter;
possibly he experimented also in the medallic art. (Older
writers have sometimes confused him with the Netherlands
painter Lancelot Blondeel, 1495-1561.) He was, according
to Milanesi, born in 1472, his father being a Milanese
painter, Jacopo, who had settled in Florence. He travelled
in Italy, Spain, and North Africa, probably served as a
soldier (to judge by the reverse of his medal), and wrote
a poem on the art of painting (‘Tractate di pictura com-
posto per Francesco Lancilotti Fiorentino Pictore’, printed
at Rome on 26 June 1509; see Bottari-Ticozzi, Raccolta di
lettere sulla pittura, &c., vol. vi, Milan (1822), p. 197 ; re-
printed by Fil. Raffaelli, Recanati, 1885, Nozze Zucconi-
Monti). The poem called ‘ La Historia del Castellano ’,
which was printed at Florence in 1495 (?) an^ Venice in
1510 (?), is on the other hand the work of another Fran-
cesco (di Piero) Lancilotti. The medal may be dated in
the first decade of the sixteenth century.
MARTIN (Rafael).
1050. Obv. RAPHAELVS y MARTINVS GOTHHA
LANVS Bust 1., with long hair, showing ear,
wearing robe; below, ANNXXV1II
Rev. INHOCGRA Tl/t MV SAS PRO VO
CARVNT The three Graces, as on the medal
of Giovanna Albizzi (no. 1021, cast from the same
model), the inscription altered, and a plain
raised border added to make it fit the obverse.
(a) T. W. Greene, f 87 mm. Burl. Mag., xxiv (1914),
p. 211, Pl. A. [Pl. 174.]
Gothhalanus is probably for Catalanus? The year of
Martin’s age seems to be XXVIII rather than XXXIII,
but owing to compression in the exergue is not quite clear.
The style of the portrait recalls that of Pierfrancesco
de’ Medici, though it is less smooth and has more character.
J
MEDICI (?) (Diamante de’).
1051. Obv. vDIAm/ antey Bust of woman 1.,
wearing widow’s 4eil falling to shoulders. See
no. 1052.
Rev. No inscription. Three diamond rings
interlaced with a gothic letter C (v).
Bode, Flor. Bildh?, p. 281. [a. rev., Pl. 175.]
(a) Florence, f 55 mm. Sup., no. 137, Pl. xxx. Old.
(b) Paris (Valton), f 55 mm.
1052. Obv. Same model as preceding.
Rev. DA s in the spaces of a square
PR O frame formed of uprights and
horizontals; a bird (eagle?) is perched on the
topmost horizontal.
Arm. II, 75, 9 (55 mm.). [a. Pl. 175.]
(a) Paris (Valton), 55 mm. Arm., loc. cit. (b) Another,
Anc. fonds, obv. only, 55 mm.
Supino identifies the lady as Diamante, daughter of
Francesco de’ Medici (d. 1402) and wife of Giovanni Cap-
poni (?). That she is a Medici is possible from the device
of the diamond rings; but what was the reason for sup-
pressing her family name? And her baptismal name in
itself would justify the use of the diamond-ring device, so
that the connexion with the Medici cannot be taken as
certain. The device on the other reverse, whatever its
meaning, must be connected with the FINEM device of
Paolo Giustini (no. 976, Pl. 160) and the EXPECTO device
of Maria de’ Mucini (no. 991, Pl. 162); both these words
suggest that the device is a memento mori. The DASPRO
device, however, differs from the others in that the frame-
work is not in flames. Is it possible that the motto is
Spanish (Pas pro, ‘ thou givest advantage ’) ?
MEDICI (Giovanni de’), afterwards Leo X.
1053. Obv. IOANNES v s v MARIE v INDOMNICA y
DIACON1 y CAR y DEMEDICIS y Bust r., wearing
berretta and cardinal’s cape with small hood.
Rev. CHARITAS SPE s FIDES Female figure
(Charity-Hope-Faith), nimbed, standing to front,
wears girdled tunic; holds in 1. chalice sur-
mounted by sacred wafer; places r. hand on
1 The statement in Hill, P.M.I.A., p. 41, that Fabriczy attributes the medal to Lancilotti himself, is incorrect and due
to a mistranslation in the English edition (‘depicted himself’ for ‘ had himself depicted ’). The suggestion that Lancilotti
made the medal himself came originally from Milanesi (apud Armand).
* But see Burl. Mag. loc. cit., note 1, where it is suggested that it may be for Catalaunensis, i. e. of Chalons-sur-Marne ;
this seems unlikely.
[272]
PART VI
tunic, standing to front, looking up 1. at radiant
sun; she holds in 1. a chalice supporting sacred
wafer, and places r. on head of a child who
raises his hands to her. All from same model
as on medal of Filiasio Roverella (no. 1061,
Pl. 176).
Arm. Ill, 26, e (34 mm.). [a. Pl. 174.]
(a) Vienna, 33 mm. Arm., loc. cit. Heiss, Flor., i,
p. 84, Pl. xii, 1. Hab., Pl. xlvi, 3.
Johann Greudner, provost of Brixen, came to Florence
in Feb. 1501 (1502) as ambassador of the Emperor (Nardi,
Istorie, ed. Arbib, i, p. 229). Nardi calls him Graismer or
Gaismer.
LANCILOTTI (Francesco).
1049. Obv. v FRANC1SCHVS y LANC1 LOTTIS
FLOREN tinvs Bust 1., bearded, with long
hair, wearing cap with front and back edges
turned up, and dress with turn-down collar.
Rev. No inscription. Lancilotti on horse
pacing 1.; he wears armour and cloak flying
behind, and holds baton in r.
Arm. II, 50, 10 (73 mm.); Ill, 173, d. Bode, Jahrb.,
xxv (1904), pp. 9, 12; Flor. Bildh?, p. 277. Fabr., p. 138.
[6. PL i74d
(d) Berlin, 74 mm. Friedl., p. 158. Hab., Pl. xlvii, 5.
(6) Florence, f 73 mm. Old, rough cast. Arm., loc.
cit. Heiss, Flor., i, p. 150, Pl. xix, 6. Sup., no. 145,
Pl. l. Hill, P. M.I.A., p. 40, no. 16, Pl. xxi. (c) Na-
ples. Bell-metal, f 70 mm. Rin., no. 659. (<Z) Par-
ma, f 72 mm. Poor specimen, (e) Rome, Vatican,
68-5 mm. Poor cast, obv. only. (/) Gustave Dreyfus,
70 mm. Obv. only. Later casting.
According to Bode this is by Niccold Fiorentino, and
one of the latest of his medals. Fabriczy leaves the attri-
bution uncertain 1 and the work is certainly rather widely
removed from Niccold’s style. Lancilotti was a painter;
possibly he experimented also in the medallic art. (Older
writers have sometimes confused him with the Netherlands
painter Lancelot Blondeel, 1495-1561.) He was, according
to Milanesi, born in 1472, his father being a Milanese
painter, Jacopo, who had settled in Florence. He travelled
in Italy, Spain, and North Africa, probably served as a
soldier (to judge by the reverse of his medal), and wrote
a poem on the art of painting (‘Tractate di pictura com-
posto per Francesco Lancilotti Fiorentino Pictore’, printed
at Rome on 26 June 1509; see Bottari-Ticozzi, Raccolta di
lettere sulla pittura, &c., vol. vi, Milan (1822), p. 197 ; re-
printed by Fil. Raffaelli, Recanati, 1885, Nozze Zucconi-
Monti). The poem called ‘ La Historia del Castellano ’,
which was printed at Florence in 1495 (?) an^ Venice in
1510 (?), is on the other hand the work of another Fran-
cesco (di Piero) Lancilotti. The medal may be dated in
the first decade of the sixteenth century.
MARTIN (Rafael).
1050. Obv. RAPHAELVS y MARTINVS GOTHHA
LANVS Bust 1., with long hair, showing ear,
wearing robe; below, ANNXXV1II
Rev. INHOCGRA Tl/t MV SAS PRO VO
CARVNT The three Graces, as on the medal
of Giovanna Albizzi (no. 1021, cast from the same
model), the inscription altered, and a plain
raised border added to make it fit the obverse.
(a) T. W. Greene, f 87 mm. Burl. Mag., xxiv (1914),
p. 211, Pl. A. [Pl. 174.]
Gothhalanus is probably for Catalanus? The year of
Martin’s age seems to be XXVIII rather than XXXIII,
but owing to compression in the exergue is not quite clear.
The style of the portrait recalls that of Pierfrancesco
de’ Medici, though it is less smooth and has more character.
J
MEDICI (?) (Diamante de’).
1051. Obv. vDIAm/ antey Bust of woman 1.,
wearing widow’s 4eil falling to shoulders. See
no. 1052.
Rev. No inscription. Three diamond rings
interlaced with a gothic letter C (v).
Bode, Flor. Bildh?, p. 281. [a. rev., Pl. 175.]
(a) Florence, f 55 mm. Sup., no. 137, Pl. xxx. Old.
(b) Paris (Valton), f 55 mm.
1052. Obv. Same model as preceding.
Rev. DA s in the spaces of a square
PR O frame formed of uprights and
horizontals; a bird (eagle?) is perched on the
topmost horizontal.
Arm. II, 75, 9 (55 mm.). [a. Pl. 175.]
(a) Paris (Valton), 55 mm. Arm., loc. cit. (b) Another,
Anc. fonds, obv. only, 55 mm.
Supino identifies the lady as Diamante, daughter of
Francesco de’ Medici (d. 1402) and wife of Giovanni Cap-
poni (?). That she is a Medici is possible from the device
of the diamond rings; but what was the reason for sup-
pressing her family name? And her baptismal name in
itself would justify the use of the diamond-ring device, so
that the connexion with the Medici cannot be taken as
certain. The device on the other reverse, whatever its
meaning, must be connected with the FINEM device of
Paolo Giustini (no. 976, Pl. 160) and the EXPECTO device
of Maria de’ Mucini (no. 991, Pl. 162); both these words
suggest that the device is a memento mori. The DASPRO
device, however, differs from the others in that the frame-
work is not in flames. Is it possible that the motto is
Spanish (Pas pro, ‘ thou givest advantage ’) ?
MEDICI (Giovanni de’), afterwards Leo X.
1053. Obv. IOANNES v s v MARIE v INDOMNICA y
DIACON1 y CAR y DEMEDICIS y Bust r., wearing
berretta and cardinal’s cape with small hood.
Rev. CHARITAS SPE s FIDES Female figure
(Charity-Hope-Faith), nimbed, standing to front,
wears girdled tunic; holds in 1. chalice sur-
mounted by sacred wafer; places r. hand on
1 The statement in Hill, P.M.I.A., p. 41, that Fabriczy attributes the medal to Lancilotti himself, is incorrect and due
to a mistranslation in the English edition (‘depicted himself’ for ‘ had himself depicted ’). The suggestion that Lancilotti
made the medal himself came originally from Milanesi (apud Armand).
* But see Burl. Mag. loc. cit., note 1, where it is suggested that it may be for Catalaunensis, i. e. of Chalons-sur-Marne ;
this seems unlikely.
[272]