PART I

Mazz. I, ix, i. Rizz., no. 52. (c) Florence, 75 mm.
Sup., no. 42. Poor, (d) Milan (Brera), f 78 mm.
See also no. 78. The portrait has the appearance of
being based on a death-mask. The medal was probably
made immediately after the saint’s death in 1444.
The sketch in the Vallardi Codex in the Louvre (fol. 74,
no. 2331; Heiss, p. 29) may be related to one of the medals.
For the legends, see Acts i, v. 1, and St. John xvii, v. 6.
85. Obv. >Fin
7VT(R a aeuesTiu a tcbsstriu > inReno Bust
1., in habit, hood raised, holding book; inner
cable circle (same model as no. 84, but without
that inscription, for which is substituted a broad
rim with the new inscription).
Rev. The trigram jjjjs (with crossed b and
INRI) in a halo of flame, as on no. 84, surrounded
by the same inscription as on the obverse.
Arm. I, 28, 2 (96 mm.); Ill, 5, a. Friedl., p. 57. Heiss,
Niccold, p. 29, no. 6, Pl. iii, 1. Gruyer, i, p. 604 (misread).
[c. obv., e. rev. Pl. 20.]
(«) Bologna, 96 mm., lead, obv. only, (b) Brescia (Broz-
zoni), 96 mm, obv. only. Mazz. I, ix, 2. Rizz., no. 53.
(c) Paris, 94-5 mm., obv. only, after-cast, (d) Paris,
Louvre, 102 mm. Catal. des Bronzes, 1904, no. 468 (rev.
only), (e) Vienna, 98 mm., rev. attached to obv. of Nic-
cold Marcello signed G. T. F. Much chased.
This medal is made from no. 84, not vice versa as Heiss
supposes, and is probably the work of another hand. Ar-
mand says that the obverse is found combined with the
reverse described, but that reverse is only known to me

either independent (as in the Louvre example) or as attached
to a medal of Niccold Marcello signed G. T. F. (no. 434).
For the legend, see Ep. to Philippians ii, v. 10.
MARESCOTTI (Galeazzo), Bolognese
noble.
86. Obv. D: GALEAZ: MARESCOTP: VRZPTRICPIN
SIGN1S:EQVESTRIS:ORD1NIS: Bust 1., wearing
mortier and rich dress.
Rev. LO1ALMENT: SENS: DOTIER: above in arc;
below, ANTONIVS MARESCOTPF Column
broken by a storm coming from a cloud; be-
side it MAlfPIV: around, a plait of hair.
Arm. I, 29, 5 (98 mm.). Gruyer, i, p. 605. Hab., Pl. xviii, 1.
[6. Pl. 20.]
(a) Berlin, 94 mm. Friedl., p. 55, no. 3 (diam. wrongly
given as 98). This reads SEIIS : DOF1ER, and is evi-
dently a later, presumably blundered, version. (Z>) An-
other, 97 mm. Simon, no. 112. SENS DOTIER is
plain. Fine specimen, (c) Bologna, Mus. Civ., lead,
f 95 mm. Reads DOFIER. (d) Another, bronze,
j 96 mm., DOFIER. Litta, Marescotti, no. 1. (e) Milan
(Med. Mun.), f 92 mm.(DOFIER). After-cast. (/) Paris,
96 mm. Tres. de Num. I, xv, 2. Heiss, p. 24, no. 3,
Pl. ii, 3. Rev. Num., 1912, Pl. x, 2.
L. Frati (Atti e Mem. d. R. Dep. di Stor. Patr. per le
Prov. di Romagna, 1903, pp. 140 f.) shows that the reverse
refers to the death of Marescotti’s lady-love, Camilla Mal-
vezzi, in 1448. In a poem Galeazzo describes Camilla as
' la valorosa donna che di mia vita fu ferma colonna ’. The
French motto (DOTIER for douter) is that of the Mares-
cotti Calvi.

ATTRIBUTED TO MARESCOTTI

PISANO (Antonio), called Pisanello, the
medallist.
87. Obv. • PISANVS •• PICTOR • Bust 1., wearing
brocaded dress and high, soft, crumpled ber-
retta.
Rev. • F • S • K • I • | (spray) • P • F • T • (spray) in con-
ventional laurel-wreath with spray rising from
bottom.
Arm. I, 9, 25 (57 mm.). Tres. de Num. I, i, 1. Hab.,
Pl. xi, 4. [f. Pl. 20.]
(a) Berlin, 57 mm. Friedl., p. 41, no. 27, Pl. i. (6) An-
other, 56 mm. Simon, no. 88. (c) Brescia (Brozzoni),
60 mm. Rizz., no. 22. (d) Ferrara, bust cut out.
(g) Florence, 56 mm. Sup., no. 19, Pl. ix. Fair.
(/) London, f 58 mm. Keary, no. 15. Hill, Pis., Pl. 57 ;
P.M.I.A., p. 31, no. 5, Pl. xviii; S.I.M., Pl. 13, 2.
(gj Milan (Med. Mun.), f 61 mm. (h) Vienna, 60 mm.,
'after-cast’. Heiss, Pis., p. 9. (/) Also silver after-
cast, 59 mm. (y) Formerly T. W. Greene, 61 mm.
Hess Catal., Oct. 1904, no. 1, Pl. i.
The initials mean Fides, Spes, Karitas, lustitia, Pruden-
tia, Fortitude, Temperantia. The piece was certainly in
existence before 1443, when it was copied by Giov. Badile
in fresco in S. Maria della Scala, Verona (L. Simeoni in
Nuovo Arch. Ven., xiii (1907), p. 158). Often attributed to
Pisanello himself, it is probably by a Ferrarese pupil,

c. 1440-3; and the handling of the relief is not unlike the
manner of Marescotti.
It is sometimes found attached to the Florentine portrait
of Dante (see no. 1092), which is enlarged by a formal
wreath to fit it (e.g. Modena, f 56-5 mm.; Henry Oppen-
heimer Coll., lead, 58 mm.; Morbio Catal., 3518, Pl. iv,
57 mm.).
VARANO (Giulio Cesare), lord of Came-
rino.
88. Obv. DIVVS IVL1VS CAESAR VARANES IS DVX
BELLO ET PACE PCIPVVS+ Bust 1. (aged about
30?) with long hair, wearing mortier and close-
fitting plain dress.
Rev. None.
Arm. II, 67,31 (84mm.). J. de Foville, Rev. Num. (1912),
pp. 268-75. [a. Pl. 20.]
(a) London, V. A.M., lead, 85 mm. Arm., loc. cit. Rev.
Num. (1912), Pl. x, 1.
89. Obv. No inscr. Similar bust, with certain
details altered, hair shorter, dress decorated.
Incised 1. and r. A F Plain frame.
Rev. None.

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