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BIOGRAPHICAL DICTIONARY
OF
MEDALLISTS
VOLUME IV,
PROTAT BROTHERS, PRINTERS, MACON (FRANCE)
PISANELLO.
(Antonio Pisano).
1397-1455.
BENEDETTO PISTRUCCI.
1784-1855.
BIOGRAPHICAL DICTIONARY
OF
MEDALLISTS
COIN-, GEM-, AND SEAL-ENGRAVERS
MINT-MASTERS, &c.
ANCIENT AND MODERN
WITH REFERENCES TO THEIR WORKS
B.C. 500 — A.D. 1900
COMPILED
BY
L. FORRER
FELLOW OF THK ROVAL NUMISMATIC SOCIETY, &C.
VOLUME IV
EDITION LIMITED TO 3OO COPIES.
LONDON
SPINK & SON L™
17 & 18 PICCADILLY W.
1909
BIOGRAPHICAL NOTICES
cs
5'535'
f7%
OF
MEDALLISTS
Coin-, Gem-, and Seal-Engravers, Ancient and Modern,
with References to their Works.
B.C. 500 — A.D. 1900
VOLUME IV
M
{Continuatimi).
M. B. Vide MATTHIAS BESINGER. Mint-master at Augsburg, 1472-
1494.
M. B. Vide MARCO BOLLANI. Podesta at Padua, 1498.
M. B. Vide MARCO BARBO. Mint-master at Cattaro, 1 527-1528.
M. B. Vide MATTEO BEMBO. Mint-master at Cattaro, 15 38-1 540.
M. B. Vide MUNZMEISTER BUSSENHOVEN, in the service of the
Abbey of Thorcn, 1 569-1 575. Vide also M. PB.
M. B. or BIB. Vide MORITZ BERGMANN. Mint-master at Hanover,
1628-1666.
M. B. or »B. Vide MARTIN BRUNNER. MedalHst at Nuremberg,
born in 1659, died in 1725.
M. B. or IfB or MB. F. Vide A. MEYBUSCH. Mint-engraver and
Medallist at Stockholm and Copenhagen, 1676-1701.
L. FoiKEK. — Bicgraphicai Nolitts of MtislUslt. — IV. I
Qifnnno
MEBES, DANIEL {Germ.). Mint-master at Gerbstiidt (Mansfeld)
162 1- 1623. His initials M. D. occur on coins of that mint and those
dates,
MEDALLISTS, of Italian origin, — whose names are unrecorded,
but whose works, ranging from the fifteenth to the seventeenth
centuries, have been grouped, according to some special sign or
symbol, or also reverse type, recurring on several of them, — have
been designated, by French authorities, under certain appellations,
which have now been generally adopted. These are :
MEDALLIST, on the Reverse of whose medals appears a Spread
EAGLE (MEDAILLEUR or MAITRE A L'AIGLE). (Fide Vol. II,
p. 4.) These medals are now ascribed by Prof. Bode to Niccolo
Spinelli of Florence (q. v.).
MEDALLIST, on the Reverse of whose medals appears a figure of
FORTUNE (MfiDAILLEUR or MAITRE A LA FORTUNE).
Vide Vol. II, p. 126 and infra, LORENZO GIGLIAMOGCHI. The
author of these medals is Niccolo Spinelli (q. v.).
MEDALLIST, on the Reverse of whose medals appears a figure of
HOPE (MfiDAILLEUR or MAITRE A L'ESPERANCE). (Fide
Vol. II, p. 552). Also attributed to Niccolo Spinelli, by Prof. Bode.
MEDALLIST, on the Reverse of whose medals appears a figure of
CAPTIVE EROS (MEDAILLEUR or MAITRE A L' AMOUR
CAPTIF). Fide GIAN CRISTOFORO ROMANO, circa 1465-15 12, infra.
MEDALLIST, who executed large medallions of ROMAN
EMPERORS (MEDAILLEUR or MAITRE AUX EMPEREURS
ROMAINS). This artist flourished towards the end of the fifteenth
century, and probably did a whole series of Portrait-medallions of
Roman Emperors. Armand however only knew the three follow-
ing : Nero (diam. 114 mill.); — Trajan (diam. in mill.); —
Antoninus Pius and Faustina Senior (diam. 109 mill.); — Obv.
Bust of Faustina to r. ; ^L. Antoninus and Faustina, seated, facing
each other and clasping hands.
Bibliography. — Armand, op. cit., I, xoo.
MEDALLIST with the signature 0. F. (MEDAILLEUR or MAITRE
A LA MARQUE O). The first letter of this signature, says Armand,
is not the Greek letter O, but an I forming a monogram with an
0, and the name of the Medallist may have been : JOHANNES
The medal on which this signature occurs belongs to the period
between 1509 and 1523 and has on obv. a Portrait of the Doge
of Venice, Andrea Gritti, under the bust of whom is : 0. F., while
the ^L. represents the Doge on horseback near the gates of a sea-
side town, the entrance of which seems to be shown to him by a nude
male figure (Diam. : 65 mill.).
Bibliography. — Armand, op. cit. — Heiss, op. cit., Venise, p. 152. — Tresor,
I, XXXV, 5.
MEDALLIST with the signature *^ (MEDAILLEUR or MAITRE
A LA MARQUE ►^). According to Armand, this Medallist was
working circa 1538, and is the author of the following medals :
Ottavio Farnese and Margaret of Austria, with their busts, and
artist's signature on either side (diam. : 38 mill.); — Uniface medal,
with portrait of a young Lady (diam. : 39 mill.) ; — Pietro Bembo ;
uniface; obv. PETRL BEMBL CAR. (diam. : 44 mill.); — Vincenzo
Caraffa, obv. Bust to 1. ; ^. FATA • VIAM • INVENIENT. Alexander
the Great cutting the Gordian knot (diam. 148 mill.); — Maria de
Roias; uniface; D.MAR.DE.ROIAS. (diam. : 36 mill.).
Bibliography. — Armand, op. cit. I, 152 ; III, 60.
MEDALLIST with the signature HV (M£DAILLEUR or MAITRE
A LA MARQUE HV). This monogram may possibly represent the
signature of the Cremonese Goldsmith ORAZIO NAZARO, who was
working at Rome towards the end of the sixteenth century. It
occurs on a Portrait-medal of Benedetto Lomellini, a Genoese,
created cardinal in 1565,! 1579; obv. BENEDICTVS • CARDINA-
LIS-LOMELLINVSAND-,i569.ET-SVE-52. Bust to 1.;
V,L. M ANSVETVDO • BV. Draped female figure holding and caress-
ing a dove, and trampling on a serpent (diam. 45 mill.).
Bibliography. — Armand, 0/). cil., I, 253 ; III, 121.
MEDALLIST with the signature W (MEDAILLEUR or MAITRE A
LA MARQUE W). The two medals ascribed to this artist by
Armand have been restored to ADRIANO FIORENTINO {Vide
Vol. I, N. E., p. 26). They both portray Ferdinand II. of Aragon,
king of Naples. The border of the king's hat shows a W which is
repeated in the field of the 1^. ; Fabriczy interprets the W into a
*' Motto " of the Prince (Fabriczy, op. cit., p. 68).
Bibliography. — Armand, op. cit., I, loi.
MEDALLIST, whose medals are marked with the SIGN OF
MARS (MfiDAILLEUR or MAITRE AU SIGNE DE MARS).
Milanesi has identified this artist with DOMENICO DI POLO {q.v. infra)
and Fabriczy, as well as other authorities, have adopted his
attribution.
Bibliography. — Armand, op. cit., I, 151 ; III, 9. — C. Von Fabriczy, op. cit.
MEDALLIST, whose medals are marked with a pair of PINCERS
(MEDAILLEUR or MAITRE A LA TENAILLE). A uniface
— 6 —
Portrait-medallion of Lorenzo de' Medici (diam. 90 mill.) bears
under the bust a pair of pincers, which may represent the name of
the artist, perhaps a member of the Tanagli (tanaglia = pair of
Lorenzo de' Medici.
pincers) family of Goldsmiths at Florence, which is still in
existence. Vide TANAGLI infra.
Bibliography. — Armand, op. cit. I, 51 ; 111,9. — Fabriczy, of. cit. p. 59.
MEDALLIST, who worked for Charles VIII. of France and his
Court (MEDAILLEUR ITALIEN DE LA COUR DE CHARLES
Vin). (F/c?^Vol.n, p. 96.)Rondot (Les Me'dailleurs et les Gravetirs de
monnaies en France^ 1904, p. 81) states that in 1494, at the time
when Charles VUI. was preparing for his expedition to the other
side ot the Alps, several medals were modelled and cast in bronze,
with the King's eftigy and those of some of his councillors, amongst
others, Jean du Mas, seigneur de Lisle, and Beraud Stuart, seigneur
d'Aubigny. These medals are ot Italian workmanship and bear
much analogy with those executed at about the same time by
Niccolo Spinelli. It is therefore probable, that if they are not by the
hand of this Medallist, they were nevertheless modelled by an
Italian who came to Lyons to take advantage of the king's presence,
and whose influence made itself felt on the works of contemporary
Goldsmiths and ** Taillcurs d'images" of that city.
Rondot further states that there were three NICOLAS DE FLORENCE
who worked during the second half of the fifteenth century : NICCOLO
SPINELLI, Engraver and Seal-cutter to the Duke of Burgundv, circ.
1469; NICCOLO SPINELLI or NICCOLO DI FORZORE (also NICCOLO DI
FORZORE SPINELLi), author of the Portrait-medallion of Alfonso
d'Este (..1485-t 1 5 14); and NICOLAS DE FLORENCE, of Lyons
(...i493--|- 1499). But Herr von Fabriczy has, to my mind, success-
fully proved that the NICOLAS DE SPINEL, who executed the great
seal of Charles the Bold, and Portrait-medallion of Anthony of
Burgundy (in Berlin Museum) is the same as NICCOLO SPINELLI,
and there is nothing impossible in the suggestion that the artist
may have made a short stay at Lyons in 1494, on the occasion of
Charles VIIL's residence there, to which period of his activity
Anthony of Burgundy.
would belong the following works enumerated in Armand :
Charles VIIL(diam. 95 mill. );^.VICTORIAM.PAX.SEQVETVR.
Victory in biga preceded by Peace holding olive-sprig; — Another
(diam. : 40 mill.), uniface; — Jean Du Mas, seigneur de Lisle
(diam. : 88 mill.) obv. Bust to 1.; ^L. Dumas, in cuirass, on horse-
back, caparisoned; — Jean Matharon de Salignac, French ambas-
sador at Rome (diam. : 88 mill.); 1^. Matharon standing, facing; —
Beraud Stuart, seigneur d'Aubigny, Scot in the service of
Charles VIIL, uniface (diam. : 89 mill.) ; — Anthony of Burgundy,
surnamed the grand Batard, obv. and I^. legend: NVLLNH.SL
FROTA (diam. : 87 mill. ; in the Berlin Museum, and attributed
by von Fabriczy to Niccolo Fiorentino) ; — Gilbert de Bourbon,
comte de Montpensier, dauphin d'Auvergne(diam. : 73 mill.), uni-
face ; — Antoine de Gimel (diam. : 88 mill.) ; ^L. PRESFF . DECVS
and type as that on I^. of Du Mas's medal.
Vide Prof. Bode's monograph of Niccolo Spinelli, and my notice
of this medallist, infra.
Bibliography. — Armand, op. cit. — Von Fabriczy, op. cit. — Friedlander,
op. cit.
— 8 —
MEDALLIST, Venetian, of 1523 (MEDAILLEUR or MAITRE
VENITIEN DE 1523). Under that appellation, Arinand has described
several medals : Jacopo Loredano; ^L. Mucius Scaevola holding his
hand in a burning brazier (diam. : 63 mill.); — Vincenzo Malipieri;
obv. VINCENTIVS. MARIPETRO. AND . F. AN. AET. XL VII ;
^L. REGALIS.CONSTANTIA. —MDXXIII crowned spread-eagle
(diam. : 63 mill ); — Francesco MaHpieri; ^L. FIRM^E.ET.PER-
PETViE.CARITATI.MDXXIII. Pelican (diam. : 63 mill.); —
Sebastiano Renieri; 1^. MEMORIAE. ORIGINIS. — VENET.
Nude female figure holding standard of St. Mark; — Roberto Maggi;
B^. LABORE.lNGENIOrET.PROBIT. — MDXXII. Nude female
figure holding spear and shield (diam. : 80 mill.); — Leonardo
Zantani; ^L. PERPETVITATI.D. Phoenix, etc.
Bibliography.
Kearj', op. cit.
Armand, op. cit. — Friedlander, op. cit. — Heiss. op. cit.
MEDINA, V. (^Mexic). Medallist and Mint-engraver at Guadalaxara
(Mexico), nVr. 1822. By him are several medals: Proclamation of
Emperor Augustine I., at Guadalaxara, 1822 {illustrated); — Another,
Guadalaxara Proclamation medal of Augustine I.
issued by the Cathedral authorities of Guadalaxara; — Another,
issued by the National Consulate, or Civic authorities of Guada-
laxara; — The Academy of Guadalaxara to the chief ruler ot
Anahuac (Mexico), etc.
BiBUOGRAPHY. — Benjamin Betts, Mexican Imperial Coinage, 1899.
MEEHOFER, FRANZ {Austr.). Mint-master at Salzburg, 1761-
1770.
MEER, JEAN VAN DER (Dutch). Mint-engraver at Vroenhoven,
1500-1502, replaced by Ulric Peeters, on 6. August 1502. His wages
— 9 —
amounted to 12 Flemish livres per annum (^Jhnne Van der Meer,
ysersnydere der mmiten van der Vroenlxn'e tot Tricht, etc. ; Royal
Archives).
Bibliography. — A. Pinchart, Biographies des graveurs beiges, Revue de la num.
beige, 1853, p. 284.
MEGHEROEDE, BRICE VAN (Dutch). Brussy Tielmansimi Van
Megheroede, Mint-engraver at The Hague or Dordrecht, at the
beginning of the fifteenth century, appointed on 15. May 1401.
Philip the Good named Nicholas Van Bylande, who died in 1438,
to succeed him, but the extent of Van Megheroede's activity as
Engraver of the coins of Holland is unrecorded.
Bibliography. — A. Pinchart, loc. cit., 1858, p. 42.
MfiGRET, LOUIS NICOLAS ADOLPHE (French). Sculptor of the nine-
teenth century, born at Paris, i. November 1829 ; pupil of Jouffroy
and Duret. By him are numerous Portrait-medallions in bronze,
some of which were exhibited at the Paris Salon : 1868. M"'= E. T.
G***; — 1869. Alphonse Karr; — Nice, bronze medal; — 1873.
Young Girl ; — Portrait of a Lady, etc.
Bibliography. — Chavignerie et Auvray, op. cit.
MEHL, FRANZ (Germ.). Burgomaster at Glogau, etc., imprisoned
in 1633 on suspicion of counterfeiting coins of Saxony and Bran-
denburg, but released on his proving that the dies found at his
house had been left him by a former Engraver,
Bibliography. — Friedensburg, op. cit.
MEIBDS Vide MEYBUSCH, ANTON. Father and Son ; Medallists in
Sweden and Denmark, circ. 1660-1720.
MEIDINGER, HEINRICH (Germ.). Director of the Mint at Fulda,
1765-1770.
MEIDINGER, JOHANN FERDINAND (Germ.). Mint-master at Treves;
then Director of the Mint at Wurzburg, 1762; and in 1766 at
Vienna.
MEIER, BARTHOLD (Dan.). Mint-engraver and Court-medallist at
Copenhagen, 1680-1688; Warden of the Mint at Domitz, 1689;
and Mint-master at Schwerin, 1696- 1702.
Meier was Chief Medallist to Christian V. of whom he cut several
Portrait-medals; he is also the author of the following commemo-
rative medals : Fortitude and Prudence of William and Mary of
Great Britain, 1689 (probably issued to celebrate their Coronation);
— Danish auxiliiirics for England ; obv. A fleet at sea ; beneath :
B. M. ; ^. Inscription : A CHRISTIANO V. MISSVM WILHELMO
— 10 —
III. etc. MDCLXXXIX ] B. M.; — Johan Lassenius; — Birthday
of King Christian V., 1694; — Medal on the Peace of Celle in
Ratzeburg, 29. September 1693, ^^•
This Medallist's productions, says Bolzenthal, do not leave upon
one a favourable impression.
Bibliography. — Bolzenthal, op. cit. — Franks & Grueber, op. cit. — Grueber,
Guide &c. — Hildebrand,o/>. c\l.
MEIGER or MEYER, GLAUS (G^rw.). Mint-master at Rostock, 1562.
MEIJER, H. DE (Dutch). This Artist's signature occurs on a Por-
trait-medal of William V., commemorating his appointment to the
Stadholderate, 1766.
MEIJBUCH. F/J^ ANTON MEYBUSCH.
MEIL, JOHANN HEINRICH (Germ.). Medallist of the second half
of the eighteenth century, born at Berlin in 1729. He is the author
of a Portrait-medal of the poet Gellert, and of a Jeton of the Berlin
Academy of Fine Arts, which are not of great merit.
Bibliography. — Bolzenthal, op. cit., p. 276.
MEILLER, JEAN LOUIS (French). Mint-engraver at Lyons in the
early months of 1678, and was nominated on 18. May of the same
year Mint- engraver at Montpellier, in succession to Francois
Brondes. Later he was appointed an official at the Cour des Mon-
naies.
Bibliography. — Rondot, op. cit. — Ibid., Les Graveursde Lyon.
MEILLINGER, JAKOB (Germ.). Moneyer at Ratisbon, 1391.
MEINDL, CHRISTIAN (Austr.). Mint- warden at Salzburg, 1647-
1692.
MEINECKE, JOACHIM (Germ.). Mint-warden at Riga, 1652-1663 ;
Mint-master there, 1663- 1668. The currency issued under him
usually bears his initials.
MEINERT, or MAYNERT, JOSEPH (Austr.). Mint-engraver at War-
saw, 1836-1856, and a famous Counterfeiter of Polish coins. So far,
104 dies, intended for the production of imitations, are known as by
him. Count Czapsky of Stankow collected these dies and published
a catalogue of them. "DieSammler moderner Miinzen glaubten sich
in Folge des erwahnten Senkverfahrens vollig gegen Betrug
gesichert, auch das aber ist nur noch ein schoner Traum
(Kirmis, Daheim, Feb. 1902, p. 24). There is a Portrait-medal of
him by his son.
— II —
MEINGOS or MOINGUS, THOMAS (Austr.). Mint-master at Vienna,
circ. 1442 (?)-i302.
Bibliography. — Von Ebengreuth, Wien's Munjwesen, 1902.
MEINHARDT, BARTHOLD (Germ.). Mint-master at Blankenburg
(County of Regenstein), circ. 1 564-66. He styled himself " Silber-
kremer aus Goslar", and was commissioned to strike currency of
the weight and standard of that ofMansfeld. We find him later as
Mint-master at Eisleben, Friedeborn, etc., circ. 1 582-1 595, during
which period he signed coins of Count Peter Ernest (reigning in
conjunction with Johann Albert, Johann Hoyer, Bruno 11. and
Hoyer Christoph ; and afterwards, with Bruno II., Gebhard VIII.
and Johann Georg).
MEINHARDT, HANS GEORG (Germ.). Possibly the same as (HANS)
GEORG MAINHART. Mint-master at Eisleben, Halle and Stolberg,
circ. 1 595-16 1 5 ; later (probably the same person) at Winsen, 1619-
1621; appointed i. January 1622 at Moisburg, from where he
went to Poland. We next find him as Mint-master at Lobsenz,
where in 1637 he was still in office. Bahrfeldt (Beitrdge :(ur Miin^-
geschichte der Li'inebnrgischen Lande, Wien, 1893) surmises that this
same HANS GEORG MEINHARDT was also connected with the epis-
M _
copal Mint ofRatzeburg at Schonberg. The signature G, MG I have
noticed on currency of Mansfeld (Peter Ernest, in conjunction with
Bruno II., Wilhelm and Johann Georg, 1601-1604; and David
1628).
Nagler states that this Mint-master was also in the service of the
Archbishop of Magdeburg, and Christian I. of Anhalt, but the
medal he ascribes to him (Monog. III., 177) is by Christian Maler.
MEINHARDT or MAINERT, JOSEPH (Germ.). Mint-engraver at
Warsaw, 1640-165 5.
MEINHOLT, GEORG (G^rw.). Mint-master at Saalfeld, 1 595-1623
(Schlickeyseii).
MEINTZ, BALTHASAR (Germ.). Engraver of Fulda, who is said to
have engraved imitations of coins for Count Christoph von Barby
at Wildungen Castle in 1570. Among these were Spanish Philipps-
gulden and other currency.
Bibliography. — D^Otto Grotefend, Ueber Mun^fdlschung in Wildungen, 1570.
MEISSNER, CARL (Germ.). Mint-engraver and Medallist at St.
Petersburg, circ. 1 801 -1809. He was born in 1774; entered in 1789
the "Medailleur" School ; and disappeared in 1814, probably
losing his life on the Neva. By him are several medals. His signa-
ture : C. MEISNER. F : occurs on the ^L. of a medal commemorating
— 12 —
the Centenary of the Battle of Pohawa, 1809, the obv. of which is
by the artist C. Leberecht. A Presentation medal of the Emperor
Paul to Herman Nowgorodoff^ 17985 is signed : C. M. F.
Bibliography. — Iversen, op. cit. — Ammon, op. cit. — Iversen, Beitrag ^ur
russiscbeti Medaillenkunde, St. Petersburg, 1870.
MEISSNER, GEORG (Germ.). According to Ammon, Mint-master
in the service of the Counts of Mansfeld, 1 595-1601. This is
evidently an incorrect interpretation of GEORG MEINHARDT's signa-
ture.
MEISSONNIER, JEAN LOUIS ERNEST (French). A famous Painter
of the nineteenth century, born at Lyons in 181 1, died at Paris
in 1 89 1. He began as a book illustrator of "Paul et Virginie"
amongst other works, practising the while and perfecting his art
as a figure painter, in which he achieved signal success, from his
" Chess-player" series to his designs for the decoration of the
Pantheon, "The Apotheosis of France". He was also a successful
modeller in wax and clay, and by him are some Portrait-medallions
and Plaquettes, one of these in repousse gold for the binding of the
Address presented to President Carnot to commemorate the Uni-
versal Exhibition of 1889.
MEISSONNIER, JUSTE AURtlLE (French). Architect, Painter, Sculp-
tor, and Goldsmith, born at Turin in 1675, died at Paris in 1750.
He was one of the artists, says Rondot, who gave a new impulse
to the decorative art, created under Louis XIV. by Lepautre, Marot,
and others. As chief of a school he is one of the originators of the
style (so-called) of Louis XV.
This artist engraved a few medals ; one of them, described b}'
Rondot, and executed in 1715, commemorates the Naval Engage-
ment off Malaga, 1704 ; the legend is : ORJE HISPANIC^ SECV-
RITAS ; it is signed M on the ^L. but the puncheon bears the signa-
ture : J. A. MEISONIE. F. Mint documents record a payment of
420 livres made to him in 17 16 for some dies of medals. By him
are perhaps two medals signed, M. M. representing the "Premier
lit de justice" held in 1661, and the Establishment of the General
Hospital.
Meissonnier is famous as a Goldsmith, and he was " Dessinateur
ordinaire du Cabinet du roi. "
Bibliography. — Rondot, op. cit., p. 355. — J. J. Guiffrey, La MonnaU des
medailles. Revue numismatique, 1889, p. 509.
MEIT, CONRAD (Germ.). Sculptor to the Archduchess Margarethe,
a friend of Albrecht Durer, who worked some time at Wittenberg,
in the early part of the sixteenth century. He appears to have been
also a Medallist, as shown by the Portrait-medal of the young
— 13 -
Nuremberg patrician Peter Harsdorffer, signed : CONTRFET VON
CONRAT MIT. A model of this medal in alabaster was published by
Imhotf, but the inscription could no longer be read. By the same
artist is a statuette of Judith in alabaster in the Bavarian National
Museum.
Similar work to that of the Harsdorffer medal is exhibited on a
Portrait-medal in painted terra-cotta of the Archduchess Margarethe,
1528, and this model has a great analogy to the bust of the
Archduchess, which Bode ascribes on other grounds to Conrad
Meit. It is probable that some of the medals given to Hans Schwarz
will have to be restored to Meit, who may also be the author of
the Profile Portraits hitherto given to Diirer. On a document he is
named "Meister Conrad Schnitzer".
Bibliography. — D^ B. Pick, Deutsche Medaillen, 1906.
MELCHIOR (Hung.). Treasurer of State and Superintendent of the
Mints in Hungary, nV^. 1470-1490.
MELCHIOR, CHRISTOPH {Genu.). Mint-master at Koenigsberg in
Prussia, 1646-16 5 6.
MELCHIOR, JOHANN PETER (Germ.). Sculptor and Modeller in
wax, terra-cotta, etc., born in 1742, died in 1825. Between 1770
and 1779 he was Court Sculptor at Hochst-am-Main ; later he
worked at Frankenthal, Mannheim, and Nuremberg, and in 1796
he was appointed Inspector of the Porcelain Manufactory of
Nymphenburg. There he executed numerous Portrait-medallions
of the Bavarian Royal family; — Samuel Thomas von Soemmering,
a distinguished physician, and others. From an earlier date are the
artist's Portrait-medallions of Goethe, 1775; — Goethe's father;
— Frau Rat, etc.
Bibliography. — D. F. Heynemann, Die Medaillen-Saiumlung der Senckenberg-
ischen Naturjorschenden GeseUschaft, Frankfurt am Main, 1900.
MELEUN, BARTHfiLEMY DE (French). Mint-master at Bayonne,
1527-1535.
Bibliography. — E. Faivre, op. cit., p. 47.
MELDE, CORNELIUS (Germ.). Mint-master at Dresden, 1635. His
Thalers of John George I. of that date are signed C-M, and exist
only in four varieties. They are rare, as Melde was in office but a
few months.
Bibliography. — Schlickeysen-Pallmann, up.cil. — Erbstein, Erorterungen 8cc.
MELIODON (French). Contemporary Sculptor, born at Paris; pupil
of Falguiere, A. Millet, Gauthier, Carlus and Barrau. He has exhib-
ited since 1894 ^^ the Salon de la Societe des Artistes francais.
— 14 -
and obtained no less than tourteen medals. By him are Portrait-
medallions in bronze, articles of plate, objects of decorative art, etc.
He is an " Officier d'Academie.
MELIOLDS or MELIOLI, BARTOLOMEO (ItaL). Goldsmith and
Medallist of Mantua, born in 1448, died in 15 14. About 1492, he
was entrusted with the direction ot the Mantuan mint, and remained
apparently in office until 15 14, the year of his death. We learn
from a document in the Gonzaga archives that in 1493 the artist
cut the dies for a gold Ducat with the portrait of the Marquis Gian-
francesco II. The other coins of that reign, which rank amongst the
best monetary productions of the Italian Renaissance, are no doubt
due to Melioli, and have been described under his name by Armand
(III, p. 18). Amongst these are the following: Frfl«r«<:t» //.( 1484-
1519). N. Zecchino; obv. FRANCISCVS.MAR.MANTVE.
QVART. Bust to 1. ; ^. D . PROBASTI . M . T . COGNO VISTI . ME.
Crucible (sev. var.); — N.r, Zecchino; — | Zecchino; obv.
CHRISTI.IHESV. SANG VIN. Monstrance; ^. PARVN.DESIR.
Sun (Gnecchi Sale Cat., 1901, n° 2078); — JK. Medallic Half
Scudo; obv. FRANCISCVS.MAR.MANTVE.IIII. Bust to 1. ;
1^. NON . IGNARA . MALI . MISERIS . SVCVRRERE . DISCO.
The Marquis standing to r. with three other persons; — Medallic
Half Scudo; obv. as last; ^. DIVINVM.DARE.HVMANVM.
ACCIP. The Duke between three figures; ex: LIBERALI : TAS.
{illustrated); — Testone; obv. PR . M . MANTVAE. Bust to 1.
Medallic Half Scudo of Francesco II. of Mantua.
^L. S.R.E. — CONE. Shield of arms {illustrated); —Testone;
obv. FRANCISCVS . MAR . MANTVE . IIII. Bust to 1. ; I^. D . PRO-
BASTI. ME. ET.COGNOVISTI. ME. Crucible (sev. var.): —
Testone; obv. FR. MAR.M ANT. IIII. VENE.CAPI.GE. Marquis
on horseback tor.;I^. XPI >it IHESV>!i SANG VINIS Monstrance;
— Testone; obv. FRANCISCVS . MAR . MANT . IIII. Bust to 1.
with long hair brushed over the forehead; ^. -|- XPI-j-IHESV-|-
— 15 —
/-s
SANG VINIS. Monstrance ; — Testone ; obv . FR ANCISCVS . MAR .
MAN. nil. Bust to 1. with long hair in flat beret ta ; ^L. + XPI.
IHESV.SANGVINIS. Monstrance, and other varieties; — Half
Testone; obv. FRANCISCVS.MAR MANT.IIII. Bustto 1. ; ^. As
Testone of Francesco II. of Mantua.
last; —Half Testone; with obv. legend: FRANCISCVS.MAR-
CHIO MANTV.IIII. ; — Grosso (sev. varieties); and smaller
values, in silver, billon, and copper. {Vide Bellini, op. cit. ; —
Armand, op. cit.. Ill, i8.)
Only five medals are known by Bartolomeo Melioli; with the
exception of a commemorative piece of King Christian of Denmark's
visit to Mantua on his journey to Rome in 1474, they all represent
Obv. of Medal of Gianfrancesco II. Gonzaga.
members of the Gonzaga family: Marquis Luigi, and his son of
the same name, who was Bishop of Mantua (both of 1475); — Gian-
francesco II. (medal executed before his accession in 1484); — and
Maddalena Gonzaga, consort of Giovanni Sforza : — Christian I.
of Denmark (diam. 62 mill.) ; obv. Bust to 1. ; ^. TALIS . ROM AM .
— i6 —
PETIIT.SISTI.QVARTI. PONT. MAX. ANNO III. - MELIO-
LVS . SACRAVIT. King on horseback; — Ludovico III., second
Marquis of Mantua (diani. 80 mill.); obv. Bust to r. ; ]^. FIDO.
ET SAPIENTI . PRINCIPI . FIDES . ET . PALLAS . ASSISTVNT. —
MELIOLVS. SACRAVIT. - ANNO . MCCCCLXXV. Fides and
Pallas standing in front of Ludovico seated to r.; — Ludovico
Gonraga, fourth son of Ludovico III., bishop of Mantua, 1483-
15 1 1 (diam. 50 mill.); obv. Bust to 1.; i^. ANNO.CHRISTI.
MCCCCLXXV. — M. S.; — Gianfrancesco II., fourth Marquis
Cdiam. 72 mil.); obv. Bust to r. ; ^L. ADOLESCENTIAE .
AVGVSTAE. — MELIOLVS DICAVIT. — CAVTIVS Draped
female figure standing to r., r. hand resting on spear, and support-
ing a basket in 1. ; at her feet, water and fire (obv. illiisirated) ; —
Maddalena Gon:(aga, consort of Giovanni Sforza (diam. 55 mill.);
obv. Bust tol. ; ^. NIL. RECTA. FIDE. SANCTIVS. — MELIO-
LVS. DICAVIT. Open book, above which are two laurel-branches;
in the centre, a bird.
¥-¥^•^
Hunter and Bacchante.
" The portraits on these pieces, " says Von Fabriczy, "in external
respects already differ from those of Pisano and his followers, in
that they are no longer cut off in a more or less straight line at
the bottom, but that in imitation of antique portrait busts they
show a deep bust, clad in armour with a slanting truncation. This
ought not to surprise us when we remember the reverence, border-
ing on worship, with which in the home of Virgil men honoured
the antique, and how eagerly its remains were collected. We may
also give credit to the goldsmith's art of Melioli for the excessively
detailed ornamental work covering the armour, although it too
much exalts the subordinate at the expense of the essential. But
unfortunately his capacity for such externalities is not counter-
balanced by vigorous characterisation of the personality or signifi-
cant working out of allegories. "
B}- Melioli are also some Plaques; aniongst these a circular one,
representing a Hunter and Bacchante {^illiislratcd) ; — Female bust;
— Horsemen and foot soldiers; — Orpheus charming the beasts ;
— Samson rending the lion's jaw ; — The head of St John the
Baptist brought to Herod ; — Youthful Warrior and Bacchante; —
Sacrificial scene; — Mucins Scaevola ; — Three armed Men; —
Two figures fighting; — The judgment ot Solomon; — Mars and
Vulcan, &c.
Bibliography. — Armand, op. cit., I, 79; III, 18. — C. von Fabriczy, op. cit.
— Bolzenthal,o/». cit. — I. B. Supino, op. cil. — Friedlander, op cit. — Blanchet,
op. cit. — Ris-Paquot, op. cit. — Keary, British Museum Guide of Italian Medals.
— Gazette des Ri-aux- Arts, 1894, II, 15,118. — Bode, Die italienischen BroUytn,
Berlin, 1904.
MELLANVILLE, GERMAIN DE {French). Contemporary Sculptor,
born at Paris; pupil of Falguiere. At the Salon of 1897 he exhib-
ited seven Portrait-medallions of M. and M""^ D*** and their chil-
dren.
MELLER (Atistr.). Moneyer at Vienna, 1347.
MELLER (Germ.). Modeller in wax of the eighteenth century;
most probably PHILIPP HEINRICH MULLER, 1650-1718.
Bibliography. — The Cotimisseur, VIII, 134.
MELLGREN, CARL MAGNUS (Swed.). Medallist of the second
quarter of the nineteenth century, who resided at Stockholm.
I have noticed his signature (C. M. M.) on the following medals:
Bernhard Henrik Crusell, Swedish clarinetist (undated"); — Erik
Gustaf Geijer, professor ot history at Upsala (unaated); —
Gustavus II. Adolphus; ^L. PEPIGIT NOBIS etc., 1832 ; — Gus-
tavus III., Swedish Academy, 1836; — Carl Michael Bellman,
1833; — J. J. Berzelius, 1834, etc.
Bibliography. — Schlickeysen-Pallmann, op. cit. — Hildebrand, op. cit. —
Thomsen Catalogue.
MELLINGER, JOSEPH (Germ.). Mint-master at Zweibriicken, 1758-
1769, or 1757-1767 (KuU). He concurrently filled the post of
Mint-engraver. I have met with his initials J. M. on a Thaler of
Christian IV., Count Palatine, dated 1759.
Bibliography. — Kuli, op. cit. — Ammon, op. cit. — Schlickeysen-Pallmann,
op. cit.
MELON or MILON (also MELONE and MILLON), GIOVANNI V.(Jtal.).
Medallist of the second half of the sixteenth century; possibly
a native of Cremona, and as suggested by Milanesi, a nephew
of the painter Altobello Melone or Milone. His productions, which
date from arc. 1571 to 1589, are variously signed : lO.V.MILON.F.;
L. FoRRER. — Biographical Notices of Medallists. — FV. 2
— i8 —
— lO.V.MELON.F. ; — lO.V.MILON ; —MELON F. : — MILLON.F. etc.
Amongst these are: Don Juan of Austria, 1571 ; ^L. CLASSE.TVR-
CICA . AD . NAVPACTAM . DELETA . DIE . 7. OCTOBR. 1571.
Rostral column surmounted b3^statue of Don Juan; in the background,
the Christian and Turkish fleets at Lepanto (commemorative
medal of the battle of Lepanto); — Another;^. VENI ET VICI.
— TVNIS. Neptune striking Turks with his trident; in the back-
ground, the town of Tunis (commemorative medal of the Expe-
dition of Don Juan to Tunis, in 1574); — Alessandro Farnese,
cardinal, 1534-t 1589; obv. Bust to r. ; ^. FECIT. ANNO, SAL.
MDLXXV.ROMAE. Facade of the Gesu Church at Rome; —
Inigo Lope^ de Mendo:{a, marquis of Mondejar, -J- 1 577 ; obv. Bust to
r. ; ^L. Engagement on a bridge; — Gregory XIII., Pope, 1572
t 1 5 85 ; obv. Bust to 1. ; ^L. IVSTITIA . PACEM . COPIAM . PAX .
ATTVLIT. Justice seated; tor. Abundance; to I. Peace; — Others,
Antoine Perrenot, cardinal Granvella.
with same obv. without the signature; Rs (a) S.P.Q. R. The
Capitol;— (b) S.P Q.R.— OPTIMO . PRINCIPL Campanile;
— (c) VTRVNQVE PRAESTAT. Dragon between caduceus and
cornucopiae; — (d) OPTIME.REGITVR. — S.P.Q.R. Papal
shield of arms; —(e) OPTIME REGITVR. — AN.D.MDLXXIX
Rudder on which papal arms; — Others, with bust of Pontiff to 1.,
somewhat different, and not showing hand raised in blessing;
legend, ending in ANN. VII. Rs (a) VIGILAT Dragon keeping
custody at a gate; — (b) S.P.Q. R.OPTIMO. PRINCIPL within
laurel-wreath; — (c) VIATORVM.SALVTI. — ANN.DNI.
■MDLXXIX. Bridge on a river; — Sixtus V., Pope; obv. SIXTVS.
V.P.F.MAX.AD.BENEDICTIONES.A.V. — MILLON.F. 1589
Bust of Pontiff to r. with r. hand raised in blessing (unitace); —
Antoine Perrenot , cardinal Granvella, 1561 \ 1586 ; obv. Bust tor.;
signed : lO.V.MELONF.; ^L. IN. HOC. VINCESDon Juan of Austria
— 19 —
receiving a standard from the cardinal for the war against the Turks
(in two sizes; 43 and 32 mill.); — Others; obv. Bust to 1. ; signed :
MELON F. R^ (a) As preceding medal; — (b) DVRATE The ship
of Aeneas storm-tossed on the sea (several varieties, one with bust
to r. and signature: lO.V.MELON.F. on obv., illustrated), etc.
To the above list by Armand may be added a few medals, unsign-
ed, which are very much in the manner of Melon : Emperor
Matthias, as Archduke of Austria; obv. Bust to r. ; ^. AMAT
VICTORIA CVRAM Perseus and Andromeda ; — Others, similar,
dated 1579 and 1581.
The work on some of these medals is very good. Van Loon
remarks that the commemorative piece of Don Juan's expedition to
Tunis in 1573 was issued by the inhabitants of the Netherlands in
honour of this hero; and Bolzenthal is of opinion that this fact does
not prevent Melon having been an Italian artist^ as perhaps he, like
many of his countrymen, endeavoured to make his fortune on this
side of the Alps. Pinchart believes Melon to have been an Italian
artist, who, during a sojourn in Spain, may have executed the
medal in question. More modern authorities express no doubt as to
Melon's Italian nationality, and Milanesi, as we have seen, makes
him a native of Cremona.
Bibliography. — Armand, op. cit., I, 264; III, 125. — Domanig, op. cit. —
Bolzenthal, op. cit. — Rondot &De La Tour, op. cit. — Mazerolle, o/>. cit. — Von
Fabriczy, op. cit. — D"" Eug. Merzbacher, Medaillen Katalog, Mai 1900. — Ham-
burger, Raritdten-Catalog, IV, no 373. — I. B. Supino, op. cit. — Ammon, op. cit.
— Catalogus &c. — Kohler, op. cit. — Van Loon, op. cit.
MELTZNER, ANDREAS {Danish). Mint-master at Copenhagen,
1593. Also METZNER.
MELWER, CONRAD {Brit.). Master of the Mint and coinage within
the duchy of Normandy, under Henry V. of England, appointed
on 17. March, 1417. " He had full power to make and coin, either
by himself or his deputies, new money called blanks {Gros Blancs),
half blanks {Petits or Detni-BIancs), and black pence (Deniers), of
the same metal and assay as they had been made in that duchy.
He was to hold the said office during pleasure, and to take for him-
self and servants such wages as should be agreed upon between the
king and him; and in the exercise of his office he was not to be
hindered by any of the king's servants ". Rot. Norm. 5.H. V. m. 9.
March 17).
These coins were probably imitated from those of the King of
France (F/i^Poey d'Avant, Monnaies fiodales de France, II, p. 135).
Apparently none have been identified.
Bibliography. — Ruding, o/>. cit.
— :20 —
MEMMIG (Germ.). This signature is said to occur on a medal
commemorating the sixth centenary of Swiss Independence, 129 1-
189 1, and to have been engraved at Brussels (Bulletin suisse de
niimismatique, 1892, p. 246).
MEMMIUS or MEMMIES, JOHANN (Germ.). Mint-master and
Engraver at Giistrow, 1673-1678; Rostock, 1679-1711; Stade,
1696; and Stettin, 1705-1710. His coin-issues, especially those of
Rostock, bear his initials : I. M. He also executed several medals,
amongst which Hildebrand describes the following: Charles XL
^L. Bust of Charles XII. ; — Charles XII., Peace of Alt-Ranstadt
1706 (2 var.); — Victories of Charles XII., 1706 (sev. var.). These
were all engraved by Memmius at Stettin.
Bibliography. --Hildebrand, op. cit. — Ad. Hess Nachf.,i?«wwa«« Catalogue.
MENA OF DIODOROS. King mentions that this inscription is found
on an ancient gem, in onyx, of the De Thoms collection, representing
a female head with diadem, and adds that " it probably is the
name of the lady herself ".
Bibliography. — King, Antique Gems, i860.
MANAGER, FRANQOIS LE (French). Mint-engraver at Rennes, circ.
1698-1719.
MfiNARD, COSME (French). Goldsmith of Nantes, appointed
Engraver at the Mint there on 6. July 1570 and remained in office
until 15. March, 1593, when he was received Mint-engraver at
Dinan by the Cour des Monnaies, on the condition that he should
resign his similar post at Nantes.
MfiNARD, FLORENT or FLEURENT (French). Son of the preceding,
and also a Goldsmith by trade. On the 14. July 1604, he succeeded
to his father as Mint-engraver at Nantes, an office which was made
hereditary by the king, 20. September of that same year. He died
in 1 64 1.
Bibliography. — N. Rondot & H. de La Tour, op. cit.
m£NARD, LOUIS HENRI AUGUSTIN (French). Contemporary
Sculptor, born at Bercy, and author of some Portrait-medallions cast
in bronze : 1883. Female head; — Child's head; — 1897.
M''= J. M***.
MENDES, ANTONIO (Portug.). Mint-master and Engraver at Goa
(India), 1529.
MENEGOZ, PIERRE GUSTAVE (French). Contemporary Sculptor,
born at Dijon (Cote-d'Or); pupil of Jouffroy. By him are various
Portrait-medallions, cast in bronze.
Bibliography. — Chavignerie et Auvray, op. cit.
— 21 —
MENESES (Chilian). Engraver of a Medal on the Inauguration of
the Viaduct of Malleco, 1890.
MENESTORFFER, MICHAEL (Austr.). Mint-master in Austria (at
Vienna) and Councillor of State, 1474-1476.
MENESTRELLE (Brit.). Mint-engraver at London, under Queen
Elizabeth, mentioned by Ruding, who states that a certain ELOY
MENSTRELL was hanged for false coining in 1568? but adds that
this person does not appear to have been engraver to the mint (from
Mr, West's Note Book).
Bibliography. — Ruding, of), cii. I, 44.
m£NESTRIER, EDMOND (French). Contemporary Sculptor, born at
Langres (Haute-Marne) ; pupil of Gerome. By him are numerous
Portrait-medallions cast in bronze, some of which were exhibited at
the Paris Salon : 1880. xM. B***; — 1881. M''-^ Edm^e; — 1883.
A Lady, &c.
MfiNflTRIER, FERDINAND htOH (French). Contemporary Gem-
engraver and Medallist, born at Paris; pupil of Bouvet and Fauvel.
He has exhibited at the Paris Salon since 1878, and amongst his
best productions are : 1878. Theseus, cameo in agate; — 1879.
Roman Warrior, bas-relief in hematite; — Demosthenes, intaglio
in sardonyx.
MENESTRIER, GUILLAUME (French). Mint-engraver at Dijon circ.
1 688- 1 690. His successor was Simon Roger, who was appointed in
May 1690.
MENGANTI, ALESSANDRO (ItaL). Mint-engraver at Bologna,
appointed on 18. January 1573, in succession to Gerolamo Faccioli;
he was still in office in 1585, and he cut the dies of all the
Heavy Bolognese Tesione of Sixtus V.
Bolognese coins of Gregory XIIL (1,572-1585) and possibly some
of Sixtus V. By Menganti, who was also a famous Sculptor, is the
statue of Pope Gregory XIIL in the public square of Bologna; and
— 22 —
Other works in marble and bronze. He was a pupil of Michel Angelo,
and is said to have avoided the exaggerations of this great master's
other disciples.
Among Menganti's medallic productions I may mention :
Gregory XIII. N. Scudo d'oro del sole (sev. var.) ; — JR,- Bianco
(sev. var.); — Giulio (sev. var.); — Sesino (sev. var.); —
Gregorio (sev. var.), &c. — Sixtns V. (1585-90). A/". Doppia d'oro
del sole ; — Scudo d'oro; — J^. Mezzo Scudo; — Testone
(illustrated) ; — Bianco ; — Giulio ; — Sesino, &c. How many of
the Coins of Sixtus V. for Bologna were cut by Menganti, and what
denominations, it is impossible to ascertain. Some were probably
executed by his successor, Gambaro (F/W^ Malaguzzi Valeri, Le Monete
di Bologna, Rivista italiana di numismatica, 1898, p. 94 sqq.).
MENGER, JOHAN PHILIP {Dutch). Medallist and Coin-engraver,
born at Utrecht in 18 18, died there on 20. September 1895. He
was a pupil of David van der Kellen and studied also sculpture
under Louis Royer at the Royal Academy of Sculpture at Amster-
dam. At the age of eighteen or nineteen, he engraved his first
medals, in commemoration of P. C. Hooft, and Prince William
George Frederick of Nassau, who died at Padua in 1799. In 1839
the young artist obtained a silver medal, and in 1845 ^^ ^^^^
appointed assistant Mint-engraver. Eight years later he became
Chief-engraver (1853) and remained in office until 189 1 when he
resigned on account of failing health, his son J. P. M. Menger
being promoted to his post.
The following list of Menger's medallic productions is compiled
from L. W. A. Besier's article in "Tijdschrift van het nederlandsch
Genootschap voor Munt-en- Penningkunde", II, 1894 — DeStem-
pelsnijders vans Rijks Munt te Utrecht in de laatste jo Jaren — :
1836. Pieter Corneliszoon Hooft, 1581-1647; — 1837. Prince
Willem George Frederik of Orange, 1724-1799 ; — 1845. Opening
of the new Exchange at Amsterdam; — 1849. Prize Medal of
William III. ; — 1852. Commemorative medal of the Unveiling of
a statue of Rembrandt; — 1853. Marriage of Prince Hendrik of
Holland with Amalia, Princess of Saxe- Weimar-Eisenach ; — 1854.
Commemorative medal of the Unveiling of a statue of King
William II. at The Hague; — 1856. W. Hutschenruyter, composer;
— 1857. Jubilee of the Lodge " La Vertu " of Leyden; — 1859.
Memorial Medal of Stephen Hoogendijk, of Rotterdam; — i860.
Draining of the lake of Haarlem; — 285''' Anniversary of Leyden
University (sev. var.); — ■ 1861 225''' Anniversary of Utrecht
University; — Prize iVIedal of the city of Utrecht; — 1863. Jubilee
of the Independence of the Netherlands; — 1865. Cornelis Broere,
professor at the seminary of Warmond; — 1866. Prize Medal of
— 23 —
the Society of Experimental Philosophy of Rotterdam ; — 1867.
Jacob Baart de la Faille (obv. by Van der Kellen) ; — 1869.
Stephan Hoogendijk, centenary of the Society of Experimental
Philosophy; — Medal granted by Prince Frederick to the members
of the Committee for the Erection of the National Monument at The
Hague; — 1871. Death of Queen Sophie of Sweden; — Prize
Medal of the Competition at The Hague for the promotion of
industry; — 1872. Second Centenary of the Relief of Groningen
(2 var., one with obv. Monument of General Van Rabenhaupt,
engraved by J. P. M. Menger) ; — National Festive Day of
I. April 1872 ; — 1873. Visit of King William III. to Alkmaar ; —
1874. -)''' Anniversary of William III.'s reign; — 1875. Anthonij
van Leeuwenhoek, discoverer of the animalculae, 1875; — 1876.
Jubilee of G. H, A. van Bijlevelt, priest; — 1877. Jubilee of
the Dutch Society forthe promotion of Industry; — Prize Medals
of the International Horticultural Show at Amsterdam {^L by
J. P. M. Menger; — 1878. Marriage of Prince Henry of Holland
with Princess Marie of Prussia; — Building of Amsterdam Univer-
sity;^, by J. P. M. Menger; — 1879. Second Centenary of the
foundation ot the Artillery-works at Delft ; — Death ot Prince
Henry of the Netherlands at Walferdanga; — Prize Medal of the
University of Amsterdam; — 1881. Lieut. General Karel van der
Heijden, governor of Achin ; — 245*'' Anniversary of Utrecht
University (I^. by J. P. M. Menger); ~ 1882. Prize Medal of
Amsterdam University; — 1885. Peter Joseph Hubert Cuypers,
architect of the Amsterdam Royal Museum (^. by W. Schammer);
— 1887. Marriage of J. R. H. Neervoort van de Poll with M. J.E.
G. P. Zuble (I^. by Schammer); — J. H. Hoeulft {^L. by
Schammer); — 1890. Jubilee of H. Poppen, pastor at Amsterdam.
By him are some further medals, not enumerated in D"^ Besier's
list, but which have come under my notice : Typhus fever at
Maasluis, 1865; — D' G. Swaving, of Batavia; — L. Royer,
sculptor of Amsterdam ; — Inauguration of a Monun^ent to Piet
Hein,at Delfshaven, 1870: — Prince Frederick of the Netherlands,
as Patron of the St. Hubertsgilde, 1870; — Wilhelmina Jacoba van
Zuijlen, 1872; — David van der Kellen, 1874; — Prize Medal of
the Royal Academy of Sciences, of Amsterdam, 1875; — The
Amsterdam University transferred to the buildings ofthe' Athenaeum
lUustre', 1877; — Prize Medal of the City of Amsterdam, 1877; —
Third Jubilee of the '' Unie " of Utrecht (obv. by J. P. M. Men-
ger) ; — Prize Medal with portraits of King William III. and Qtieen
Emma, 1879; — 50''' Anniversary of the Choral Society " Zang
en Vriendschap '', of Haarlem, 1880; — Medal of the Groningen
Exhibition, 1880; — Third Centenary ol the birth of P. C. Hooft,
1 58 1- 1 88 1 ; — Prize Medal otthe University of Amsterdam, 1881,
&c.
— 24 —
Johann Philip Menger was entrusted with the cutting of dies for
the various coinages of WiUiam III., and by him and his son are
the bronze coins of 2 |, i, and | cents, struck in 1877 ^^^^ since.
The obv. side of the 1875 coinage of WiUiam III. is by J. P. Men-
ger, whilst the I^. is by J. Ph. van der Kellen.
There is a Portrait-medal of Johan Philip Menger by his son
J. P. M. Menger, 1867.
This artist's works are usually signed : J. P. M. F., but his signa-
ture occurs also in full, and as P. MENGER F.
Bibliography. — Immerzeel and Kramm, De Levens en JVerken der Hollandsche
en Vlaamsche Ktinstschilders, Beeldhoniuers, Giaveurs en Bouwineesters, Amsterdam,
1842-1857. — Tidjschrift van het Nederlandsch Genootschap voor Munt-en Penning-
kunde, 1895-1904. — Bolzenthal, op. cil. -■ Menadier, op. cit. — De Hislorie-
penningen en Mtinten belrekking hebbende op hel Sfamhuis van Oranje-Nassau,
Haarlem, n. d.
MENGER, JOHAN PHILIP MATHIAS (Dutch.). Medallist and Coin-
engraver, born at Utrecht, 21. April 1845, studied sculpture under
his father, and G. Crayevanger, and was taken as apprentice at the
Royal Mint, 2, March 1862. In 1864 he received a government
grant to study sculpture and medal-engraving at the Royal Academ}'
of Arts ol Munich, where he worked under Prof. Wiedmann; Riez,
Chief-engraver at the Bavarian Mint; and Birnbock, Court-medallist
to the Czar Alexander II. He returned to his native country in 1867,
and soon after, in October 1868, he obtained the appointment of
second assistant Engraver at the Royal Mint of Utrecht. In June
1875 he was promoted to the rank of first assistant, in 1877 to that
of second Engraver, and on his father's resignation in January 1891,
he became Chief-engraver, a post which he retained until 1904,
when he retired for reasons of health, his successor being J. C
Wienecke.
Among J. P. M. Menger's principal medallic productions, I am
able to mention the following : J. J. Putnam, of Utrecht, 1871 ; —
H. A. van den Wall Bake, Mint-master at Utrecht, 1 846-1 871 ; —
William, Prince of Orange; third centenarj^ 1872; — Exhibition
at The Hague, Prize Medal of the States of South-Holland, 1872 ;
— Badge of the Dutch Society of Sharpshooters, 1872; ■ — D"" J. L.
H. Haerten, 1873 ; — D' J. A. C. Rovers, 1873 ; — Prize Medal
of the Sharpshooters of Utrecht, with portraitof William the Silent,
1865; — Fourth Jubilee of the Gymnasium of Utrecht, 1874
(I^. only); — 28*'' Anniversary of William III. 's reign (obv. by
J. P. Menger), 1874; — Life-saving medal, with portrait of
William III., 1875 5 — Prize Medal of William III. for distinguish-
ed services to the State, 1876; — H. W. Baron van Aylva van
Pallandtvan Waardenburg en Neer-ijnen, 1876; — Prince Frederick
of the Netherlands, 60 years' Grand Master of Dutch Free Masons,
— ^) —
1876; — Prize Medal for minor employes and workmen in the
State works for the draining ot the Zuyderzee, 1877; — C. L. W.
Gardiner, 1877; — Utrecht Choral Festival, 1877 ; — Prize Medal
of the Agricultural Society of Guelders, 1877; — Medal presented
by William III. to A. Meijer, of Oploo, 1878; — 12 | years'
Anniversary of the Marriage ot C. J. Begeer and M.J. Straver, of
Utrecht, 1878; — Marriage of William III. with Princess Emma ol
Waldeck-Pyrmont, 1879; — Third Jubilee of the " Unie " of
Utrecht, 1879 (I^. by J. P. Menger); — Second Centenary of the
Royal Artillery State Works, 1879 ; — Presentation Medal of the
King to H. L. Drucker, of Leyden, 1879 ; — 80*'' Anniversary of
D. Veegens, 1880; — Prize Medal of the Groningen Exhibition of
1880 ; — Lieut. General K. van der Heijden, 1881 ; — Presentation
Medal of William III. to Henri Conscience, 1881 ; — Presentation
Medal of William III. to Murad Effendi, Turkish ambassador at
The Hague, 1881; — Prize Medal of the Amsterdam University,
1881 ; — Golden Wedding of L. N. Graaf van Randwijck and C.
J. H. Ph. van Vredenburgh, of the Hague, 1885 ; — Prize Medal
Portrait-raedalet of Queen Wilhelmina of Holland.
of the Society of Arts "Pictura " of Zutphen, 1881 ; — 70*'' Anni-
versary of the Drawing &c., School " Kunstliefde " of Utrecht,
1882 ; — Prize Medal for the Training of Carrier Pigeons, 1882 ; —
Inauguration of a Monument to Count Jan van Nassau, at Utrecht,
1883 ; — Johan Philip Menger, 1867; — Fourth Centenary of the
Gymnasium of Utrecht, 1874; — D"^ F. C. Donders, of Utrecht,
1888; — Second Centenary of the Relief of Groningen, 1872
(I^. only); — Agricultural Show at Amsterdam, 1877 (^.only);
— Medal on the Erection of Amsterdam University, 1878 (^. only);
— Prize Medal of the University of Amsterdam, 1882 ; — W. Put-
nam, 65 years' organist, at Oudewater, 1864 ; — Silver Wedding
of H. R. W. de Bruijn and C. J. M. Serruijs, 1864 ; — Silver
Wedding of C. J. J. M. Serruijs and A. L. M. de Bruijn, 1864; —
Antinous (Pattern for the coinage), 1865 ; obv. Bust of Antinous
to r.; beneath : J. P. M. MENGER | APRIL 1865; ^L. Laurel-
wreath ; — Foundation of the Dutch " Weerbaarheidsbond ",
1866; — Th. M. Roest, numismatist {^L. by J. P. R. Menger),
— 2b —
1898; — Opening of the Delagoa Bay Railway, with bust of
President Kruger, 1895 ; — J. A. Alberdinglc-Thijm, of Amsterdam,
1890; — Death of William III., 1890 (I^. by Schammer); —
Coronation of Queen Wilhelmina, 1898 (modelled by Baars,
engraved by J. P. M. Menger) ; — Opening of the Royal Museum,
at Amsterdam, 1885; — 40'*^ Anniversary of William III.'s reign,
1889; — Visit of the two Queens to Amsterdam, 1891 ; — Prize
Medals with bust of Queen Emma, 1892; — Prize Medals with
bust of Oueen Wilhelmina, 1892 and later dates; — J. B. A. J. M.
Verheyen, 1896; — Th. M. Roest, 1898; — Henricus van de
Wetering, 1899, &c.
In conjunction with L. Jiinger and W. Schammer this Engraver
has also cut the following medals : Opening of the Royal Museum
at Amsterdam, 1883; — D' P. J. H. Cuypers, 1885; — Prize
Medal of the Agricultural Society of Geldern-Overj'ssel, 1885 ; —
25*'' Anniversary of the Society of Rhetoricians Jan van Beers of
Utrecht, 1886.
In 1875 J. P. M. Menger was entrusted with the cutting of the
obv. dies of the gold coinage of 10 Gulden of William III., while
the ^L. was given to Johan Philip van der Kellern Jun^ The latest
coinage of Queen Wilhelmina was modelled by P. Pander, and the
models reduced by J. P. Menger and C. Wienecke. The bronze
coinage, decreed by law of 28. March 1877, and consisting of 2 5,
I, and I Cents, was engraved by J. P. M. Menger and his father
J. P. \lenger.
Johan Philip Mathias Menger's medals are usually signed :
J. P. M. MENGER F.
Bibliography. — L. VV. A. Besier, De Stempelsnijders van's Ri/ks Munt te
Utrecht in dg laalste JO jaren, Tijdschrift &c., 1894. — Revue de la numismatique
beige, 1889-1891. -- Ga:^ette numisttiatique Diipne:^^, III, 115. — D^ H. J. de Dom-
pierre de Chaufepie, Les Medailles et Plaqueltes modenies, Harlem. — De Oranje-
Penningen in de Kontnglijke Bibliolhek.
MENGER, JOHAN PHILIP R. {Dutch). Son of J. P. M. Menger, and
at the present time Assistant-engraver at the Royal Mint of
Utrecht, under J. C. Wienecke. His signature occurs on the I^.
of a Portrait-medal of Th. M. Roest, the Obv. of which is by
J. P. M. Menger, 1898; — Silver Wedding of J. P. M. Menger and
J. M. van Haagen (obv. by Jiinger), 1896, &c.
MENGIN, ANTONIO (Poring.). Medallist, and Mint-engraver at
Lisbon, 1721-1772. He was born in 1600, and died in 1772. On a
document, dated i. April 1727, he is styled Abridor geraldas medalhas
e cunhos de moedas.
Amongst his productions are commemorative medals ot the
Portuguese Campaign and participation in the War against the
Turks, and Miraculous escape from an Ambush of King Don Jose,
1758.
— 27 —
Mengin's artistic merit is unquestionable, says Aragao. He had
two assistants at the Mint : Bernardo Jorge, and Joao Gomes
Baptista.
Bibliography.— A. C. Teixeira de Aragao, DesctipQuo geral e historka das
Moedas cunhadas em Kcme dos Reis, Regentes e Goi'ertiadcres de Icitusal, Lisboa,
1874.
MENGIN, PAUL EUGfiNE {French). Contemporary Sculptor, born at
Paris; pupil of A. Dumont and A. Millet. I have seen nis signature
on a Portrait-medallion of M"* Jeanne V***, which was exhibited at
the Salon in 1889.
MENGIN, PAULO AURELIANO (Portug.). Son and pupil of Antonio
Mengin, was appointed Assistant Mint-engraver at Lisbon, 24. July
1748, and remained in office until his death, 26. May 1788, when
he was succeeded by Francisco Xavier de Figueiredo.
MENGIN, PEDRO ANTONIO (Portug.). Son and pupil of Antonio
Mengin, appointed Assistant-engraver at the Mint of Lisbon,
24. July 1848; was granted permission to go to Paris in 1756 to
perfect himself in the art of die-sinking, and was nominated
Engraver, 12. January 1758. He died on 6. May, 1795.
MENGUE, JEAN MARIE (French). Contemporary Sculptor, born at
Bagneres-de-Luchon. At the Salon of 1889 he exhibited a Portrait-
medallion of M. Jammy.
MENIN, PIERRE I. DE (^French). Mint-engraver at Saint-Quentin,
circ. 1398-1400; then at Tournaij 1400-1416, appointed in succes-
sion to Pierre de Croissembien, on the 25. September 1400.
MENIN, PIERRE II. DE (French). Mint-engraver at Amiens, circ.
1424-1426.
MENNTNER, ULRICH (Swiss) of Basle, Mint-master at Hals(Leuch-
tenberg), 1436.
MENS, ADRIEN (Belg.). Seal-engraver of Antwerp, who in 1538
was condenmed to perpetual banishment for having accepted money
to engrave matrices or puncheons intended to strike coins without
the consent of the sovereign.
Bibliography. — A. Pinchart, Biogra/^hies des gravetirs beiges, Rtvi-e. &c.,
1851, 315.
MENSDORF, NICOLAS DE (Belg.). Mint-master at Luxemburg,
1391.
MENSEL, JEAN (French). Mint-engraver at Saint-L6, appointed
on 17. October 1488 to engrave the coins during his father
Pierre Mensel's illness.
— 28 —
MENSEL, PIERRE {French). Mint-engraver at Saint-L6, circ.
1484-1488.
Bibliography. — N. Rondot and H. De La Tour, Les MedaiUeurs el les Gra-
veiirs de Monnaies, Jetons et Medailles en France, Paris, 1904.
MENTHONAY, GUILLAUME DE (^Swiss). Mint-contractor for the
Bishop of Lausanne, in 1396.
Bibliography. — Morel-Fatio, Histoire monetaire de Lausanne.
MENSTREL. Vide ELOYE MESTRELL. "
MENTOR (Roman). Sculptor and Chaser of the first century of
our era, mentioned by Pliny. He worked in bronze and silver.
His works obtained enormous prices from Roman amateurs,
100.000 sestertii (nearly £ 900) having ben paid for two silver
goblets made by him. Vide Fortnum,5ro«;(^5 in the South Kensington
Museum.
MENTZEL, OTTO (Germ.). Contemporary Sculptor, born at Dres-
den in 1848, resides at Prague. He is the author of numerous Busts
and Portrait-medallions.
MENUDET, JEHAN (French). Mint-master at Saint-Pourgain,
21. March 15 17 to 1529,
MENZEL, A. (Germ.). Designer of various medals of Frederick
William III. of Prussia. Prof. Menadier, in Schaumiin~en des Hauses
Hoheniollern, p. 105, reproduces two, both with King's bust on
obv. and ^L. FELICITAS PUBLICA, and Portraits of the Royal
Family, repectively.
MERCADIER (French). Engraver, mentioned by Bolzenthal and
Rondot as having worked circ. 1792-1793. His medals are
connected with events of the French Revolution (1789-1793).
MERCADIER, GUILLAUME (French). Mint-engraver at Toulouse,
circ. 1507-1521. His name occurs also as MARCADIER.
MERCADIER, JEAN (French). Mint-engraver and Warden, at Tou-
louse, circ. 1478-79.
MERCANDETTI, METRO (Ital.). Mint-engraver at Rome, died in
1767. Father of the celebrated Medallist, Tommaso Mercandetti.
MERCANDETTI, TOMMASO (Ital). Medallist, and Engraver of
coins, gems and seals, born at Rome, 2. December 1758, died there
1 1. May 1 82 1. His father, Pietro Mercandetti, who filled the post of
Engraver at the Papal Mint, died at an early age, in 1767, leaving his
family in poor circumstances, so that the young Tommaso, who had
— 29 —
been placed in the seminary of Albano, had to be withdrawn from
his studies and put to apprenticeship, when only nine years' old,
with the gem-engraver, Girolamo Rossi. After three j'ears the
youth was already able to support his mother and brothers and
sisters. Two years later he took a small shop in the Via de' Coro-
nari, under Pope Ganganelli — Clement XIV. On his accession to the
Papal see, 1773, Cardinal Angelo Braschi, — now Pius VI., — who
had employed Tommaso in various occasions, recommended him
to the Master (or Chief Engraver) of the Zecca, Baldassare Cortini,
and under his benevolent patronage, the young artist secured a
position at the Mint.
Cortini entrusted Mercandetti with the execution of a Medal of
Cremona, with a view of the seminary, also of another for the
"Societa del volto Santo di Venezia ", two works which brought
their author well-merited praise, and the interest of the famous
Brass founder, Luigi Vallardi, who transferred over to him orders
for the medals of Conte Castiglione (later Pope Pius VIII.), cardi-
nal Andrea Corsini (later Pope Clement XII.), and of King Ferdi-
nand IV. of Naples and Queen Caroline, which were all engraved
by the artist in his twenty-second year.
Soon after he had the sorrow of losing his friend and patron Val-
lardi, who had been to him a second father. This death almost
crushed him, and only his wonderful energy and passionate love
for work helped him to overcome his grief.
In 1796, Cardinal della Porta appointed Mercandetti Chief-
engraver at the Zecca, but out of consideration tor Gioacchimo
Hamerani, the descendant of a famous line of artists, and no doubt
also to smooth the jealous feelings of other colleagues, Pasinati,
Passamonti, and others, he entered, with the Pope's sanction into
a kind of partnership with Hamerani to carry out the work at the
Mint.
Serious differences having supervened between Hamerani's family,
— after Gioacchimo's death, — and Mercandetti, leading to law-
suits, which lasted years, the latter retired to the small Umbrian
village of Belmonte, where however his sufferings were not at an
end. Owing to the political troubles, the Pope was unable to pay
him his arrears, amounting to 8114 scudi, and all he could do was
to grant him a pension of 120 scudi.
After some years of privations, the artist returned to Rome, in
1810, through the intervention of a lady of Rieti, who pleaded on
his behalf before the French Intendant Daru. One of his first com-
missions was the Portrait-medallion of Napoleon I. as Emperor of
the French and King of Italy, which was followed in 181 1 by the
medal commemorating the Birth of the King of Rome.
Mercandetti died at the age of 63, six days after Napoleon,
- 30 --
II. May 1 82 1, soon after having completed his last medal of
Pius VII., with a representation on the ^. of the Finding of the
body of St. Francis of Assisi.
This artist's signature. ^ ; — T. M. ; — T. M. F. ; — T. MER-
GANDETTI ; orT. MERCANDETTI F. occurs on numerous medals, some
of which are of exceptional merit, as well as en coins ot Popes
Pius VI. and VII. and the Repubblica Romana (1796-8).
Coins. Pius VI. iR. Mezzo Scudo, 1796 (2 var.) ; — Testone,
1796 j — Due Giulii, 1796; — 60 Baiocchi, 1796 (3 var.); —
25 Baiocchi, 1796 (3 var.); — Due Carlini, 1796 (2 var.); —
Carlino, 1796; — iE. Madonnina of 5 Baiocchi, 1797 and 1798
(numerous varieties, for Ascoli, Civita Vecchia, Fermo, Fuligno,
Gubbio, Macerata, Matelica, Mont' Alto, Pergola, Perugia, Rome,
San Severino, Spoleto, Terni, Tivoli, Viterbo); — Sampietrino of
Scudo of llie Roman Republic, 1798.
2 I Baiocchi, 1796-98 (numerous varieties, for Ancona, Ascoli,
Civita Vecchia, Fano, Fermo, Fuhgno, Gubbio, Matelica, Mont'
Alto, Pergola, Perugia, Rome, San Severino, and Viterbo); — 2 Baioc-
chi, sev. var.); — Bai()Cco(sev. var.); — Half Baiocco (sev. var.),
1796-7; — Quattrino, 1796-7 (sev. var.). — Repubblica Romana
(1798-1799). J^. Scudo (signed : T. MERCANDETTI; illustrated);
— Another, obv. GIORNO CHE VALE DI TANTI ANNI IL
PIANTO Cap of Liberty, beneath which : LIBERTA ROMANA
XXVII PIOVOSO AN VII; j^ between two stars ; I^. Spread
eagle within wreath; behind, altar, two flags, &c., beneath : T. M. ;
— iE. 2 Baiocchi (several varieties, four of which are signed '^\)\
— others (signed : T. M-). Other issues, and those of the Sede
Vacante of 1799- 1800, are either unsigned, or bear the signature of
the engravers Gioacchimo Hamerani, Andronico Perpenti, and
Carlo Antonio Garofolini. — ¥ius VII. N. Doppia (of year XVI);
— iR. Scudi of 1807, 18 1 6, 1817 and 18 18 (the last three struck
— 31 -
at Bologna); — Mezzo Scudo, 1816; — Due Giulii, i8r6-i8i8; — >
Giulio, 1817, &c.
Medals, &c. Period I, i'/6S-y), while Mercandetti was in appren-
ticeship. Puncheons for various ornaments; — Christ on the cross;
— Head of Madonna; — Male figure, in Roman costume, seated ;
— The Porta Santa; — Pyramid of ten bullets; leg. : ARTI-
GLIER PONTIFICIA; — ^s. for Jetons (some signed M. T.) ; —
Kneeling Amazon; — Phr}'xus after the fall of Helle; — Buttons,
&c. — Period II. Works executed at the luorkshop of the Via de' Coro-
nari. Many pendants for rosaries, and ornaments of a devotional
character; — Madonna; leg. : MATER SALVTIS; — Seated
Madonna; leg.: JESUS, MARIA, ST. ANNA, ROMA; —
Seated Madonna with Child, and standing St. Anna; — St. Barto-
lomaeus ; — Santa Trinita; — St. Paul; — The Archangel
Michael ; — St. Cyrus ; — Sancta Angela Merigi ; — St. Venan-
tius; — Four Saints; — St. Isidor; — St. Dominicus ; —
St. Barbara; — Santa Giovanna Franziscana; — St. Ursula; —
Mater Dolorosa; — St. Johanna Valesia ; — Beata Virgo Maria;
— Christ; — Madonna accompanied by Saints; — St. Emidius
(2 var.); — Madonna and Child; leg. : ORTO; — Madonna,
enthroned on clouds; — St. Julianus; — Christ (two other varie-
ties); — Christ on the cross (2 var.); — St. Fidentius and Ter-
rentius; — Youthful Jesus; — Maria; — In hoc signum (5/V). —
Period III. Later IVorks. Puncheons for Medallions, Medals, Jet-
ons, &c. : Laokoon; — Musa comica; — Portraits of Pius VII.
(9 var.); — Maria Vergine ; — Small female bust; — Roman
warrior; — Bust of Galvani; — Bust of Luigi Gonzaga; — The
Washing of the feet ; — Arms of Pius VII. ; — Antique figure
standing; — Pius VII., standing; — Jeton of the Museo Capitolino
(wolf and twins). — Dated and signed Medals : Archbishop Zaluski
of Warsaw; — Ferdinand IV., Prize Medal for Tragedy and
Comedy, 1771; — Portrait-medal of Ferdinand IV.; —
Henry IX., cardinal, and duke of York (presumably the one signed
by Gioacchimo Hamerani); — Jeton, Linceis restitutis; — Medal
of the RepubbHcaRomana, commemorating the 15. February 1799
(described above as a Scudo); — Pietro Metastasio, poet, 1805 ; —
J. Vincentius Gravina, 1805 ; — Pius VII., ^. View of the Colos-
seum, 1806; — Ludovico Ant. Muratori, historian, 1806; —
Johann Baptista Pergolese, composer, 1806; — Pius VII. Annual
Medal of 1807 (I^. EGO SUM, &c. Our Lord amongst his
disciples); — Pius VII. ^. View of the church planned by Bra-
mante, 1807; — Charles Goldoni, actor (signed : THOMAS MER-
CANDETTI FECIT ROMA ANNO D. MDCCCVIIl) ; — D-^ Joh. Bapt.
Morgagni, of Padua, 1808 (sev. var.); — Industrial Exhibition at
Rome, 1810; — Portrait-medallion of Napoleon I., 1811; —
— 3^ —
Prize Medal of Citta di Castello (2 var.); — Birth of the King of
Rome, 181 1 (sev. var.); — Lodge of Triumphant Virtue to the King
of Rome, 181 1; — Laying of the Foundation stone of Bologne ceme-
tery, 181 1 ; — Prize Medal of Napoleon L, distributed at Rome on
the 15. August 1810, the Emperor's fete day and anniversary of his
birth, 1810; — Return of Pope Pius VIL to Rome, 1814 (3 var. of
^L.); — Interior View of the Vatican Museum, 1814; — Vittorio
Alfieri, poet, 181 5 ; — Francesco Marchi, architect, 181 5; — Giu-
seppe Origo ; — Paolo Manzi, 1 8 1 7 ; — The Vatican Museum , 1 8 1 9 ;
— Pius VIL, Restoration of the ancient monuments ; ^L. Group of the
Laokoon, ann. XVIII; — Nicole Spedalieri, philosopher, 1820; —
D*^ Aloysio Galvani, 1820 (sev. var.); — Jacopo Mazzoni, actor,
1820; — Cardinal Hyacint. Gerdilius; — Restoration oftheCapi-
tole; — Michael Angelo; — Raphael; — Christoforo Columbus;
— Pius VIL, Mausoleum of St. Francis of Assisi, 1821; — Santo
Spirito Hospital at Rome; — Baldassare Castillon, Italian savant ; —
Visit of Francis I. of Austria to Pope Pius VIL, 1819, &c. — Later
works : Pius VIL, various heads for medals and jetons ; — Bust of
Cardinal Consalvi; — Seal for a School; — Jeton ot the Bishop of
Tuscany; — St. Theodore, 1805; — The Archangel Michael kill-
ing the Dragon ; — Carolus Philesius, bishop of Perugia, a seal ;
— View of a Castle and Garden ; — Praemium Virtutis; — Prize
Medal of the Seminary of Perugia; — The Roman Republic (sev.
var.); — Chamber of Commerce; — The Muse Thalia and her
attributes (^. of Goldoni medal), &c.
At the Auction Sale of Monsignore Cesare Taggiasco of Rome's
collection (E. Hirschler and C°, Vienna, 13. December 1886),
figured underlet 330 of the Catalogue from the estate of Mercandet-
tis, 126 matrices, puncheons, dies, &c. of medallions, medals,
jetons, pendants, &c., and 2500 letters, figures, ornaments, &c.,
such as are used by engravers and die-sinkers.
Bibliography. — Hennin, Histoire numismatique de la Revolution frangaise. —
Cinagli, Le Monete de' Papi. — Edwards, The Napoleon Medals, 1837. — Nagler,
Allgemeines Kunstler-Lexikon and Monogrammisten. — Ad. Hess Nachf, Retmmann
Sale Catalogue, 1892. — Bolzenthal, op. cit. — Krohn, Thonisen Bronce-Medailler.
— L' Italia nei cento anni del Secolo XIX, Milan, 1901. — Various Catalogues.
MERCATOR, MICHAEL (Diilch). Mercator, says D" Cahn (German
Renaissance Medals in the British Museum, London, 1904, pp. 12-13)
Ttranslation of the German name " Kauffmann ") came from Venlo
(Duchy of Gueldres), and was in the service of Floris von Egmont,
count of Buren, for whom he acted as a diplomat and worked as
an artist ". In consequence of the relations between the Count
and King Henry VIII. he was, on various occasions, sent to England
as an ambassador. A letter from his prince to the king, dated
15''' October, 1538, has been preserved, in which Mercator is
— 33 —
highly praised as an artist. On the occasion of his visit to England,
the king conferred upon him the honour of knighthood, 28''' Febru-
ary, 1539. This advancement in rank is commemorated by a medal
the obv. of which is reproduced here."
'' This medal " continues D' Cahn, " together with two similar
ones of Michael Mercator and one of his wife, Elizabeth Mercator,
Portrait-medal of Michael Mercator.
have hitherto been regarded as English medals. On the authority
of Putaneus {GeneaJogia Ptitanaea, 1630) they are given as the work
of Michael Mercator himself. These conclusions are, however,
entirely erroneous. We have here to do, beyond a doubt, with
medals from the hand of the German master, Friedrich Hagenauer.
Not only are both figures and lettering quite in his style, but they
bear also the master's sign of his later years, a trefoil. We know
that Hagenauer lived in the Low^er Rhine district, Mercator's
country, in the years 1539 and 1540, where he modelled portraits
of various other important men. The information given by Putaneus
100 years later that Mercator was himself a medallist, is without
any proof. "
Putaneus further states that Mercator executed medals ot
Henry VIII., and on the strength of his statement a Portrait-medal in
opaque blue glass of this King has been ascribed to him, but I fear
also erroneously.
D' Simonis, who has been writing on the subject since D' Cahn
(JJArt till MedaiUeur en Belgique, 1904) still clings to the attribution
of the Mercator medal to Mercator himself (p. 222) and he further
adds that the medals of Floris d'Egmont, count van Buren (van
Mieris, t. II, p. 37), and Charles V. (Van Mieris, t. II, pp. 103, 142)
may be considered to be by him also.
L. FoRRER. — Biographical NotUts of Mtdallitts. — IV. 3
— 34 —
From a contemporary document, it would appear that Mercator
engraved and signed one of the Silver Maps issued in Holland, and
sometimes attributed to Hond^us {Fide Vol. II, p. 549).
For Mercator's biography, cfr. M. Alvin's article in Biographic
nationale de Belgique.
Bibliography. — Franks and Grueber, op. cit. — Revue de la num. beige,
1850, 113; 1892, 237. — Pinchart, o/>. «7.
MERCER (Scotch.). Engraver of the second half of the eighteenth
century, by wiiom are several portraits of PritKe Charles Edward
Stuart, reproduced in the enamel paste of the Tassies.
Bibliography. — John M. Gray, James and William Tassie, Edinburgh, 189-I.
— Raspe, op. cit.
MERCER, MISS ELEANOR (Brit.). Contemporary Sculptor and
Modeller; a member of the Society of Medallists. By her are several
plaquettes, which were exhibited at the Dutch Gallery, Hanover
Square, in 1900.
MERCEVAL, JUSTIN (French). Contemporary Sculptor, born at
Paris; pupil of J. Moigniez. At the Salon of 1883 he exhibited a
Portrait-medallion cast in bronze of a Lady.
MERClfi, MATHIEU & MOUTERDE (French). Issuers of various
monetary Patterns at Lyons, 1792: Pattern; obv. Lion rampant;
— Another; obv. shield; — Mirabeau (sev. var.) ; — Liberte fran-
goise, 1792; — Head of Minerva ; ^L. 14. juillet 1790, etc.
MERCl£, ANTONIN (French). Sculptor and Painter, born at Toulouse
in 1845 ; pupil of Jouffroy and Falguiere; first grand Prix de Rome
in 1868; O^ in 1879. By him are various Portrait-medallions :
1868. M"^C***; — The wolt, the mother and the child, bronze
plaque ; — 1877. The Genius of Arts ; — 1882. Medal of theLigue
des Pairiotes (engraved by Henri Dubois); — 1883. M^""Gabrielle
et William, etc.
— 35 —
His works in Sculpture and Painting are numerous and some
have attained great fame.
Bibliography. — Cliavignerie et Auvray, op.cit.. JI, 73. — Catalogues au
Sahft, 1 882- 1 90 1. "
MERCl£, CLAUDE ANTOINE {French.). Engraver, born at Gray,
28. December 175 1, died at Lyons, 10. April 1812. He was one of
the founders of the " Societe des artistes reunis" of Lyons, which
undertook in 1791 and 1792 the coinage of pure bell-metal, for
which he cut the dies. His signature: MERCIE.F. LUG. occurs on a
medal of Bonaparte, obv. BONAPARTE REEDIFICATEUR DE
LYON; ^L. Inscription within oak-wreath, 1800 {illustrated). He
engraved other medals and jetons, but was really a manufacturer
of buttons.
Medal of Bonaparte, by Mercie.
By him is also a consular medal signed: MERCIfi A LYON, dated
on obv. XVIII BRUMAIRE AN VIIL ; I^. AUX CITOYENS DU
CARD MORTS POUR LA PATRIE&c; - and Jetons : Law and
Justice, 1805 J — Friends of Commerce and Arts of Lyons, i8o>
(MERClfi FECIT); — Pharmaceutical Society of Lyons, 1806; —
Literary Club of L3'ons, 1809 ; — Marriage of Napoleon and Marie
Louise, i8io(MERCI£ SCULPT); — Preliminaries of the Peace with
England, 1801 ; — Bonaparte, First Consul for life, 1802 ; — The
Minerva of Lyons, 1805, etc.
Bibliography. — Bolzenthal, o/>. cit. — Rondot, op. cit. — Hennin, op. cit.
MERClfi, FRANgOIS JOSEPH {French). Engraver, born at Paris in
1751, died at Lyons, 24. September 1805. He is the author of
some medals, which are signed : J. MERClfi.
Bibliography. — Rondot, op. cit.
MERCIER, GfiRARD {French). Mint-master at Chalon and Dijon,
1409.
- 36 -
MERCIER, JEHAN (French). Mint-master at Limoges, 15 19.
MERCIER, MARTINET {French) of Chieri, Mint-master at Turin,
1418-1419, and 15. June, 1419 to 5. January, 1422, under Duke
Amadeus VIII. of Savoy.
Bibliography. — D^ Lad6, Contribution a la numismatique des dues de Savoie,
Revue Suisse de numismatique, 1896.
MERCIER, RICHARD LE {French). Mint-master at Angers, 26.
September 1620 to 1629.
MtRENDE, CLEMENT DE {Belg.). Mint-master at Louvain, in con-
junction with Lisson Victor, from 23. June, 1466 to 7. July 1467.
m£rENDE, HENRI DE {Belg.). Warden of the Mint of Brabant,
1467-1469.
MfiRENDE, JOSSE DE {Belg.). Son of the last, and Mint-official in
Brabant, third quarter of the fifteenth century. It is not impossible
that Jean Marende, the author of the Portrait-medallion of Phili-
bert the Fair of Savoy and Margaret of Austria, may have been a
relative of the two Merendes.
Bibliography. — Mazerolle, op. cit.
MERGENTHAL, CASPAR VON (5o/;^/«.). Mint-master at Joachimsthal,
1526, in the service of the counts of Schlick; distinctive mark, a
lily, occurring on Thalers, Half Thalers, etc. dated 1526.
MERGENTHEIMER, CLAS {Germ.). Mint-master at Neustadt a.
Haardt, 1383-85 and 91.
MERGENTHEIMER, HANS {Germ.). Mint-master at Heidelberg,
1 39 1, 1428; Neustadt a. Haardt, 1404; and Oppenheim, 1420.
m£RICY. Vide MERLEY, LOUIS. Sculptor and Medallist, 1815-
1883.
m£RIGNAC, M™^ ERNESTA ROBERT {French). Contemporary
Sculptor, born at Saint-Omer; pupil of M*"* Genevieve Granger,
M'"* Darbefeuille, and R^cipon.
At the Salon of 1905 this artist exhibited four Plaquettes: Louis
M^rignac; — Lucien Merignac ; — Vend^enne; — Olonnaise, — and
in 1906, several medals: Desire Andr6; — E. de Forcade; —
M. Kirchoffer ; — Francois Merignac; — M"="" Germaine Maury;
— Study; — Georges Robert, etc.
M^RIGOT, £TIENNE (Fr^«c^). Jeton-engraver at Paris, nVf. 1555-
1558. Mazerolle gives his date as 1588 and ascribes to him Jetons
of Louis Picot, baron de Dampierre.
M^RIGOT, GUILLAUME {French). Mint-engraver at Bourges, circ.
1678-1588. Perhaps a relative of tlie last, and Jacques and Pierre
Merigot.
MfiRIGOT, JACQUES (Fretich). Gilder and Damaskeener (compa-
gnon doreur et damasquineur), established at Paris, circ. 1684.
MflRIGOT, NICOLAS (French). Engraver to the King, at Paris, circ.
1 582-1 588. By him are various jeions.
m£RIGOT, PIERRE {French). " Master" Engraver to the King,
circ. 1 5 69- 1 5 90. In 1590 he took part in the competition for the
engraving of the Franc with portrait of Charles X., but appears to
have died soon after that date. Mazerolle places his birth to circ. 1538.
In 1572 he repaired a coining-press for an Italian forger, Geronimo
Zoucha, whomhe later caused to be arrested. By him are: 15 69- 1573.
Jetons for the Cour des Monnaies; — IS70. Jetons for Paris
Hesselin, maitre des Comptes ; — 1582. Jetons for Louis d'Anquoy
and Suzanne de Fors, his wife;. — Jetons for Clemence Grolier,
wife of Humbert de Masson, King's treasurer; — 1588. Mereaux for
the church ot Notre Dame of Puy.
A jeton of the Chambre des Comptes of Vendome (1571) bears
the initials P. M., but Mazerolle does not accept its attribution by
Blanchet to Pierre Merigot.
Bibliography. — Mazerolle, op. cit. — N. Rondot & De La Tour, o/». cit. —
Blanchet, Histoire monelaire du Beam. — A. Barre, op. cit. — E. Faivre, op. cit.
MERKEL, JAKOB {Germ.). Mint-engraver and Medallist at Bam-
berg, 1 68 1.
MERKEL, JOHANN {Germ.). In conjunction with others he con-
tracted to work the Mint of Sorau (Saxony), 1622.
MERKER, PAUL {Germ.). Sculptor, Medallist and Gem-engraver
of the end of the eighteenth century, and first two decades of the
nineteenth, who worked at Brunswick, where he died in 1823.
His productions are signed : P.M. or P. MERKER F. One of his best
known works commemorates the peace of Luneville, i8oi,and his
Portrait-medalsofEbert,andothers,are praised very highly by Nagler.
In 1795 Merker was already a no:ed artist, and in 1806 he became
a member of the Academy of Berlin.
His gems, says Nagler, display uncommon talent in the mechanical
part of the art ; this is strikingly shown on a carnelian representing
the Pantheon. His Portrait-cameos and intaglios will always raise
admiration.
BiBLiOGR.\PHY. — Bolzenthal, op. cit. — Krohn, Thomsen Catalogue of Medals,
^- Nagler, Allgemeines Kfoistler-Lexikon,
340003
- 38 -
MERKHENBACH, HANS (Germ.). Mint-master at Freising, 1621.
MERLEN, JOHANN BAPTIST (Dutch). Medallist and Coin-engraver,
of Flemish origin, but who apparently came over to this country
from France, where he had been engaged in medal-work under the
First Empire. His earliest productions, known to me, are jetons of
the Academy of Medicine of Brussels, dated an XII., from which
might be inferred that he learned dio-siiiking, and first practised the
art, at Brussels (Fide Revue beige de numismatique, 1874, P- 39o)-
Very little is known of his lite, except that during the reigns of
George IV. (from about 1820), and William IV., he filled the post
of Assistant-engraver at the Royal Mint under William Wyon,
Pistrucci being Chief Medallist. His connection with the British
coinage ceased with the accession of Queen Victoria, and I
presume that the Engraver, who by then must have been of an
advanced age, died about 1837, or at least retired from his office.
The following productions are by Merlen, whose name is spelt
erroneously Merlin by Kenyon, and Hawkins. Thev are signed
variously : MERLEN F. ; — J. B. MERLEN F. ; — J. B. M. ;" and M.
Medals. Medical Society of Brussels, dared Messidor an XII
(Jeton : Obv. Bust of Andreas Vesalius; signed : MERLEN F.) ; —
Another, with bust three-quarter face ; — Coronation of Napo-
leon I., 1804 (Obv. BONTE DE TITUS SAGESSE DE
M. AUR£LE, &c. Napoleon, crowned, borne upon a shield by four
warriors; signed : MERLEN F.); — Medal of the Administration of
the Registration and State Lands, 1805 (octagonal Jeton, signed on
obv. MERLEN F.); — Jeton of the Lodge of St. Victor of the Friends
of Victory, at Paris, 1806 (this medalet is struck like a coin, with a
milled edge; the signature is : MERLEN F. ; on two columns, the
initials J and B); — Jeton of the Foundries of Vaucluse, i8o8
(I^. only, signed ; MERLEN) ; — Another octagonal (^L. similarly
signed); — Jeton of the Lodge of Isis, installed at Paris, July 1 1**"
1808 (I^. signed : MERLEN F.); — Jeton of the Societe galvanique
et de Rech. physique, Paris, 26 Mess, (an XII?) (signed :
MERLEN F.); — March of Napoleon I. to Paris after his return from
Elba, 18 1 5 (2 var.).
Merlen, who had worked for many years at the Paris Medal
Mint, was engaged at the Royal Mint in London, on the recom-
mendation of Pistrucci, who had probably made his acquaintance in
France. The first coin-dies he engraved in England, of which we
have an official record, are those of the Reverse of a Half-crown of
George IV,, 1820 (executed by an order in council, dated October
10, 1820). In 1823, he was commissioned to engrave the obv. of
the Double Sovereign, from a model by the sculptor Sir Francis
Chantrey,. Pistrucci having declined to copy another artist's work,
on the ground that it was beneath his dignity to do so, and the
Mint-master would not employ Wyon to carry out an order which
— 39 —
had been refused by Pisirucci. " But" says Ruding, "this head ot
the King does not much resemble the model ".
Merlen was more clever in the engraving of armorial bearings,
as shown on the reverses of the Pattern Crowns, 1825- 1829, which
are by him.
The appended list fairly represents Merlen's work at the Royal
Mint :
George IV. M. Five Pound piece, 1826 (sev. var.) and 1829
(only the ^s); both are Patterns, and are really only pattern
Obv. ot George IV., Two Pound piece, 1823, by J. B. Merlen.
crowns struck in gold. That of 1829, is unique', only one specimen
having been struck in gold from this die, and that by special
permission ; from the late M' W. Webster it passed into the J. Marshall,
Reverse of Pattern Crown ui George IV., 1825.
Brice, Montagu, and Murdoch collections; it is now owned by a
French collector; - Double Sovereign, 1823 (Obv. only, illustrat-
ed; signed : J. B. M.), 1824, 1825, 1826 (^.); — all three dates are
Patterns; — Sovereign, Second issue (^.) 1825, 26, 27 and 30;
— Half Sovereign (^.) 1826, 27 and 28 ; — iR. Pattern Cri)wn
(I^.) 1825, as fhe Half Crown (Obv. by Wyon, :^. by Merlen),
1816, 1828 and 1829 (Hawkins observes : "This reverse is beau-
tifully executed by xMerlen. This type occurs with the dates 1825,
I. Struck on the original flan of the 1825 5 Pound piece.
— 40 —
plain edge, 1826, SEPTIMO, edge inscribed as usual, with raised
letters, but much smaller, Ruding 2 R. 6, where colour is improp-
erly introduced into the shield. These pieces are exceedingly beau-
tiful, but, though dies were prepared also in 1828 and 1829, none
were actually issued for currency"); — Half-Crown, First issue
(^.) 1820 (a pattern), 1821, 1823 ; Second issue (^L.) 1823-1825 ;
Third issue (I^.) 1824 (a pattern) 1825-1826, 1828-1829; —
Shilling, First issue (I^.) 1820 (a pattern), 1821 ; Second issue
(^.) 1 82 3-1 82 5 ; Third issue 1824 (a pattern), 1825 (a pattern with
FID : DEF : 1 825-1 8 29 (^.). These pieces are known as " Lion "
Shillings; — Sixpence; First issue (^.) 1820 (a pattern), 1821 ;
Second issue (1^-) 1 824-1 826 ; Third issue (^. " Lion" type, by
Merlen) 1825 (a pattern, with FID : DEF : illustrated), 1826-1829;
— Groat (I^.) 1823; — Maundy Money (!^.) 1821-1830 inclu-
sive. Possibly Merlen cut also the i^. dies for the Farthing, first
issue, by Pistrucci, 1821-1823 and 1825-1826, and Penny,
1825-1827, Halfpenny, 1825-1827, and Farthing, 1826-1830,
second issue, by Wyon; although, under William IV., Wyon cut
Trial piece for the Reverse ot Wyons Pattern Crown.
both Obv. and ^L. dies of the copper coinage. If Merlen did the
reverses of George IV. 's copper currency, it would include the Half
Farthings (for Ceylon) and One-third Farthings (for Malta) with
Obv. bust of George IV. by William Wyon.
William IV. M. Double Sovereign (R6.) 183 i (a pattern); —
Sovereign (^.) 1831-1837; — Half Sovereign (I^) 1834-1837;
— J^. Crown (^.) 183 r and 1834 (both dates struck as patterns
only, and not for circulation); — Half Crown (1^.) 183 1
(a pattern), 1834-1837 ; — Shilling (^.) 1831 (a pattern), 1834-
— 41
1 83 7- C' This reverse ", says Hawkins " is very nearly and elegant-
ly executed by Merlen, but it is impossible to refrain from express-
ing dissatisfaction at the type; there was not much opportunity for
an artist to exhibit his talents in the engraving of armorial bearings,
but there is still less in the barbarous device introduced upon this
coin"); — Sixpence (I^.) 1831, 1834-18^7; — Maundy Money
l^L.) 1831-1837; — Groat (^.) 1836-1837. The head on all
these coins was modelled by Sir Francis Chantrey, and engraved by
William Wyon ; and the reverses of the gold and silver coins, by
J. B. Merlen. The head and reverses of the copper were engraved
by William Wyon (Kuding, II, 131).
Hawkins, describing the reverse of the Half-Crowns of 1820,
remarks : "It was engraved by Merlin {sic) a native of France (?),
and eminent for the neatness, elegance, and minuteness of detail
with which he executed all works of this description ; the letters
also upon these and other pieces were put in by him, and are very
neatly decorated with frost work. "
The cliche, reproduced above, is a trial for the reverse of
Wyon's Pattern Crown, and formerly belonged to the late
Mr. J. G. Murdoch.
I possess a letter of Merlen, dated 5. March 1835, which is
signed : /. B. Merlen Engraver at the i?'' Mint.
Bibliography. — Kenyon, Gold Coins oj England, 1884. — Hawkins, Silver
Coins of England, 1887. — H. A. Grueber, Handbook 0/ the Coins of Great Britain
and Ireland, 1899. — Ruding, Annals of the Coinage 0/ Great Britain and Ireland,
1840. — S. M. Spink, Catalogue 0/ Mr. Montagu's Collection of Coins from George I.
to Victoria, 1891. — Marvin, Masonic Medals, 1880. — Nagler, Allgemeines
KUnstler-Lexikon. — Tre'sor de NumistNulique el de Glvbtique, 1840. — Edwards,
Napoleon Medals, 1837. — Weber, Medals oj tlx XIX. Lent., Sec.
MERLET, LOUIS {FrencJi). Sculptor, Medallist and Gem-engraver,
born at St. Etienne (Loire) on 7*'' January 1815, died at Paris on
17''' September 1883. He studied sculpture under Pradier and
David d'Angers, and medal-engraving under Galle. In 1838 he
became a pupil at the Ecole des Beaux-Arts ; then went to Rome,
where he obtained in 1843 the first Grand Prix de Rome for
gem-engraving ; subject : Arion saved from the waters. During his
residence in Italy, Merley executed various medals modelled after
the antique, amongst them one representing Mercury. After his
return to Paris, he devoted himself almost exclusively to medallic
art. In 1848 he gained the First Prize from the Monetary Commis-
sion of the Second Republic in competition with other engravers for
the Twenty-Franc piece. Later, in 1866, he became an Officer of
the Legion of Honour.
Amongst the artist's principal medallic productions are : 1840.
The Genius of Industry of the town of St. Etienne; — 1848. A^.
Pattern 20 Francs (illustrated) ; — A^. Pattern 10 Francs; — ^.
— 42 —
Pattern 5 Francs; — JE. Pattern 10 Centimes; — 185 1. The cities
of Algeria, Bone, Algiers, and Constantine making their submission
to France ; — Medal with head of the French Republic; — Pattern
20 and 10 Francs of Switzerland, 185 1 ; — Pattern 10 Francs; —
Medal with head ot Mercury (copied from an antique statue, and
sent to the Salon from Rome); — Portrait-medallions; — 1853. Com-
memorative medal of the Discovery of Niniveh ; — Marshal Bugeaud,
duke of Isly; — Pacification of Algeria; — 1854. Inauguration of
the Paris Ceinture Railway (in conjunction with Bovy); — 1855.
Portrait-medallion of M""^ Merley ; — Commemorative medal of the
Inauguration of a statue of Napoleon I. at Lyons; — The Paris
Ceinture Railway; — The Railway from Paris to the Mediterra-
nean; — Queen Victoria orders 20000 rifles from the St. Etienne
Works, 1855; — Visit of Queen Victoria to Napoleon III.; —
Agricultural Prize Medal; — 18)7. Commemorative medal of the
Loan of 500 millions (commissioned by the Ministry of Finance) ;
— Marriage Medal; — 1859. Inauguration of an equestrian statue
of Napoleon I. at Cherbourg; — Inauguration of l-
list, born at Nevers; pupil of Cabanel, RoUard and R. Collin. He
is the author of the following Portrait-medallions which were
exhibited at the Salon : 1885. M-^ F. B*** ; — 1897. Yvonne G***;
— 1898. M. E. V***;— 1899. M"- Merlen, &c.
MERLINI (Ital.). Sculptor and Medallist of the early part of the
nineteenth century. Domanig (Portrdt-medaillen &c.) reproduces
and describes a medal, signed : MERLINI F., with portrait of the
Archduke Ferdinand IIL of Tuscany, on the Return of Peace,
1824, and I have seen a Portrait-medal by him of Giovanni
Fabroni, 1823.
MflROT, JULIEN LOUIS {French). Contemporary Sculptor and
Med.illist, born at Tanville (Orne) on the 14''' of June 1876; pupil
of Daniel Dupiiis, H. Lemaire, Chaplain and Barrias. At the Salon
of 1897 he obtained a Mention, and in 1902 the first Second Grand
Prix for a medal representing St. Sebastian pierced with arrows.
One of his latest productions is a Portrait-medallion, which was
exhibited at the Salon of 1904.
m£ROU, LOUIS GABRIEL GEORGE {French). Contemporary Sculp-
tor, born at Montpellier; pupil of Beaussan. At the Salon of 1894 he
exhibited a Portrait-medaillon, cast in bronze, of M""= Th. Merou.
— 44 —
MERRIAM, JOSEPH H. (Amer.). Die-sinker and Medallist at
Boston (U.S. A.), second half of the nineteenth century. He is the
author of a medal struck in commemoration of the Dedication of
the New Masonic Temple in Boston, 1867, and several other mason-
ic medallions with bust of George Washington; — Benjamin
Franklin, &c. ; — also commemorative medals of the Soldiers' Fair
at Springfield and Boston, 1864; — Medalets issued for the Cam-
paign of i860; — Medalets with portraits of U. S. A. Presi-
dents, &c. ; — Webster ; — The Prince of Wales, &c. The name
of Merrian appears for the last time in 1869 and 1870.
Bibliography. — Marvin, op. cit. — Snowden, The Medals of Washitigion,
1 86 1. — A. R. Frey, Tokens aud Medals relating to Numismatists and Coin Dealers,
1905.
MERRY (Brit.). Manufacturer of Tokens, end of the eighteenth
century. Amongst his issues are Halfpennies of Bury, engraved by
Dixon, and others.
Bibliography. — Pye, Provincial Copper Coins.
MERTor MERIT, APHEL {Austr.). Mint-engraver at Vienna, 1443.
In a document of 29*'' April 1443, he is referred to as "Mert Aphel
der Goldschmied, Eisengraber in der Miinze ".
Bibliography. — A. Luschin von Ebengreuth, IViens MUn^esen, Handel und
Verkehr im spdteren Mitlelalter, Wien, 1902.
MERTENS, A. {Germ.). Contemporary Sculptor and Medallist,
who resided at Berlin from about 185 1 to 1871, and worked for
the Loos Die-sinking Works. He died sometime before 1894. ^Y
this Engraver are some medals of special interest to English collec-
tors as they commemorate, the one, the Silver Wedding of the
Crow^n Prince Frederick and Victoria, Princess Royal of England,
1883 ; and the other, the Women's Industrial Exhibition at Berlin,
1885 (Prize Medal with bust of the Crown Princess of Prussia).
MERTENS, C. (Germ.). Contemporary Sculptor and Medallist,
who, according to Schlickeysen-Pallmann, was working at Berlin,
circ. 1870. I have come across his signature on a Portrait-medal of
Schiller.
MERTT (Aiistr.). Moneyer at Vienna, 1348 (M^r// der Miinsser).
MERTZ, JAKOE (Germ.). Mint-master at Simmern, 1 572-1 577.
MERWE, .WALTER (Brit.). Mint-master at London, under
Henry IV., from the 3"^ to the 14'*' year of his reign, 1402-14 13. In
contemporary documents, he is called Magister Monele Lond., and
Magister Monetarum. Under Richard II. he had previously held the
office of Assayer and iMint-warden (anni 20-21).
Bibliography. — Ruding, op. cit., I, 33, 39, 57, 252.
— 45 -
MERZBACH, lOHANN (Germ.') of Augsburg; Mint-master at Schrat-
tenhoten, 1623, in the service of the Counts of Oettingen.
MESCHERJAKOFF, PETER (Russ.). Medallist of the third quarter of
the nineteenth century, who resided at St. Petersburg, and was still
living in 1872, when Iversen wrote his Medaillen an f die Thaten
Peter des Grossen. This Engraver studied the art at the Mining
School of the St. Petersburg Technicological Institute. Most of his
works, usually signed : II. M. P., are copies. Amongst these is a
commemorative medal on the Birth of Peter the Great, signed :
K.n.M., and copied from that by Samuel Judin.
MESCHKLER, JOHANN JAKOB (Germ.). Mint-warden at Nuremberg,
1634.
MESCHKER, MELCHIOR (Germ). Mint-warden at Nuremberg,
1612; Kreiswarden in 1620. Fide Gebert, Geschichte der Miln:^stdtte
Nilrnberg.
MESCINIUS RUFUS, L. (Rom.). Mint-master (Triunvir monetalis) at
Rome, arc. B.C. 16-15.
MESDACH, LOUIS (Dutch). One of the Directors of the important
Die-sinking establishments of OESCHGER, MESDACH & C° (q. f.) later
(1881) ESCHGER, GHESQUItlRE & C'% at Ter Kiele (Holland) and
Biache (Pas-de-Calais, France). At one time, this firm owned private
mints in Spain, and between circ. 1865-1890, issued medals as
well as various coinages in commission for foreign governments. In
1868 the artist Alph^e Dubois was in their employ, and during a
year's residence at Barcelona, modelled for them the Spanish bronze
coinage ofthe Provisional government (1868- 1 870), the dies for which
were engraved by Luiz Marchionni. The 10, 5,2 and i Centimos
bear on one side the monogram CM for Oescher, Mesdach & O'
(1868, 69 and 1070). In 1870, the same firm supplied the flans for
the Brazilian bronze coinage of Pedro II., struck at the Brussels
Mint; in 1879, they issued the bronze coinage of 10 and 5 Paras of
Servia, engraved by Paulin Tasset, and in the same year, a silver
coinage of 5, 2 and i Denara and 50 Paras.
From the firm's illustrated Catalogue, published some time after
1889, I append the following list of their productions : Jetons of
the " Fonderies et Laminoirs " of Biache St. Vaast, 1867, by Barre ;
— Others, with Sun on Obv. ; — Coinage of Tunis, Dollar and
Half Dollar, dated A.H. ITAI (1271); — French Republic, M.
Centime, 1848, by Dupr6; — Papal States, IE 5 Baiocchi, 1853;
— 2 Baiocchi, 1853; — i Baiocco, 1853; — Ticket of Buenos-
Ayres Central Tramway, F. and J. Lacroze; — Piastre and Halt
Piastre of Egypt, dated A.H. 1288; — Brazil, JE. 20 and 10 Reis,
- 46 -
of Don Pedro III, by C. Luster; — Grand Duchy of Luxemburg,
JE. 10, 5 and 2 | Centimes, 1870, by Barth ; — Italy, Victor
Emmanuel II., iE. 10 Centesimi, 1867, by Ferraris; — Spain,
Isabel II., JE. 5, 2^, I and |Centimos, 1868; — Brazil, Nickel 200
and 100 Reis, 1871 ; — Spain, Republic, J£. 10, 5, 2 and i Centi-
mos, 1870, by L. Marchionni; — Belgium, Leopold II., JE. 2 and
I Centimes, 1873 ; — Cambodge, Norodom \., JE. 10 and 5 Cen-
tim.es, i860; — Germany, nickel 10 and 5 Pfennig, 1874; —
Mines of Trelys, " Fonderies et Forges d'Al.iis, " Tokens for 5, 2
and I Francs, and 50 Centimes; — Servia, Milan, JE. 10 and
5 Paras, 1879; — Argentine Republic, 2 and i Ceniavos, 1874,
by C. T***; — Servia, Milan, ^.5,2, and i Dinars and 50 Paras,
1879, by Tasset; — Badges with 25, 5, and i on ^s. ; — Colom-
bia, JE. 2 \ Centavos, 1881; — Haiti, M. 2 and i Centimes,
188 1, by Roty ; — Ticket of the Creusot Gun Works at the " Con-
tinental Exposition" of Buenos-Aires, 1882; — Tickets of the
Societe metallurgique de Corey for 5, and i Fra-cs, 1882, 50, 25,
and 5 Centimes, 1882 and one with HOTEL in field on either side;
— Tickets of the "Acieriesde Longwy"for 5 and r Francs, 50, 20
and 5 Centimes, 1883 ; — Medal of the Amsterdam Exhibition of
1883, by A. Fisch ; — Tickets of the " Filatures de TAbbaye" for
50, 20, 10 and 5 Centimes, 1884; — Tickets of the " Etablisse-
ments metallurgiques" of Ounaing (Nord) tor 5 and i Francs, 50,
25 and 5 Centimes; — Ticket " remboursable aux commercants
autorises" for i Franc, Forges and Workshops of St, Denis; —
Spain, Alfonso Xllf, JE. 10 and 5 Centimos, by G.S***, 1878; —
Colombia, 2 | Centavos, 1886; — Ticket, for 2 Francs, of the
" Forges-Laminoirs de Champigneulles, 1885; — Bolivia, JE. 2
and I Centavos, nickel 10 and 5 Centavos, 1883; — Jetons,
Amanda R. de Sanchez (2 var.) ; — Token of the " Societe generale
des Forges et Ateliers de S' Denis"; — Ticket of the "Pharmacia
Belleroche"; — Tickets of the" Fonderies Delille" for i Franc, 50,
10 and 5 Centimes ; — Medal of the " Asile St. Charles", founded at
Biache St. Vaast, by Louis Mesdach, by Charles Wiener; — Cen-
tenary of the U.S.A. Independence, medal designed by Brichaut,and
engraved by Veyrat, 1876; — International Art Exhibition of Lille,
1882; — Bulgaria, Alexander I., Pattern 10 Centimes, 1880; —
Jeton de voeux de Kin-You-Man-Tang ; — Ticket ot Bourgeois
jeune for i Franc, Ivr^' s/Seine ; — Ticket for i Franc, " Forges
et Ateliers" of St. Denis; — Ticket of the "Usine Daven and
Mexm^"; — Medal of the Vichy "Societe de Secours mutuels",
1870; — Tickets for the Works of Hellemmes, 50 and 10 Cen-
times; — I Franc Ticket of E. Launoy, Paris; — Gaming Counter
of the Mesdach family ; — Bulgaria, Proclamation Medalet of Ferdi-
nand I., 1887; — Bulgaria, Ferdinand I., Pattern 10 Centimes, 1887;
— 47 —
— Cambodge, M. i Centime; — Dominica, M. 2|, and i \ Centa-
vos, 1888; — Colombia, JE. 2 \ Centavos, 1881 (2 types); — Tic-
kets of Nicolas Stchensniewitch ot Kichineff, Universal Exhibition
of 1889, 18, 15 and 20, &c. ; — Hexagonal Jeton, with TOUT
POUR LA PATRIE on Obv. and JF on ^; — Inauguration of
the Waterworks of Namur, 1890 ; — Tickets of the Societe coope-
rative des Forges de Flize for 5 and i Francs, 50 and 5 Centimes ;
— Ticket of the Pharmacie F. Lamy; — Tickets of the ''Soci6te
metallurgique dc ChampigneuUes " for 5, 2, and 1 Francs, 1889, and
50, 10 and 5 Centimes; — Ticket of A Espingarda Ingleza, Rio de
Janeiro ; — Tickets of the " Ateliers Diedericks " ; — Ticket of the
Pharmacie Charriez; — Tickets of the " Minieres de la Cote-
d'Or" for 5, 2 and i Francs, 50 and 25 Centimes, 1889; — Haiti,
JK. Gourde, 50, 20 and 10 Centimes, by Laforesterie and Roty,
1880-1882; — Patronage St. Joseph, Montreuil-sur-Mer ; —
Medal of the Haiti Exhibition at Amsterdam, 1883, &c.
Bibliography. — Flans el pikes de monnaies de nickel, de cuivre el de bron:(e fabri-
que's par MM. Oeschger, Mesdach et O^, rue Sainl-Paiil, 2S, a Paris. OM. Usiius a
Biache-Saint-Waasl , departement dii Pas-de-Cahiis (France), et a Ougre'e, provinu de
Liege (Belgique), 1886. — Revue de la Nnmismatiqne beige, 1869, 1872, 1880-81,
1886.
MESERLEIN, NICLAS DER (Aiislr.). Mint-master at Vienna, 1320.
Bibliography. — Josef Nentwich, RegeUen ^ur Geschichte der Mun^slatte fVien.
MESMAY, MESMEY or MESMfi, PIERRE or PERRIN DES (French).
Mint-engraver at Saint-L6, circ. 1373-1375; then at Tro)'es,
10. September 1 376-1 384. He was paid 50 Livres tournois per
annum. At Troyes he succeeded Mathieu de Luchieu.
Bibliography. — Rondot and De La Tdur, op. cit. — Rondot, Les Graveurs
de Troyes, 1897.
MESNARD, COSME {French). Mint-engraver at Nantes, 1575-
1604.
MESNARD, FLORENT {French). Mint-engraver at Nantes, nVf. 1604-
165$.
MESNifi, PIERRE DE. Vide PIERRE DES MESMAY supra.
MESSARA or MASSARA, MARCHESE QtaJ.). Superintendent of the
Mint at Naples, circ. ij^S. His initials MM occur on currency of that
date.
MESSERSCHMIDT, HANS CHRISTOPH (Germ.). Mint-master at Hall
in Tyrol, 1610-161 1.
MESSERSCHMIDT, PHILIEERT LUDWIG (Germ.). Mint-master at
Meisenhem, circ. 1625. His initials occur on currency of Count Pala-
tine John II. of Zweibriicken.
-48-
MESTRELL, PHILIPPE {French). Engraver, who in 1568
(ly'*" January), was " quartered " for having coined gold counterfeit
money {Vide Ruding op. cit , I, p. 344). Probably the same person
as Eloye Mestrell, who introduced the mill and screw at the Lon-
don Mint in 1561.
MESTRELL, ELOYE {French). Also MENSTRELL or MASTRELLE.
*' The new process of coining by means of the mill and screw, as
distinguished from the simple one of striking with the hammer was
Mill and Press (From a woodcut in Boizard's, Traile des Morwoies, Paris, 1692).
introduced in 1561 into England from France by Eloye Mestrell. It
met with little favour from the authorities of the mint, and but few
— 49 —
coins were struck by this process after 1572, and it was not gener-
ally adopted till the reign of Charles II. " (Grueber, Handbook, &c.,
p. 96).
"The method of coining by the mill and press was naturally
more efficient and quicker than by the hammer. The metal having
been prepared in much the same way as formerly, the jian was
placed between the puncheons, the bar of the press turned, and the
impression given at once " (Cochran Patrick, Record of the Coinage of
Scotland, I, Lii).
Eloye Mestrell is said to have been detected in counterfeiting and
making milled money, also out of the Mint, and to have been
executed as a traitor. But Folkes states that this Frenchman's name
was Philip Mestrell, executed in 1569.
BiBLiOGiuPHY. — Ruding, op. cit. - Vertue, Coim and Medals, &c., p. 24.
MfiTEILLER, ARMAND FRANQOIS (French). Contemporary Sculp-
tor, residing at Paris; pupil of Joutfroy and Roubaud. I have seen
his signature on a Portrait-medallion (cast in bronze) of a Lady.
METELLES, GOTTFRIED WILHELM (Germ.), Mint-engraver and
Medallist, at Minden, circ. 1690-1711; then at Koenigsberg
(Prussia), 1711-1724. His coins are usually signed : M; — G. M. ;
or G. W. M. The Berlin Mint-engraver Friedrich Marl also signed
M or, /^ , but I suppose that the M on Koenigsberg issues, of the
period 1711-1724, always represents the Engraver Metelles. By him
are : Minden Gulden of Frederick I., 1705-6; Half Gulden, 1705;
j^ Thalers, 1705-1706; — Koenigsberg Coronation Ducats, 1701 ;
Ducats of Frederick William I, 1713-1722 (ever}' year), &c.
The artist's initials G. M. occur on a Half Batzen of Frederick I. for
Neuchatel, dated 1712.
Bibliography. — Von SchrStter, Das Preussische Muniiueseii , Berlin, 1902. —
Dii Miiit^rdguiig in Neuenbiirg in den Jahren iji}, 14 und /j, Berlin, 1900.
m£tral (French). This signature occurs on a medal of Louis
Napoleon Bonaparte, on the coup d'Etat of 2"^ December 185 1.
METZYS, QUENTIN. Fide QUINTIN MASSYS.
METZNER, ANDREAS (Germ.). Mint-master at Hamburg, 1576.
METZGER, GEORG (Germ.). Mint-warden at Schwabach, 1693.
METZGER, JOHANN GEORG VON (Germ.). Mint-warden at Nurem-
berg, 1761.
METZGER, PETER PAUL (Germ.). Mint-warden at Nuremberg, died
in 1700.
L. FoKREK. — Biographical Noliees of iiednllisls — IV. 4
— $0 —
METZNER or MELTZNER, ANDREAS (Danish). Mint-master at
Copenhagen, «Vt. 1593.
MEUER, GEORG (Germ.). Mint-engraver at Breslau, 1586, and
1598-1604.
MEUFAIX, GERMAIN (French). Mint-engraver at Nantes, 1557.
MEULENBROEK, JAN VAN (Dutch). Goldsmith and Seal-engraver
at Oudenarde, circ. 1407.
MEULEMANS, PIERRE (Belg.). Mint-engraver at Brussels, circ.
1 660 1 671. By him are coin-dies of Philip IV., for Brabant, as well
as jetons.
Bibliography. — A. de Witte, Le Jeton dans les Comptes des Matties de moniiaies
du dtichide Brabant aux XVIh et XVIII^ sikks, Tijdschrift &c., V.
MEUNIER, CONSTANTIN (Bel^.). Painter and Sculptor, born at
Etterbeek, 12. April 1831, died in 1905. His first teacher was the
engraver J. B. Meunier. He has obtained numerous distinctions at
International Exhibitions. He was an Officer of the Order 01
Leopold.
Many of his bas-reliefs are in the style of Plaques, and some have
even been reduced to that size, as La Glebe, Monument au
Travail, and others. The Plaquette of the Soci^t^ royale beige des
Aquarellistes' is by this artist, and was struck by Wolfers Brothers at
Brussels.
M. Tristan Leclerc, m Revue tiniverselle, 1905, p. 263, writes :
"A cote de Rodin, a c6t6 de Dalou, Constantin Meunier a con-
tinue la tradition forte et genereuse qui nous est venue de Rude
et de Barye, et sa place sera marquee au premier rang non seule-
ment des sculpteurs beiges, des Jef Lambeaux et des Georges
Minne, mais encore des sculpteurs de tous les pays, Troubetzkoy,
Trentacoste, Cifariello ou Benlliure. En meme temps, il a enrichi
le domaine de son art de toute une serie de sujets inusit^s, et il a,
comme toujours, innov^ en regardant simplement la realiie. Son
Plaquette of the ' Societe royale beige des Aquarellistes '.
exemple ne sera pas perdu. Beaucoup de jeunes sculpteurs ont com-
pris que le mirage de la Grece et de Rome, si admirable qu'il soit,
est un leurre, et que le meilleur moyen de suivre les anciens est
de faire comme eux, c'est-^-dire de dresser les statues des contem-
porains. Gene sont pas les sujets qui manquent; ce sont les artistes
capables de les traduire. Ge choix des sujets a aussi fait qualifier
Meunier de sculpteur socialiste. II n'a pourtant jamais cherche a
introduire dans son oeuvre des idees litt^raires. II a seulement vu
autour de lui la foule des humbles, et c'est parce qu'une inevitable
philosophie se degage de ce spectacle, parce que I'homme a ressenti
pour ces autres hommes une profonde sympathie, parce qu'il a
- $1 -
anlme ses oeuvres, qu'elles evoquent fotalement et plus fbrtement,
en raison meme de leurordonnance et de leur caractere synthetique,
les sentiments qu'evoque cet aspect de la vie. "
MEUNIER, JEAN {French). Contemporary Gem-engraver, born at
La Provenchere(Yonne); pupil of Gallot. At the Salon of 1890 he
exhibited two onyx camei : "Jean qui pleure"; and "Jean qui
rit. "
MEUNIER, LOUIS (^French). Contemporary Sculptor, born at
Solesmes (Nord); pupil of Belloc, Guillaume, and Viollet-le-Duc.
He is the author of various Portrait-medallions : 1868. Portrait of
a gentleman; — 1879. D"" Nicolas Lemery, &c.
MEUREIN, M'"^ VICTOR PAULIN MARIE (^French). Contemporary
Sculptor, born at Paris; pupil of Boulanger, and J. Lefebvre. By
this artist are various Portrait-medallions, some of which were
exhibited at the Salon : 1892. M"'' Mara; — 1893. M'"= V. B.***.
MEURIER, PIERRE DU (Siuiss). Mint-master at Geneva, from
14''' January 1633 to 1637. His monogram {^occurs on the coins
of that period.
Bibliography. — Demole, op. cit.
MEUSEL, VEIT (Germ.). Mint-engraver at Crossen (Silesia), circ.
1623.
MEVIUS, ANDREAS (Russ). Mint-master at Koliwan, 1821-1830.
MEY, BALTHASAR. Fide METEL.
MEY, JOHANN PHILIPP (Germ.). Mint-master at Zweibrucken,
1612-1621.
MEYBUSGH, ANTON (Germ.). Medallist, said to have been of Ger-
man origin, but I should suspect Dutch, as the Engraver some-
times signed himself Meijbiis. He was probably born at Copenha-
gen, where he first studied, and learned the art of die-sinking.
Between 1667 and 1677, he was, according to Nagler, engaged in
medallic work for Christian V. of Denmark; after 1676 he went
over to Stockholm and produced there numerous medals ot
Charles XI. and Queen Ulrica Eleonora. In 1684 he was invited to
France and 400 livres were sent to him from the Paris Medal Mint
to cover his journey and expenses. He took up his residence in the
French capital, in the early part of 1685, and remained there five
years (not eight, as mentioned by Guitfrey, loc. cit., p. 310),
returning in 1690 to Copenhagen, where he died in 1701. There
are a few medals of the series of Louis XIV. by him, which appear
— )j —
to have been executed from models and designs of French artists.
The last ten years of his life he was principally engaged in the ser-
vice of the Danish court, and was held in high esteem.
This Engraver's signature occurs in various forms : A.M.; —
A. M. F. ; — A. MB. F. ; — A. MB. F. ; — A.MEYBUSCH F. ; — ANT. MEY-
The British Crown offered to William ot Orange, 1688.
BUSCH F. ; — ANT. MEYBUSCH FECIT ; — A. MEIJBUS ; — MEYBUS ; —
MAIBUS; — MEIBUS; and MEIJB : FEC.
By Meybusch are the following medallic productions : Marriage
oi Christian V. of Denmark u'ith Princess Charlotte Amalia,
— 54 —
25 June 1667; — Charles X. Gustavus of Sweden and Queen
Hedwig Eleonora (sev, var.) ; — Charles XL; ^. QVAE'
NONPOSTVLASTIDEDITIBI- (signed : A. MEIJBUS; sev.
varieties); — 15''' Birthday of Charles XL, 24. November 1669; —
Accession of Charles XL, 16. December 1672 (2 var.); —
Louis XIV., Campaign of 1672 ; — Journeys of Charles XL, 1673
(sev. var.); — Coronation of Charles XL, 28. September 1675
(many varieties; one signed : MEIJB : FEC); — Defeat of the Dutch
Fleet in Sicilian waters, and death of Admiral de Ruyter, 1676 ; —
Swedish Victories over the Danes at Halmstad, Lund, and Land-
skrona, 1676-1677 (sev. var. ; one signed : MEIJBUSCH FECIT) ; —
Peace of St.-Germain-en-Laye and Fontainebleau, 1679; — Peace
between France and Denmark, 1679 ; — Peace of Lund between
Sweden and Denmark, 26. September 1679, and Betrothal of King
Charles with Princess Ulrica Eleonora; — Marriage of Charles XL
and Ulrica Eleonora, 1680 (sev. var. ; one signed : ANTON MEYBUSCH
FECIT); — Birth of Prince Charles, 17. June 1682; — Concord
between the King and the States of the realm, 1682 ; — Charles XL's
three children, Hedwig Sophia, Charles, and Gustavus, 1683 ; —
(1684- 1 689). Several portraits of Louis XIV. ; — Battle of Agosta;
— Illness of Louis XIV., 1686 (2 var.) ; — ^L. of medal on Defeat of
the Tripolitan pirates ; — The Dutch fleet burnt at Tobago, 1677
(2 var.); — Birth of the Dauphin (1687); — Vota Galliae; —
Bust of Michel Le Tellier, ike. In 1686 Meybusch received
3300 Livres from the Paris Medal Mint for new coining-presses
of his invention which he had brought over from Stockholm ;
— The British Crown offered to William of Orange, 1688
(illustrated) ; — William III. and Mary, 1689; — Portrait-medal-
lion of Frederick the Great, 1689 ; — Swedish Armaments against
Denmark, 1689; — Death cf Charles XI,, 5. April 1697; —
Charles XL and Eleonora Ulrica (signed : MB.F.); — Another, also
with their busts on either side (signed : A.MB.F.); — Coronation of
Qneen Ulrica Eleonora at Stockholm, 25. November 1680 (sev.
var.); — Death of Ulrica, 26. July 1693; — Charles XII. (as
Prince Charles) ; ^. TALEMPRIMIS'MIRAMVR- AB- ANNIS,
1989; — Danish Auxiliaries in Ireland, 1691 ; — Frederick Charles,
Duke of Wurtemberg (1692) ; — Medal on the Peace between
Denmark and Brunswick-Liineburg, 1693.
Presumably Meybusch was also employed to cut coin-dies for
the Mint of Copenhagen, and is mentioned in Jorgensen's list ol
Mint-engravers, 1692, 3.
Bibliography. — Bolzenthal, op. cil. — Nagler, All^emeines Kunstler Lexikon.
— Ibid., Monogrammisten. — J, J. Guiffrey, La Monnaie des Medailles. Histoirt
metallique de Louis XIV et. Louis XV, Revue numismatique, 1889. — Hildebrand,
op. cit. — Jorgensen, -ob. cit. — Belts, op. cil. — Various Sale Catalogues. — Cata-
logs der Nederlandsche, &c. ...
— )) —
MEYBUSCH.ANTON (Germ.). Son of the last, described by Schlick-
eysen-Pallmann as a Medallist, who worked in Sweden, «>t. 1720.
MEY£, LUDWIG (Germ.). Mint-warden at Munich, 1812 ; Director
of the Mint, 1837-1839.
MEYEL, BALTHASAR (Germ.). Mint-master at Zweibrucken, circ.
1600. Ammon gives the date of 1584 and mentions that he was in
the service of John, Count Palatine.
MEYER (Germ.). Mint-master at Danzig, 1808-1812. Some of his
issues are signed, M .
MEYER (Germ.). Medallist of the second half of the eighteenth
century, who worked in England, and is mentioned by Bolzenthal
with T. HoUoway, Ward, and others of the same school.
MEYER. r/Je? DAUBENMEYER & MEYER. Vol. I, N. E. A firm of
tool makers, and Editors of medals, at Zurich. One of their medals
commemorates the Fourth Centenary of Schafthausen's Entry into
the Swiss Confederation, 1501-1901.
MEYER, ARNOLD (Siuiss). Contemporary Numismatist of Geneva
(7 1904), who designed a medal, engraved by Hugues Bovy, of
the Swiss National Exhibition at Geneva, 1896.
MEYER, GLAUS (Germ.). Mint-master at Rostock, 1562.
MEYER, GONRAD (Swiss). Line-engraver of Zurich, circ. 1640, by
whom there is a Portrait-medal of Prof. Joh. Peter Thomann
(1583-165 1) with inscription on the edge : GEORG PFRVNDT
FINXIT FLAVIT FVDIT. - CONR. MEYER SCVLPSIT
EXCVDIT. Vide Toblcr Meyer, Catalogue of the Wunderly-von-
Muralt Collection, I, p. 326, n° 1022.
MEYER, ERASMUS (Germ.). Mint- warden at Pfedelbach, 1623, in
the service of the Princes of Hohenlohe.
MEYER, flTIENNE (French). Contemporary Sculptor, born at
Paris; pupil of Hiolin. At the Salon of 1894 he exhibited Portrait-
medallions (4), cast in bronze, of various peisonages.
MEYER, F. (Germ.). Modeller at the Royal Porcelain Manufactory
of Charlottenburg, circ. 1773. Of that date is a Portrait-medallion
by him of the Stadholderess, Frederica Sophia Wilhelmina,
consort of William V. of Nassau-Orange. This work is signed :
F. MEYER. FEG : BERL : 1773. Vide Menadier, Schaumiin:(en, &c.,
n° 362.
- ',6 ~
MEYER, GEORG (Germ.). Seal-and Armorial-engraver at Breslau,
1640.
MEYER or MEUER, gEORG (Germ.). Mint-engraver at Breslau,
1586 and 1598-1604.
MEYER, HEINRICH (Germ.). Mint-master at Barby, 1611-1615,
Magdeburg, 16 17, and Konigssee, 1620. He was a native of Halle.
Fide E. Fischer, Die Munien cies Hauses Schivariburg, 1904, p. 199.
MEYER, H. (Germ.). Medallist of the third quarter of the seven-
teenth century, who resided at Halle. His signature : H. MEYER
occurs on a Proclamation Medal of the Great Elector Frederick
William, at Halle, 1681 ;^ The city of Halle beneath crowned eagle.
MEYER, H. DE (Dutch). Medallist of the second half of the eigh-
teenth century, by whom are : Medal on the Solemn Installation of
Prince William V. of Orange-Nassau as hereditary Stad holder of
the province of Utrecht, 1766; — Prize Medal of the Amsterdam
Rifle Club, 1779 (signed : D. MEYER F.); — Badges of the Utrecht
Association "Pro Patria et Libertate"; — Silver Wedding of N. Kien
and M. Buck, 1786; — The Treaty with France solemnly feted at
Zierikzee, 1786; — Medal of the Society "'tFortuyn ", 1766; —
Prize Medal of the Rifle Association of Amsterdam, 1779; —
150*^ Anniversary of the University of Utrecht, 1786; — Memorial
medal of Johannes Hendrik Bachiene, minister of Utrecht, 1789, &c.
MEYER, HENNIN6 CHRISTOPH (Germ.). Warden of the Mint at
Miihlhausen, 1676; Mint-master and Engraver at Kongsberg
(Denmark), 1686-1716, under Christian V. and Frederick IV. His
coins are signed H. C. M,
MEYER, HENNING CHRISTOPH (Germ.). Son of the last, and his
successor as Master of the Mint and Engraver, at Kongsberg, 17 16-
1727, under Frederick IV. The currency he issued bears usually
the letters : H. C. M.
MEYER, J. (Germ.). Designer of a Pistole, 1767, engraved by
Lewis Pingo, for the Electorate of Brunswick-Liineburg.
Pistole of George III., 1767.
— )/ —
MEYER, J. (Germ.). Medallist of Mannheim, circ. 1742. By him
is a Masonic medal of the "Lodge zur Einigkeit " ofFrankfort-on-M.
MEYER, JOHANN (Siviss.). Goldsmith and Engraver of Sursee
(canton Lucerne), end of the eighteenth and beginning of the
nineteenth century. His signature I. M. or Job. M. occurs on Bero-
miinster Gulden and Half Gulden, as well as medalets (Michaels-
pfenninge). He also cut dies for the government of Lucerne, as those
for the Batzen of 1807, 18 10, Sec.
Bibliography. — A. Inwyler, Die Michelspfennige des Collegiatstiftes Beromuns-
ter, Revue Suisse de numismatique, 1898.
MEYER, LUDWIG. (Siuiss.'). A native of Schauensee, born 1768,
died 18. April 1820. He filled the post of Mint-master at Lucerne
1812-1814, and 1816-1820. In 1819 he coined money for canton
Ticino.
MEYER, S. P. {Germ.). Medallist of the second half of the eigh-
teenth century, mentioned by Bolzenthal.
MEYER, WOLF (Germ.). Mint- warden at Stuttgart, 1606.
MEYERS, MARKUS (Dutch). Painter of Friesland, first half of the
eighteenth century, who modelled a Portrait-medal of the Nuremberg
painter, Markus Tuscher.
MEYNAERTS, CLAES (Dutch.). Mint-master at Deventer, 1617-
1626; distinctive symbol, a trefoil.
MEYNIER, CHARLES (French). Painter, born at Paris, 25. Novem-
ber 1768, died there 6. September 1832. He is mentioned, with
Prudhon, Chaudet, Fragonard, Heim, Guersant, Bergeret, and Zix
in the list of artists who supplied designs to the medallists of the
Napoleonic series. Vide Blanchet, op. cit. II, 389 and J. J. Guiffrey,
Rev. num. 1886, 92.
MEYNIER, SAMUEL (French). Contemporary Sculptor, born at
Uzes (Gard). By him are various Portrait-medallions, some ot
which were exhibhed at the Paris Salon : 1870. M"'^M. F***; — 1877.
A. Monod; — 1879. M. R***.
Bibliography. — Chavignerie et Auvra}', op. cit.
MEYSSBERGER, CHRISTIAN (Swiss). A native of Schwarzenberg
im Bregenzerland; Mint-master to the three cantons of Uri, Schwytz
and Unterwalden, previous to 1594; then at Lucerne, which post
he had to resign in 1598 on account of mismanagement, but was
reinstated in 1599.
MfiZItlRES, ANTHOINE DE (French). Mint-engraver at Villeneuve-
Saint-AnJre-lez-Avignon, 15 23-1 54 3.
- 58 -
MfiZItRES, BERNARDIN DE {French). Mint-engraver at Villeneuve-
Saint-Andre-lez-Avignon, 1543-1550.
MEZZARA, M'"^ FLORENCE (French). Contemporary Sculptor and
Medallist, born at Miihlhausen; pupil of Joseph Mezzara. By this
artist are numerous Portrait-medallions, many ot which were
exhibited at the Paris Salon between 1883 and 1895 : 1883.
M"^ van Bommel; — A star; — St. Cecilia, after Gauthier ; — •-
Portrait, after Fragonard ; — M. Thorens ; — M"'^ J. Koechlin-
Dollfus ; — 1884. M""^ Marthe Devoyod; — Winter, after Aubert;
^ — M"^ Pauline Vaillant; — The barge, after C. Meyer; —
*M"^ de Z***; — M'"= Koechlin-Schwartz ; — Mater dolorosa,
after Bouguereau ; — Charles Mezzara ; — Chloe, after
J. Lefebvre , — A. Mezzara; — The Holy Family, after Raphael; —
1885. Love conquered, after Chaplin; — Dawn, after Hamon; —
Love, after Rubens; — 1893. The Adoration of the Wise Men ; —
Alexandre Mezzara; — M"^ Ines Mezzara; — Antony Mezzara; —
M"^ Mireille Mezzara ; — 1895. Alfred Koechlin ; — M"« Ines Mezzara;
— M"^ Genevieve Jourdan; — M"^ Marguerite Bollard, &c.
M. F. FiWd MATHIAS FISCHER. Mint-master at Mayence, 1652-
1682.
M. F. T/Wg MODESTINUS FACHS. Anhalt Mint-master, 1567-1595.
Also »F.
M. F. Vide MARTIN FRITSCH. Mint-master at Olmiitz, 1631.
M. F. Vide MATTHIAS FREUNDT. Mint-master at Hamburg, 1635-
1637.
M. F. Vide MATHIAS FREUDE. Mint-master at Rostock, 1630, and
Hamburg, 163 7- 1668. His son, of the same name, was Mint-master
at Hamburg, from 1668 to 1673.
M. F. Vide MICHAEL FABER. Mint-master at Frankfort-on-Main,
1667-1679. Also BiF.
M. F. Vide JAKOB MERKEL. Mint-engraver at Bamberg, 1681.
M. F. Vide MICHAEL FEDERER. Mint-master and Engraver at
Ratisbon, 1674- 1700. Also IVF.
M. F. Vide MARTIN FISCHER. Mint-master and Engraver at Bre-
men, 1743-1747.
M. F. Vide MANN (Warden) and FORSTER (Master) of the Nurem
berg mint, 175 5-1760.
M. F. Vide MARCHIO FOSCARINL Mint-master at Venice, 1764.
— 59 —
M. F. Fide MAURISSET. Medallist at Paris, circ. 1790- 7182$.
M. F. F/Wt' MICHAEL FLOR. Mint-master at Altona, 1787-18 18. .
M. F. F/Vit' C. M. FRUMERIE. Swedish Medallist, circ. 1801-1843.
M. F. Fide LUIGI MANFREDINI. Medallist and Mint-engraver at
Milan, 1800- 1840.
M. F. S. S. Fide MICHAEL FEDERER. Mint-master and Engraver at
Ratisbon, 1674-1700.
Bibliography. — Schlickeysen-Pallmann, op. cil.
M. F. Signature, mentioned by Erman (^loc. cit., p. 66} as occur-
ring on a medal of 1554, in the Felix Collection.
M. & F. Signature occurring on a medal of George III., and on one
of John William Fletcher (really De La Flechiere), 1729-1785, the
great friend of the two brothers Wesley (in [y F. P. Weber's
collection).
M. G. Fide MICHEL GROBERT. Mint-master at Chambery, circ.
1583.
M. G. Fide MICHELE GUARDINI. Mint-master at Pavia, 1594-1596.
M. G. A. Fide MAGNUS GUSTAV ARBIEN. Danish Medallist, circ.
1782-f 1760.
M. G. A. Fide MARINO E. SEPULVEDA. Spanish Medallist, circ.
1800.
M. G. or M. (d Fide Vol. II, pp. 182 and 232.
M. H. Fide MELCHIOR HOFFMANN. Warden, 1589, then Master of
the Berlin Mint, 1602; died in 1620. AlsoBfH.
M. H. Fide MICHAEL HODERMANN. Mint-warden , at Bromberg
1671-1678.
M. H. Fide MARTIN HOLTZHEY. 1697-1764. Medallist at Amster-
dam.
M. H. Fide MARTIN HANNIBAL. Mint-master at Clausthal, 1741-
1748.
M.H.O. F/ic MARTIN HEINRICH OMEIS. 1650-1703. Medallist at
Dresden.
Bibliography. — Schlickeysen-Pallmann, op. cit.
M. H. or BIH. Fide. Vol. II, p. 366,
— 6o —
M. H. Signature of a Die-sinker at Amsterdam, circ. 1784. It
occurs on a medal of that date, commemorating the arming of
cadets in that city.
M. H. Signature of a North German Medallist of the second half
of the sixteenth century. Fide\o\. II, p. 367.
MICHAEL ANGELO BUONAROTTI. Vide Vol. I, p. 172. This famous
Artist was also f^imiliar with the art of modeUing in wax.
MICHAELIS, GEORG FRIEDRICH {Germ.). Mint-master at Clausthal,
1802-1807, and Burg Friedberg i. d. W. His signature M. or G. F. M.
occurs on currency of Brunswick-Liineburg of George III. of Great
Britain.
MICHAILOFF, MICHAEL {Russ.). Mint-master at St. Petersburg,
1783-1784.
MICHAUD, CLAUDE {French). Sculptor of the nineteenth century,
born at Paris, 29. October, 1822 ; pupil ofRude.Byhim are various
Portrait-medallions, some of which were exhibited at the Salon in
the forties and fifties of last century.
MICHAUT, AU6USTE FRANQOIS {French). Sculptor, Medallist, and
Engraver of coins, born at Paris, 29. September 1786, died there
in December 1879, at the age of ninety-siv. He was a pupil of Moitte,
Lemot, and Galle, and in 1812 he obtained at the Salon the "■ Second
Grand Prix pour Rome ", for medal-engraving, the subject being :
The French Hercules.
This artist will better be remembered as a Coin-engraver than as
a Medallist. His dies of Louis XVIII. and Charles X. are undoubt-
edly his best productions. He also worked for William I. of Holland,
who by Royal decree of 4. October 18 15 appointed him Medallist
to the Court; and later, 9. December 1816, entrusted him with
the engraving of the dies for the 10, 3, i and \ Gulden pieces, with
the King's bust, while a commission was given to the Utrecht Mint-
engravers, D. van der Kellen and A. J. van der Monde to cut the
subsidiary coinage in silver and copper, as well as gold Ducats (the
"Trade" ducats of the old type). Michaut's signature occurs on
the following Dutch coins : 1817. 10, 3, i and | Gulden pieces; —
1817. 3 Gulden, new type; — 1818. 10 Gulden. In 1819. D. van
der Kellen was appointed Chief-engraver at the Mint of Utrecht,
and henceforth Michaut's name does no longer occur in connection
with William I.'s coinage.
Michaut was employed by the French Mint as early as 1814.
Tiolier Sen' wns then Chief-engraver (1803-1816)^ his son,Tiolier
Jun"^ succeeding him (18 16-1843). On his first restoration,
— 6I —
Louis XVIII. signed on lo. May 1814 a decree, ordering ^
coinage of N. 20 Franc and ^. 5 Franc pieces, the dies for whicli
were executed by Tiolier, but on the 2. August following, a
competition was opened for the engraving ot new coin-types.
Michaut took part in the competition and produced a Pattern
40 Francs, which exists in various metals, and four types of Pattern
5 Franc pieces (reproduced in Dewamin, Cent ans de numismaiiqiie,
1900, PI. XL 6, 7, 8, 9).
Michaut's patterns were adopted, and on the second restoration
of Louis XVIII., the king ordered, 9. December 181 5, that the new
types should substitue the older ones from the i. January of the
following year. Michaut's coin-dies comprize : Louis XVIII (1816-
1824). 1815. Pattern 5 and 2 Franc pieces (sev. var.); — 18 16.
M. 40 and 20 Francs; — J^. 5, 2, i and \ Francs ; — j£. Pattern
10 Centimes; — 1817, M. 20 Francs; — J^. 5 {illustrated'), 2,
,, I and I Francs; — 1818. M. 40 and 20 Francs; — J^. 5, 2,
Louis XVIII., 5 Francs, 1817.
— and I Francs ; — N. 20 Francs ; — Pattern 5 Francs in gold ;
5, JR.. 5, 2, I, I and i| Francs; — 1820. N. 20 Francs; — JR.
1,2, 1,1 and I Francs; — 1821. N. 40, and 20 Francs; — JB^. 5 ,
2 I, I and I Francs; — 1822-4. N. 20 Francs; — JK. 5, 2,
I, land ,7 Francs. — Unofficial &c. : Pattern 2 Sols, 1817 (sev.
var.); — Pattern i Sol, 1817 (sev. var.); — Pattern Half Sol, 1817
(sev. var.) ; — The Duke and Duchess of Berry visit the Paris Mint,
1 8 1 7 (module of 2 Francs) ; — The Prince and Princess of Denmark
visit the Paris Mint, 1822 (module of 2 Francs); — The Duke
of Berry visits the Mint of Lille, 1814 (module of 5 Francs ; several
varieties); — The Count of Artois visits the Mint of Marseilles,
1814 ; — The Duke of Orleans visits the Mint of Lille, 18 15
(module of 5 Francs); -- The Duchess of Angouleme visits the
Paris Mint, 18 17 (module of 5 Francs); — Dedicatory Medal in
honour of Count Corvetto, minister of finance, 181 7 (mod.
— 62 -
of 5 Francs) ; — The Duke and Duchess of Berry visit the Paris
Mint, 1817 (mod. ot 5 Francs, sev. var.) ; — Monsieur (Charles X.)
visits the Paris Mint, 1818 (mod. of 5 Francs, sev. var.); — To
M. Roy, secretary of finance, 1820 (mod. of 5 Francs), &c. —
Charles X. (1824-1830). In the competition for the engraving of
the coins of this reign, Michaut was again successful ; on this
occasion he executed Pattern 40 and 5 Franc pieces, 1824 and
undated. The current species I have come across with the Engraver's
signature, which is invariably : MICHAUT, F. comprize : 1824.
N. 40 and 20 Francs; — M.. 5, 2, i,\ and | Francs; — 1825-
1829. M. 40 and 20 Francs; — JB^. 5, 2, i, \ and | Francs; —
1830. M. Pattern 100 Francs; — Ordinary 40 and 20 Francs ; —
M.. 5,2, I, I and I Francs; — Unofficial Patterns &c. The Prince of
Salerno and Duchess of Berry visit the Paris Mint, 1825 (module
of 5 Francs); — The King's visit to Lille, 1827 (module of 5 Francs);
— The Duke of Bordeaux visits the Paris Mint, 1828 (Mod.
Pattern Five Franc piece, 181 5 (4''! type), by Michaut,
of 5 Francs) ; — The King and Queen of the Two-Sicilies visit
the Paris Mint, 1830, &c.
Dewamin reproduces the following French Patterns by Michaut :
Louis XVIII. 1815. 5 Francs (4 types) ; — 1816. 40 Francs
(2 var.); — 181* 20 Francs; — i Franc; — | Franc; — 1816.
40 Francs ; — 20 Francs; 1816. 5, 2, i and | Francs; — 1817.
1 Franc; — 10 Centimes ; — 1822. 5 Francs; — | Franc ; — 1817.
2 Sous; — I Sou ; — | Sou; — 182 1. 10 Centimes; — 5 Centimes
(3 var.); — 1819. 5 Francs. — Charles X. 1824. 40 Francs; —
5 Francs (2 var.); — No date. 100 Francs; — 40 Francs; —
20 Francs ; — 10 Francs. Many of these pieces are marked : ESSAI.
Amongst Michaut's medallic productions, I may mention the
following, under the years in which they were exhibited at the
Paris Salon : 1827. Patterns of Coins of Louis XVIIL, and
Charles X.; — Patterns of Coins of William L, King of the
- 63 ^
Netherlands; — Bust of Louis XVIII.; — Bust of Charles X. ; —
Full-length portrait of Charles X. granting a colonial Charter; —
The " French " Hercules ; — Theseus ; — Herakles ; — Large State
Seals of the Kingdom of the Netherlands; — Sketches ot medals
executed for WiUiam I. of Holland ; — 1^. of Medal commemorating
The French Eagle on the Banks of the Volga, 1812.
the erection of the French standards on the banks of the Volga,
1812 {illustrated) ; — Marriage of the Duke and Duchess of Angou-
leme ; — Restoration of the statues of French Kings; — Comme-
morative Medal of the Duke of Berry, after Pradier; — Comme-
morative Medal of the vow of the inhabitants of Versailles ; —
Charles X. granting a Charter to the Colonies; — Justice; —
Louis David.
Portrait-medals of Jean Francois Ducis, poet; — 18 16. Louis David,
painter; — 1822. D"" Broussais; — Alexander I., Czar of Russia ;
— Medal on the Reunion of Holland and Belgium ; — Medal of
the Dutch Royal Family; — Jetons ot Paris Notaries; — 1831.
Birth of the King of Rome, 181 1; — The French Eagle on the
- ^4-
banks of the Volga; — Accession of Louis-Philippe I. ; — Stamp
of the Head Quarters' Staff of the Paris National Guard ; — 1843.
Medal, with ^. CM. de I'Epee, signed : MICHAUT DES MONNAIES.
By the same Medallist are also : Union of the Southern and
Northern States of the Netherlands, 1815; — Medal of Merit, with
bust of William I. of Holland, 1819 (3 var.); — 1820. The Dutch
Royal Family ; — William I. and his Queen ; — Portrait-medallion
of King William I. ; — Another, of the Queen; — The Queen of
Holland and Prince of Orange; — The Prince of Orange, Prince
Frederick, and Princess Marianne; — 182 1. Conquest of Palem-
bang; — also, Charles X.'s arrival at Versailles, 1824; — Octagonal
Jeton of the Company of Notaries of Paris, undated; — D"" Francois
Joseph Victor Broussais, 1814; and another of 1836 ; — Botanical
Prize Medal, of Belgium, 1829; — Creche of Namur, 1843.
Michaut was a Member of the Dutch Institute, and on his return to
Paris in 18 19 Louis XVIIL appointed him Medallist to the Dau-
phin.
Bibliography. — Bolzenthal, op. cil. — Thomsen Catalogue of Medals. — Cata-
logue Dewamin. — Various Sale Catalogues.
MICHAUX, ALPHONSE (Belg.). Coin-engraver and Medallist, born
at Brussels, 15. December i860; pupil of the Academy of Fine Arts
of that city. In 1895 he was appointed Chief-engraver (Chefde la
fabrication des coins monetaires) at the Brussels Mint, but had
been connected with the Mint since 1878.
By him are the dies of a certain number of Belgian coins, amongst
which I may mention the new Nickel 10 and 5 Centimes pieces ot
Nickel 10 Centimes, 1904.
Belgium, with holes in centre (one illustrated) ; also the Nickel 10
and 5 Centime pieces with the effigy of the Grand Duke of Luxem-
burg, etc.; — Roumanian 20, 10 and 5 Bani pieces; — 2 and i
Shahi pieces of Persia, etc.
The best known medals by this artist are : Commemorative
medal of the Shah's Visit to the Mint of Brussels, 1900; — 50'*^
Anniversary of the Marriage of the Grand Duke of Luxemburg,
1901 ; — Centenary of the College of Luxemburg, 1903 ; — Ticket
(Jeton de presence) of the Royal Numismatic Society of Belgium,
- 65 -
with portrait of Renier Chalon ; — Death of King Charles XV.
of Sweden, 1873 (signed : R. MICHADX, and probably the work ot
Michaux's father); — Birth of the XX. Century, 1902 (for which
medal the artist obtained the first Award); — J. S. Stas, 1891 (after
L. Wiener); — Medal of the Universal Exhibition at Antwerp,
1894; — Centenary of the Republic of Haiti; — Prize Medal,
1905 ; — 40*^ Anniversary ot the Reign of Carol I. of Roumania,
100 Lei pice, 1866-1906.
Laureate of the Competition for Medal-engraving, which was
opened in 1902 by the Royal Academy of Belgium, Michaux has
been entrusted by his government with the engraving of the Jeton
struck on the occasion of the Opening of the Universal Exhibition
at Liege in 1905.
Bibliography. — Information kindly supplied by M. Aiphonse de Witte. — Revue
beige de uumisnuitique.
MICHAUX, ROBERT (Bi'Jg.). Engraver and Medallist, born at
Brussels, 30. June 1824, died there 6. June 1901. Pupil of Hart.
He is the father of Alphonse Michaux, the present Mint-engraver
at Brussels. This Die-sinker's signature occurs on a medal commem-
orating the Death of King Charles XV. of Sweden, and struck at
Brussels in 1873, on commission for a Swedish firm of publishers.
By the same artist is a Portrait-medal of Lagerberg, the well-known
Swedish numismatist, dated 1872, and the Inauguration of the
Railway from Warsaw to Bromberg, 1862, &c.
MICHE. M. Signature mentioned by Amnion. It is that of the Flo-
rentine Medallist, MICHELE MAZZAFIRRI (q. v.).
MICHEL {French). Gem-engraver of the second halt of the
eighteenth century. His signature : MICHEL occurs on a gem,
described by Raspe, Silenus in a car led by three Cupids. He was
a pupil of Jacques Guay.
MICHEL {Germ.). Mint-master at Wiirzburg, 1496.
MICHEL {Germ.). Goldsmith, and Warden of the Mint at
Neuotting, 1458.
MICHEL (probably MICHEL CHUNTER). {Austr.). Moneyer at
Vienna, 28. August 1369 to 27. May 1379. On a Mint document
of 1376, mentioned by Luschin von Ebengreuth, we find the
following entry : " Oswaldus et Michel, fratres monetarii dicti
Chunter. "
Bibliography. — Luschin von Ebengreuth, Wims Miin^;wesen, &c.
MICHEL, CLAUDE {French). Appointed Mint-engraver at Mont-
pellier on 19. January 1541 (1542) — 1547.
L. FoKKER. — Biographical Noiius of Mtdalliils. — IV. 5
- 66 —
MICHEL DER GEWCHRAMER {Aiisti\). Mint master at Vienna,
1384-1395.
MICHEL, GEORGES CHARLES PROSPER {French). Contemporary
Gem-engraver, born at Ilouen; pupil of Amable Simon. By him are
the following works : 1879. St. George spearing the Dragon, sard;
— Ariadne, sard; — 1880. The Archangel Michael crushing Satan,
amethyst; — 1881. Oedipus divining the secret of the Sphinx,
sard cameo; — The Secret from on high, after Moulin, sard
cameo; — Head of Ariadne, sard cameo ; — 1882. Portrait ot Jules
Gr^vy, sard intaglio; — 1883. Zephyr, after Proud'hon, cameo-
intaglio ; — Herakles infant crushing serpents, cameo-intaglio in
sard, etc.
Bibliography. — Chavignerie et Auvray, op. cit. — Catalogues du Salon, &c.
MICHEL, GUSTAVE {French). Contemporary Sculptor and Medallist,
born at Paris ; pupil of Jouffroy. I have noted the following medallic
productions by this artist : 1893. Portrait-medallion of Victor
Hugo; — 1896. Various models intended for medals; — 1898.
Medal of the " Societe historique d'Auteuil et de Passy ", 59 mill,
(reproduced in Medailleurs contemporains, PI. 30); — 1902. Medal
of the '* Societe populaire des Beaux-Arts"; — 1904. Various
Portrait-medallions &:c. (amongst others, those of M. & M™"' Henri
Brisson-Landois) .
MICHEL, JEAN MARIE {French). Contemporary^ Sculptor, born at
Paris; pupil of J. Casin. By him are also various Portrait-medallions
and Medals, some of which have been exhibited at the Salon,
since 1883. One of the best known is the Medal of the "Orphe-
linat des Arts ".
MICHEL-LANGELIER, M""- LOUISE {French). Contemporary Sculp-
tor, born at Paris; pupil of G. Michel, and author of various
Portrait-medallions. One of these "Ma petite Madeleine" was
exhibited at the Salon in 1883.
MICHELASSI, ENRICO {Ital.). Contemporary Sculptor of Florence,
who modelled a Portrait-medal of Verdi, cast in bronze by the
founder Niccoli GiuHo, 1905 . The originator of this medal is Arturo
Spigardi, the well-known numismatist.
MICHELE, ANDREA CIONE DI, surnamed VERROCCHIO, q. v. infrd .
MICHELET, FIRMIN MARCELIN {French). Contemporary Sculptor
and Medallist, born at Tarbes (Hautes-Pyrenees) ; pupil of
Falguiere, Merci6, Henri Dubois, and Th. Riviere.
By him are the following medallic productions : 1903. Official
Medal of the Exhibition of the Republic of Ecuador, 1900; —
-^7 -
Portrait-medallion of M. V. M. Rendon, Commissioner-general ot
the Republic of Ecuador; — Various medals (6); — 1904. Frame
containing seven Portrait-medallions and Medals.
MICHELFELDER, CONRAD (Austr.). Mint-engraver at the " small
Mint" of Hall in Tyrol, 1482-1484, under the Archduke Sigismund
(1475-1496). By him is a Tvrolian Pfundner (^. * GROSSVS
:•: COMITIS -tTlROLIS)/
MICHELIN, THEODORE {French). Issuer of Patterns for the subsid-
iary coinage o( France, 1888-89. They consisted in perforated
nickel pieces ot the values of 20, 10 and 5 centimes, representing
Commerce and Industry, and are illustrated in Dewamin, Cent ans
de numismatique franfaise, I, p. 95.
MICHELINO (Jtal.). Gem-engraver of the sixteenth century, who
resided at Rome, was a contemporary of Pier Maria da Pcscia, and
worked for Pope Leo X. (1513-1523). Mariette says : "Ilmettait,
i ce qu'on assure, beaucoup de delicatesse dans son travail ".
Bibliography. — King, Antiqiu Gems and Rings, 1872.
MICHELINO, L. (French). Sculptor, and Gem-engraver of the
nineteenth century, born at Rome, but naturalized a Frenchman ;
pupil of Giuseppe Girometti. At the Salon of 1855 he exhibited
seven cameos : Force conquered by Cleverness; — Jupiter and
Leda; — Portrait of M. Michelini ; — Four other portraits.
MICHELL, GEORG {Germ.). Mint-master at Michelstadt (Erbach),
1570.
MICHELOZZO, MICHELOZZI (ItaL). Florentine Sculptor and Archi-
tect, born in 1391, died in 1462. Vasari in his description of the
pictures in the Palazzo Vecchio, says, speaking of the portrait of
Santi Bentivoglio : "I have made it after the medal from the hand
of Michelozzo Michelozzi. This medal has not come down to us.
But Armand, and after him, Heiss have ascribed to Michelozzo, a
medal of Cosimo the Elder (illustrated), formerly attributed to
Pisanello, and now given to Niccolo Fiorentino, by C. von Fabriczy,
and according to the more recent authorities, Michelozzo's name
should thus be erased from the list of Italian medallists.
" Vasari speaks — not in the biography of the master, but else-
where incidentally — of Michelozzo, the celebrated Director ot Works
at the Court of the Medici and Sculptor in bronze and marble, as
the author of a medal, no longer extant, ot Santi Bentivoglio of
the year 1445. Three pages further on (Vol. VIII, p. 99), however,
where he enumerates the works done by the artist for Cosimo de'
Medici, he mentions no medal of the latter among them, although
— 68 —
had a work of the kind been forthcoming the passage would have
demanded its notice. Nevertheless, on the strength of Vasari's vague
Medal of Cosimo de' Medici.
Statements, and in consideration of the close relations that existed
- 69 -
between Michelozzo and Cosimo the Elder, it is believed that the
medal of Cosimo, which has come down to us in four shghtly
different variants, is to be attributed to him. The attribution dates
back to the Weimar dilettanti, who ascribed the fourth variant to
Michelozzo, while for the first they actually adduce the name
of Donatello. From them it would appear Armand and Heiss
inherited the attribution (which they extend to all the four replicas)
while Friedlander explains them as works oi Niccolo Fiorentino.
In any case, this view has more probability in its favour than that
of the French savants. The delicate individualisation in the portrait
does not correspond to the rude provincial manner of Michelozzo,
nor even does the Florentia on the reverse reveal anything of the
conspicuous manner in which in his statues he strove to imitate
the antique; but apart from this the latter theory is opposed by
chronological considerations. Since Cosimo died on August i'*,
1464, and only received the title P(ater) P(atriae) accorded him
on the medal after his death, /. e. on March 16''', 1465 (Friedlander
incorrectly gives March 16''', 1464), it follows that the medal cannot
have been produced previous to this date. On the other hand the
accurate reproduction of it in a miniature in the title of a Codex of
the Laurentiana, dedicated to Piero Medici, shows that it must
have existed as early as 1469, the year of Piero's death. " We
know however, that Michelozzo was absent in Milan, Ragusa, and
Schio from 1462 onwards, and it appears improbable that even had
they waited until the return of the master (in 1466 at the earliest)
the Medici would have entrusted the commission to a man of
seventy, when Florence already possessed a series of approved
medallists. As regards the medal itself, however, we cannot better,
characterise its aitistic value than in Goethe's words: "The work is
quite extraordinarily masterly and bold; at the first glance,
it is true, the portrait seems sketchy and hastily designed; on closer
inspection, however, it is wonderfully ingenious, full of meaning
and complete in every part ". (Cornelius von Fabriczy, Italian
Medals; translation by Mrs Gustavus W. Hamilton, 1904, p. 115
sqq.).
Michelozzo assisted Donato in the execution of the noble monu-
ment in the Florentine Baptistry to Pope John XXIII, who died in
1415.
To Michelozzo D' W. Bode ascribes two Plaques in high relief:
Madonna, half-length ; 8,8x5, ^5 — Madonna between worshipping
Genii ; 18, 5 X 10, 2 {Die italienischen Bron:^eu, Berlin, 1904).
MICHIEL, PIERRE (Belg.). Mint-master at Bruges in conjunction
with Mathieu de Tilly, from 20. November 1493 to 14. May 1496.
MICHIELS, JEAN (Bel^.). Mint-master at Maestricht, circ. 1418,
under John IV. of Luxembourg.
— 70 —
MICHL (Bohem.y Mint-master at Eger, 1492.
MIDDELTHUN {Norw.^ Mint-engraver and Medallist at Kongsberg
(Norway), under Charles XIV. John of Sweden, 1818-1844. His
signature : M occurs on the following medals, &c. : Coronation ot
King Charles XIV. John at Throndhjem, 7. September 1818; —
Medal of Merit, wnth King's bust (100 specimens struck at the
Kongsberg mint in 1821); — Medal for Cadets, with King's bust
(signed : MIDDELTHUN F.).
A Thaler of Charles XIV. John, dated 1819, bears also his initial.
Bibliography. — Hildebrand, op. cil.
MIDDLEMASS, W. (Brit.^. Mint-master at Madras, from March
1839 to February 1840, and again from January to February 1842.
MIDDLETON, SIR HUGH {Brit.). Owner of silver mines in Wales,
in the neighbourhood of Aberystwith, circ. 1621. The silver
extracted there was sent to the Tower to be coined, where it was
distinguished by being marked with the Prince of Wales' plumes
over the shield on the reverse. There are Crowns, Half-crowns and
Shillings of James 1. of this issue.
Bibliography. — Hawkins, op. at.
MIDIAS. Fictitious signature, which King mentions as occurring
on a cameo of the Caylus collection, representing a Griffin and
Serpent.
MifiDAN, LOUIS LfiOPOLD AM£d£e (French). Contemporary
Sculptor, born at Chatillon-sur-Seine (Cote-d'Or) ; pupil of the
£cole des Arts decoratifs, Paris.
At the Salon of 1883 he exhibited two bronze Portrait-medallions :
M. Boissy d'Anglas, deputy ; — M. P***.
MIEDEMA (Dutch.). Contemporary Sculptor and Medallist, who
has worked occasionally for the Die-sinking establishment of Begeer
at Utrecht. His signature occurs amongst others on a Prize Medal,
inscribed : HONOR, reproduced in R. Marx, Medailleurs modernes en
France et a V Stranger, PL 31.
MIER.H. (Germ.). According to Ammon, this signature occurs on
a Portrait-medal of the celebrated physician Balthasar Bekker, 1692
(VideKohXtxs Miinzbel, P. VIII, 345).
MIGNOT, PHILIPPE or PHILIBERT (French). Goldsmith, and
Engraver, at Paris, circ. 1674- 1683.
MIJAREZ, ALBERTO PAREJA DE (Chilian). Contemporary Sculptor,
born at Lima, pupil of Falguiere. At the Universal Exposition of
1900 he exhibited some Portrait-medallions, Busts of Francisco
Pizarro, and Isabel la Catolica; also a Bas-relief with two medallions,
&c.
MILANO, PIETRO DA (Ital.). Milanese Sculptor and Medallist, who
flourished circ. 1450-1473. H. de La Tour has established that this
artist is the same person as PIETRO DI GIOVANNI DA VARESE or
DA COMO, nephew of Baltramo di Martino da Varese, sculptor and
architect.
Cameo of king Rene of Naples.
(British Museum.)
Pietro da Milano, whose name occurs also as PIETRO DE MARTINO
DA MILANO, or PETRUS DE MEDIOLANO, was engaged in the service
of king Rene of Anjou, .nt about the same time as Francesco Lau-
rana (1430-1501). He modelled and cast six Portrait-medals of his
Patron and members of the Royal family; these are all signed:
OPVS.PETRI.de. MEDIOLANO. — Rene of Anjou, king of Naples,
and Jeanne de Laval, his consort, 1462; obv. Jugate busts to r.
^L. King Rene seated amidst various personages in front of a public
building ; diam. 104 mill, {illustrated); — Rene of Anjou, 146 1;
obv. RENATVS.DELGRACIA etc.; ^. MCCCCLXLOPVS.
PETRVS.DE. MEDIOLANO. — R.L— EN.VN. Within laurel-
wreath, a purse suspended from four strings; diam. 84 mill.
(illustrated) ; — Margaret of Anjou, daughter of Rene, and consort
of Henn- VI. of England ; obv. SAGAX.IMBVTA etc. Bust to r.;
^. PRVDENTIA EST.SVPER.ONIA.VIRTVS. — OPVS.
PETRI. DE MEDIOLANO Prudence standing to r., holding stick
around which a serpent is entwined, and in the left a mirror ; diam.
86 mill, (illustrated) ; — Ferry II. of Lorraine, count of Vaude-
mont, and son-in-law of king Rene ; obv. FEDERICVS.D. LOTO-
RINGIA . COMES. VAULDEMONTIS . SENESCALLVS. PRO-
VINCIE. — OPVS . PETRI . DE . MEDIOLANO. Bust to r. ; ^. The
Count on horseback; diam. 80 mill. ; — Rene of Anjou, Portrait-
medallion, uniface, with bust to 1., and legend : HIC. RENATS.
LIVS . REGVM . SCICILIE . AVDIACIOR . AVO • ET . CETERA ;
— 72 —
diam. 86 mill. ; — Another, Portrait-medallion, uniface, with bust
tor., and legend: RENATVS.DEI.GRACIA.IHERVSALEM.ET.
SICILIE. REX. ET. CETERA; diam. 90 mill.
Medal of Rene of Anjou and his consort, 1462.
Bolzenthal adds to the above a Portrait-medal of Pope Sixtus IV.,
dated 1472, of which however no specimen has come down to us,
and Friedlander doubts the accuracy of the statement.
— 73 —
Medal ol Rene ol' Anjou, 1461.
%
Margaret ol Anjou.
/ )
Pietro da Milano, says Maxe-Werly, followed king Rene in the
Barrois, and made a stay in 1463 at Bar-le-Duc, where he was
engaged in sculpture work for the church of Saint-Maxe and for the
castle.
This artist is the author of the triumphal arch of Castel Nuovo,
one of the noblest monuments of the Renaissance at Naples, which
was begun in 1455 by king Alfonso to commemorate his capture
of the city, and completed under his successor.
All Pietro da Milano's medals are modelled and cast. They do
not rank amongst the best Renaissance works of the kind, butthey
have assuredly their distinct merit. Friedliinder has accused the
artist of servile imitation and, commenting on the reverses of his
medals, he sums up by the statement that " they likewise lack in
Plaquette attributed to Pietro da Milano.
beauty and show a departure from the noble simplicity of Italian
medals. " M. de la Tour in his monograph, '* Pietro da Milano",
1893, has endeavoured and succeeded to prove that the artist had a
style of his own and that he is worthy ot a better notice. " Les
medailles de Pierre de Milan, " says he, " furent executees
probablement a la Cour du roi Rene, les unes en Provence et les
autres en Touraine. EUes sont, avec quelques-unes de celles de
Laurana, les premieres pieces a portrait modelees en France, et
certainement les premiers monuments a date certaine executes dans
notre pays pardes sculpteursitaliens, a ce moment oula gravure en
medaillese confine chez nous dans la servile imitation des monnaies.
A la male beaute de I'oeuvre et a sa nouveaute, on peut juger de
I'influence que Pierre de Milan a pu exercer dans notre pays. " In
- 7^ -
another place the same writer comments further : " Pierre de Milan,
cela est certain, ne cherche pas a embellir son modele, et il voit la
nature telle quelle ; mais il la rend largement, puissamment, et il
sait animer son oeuvre d'un souffle de vie. II veut etre exact et son
ebauchoir va jusqu'a preciser un petit detail, une verrue, sur cette
face courtaude du bon roi Rene ; mais il sait admirablement subor-
donner le detail a I'ensemble ; cet esprit penetrant s'entend mer-
veilleusement a degager les traits individuels et les plus caracteris-
tiques. Passionne de la verite, amoureux de la vie, il ne tombera
jamais dans la mievrerie, et silafacture parait parfois d'une energie
un pen farouche, elle reste toujours aisee, souple, vibrante et fiere.
Et quelle habilete dans la disposition des silhouettes et des lignes,
dans I'arrangement des details du costume ! "
" Un autre monument d'orf^vrerie dont nous voulons parler nous
transporte a plus de trois siecles, en pleine Renaissance italienne.
C'est une plaquettc d' argent ciseJe, don genereux de M. Alfred Andre,
I'eminent restaurateur d'objets d'art. Elle represente sur une place
entoureede palais, d'edifices a coupoles, un Miracle du Christ debout
devant un paralytique. Nous connaissons de cette plaquette d'ar-
gent, un double en plaquette de bronze (collection Gustave Dreyfus),
dont s'occuperent, en ignorant la premiere, MM. Eugene Muntz et
Emile Molinier. Le premier I'attribuait a Caradosso, le second a
Pietro da Milano, dont il citait la medaille du roi Rene d'Anjou, au
revers de laquelle est represente un edifice religieux assez analogue
a celui de la plaquette. II est vrai que, dans une medaille de Cara-
dosso, celle de Bramante, un edifice du meme genre est represent^,
qui est peut-etre, comme dans la plaquette, Saint-Pierre, de Rome;
mais il apparait surmonte d'une coupole qui n'existe pas dans la
plaquette. On en pourrait deduire que Caradosso connut I'edifice
dans un etat d'achevementque n'aurait pas connu I'artiste de la pla-
quette. L'attribution qu'en fit a Pietro da Milano M. fimile Moli-
nier me parait done des plus plausibles. Uetat dans lequel se trouve
cette plaquette d'argent, si finement et si delicatement ciselee me
semble provisoire. Etait-elle preparee pour recevoir une application
d'email translucide qu'elle n'a jamais regue, et pour prendre place
ensuite dans un encadrement tres riche en or, peut-etre plaque de
reliure, ou des medallions d'emaux translucides auraient augmente
encore la beaute de I'objet?" (Gaston Migeon, Les Jrts, Mars 1906).
Bibliography. — Bolzenthal, op. cit. — N. Rondot et H. De La Tour, o/>. cil.
— Armand, op. cit. — Heiss, op. cit. — Friedlander, op. cit. — C. von Fabriczy,
op. cit. — E. Muntz, Les Arts a la Coiir des Papes (1498-1503). — H. de la Tour,
Pietro da Milano, Revue numisniatique, 1895, pp. 85-110. — I. B. Supino, 0/). cit.
— Maxe-Werly, Un sculpteur italien a Bar-le-Duc,en 146^.
MILANO, AMADEO DA {Ital). Goldsmith, and Medallist, who died
in 1483 ; probably the same perj^on asAMADIO D'ANTONIO AMADIODA
- 77 -
CASTRONAGO, and the father of Pietro da Milano. Citadella states
that he was Engraver of coins to the Este family at Ferrara.
Two medals are preserved of this artist; the one bears a Portrait
of Lionello d'Este; ^. Lynx; and the other that of Borso d'Este;
^L. Leda and the swan. They are both signed : AMAD. MEDIOLAN.
ARIFEX. FECIT. The obverses of these two medals were used in the
sixteenth century with reverses by various artists.
Heiss reproduces two youthful portraits of Borso, from the
Vallardi collection, which appear to be studies made by Amadeo for
his medal of the young Prince.
" Amadeo da Milano ", says C. von Fabriczy, " who was
especially esteemed as a goldsmith, betrays himself as such by a
strong relief, by the elegant, almost timid, treatment and careful
chasing in the medals which he made of Lionello and Borso d'Este
in the forties. On the reverse of one of the Lionello medals, like Baron-
celli, he copies Pisanello; while the reverse of his second medal,
with the Leda and the swan, is a naively conceived, but skilfully
composed circular design ". This Reverse is however considered to
be of later date than the obverse by most authorities {Fide Note
of G. F. Hill).
Mr Max Rosenheim possesses information which might lead to
the attribution of the well-known Niccolo d'Este medal, formerly
ascribed to Pisanello, and other artists, to Amadeo da Milano.
Bibliography. — Armand, op. cit. — Heiss, op. cit. — C. von Fabriczy, op.
cit.
MILANO, LEONARDO DA. Vide LEONARDO DA VINCI.
MILAN, PIERRE. Vide MILLAN.
MILANESE, AMEDEO Vide MILANO, AMADEO DA.
MILESIUS. Probably a fictitious signature on a gem of the Bracci
collection representing Apollo seated before a tripod. Vide King,
op. cit., p. 221.
MILIANO. Vide EMILIANO ORSINI infra. Engraver of coins at
Fuligno, circ. 1460- 1487.
MILIC, mKL(Bohein.). Goldsmith, and Mint-engraver at Joachims-
thal, 1545-1573; he also engraved coin-dies for the Mint of Prague,
circ. 1568. The first mention of his name occurs in 1540 when he
is named amongst the town councillors of Thai. His medallic pro-
ductions are numerous and remind one of the later works of the
artist who signs G.W. The Vienna Mint Museum preserves several
dies by this Master. By him is a Portrait-medal of the Mint-master
Sebastian von Weitmiihle, executed in 1542-43, and various reli-
gious medals with obv. SALVATOR MVNDI CHRISTI MISERER.
-^78 -
Bust of Christ, and ^. AGNVS DEI QVI TOLLIT PCTA MVNDI
Paschal Lamb; one is dated 1569; — Christmas Presentation
Medal, obv. PARWL.NATVS. EST. NOBIS. NOMINE. lESVS.
Birth of Christ; I^. AGNVS.DEI.&c. Paschal Lamb; — Another,
with legends in German: EIN. KIND. 1ST. VNS.GEBORN,&c.
Bust of the prophet Isaiah ; ^. HIE . FRID . HEIL . VND . SELIKEIT
{sic) Infant Christ and serpent; — Medal on the Creation and
Redemption, obv. GOT SCHAFT DIE WELT &c. ; ^. DASITS
{sic) GOTTES LAMB &c. Other religious medals of the same
period may be by Nikl Milic, but it is impossible to identify them.
The Quarter Thalers of Ferdinand, 1560, struck at Joachimsthal,
were no doubt engraved by him.
Bibliography. — Fiala, op. cit. — Katalog der Mfinien- und Medaillen-Stempel
Sammlung des K. K. Hauptmun^^amtes in fVien, 1902. — D^ Merzbacher, Kunst-
Medaillen-Katalog , 1900.
MILIC, WOLF (Bohem.). Goldsmith, and Mint engraver at
Joachimsthal, circ. 1 539-1 545. He was the father of Nikl (or Niklaus)
Milic (Militz).
MILLAN, PIERRE (French). Engraver at the Nesle Mint, Paris,
155 1 ; assistant to Marc Bechot.
MILLAUER, GEORG (Germ.). Mint-master at Munich, 1849-1871.
MILLE, LAMBERT (Belg.). Mint-master at Bruges, circ. 1750;
again from 10. November 1752 to 28. February 1753.
MILLEMERCES, MOISE (French). Mint-master at Bourg St. Mau-
rice, 1278.
MILLER (Brit.). Die-sinker of the latter end of the eighteenth
century. I have noticed his signature on a silver Portrait-Jeton of
George III., 1794.
MILLER (Germ.). Mint-master at Schrattenhofen (Oettingen),
1622.
MILLER, CHRISTIAN ERNEST. F/W^MULLER; C.E. infra.
MILLER, CONSTANTIN (Austr.) " Kunstmeister " at the Mint of
Hall, circ. 1554.
MILLER, FRANZ (Austr.). Pupil at the School of Engraving of the
Vienna Mint, 1 784-1789.
MILLER, JAMES (Brit.). Mint-master at Calcutta, 20. August
1792 to 1799.
— 79 -
MILLER, JOHANN. T/Je JOACHIM MULLER infra.
MILLER, MICHAEL (Austr.). Mint-engraver at Gratz, end of the
seventeenth and early part of the eighteenth century, circ. 1686-
1729. He also cut dies for the Mint of St. Veit. On 16. April 1712,
when his petition for a rise of salary was dismissed, he was still in
office.
Bibliography. — C. Oesterreicher, Regesten &c.
MILLER, PHILIPP HEINRICH. T/W^' MULLER, P. H. infra.
MILLER, ULRICH (Gemi.^. Mint-warden to the Suabian circle,
1677.
VLILLY.1 {French). Mint-engraver at Bayonne, 1 670-1 672; he was
nominated, in succession to Leon Boisnet, by the officers ot that
Mint, but the Cour des monnaies did not confirm his nomination.
MILLET, JEAN LOUIS {French). Mint-engraver at Montpellier,
1775-
MILLET, LOUIS {French). Mint-engraver at Bayonne, circ. 1599-
1648.
MILLET DE MARCILLY, fiDOUARD FRANQOIS {French). Sculptor
and Medallist, born at Paris; pupil of Edouard Gustave Louis Millet,
his father, and J. Lequien. By him are various Portrait-medallions,
some of which have been exhibited at the Paris Salon: 1870.
M°" ?***, plaquette in bronze; — 1873. M"= Jeanne P***,
JE medallion; — 1870. Commemorative medal of the Universal
Exhibition of 1878 ; — Agricultural Prize Medal (Minerva distri-
buting rewards) ; — 1 89 1. Th. S***; — 1894. Adolphe Sax, etc.
MILLON, MARCEL VAN {Belg.). Mint-master at Bruges, from
Easter 1472 to Easter 1474, and at Antwerp, 10. December 1474
to I. January 1476, in conjunction with Ypol Tarrax.
MILLS, GEORGE {Brit.). Medallist, born in 1792 or before
28. January 1793, died at Birmingham on 28. January 1824, aged
31. "He exhibited at the Royal Academy from 1816 to 1823, and
gained three gold medals from the Society of Arts. His first patron
was Benjamin West, P.R.A., who pronounced him the first
Medallist in England, and to whose memory Mills dedicated a por-
trait-medal. He was never employed at the Royal Mint, but engraved
for James Mudie a silver pattern Crown of George IIL, and a
pattern Crown (in gold and silver) of George IV., published by
Whiteaves {illustrated). These patterns show little decorative taste. "
(W. Wroth, George Mills, Diet, of National Biography, XXXVII,
444)-
— 8o —
The following are the best known productions by this artist:
Coins. George III., Patiern Crown, undated; obv. Laur. bust to r. ;
initials: J.M.D. and F.W.F. below; I^. Four shields arranged
crosswise (Spink's Catalogue of the Montagu Collection, n° 604) ; —
Pattern Hanoverian Pistole, undated, JE (formerly in the Murdoch
George IV., Pattern Crown, Ij, Miio.
collection) ; — Pattern Guinea (obv. only), undated ; Laur. bust to-
r. ; MILLS on truncation (Mont., n° 811); — Pattern Guinea,
undated; obv. as last, with a large C beneath bust; ^L. MAGN^
BRITANNIA REX FIDIE {sic) DEFENSOR. Crowned square-
topped shield (Mont., n° 812); — George IV., Pattern Crown, known
as the Whiteaves Crown, 1820; signed: MILLS F. beneath bust
(Mont. n° 948); — Another, a variety, with G MILLS F. on trun-
cation, and neck of George IV. bare; — Pattern Crown or Half
Crown, undated, with ^. copied from that of Mills' crown of
1820, etc.
Medals. The medals enumerated here are described in chrono-
logical order, but several of them, especially the earlier ones, were
engraved at a later period, and belong to Mudie's series of National
medals. 1797. Admiral Earl St. Vincent (^. by Brenet); — i799-
Admiral Sir S. Smith (I^. Acre defended, by Brenet); — 1804.
Settlement of the British at Bombay (obv. by Droz); — 1809.
Death of Lieut. General Sir John Moore, at Corunna; — Arthur,
Duke of Wellington (I^. Battle of Talavera, by Lafitte); — 1812.
Rowland, Viscount Hill, Capture of the Forts of Almarez, 15. May
1812;— Lieut. General Sir Thomas Picton; ^. Badajoz; — 18 13.
Wellington (j^. Battle of Vittoria, by Lefevre); — Lieut. General
Lord Lynedoch (obv. by Rouw ; VjL. Reduction of San Sebastian,
by Mills); — 18 14. George, Prince Regent (obv. signed : G MILLS F.
RL. England gives peace to the w^orld, by Dubois); — Another
(1^. Treaties of Paris, by Brenet); — 181 5. Lord Hill, his Victories
;r —
in Spain commemorated ; — Henry William, Marquis of Anglesey
(^L. Charge of the Second Brigade at Waterloo, by Depaulis) ; —
Napoleon I. at St. Helena; — 1817. Death of Princess Charlotte,
6. November 18 17 (obv. by Webb); — Admiral Sir J. T. Duck-
Battle of Talavcra, 1809.
worth, Bart. G. C. B. ; — 1818. Lord Brougham, Westmoreland
County election; — 18 19. Death of James Watt; — Memorial
Medal of Sir Henry Englefield (in two sizes ; struck in imitation of
Queen Caroline.
a Greek coin) ; — 1822. Medal of the Astronomical Society, with
bust of Sir Isaac Newton ; — Queen Caroline (modelled from life,
by P. Rouw).
L. FoKKFk. — Biographical Noticts of Medallists. — IV.
— 82 —
By Mills are also : ^L. of W3-on's medal on the Visit of George IV.
to Ireland, 1821 ; — Benjamin West (1820 ?} ; — Lismore School
Medal; — Prize Medal of the Cardiganshire Agricultural Society
(signed: G.MILLS g), with portrait of Thomas Johnes of Hafod[.
Mills was employed at the Soho Mint after Kiichler's departure,
and it was while there that he executed the large Portrait-medallion
of James Watt.
Bibliography. — Bolzenthal, op. cit. — Redgrave, Dictionary of Artists. —
Crowther, English Pattern Coins. — Cochran Patrick, Catahoue of Scottish Medals.
— Grueber, English Personal Medals. — Grueber, Brit. Museum Guide to English
Medals. — Hawkins, Franks and Grueber, Medallic Illustrations &c. — W. Frazer,
Medallists of Ireland. — Gentleman's Magazine, 1824. — Catalogue of Mudie's Series
of National Medals. — Numismatic Chronicle, 1887- 1892. — Revue de la numismu-
tiquehelge, 1891, p. 586. — Information kindly supplied by Mr. R.D. Roberts of
Cardigan.
MILON, 10. V. Fide GIOVANNI V. MELONE supra. Medallist of the
second half of the sixteenth century,
MILTON, JOHN (Brif.). Medallist and Gem-engraver of the second
half of the eighteenth century, w^ho worked from about 1760 to
1802, and died on 10. February 1805. From 1789 to 1798 he was
an assistant Engraver at the Royal Mint, and was also Medallist to
the Prince of Wales (George IV.). He was elected a fellow of the
Society of Antiquaries, 24. May 1792, and exhibited at the Royal
Academy from 1785 to 1802. His coins and medals were sold by
Leigh and Sotheby, 30. May 1805 (cfr. Sale Catalogue').
" At the close of the eighteenth century", says Mr. Wroth,
*' Milton executed dies of provincial tokens, all of which are credit-
able works of their kind. " His usual signature is J. MILTON. One
of his pupils was George Valentin Bauert, of Altona; a Portrait-
medal of Robert Walpole was executed by the two in conjunction.
The following are Milton's best known productions : —
Coins. Anglesey, Penny, undated (Pye, PI. I, i, with Druid's
head); — Barbadoes, Penny, and Halfpenny, 1788 (some varieties
signed: J. MILTON F. ; or M. ; others unsigned), and 1792; —
Cambridge, Penny, undated (^. DAVID HOOD, etc.); —
Hackney, Halfpenny, 1795 (with View of Hackney Church) and
Penny, 1796 (signed: /. Milton F. on obv. and I M on ^. ; this
piece was not intended for a token, but for a medal) (The issuer ot
these Hackney tokens, D. A. Rebello, was a coin collector]; —
Hereford, Penny, 1796 (2 var., Pye, PI. 22, 9 and 10); — Ipswich,
Conder's Penny Tokens, 1795 and 1796(3 var., all three with head
of Cardinal Wolsey), 1797 (View^ of Ipswich Town-Hall on obv.,
by Jacobs); — Isle oi Man, Penny and Halfpenny, 1786; —
London, Penny, 1803 (issued by Robert Orchard, and signed
MILTON F.); and Farthing, 1804; — Richardson's Halfpenny, 1795 ;
- 83 -
— Young's Penny and Halfpenny, 1798 ; — Unfinished Token,
with inscription on ex. of ^. : MILTON MEDALLIST | SEALS
COINS &c. I 1799 (known as Milton's Token) ; — Richardson's
Lottery Tokens, London; — Swanage, Twopence, 1785; —
Scottish Pattern coins with head of Prince George, executed for
Colonel Fallerton, 1799, and comprizing: Two Shillings and Six-
pence (AT, J^, JE and white metal, signed : Milton), One Shilling
and Sixpence (4 var., N, JK, JE and white metal, signed : Milton
F. or M.), Shilling (AT, JK, JE and white metal). Sixpence (N, ^R,
yE and white metal, signed M under the bust) [Sharp says : ''The
dies for this rare token were made for Colonel FuUerton {Fide
Vol, II, p. 170) afterwards Governor of Trinidad^ under the direc-
tion of Mr. Young; the object not being mentioned at the time by
Colonel Fullerton, but it afterwards appeared the coins were
intended for circulation as shilling tokens in Scotland, the sanction
of the Prince of Wales having been previously obtained. The late
Sir Joseph Banks happening to see the dies, whilst in the possession
Barbadoes Penny, 1788, signed : J. MILTON F.
of Milton, was so struck by the resemblance of the design to the
national silver coin, and the illegality of the Royal Arms being
thus assumed by the Prince upon a piece intended to be current,
that he cautioned theartist against further proceeding, since he might
be liable to a charge little short of High Treason. In consequence,
the project was abandoned, only a few proofs being struck, and
those in copper, " and Sir George Chetwynd, quoting this, states :
" for the same purpose dies were prepared for the striking of
shiUings smaller than those for the halfpenny, which they resemble
in every other respect, except the legend of the reverses. A few
pieces were struck in silver for presents. Dies were also prepared
tor Halfcrowns and Sixpences exactly like the Halfpenny, size only
excepted. It does not appear that any impressions, except a very few
in soft metal, were taken off at the time; but afterwards there were
some struck in silver from the dies which were in Mr. Young's
possession. "
- 84-
The specimens in gold, and many of those in other metals
which are in the market, are restrikes]; — Wroxham (Norfolk),
Threepence, 1797, etc. There is also a Pattern Guinea of
George III., dated 1798.
Medals. Prize Medal of Winchester College, with bust of
William of Wykeham; — Sir Edmund Godfrey, 1678 (a copy of
Bower's medal); — Matthew Prior, f 18. September 1721 (one of
George III., Thanksgiving Service at St. Paul's, 1797.
the earliest of Milton's works) ; — Robert Walpole, Earl of Oxford,
1744 (signed : I. M. F. MINT on ^. ; obv. by Georg Valentin Bauert,
The " Hu Gadaru" Welsh Medal.
pupil of Milton); — Prize Medal of the London Medical Lyceum
(with busts of John Hunter and George Fordyce), 1785 ; — Prize
Medal of the Glasgow University; — George III., Thanksgiving
Service at St. Paul's, for the Victory off Camperdown, 19. December
-85 -
1797 (illustrated) ; — Commemorative medal of the Battle of Ger-
mantown, Pennsylvania, 1777 (Reward of Merit,; a rare medal repro-
duced in Betts, American Medals) ; — Death of the Duke ot Bedford,
1802; — Successes of 1814, with bust of Bliicher (signed: M.) ;
— The Colgate Medal, 1795; — Thomas Howard, third Earl of
Effingham, 1791 (2 var.) ; — Thomas Erskine and Vicary Gibbs
(Trial of Hardy, Tooke, and Thelwall), 1794; — George III.,
Thanksgiving Service at St. Paul's for the Victory of i. June 1794
(signed: MILTON); — Masonic medal for Membership (Marvin,
P- 197) J — Welsh Medal (legend: Hn Gadaru yn ariuam y
Cyinru i Ynus Prydain); — Insanity of George III., 1789 (3 var,);
— Anthony Morris Storer, 1799; - — City Badge of London;
— Gaming Tickets for Half-a-Crown, One Shilling, and Sixpence;
— Presentation Medal of the Royal Society of London to Benjamin
A. Rumford; — Medalet with bust of King and Royal arms (erro-
neously believed to have been intended for a Pattern Half Crown);
— Royal Military Club instituted at Jamaica, by William, Duke
of Clarence (afterwards William IV.), 1788 (A/" Badge and JE); —
Another, similar, with legend showing it to have been struck as a
Ticket for the Strand Theatre of Varieties, etc.
On some of the medals the signature of the artist is : I. M. F. TOWER ;
or IMF. MINT.
Gems & Seals, &c. Eagle tearing a serpent, yellow carnelian ;
— Horse galloping, the background blazoned ; — Seal of the
United States of America (engraved in London ; St. George
fighting the Dragon ; legend : LET MERCY BE OVR BOAST,
AND SHAME OVR ONLY FEAR; signature: I. MILTON F.) ;
— Comedy holding a shield bearing the inscription : MILTON
ENGRAVER, N" 6 QUEEN STRt. GOLDEN SQ. ; — Herman
Platoff, undated; I^. ACRI MILLHA | VEXAVIT GALLOS |
EQVES METUENDUS | HASTA.
Bibliography. — W. Wroth, Johi Milton, Diet. Nat. Biog. xxxviii, 41. —
Hawkins &c., Medallic Illustrations &c. — Pye, Provincial Copper Coins. — Redgrave,
Dictionary of Artists. — James Conder, Arrangement oj Provincial Coins, Tokens,
and Medalets. — J. Atkins, Tradesmen's Tokens of the eighteenth century. — Sharp,
Chetxuynd Collection. — Crowther, English Pattern Coins. — Spink, Catalogue of
the Montagu Collection from George I. to Victoria. — Cochran-Patrick, Catalogue of
Scottish Medals, p. no, pi. xxi, 3 ; cp. p. 115, n" 46 ; p. 151. — Betts, Historical
Medals of America. — Tancred, War Medal Record, &c. — Numismatic Chronicle,
1887-1892. — Schlickeysen-Pallmann, op. cit.
MILNE, LT COL. A. (Brit.). Officiating Mint-master at Bombay
under Major B. Scott, 1895.
MILWARD, E. M. (Brit.). Sculptor of the second half of the nine-
teenth century. At the Victoria and Albert Museum, South Ken-
sington, there is a copper Panel, inlaid in silver,, representing a vase of
— 86 —
flowers with two birds, which the artist exhibited at the Competi-
tion of the Society of Arts, 1864.
Bibliography. — Fortnum, Bronzes in the SoiUh Kensington Mnseiun.
MIMEREL, JACQUES {French). Sculptor and Architect ot Lyons,
circ. 1639-1669; born at Amiens and christened, 2. March i6i4.He
executed numerous works of sculpture, and was Engraver to the
city of Lyons. He is the author of several Portrait-medallions and
cast Medals, which are signed : MIMEREL. F. or M. F. One of these,
with portrait of Louis XIV., and commemorating the Peace of the
Pyrenees (signed : M. F.) is reproduced in A. Steyert, Histoire de
Lyon, III, 287. The work on this medal is poor. Another, with por-
trait of Charles Grolier, provost of merchants at Lyons, and dated
1658, was formerly in the late Baron Pichon's collection.
As an architect, Mimerel directed the building of the Church of
St. Antoine at Lyons.
By this Engraver is also a Jubilee Medal of 1666, portraying
St. John the Baptist standing on obv. and Censor on altar on ^.
Bibliography. — N. Rondot, Lalyame, Hendiicy el Mivierel, sculpteurs et
medaiUeurs a Lyo7i au XV Ih siecle, 1888. — Rondot et De La Tour, op. cit. —
Rondot, MedaiUeurs lyonndis, 1897. — S. Lami, Dictionnaire des sculpteurs.
MINDEL, HANS (Dan.). Mint-master at Malmoe, 1449.
MINERS' BANK OF SAN FRANCISCO. Issuers of a 10 Dollar piece,
obv. Eagle; 1^. Inscription.
MINEUR, FRANgOIS tQQMkKD {French). Sculptor and Medallist of
the second halt of the nineteenth century, born at Paris; pupil of
Simon Jun, and Fauginet. Chavignerie et Auvray mention two
medallic works by this artist, which were exhibited at the Salon :
1863. Model of a Portrait-medal of Beaumarchais ; — 1868. Por-
trait-medallion of Colonel Vivien.
MINGANTI, ALESSANDRO (7/^/.). Goldsmith and Sculptor ot
Bologna, second half of the sixteenth centur3\ He collaborated in
the execution of the bronze statue of Pope Gregor\' XIII. in the
Palace at Bologna, and is named amongst medallists by Zani, Enci-
clopedia nietodica criiico-ragionata delle belle arti , etc., Parma, 18 19-
1824.
MINIEL, POLET {French). Engraver of Jetons at Tournay, fifteenth
century. One of his jetons bears the inscription : MINIEL. POLET.
LA.FET. I EST.FET.A TOVRNAI. Only very few of these early
jetons bear the Engravers' names.
MINING CO. OF CINCINNATI {Amer.). Really : CINCINNATI MINING
& TRADING CO. Issuers of 5 and 10 Dollar pieces, dated 1849,
-87 -
with Head of Liberty on obv. and an Eagle on ^L. Vide Scott's
Catalogue, 1890.
MINHEYMER, JAN (Htwg.). Medallist of the third quarter of the
nineteenth century. About 1850 he was established at Warsaw.
^ MonuiviEiri'Ui/i .
Medal of the Academy of Medicine and Surgery of Warsaw.
I have only seen two medals by him, that of the Polish composer Josef
Stefani, with his portrait on obv., dated 1864, and signed: J. M. on
obv. and JAN MINHEIJMER F- on ^. size : 37 mill., and another of
— 88 —
the Academy of Medicine and Surgery of Warsaw, 1857, with por-
trait of Alexander III.
By him is also a medal on the Inauguration of the Railway from
Warsaw to Terespol, 1866.
MINT-MASTERS. From an early period, which Mommsen dates
between 104 and 89 B.C., the coinage of the Roman Republic was
entrusted to three officers, who bore the title III VIR A. A. A.F-F.
Triumviri Auro Argento Acre Flando Feriundo. These magistrates
{Mint-masters) were invested with the supreme authority in all
things that related to the fabrication of money, and superintended
the work of the Monetarii {Mint-engravers), who formed, with
their wives and their children, a large body exclusively employed
Coiner at work. — From the capital of a pillar at S' Georges de Bocherville,
Normandy.
as workmen, and whose position, in society, differed little from
that of slaves. The Tresviri monetales had the privilege, in early
times, of recording, by means of legends and types, facts connected
with their family history. Julius Caesar added one more person to
this Monetary triumvirate, who thus became IIII VIR(Quatuorviri),
but Augustus again reduced the number to three, after a period of
fourteen years (B.C. 47-21) during which no coins signed by
regular monetary magistrates were issued. After B.C. 15, the names
of the triumvirs no longer appeared on the gold and silver currency,
but maintained themselves for about ten years on the bronze coin-
- 89 -
age, which was instituted in this year '. The names of Engravers
are not recorded, with very few exceptions. Under Aurehan, the
VsxMmtzmniitv.
3" »ttciner C9?un^ fd)ta^ ich amc^tf
©ufeCSKuti^aii fem»n&scimc^r/
S?if c^urrm pivg /funpficf) i,ufc!)^('ii/'
^uguf/mmljt gufer^ant)eromin«/
senatorial right of issuing money was suppressed, and presumably
at the same time the board of triumvirs ceased to exist, a change
I. Hill, Handbook of Greek and Roman Coins, 1899.
— 90 —
which appears to be connected with the revolt of the moneyers
in 274 A.D. The coinage ot the gold and silver, under the Emperors,
was entrusted to officials of the imperial treasury, some private
slaves, or freedmen, as Junius Thallus, of Caligula's household,
who was siiperpositus auri monetae mimmulariorum under Claudius.
Trajan placed the general management of the coinage in the hands
oi ^ Procurator monetae Augusti, under whose orders were Dw/)m^a-
tores. The workmen employed at the mint were divided into three
classes : the signatores who engraved the coins; the suppostores who
Monetary Workshop under Louis X[I of France.
were charged with the placing of the piece of metal between the
dies; and iht malleatores v^\\o struck the dies with the hammer.
Little is known of the social position of the moneyers after the
fall of the Eastern Empire. A distinction must however be drawn
between the MONEYERS (Vide Vol. II, pp. 372-4) of the Anglo-
Saxons, Merovingians, &c. and the MONNAYEURS, MUNTZMEISTER,
MINT-MASTERS of the same and subsequent periods in various
European countries. The moneyers enjoyed many ot the privileges
o{ the familia monetalis of the Empire. In England and France, these
— 91 —
officers of the mint were persons of rank, often of considerable
wealth and importance, or selected tor their integrity, bat not usually
possessed of technical knowledge. Some however may have been
the engravers of the coins, as well as the issuers, thus the clever
goldsmith Abbo of Limoges, who was moneyer at that locality.
"In the earliest Saxon times", says Mr. W. J. Andrew, "the
moneyer was perhaps an officer of the Crown, attendant on the
King's person, and the designer of his own dies; but, as the demand
for coin increased, and the mints became gradually extended
throughout the country, the respective offices of designer of the
coinage and of the local moneyer became separate of necessity. " In
the time of Edward the Confessor there v^ere three of four hundred
of them coining at one time or another in the seventy mints or so
ot that reign." From the time of Aethelred II., when fresh types
were issued, throughout England, from time to time, their designs
and types emanated from one central place, first at Winchester, and
probably soon after the conquest, at London. On very few of the
coins the name of the moneyer is followed by ME FECIT which
might lead one to suppose that in such cases he was also the
engraver.
We are very much in the dark concerning the status ot the
moneyers and engravers in later mediaeval times. Ruding
(I, pp. 15-50) supplies us with much information in connection
with the respective attributions of the Wardens and Masters of the
Mint and the Cuneators or engravers, in this country. Their offices
were quite distinct. The two first were responsible for the coinage,
under the direct supervision of the King or Government ; the
Cuneator in chief was usually the king's goldsmith ; thus Otto (or
Otho) Aurifaber was the engraver of William I'.s coins, and his
successors held the same office under subsequent reigns as late as
Edward I.
In France, Germany, Spain, and other countries, the workmen
employed at the mints formed a corporation, under the jurisdiction
of the mint-masters, and enjoyed many privileges, being exempt
from all kinds of taxes and from serving in time of war.
In Germany, the moneyers formed powerful corporations, the
Haiisoenossen, with the sole right of striking money and exchange.
The Mtint:;ineister were responsible for the coinage under their
direct control. At a later period, we find in ever}- well-constituted
Mint a Mint-warden, the Prince's officer entrusted with the issue ot
the coinage, and a Mint-master, who undertook to strike the coins,
often at his own risk and peril, on certain conditions and subject
to a royalty. In some mints, the Mint-master was a Die-sinker
himself, usually a goldsmith, and acted also as Engraver of the
dies.
— 92 —
Blanchet ', Babelon ^, and more recently Sir John Evans ', have
reproduced the annexed woodcut, taken from Amman's book on
Sidnde und Handwerhr ^ , showing a Mint-master at work striking
coins with a hammer.
Sir John Evans gives the following translation of the rhymes
attached to the cut :
" Good coins in my mint I strike
In weight and metal good alike,
Batzen, dollars, gulden, crowns
I can strike for any towns,
Half-batzen, kreutzers, counters small,
Old Tournois groats — I make them all.
So good and right that through the land
There's no one suffers at my hand ".
In the kingdom of France, the officials of every mint consisted
in the Mint-master (Mattre particulier), two Wardens (Gardes), a
Counter- warden (^Contre-garde), an Assayer (Essayeur), and an
Engraver {Tailleur des fers). The Monnayeurs were the workmen
occupied with the striking of the coins. The Mint-masters-general
{Giniraux maitres), who belonged to the Chambre des Comptes,
had the superintendence over the various mints. The woodcut
reproduced here from Babelon {op. cit., I, 820), depicts the inte-
rior of a mint workshop at the time of Louis XII., with the fur-
nace to left, and three workmen engaged in preparing the flans and
striking the coins; in the background, the Mint-master, seated at a
table, is exchanging currency for a personage standing at his side.
The organisation of mints in most European countries, England
included, did not very much differ from that in France. At Vienna,
the staff consisted of the Mtin-meister or Master, Anwalt or Warden,
both of which were appointed by the Archdukes, the Gicsser,
Founders, Versucher, Assayers, Zainmeister , Workmen engaged in
rolling the metal, Beschaumeister, Foremen, Schrotmeister, Cutters,
Set^meister, Coiners, Ysengraber, Engravers (who were generally
goldsmiths by trade), and Ysenhutter, Keepers of the dies.
At the smaller mints, the number of officials was very much
reduced, and in some of them, even up to our present times, the
Mint-master combined the offices of Issuer and Engraver of the coins.
MINTON, J. W. (Brit.). Sculptor of the second half of the nine-
teenth century, by whom there is a series of Portrait-medals of
1. Bhnchex, £ludes de nuntismatique, 1901.
2. Babelon, Traite des monnaies grecques et romaines, 1901.
5. Sir John Evans, Num. Chr., 1904, p. 360.
4. Eigentliche Beschreihung aller Stdnde auf Erden, holier und nidriger, etc.,
Frankfort-on-M,, 1568.
— 93 —
distinguished Englishmen. I have only come across the following
medallic productions by him : Queen Victoria, Pattern Penny in
bronze, 1873 (?); — Charles Dickens, Memorial, 1885 (signed
on obv. J. W. MINTON SC.) ; — Robert Browning, &c.
MINVIELLE (Fr^«^/;). Mint-engraver at Morlaas, circ. 1661.
MINVIELLE, h£l£NE (French). Contemporary Sculptor, born at
Orleans; pupil of Lancon. At the Salon of 1890 she exhibited a
Portrait-medallion, which is not the only medallic production of
this artist.
MIRETTO, jean (ItaL). Mint-master at Chamb^ry, 15 77- 15 80
(Perrin, op. «7., p. 151).
MIRON (Ml PON). This inscription, — which occurs on a gem in
the Berlin Museum, representing Ajax, kneeling on an altar, and
plunging his sword into his body, — has been added in the
eighteenth century.
MIROSOWSKY VON MIROSOWIC, ULRICH SIGMUND(5£)/;m.). Mint-
master at Plan, 1 650-1 654, under Count Francis Ernest of Schlick.
His privy-mark occurs on Thalers, Groschen, &c.
MIROWICZ, LOWE (Germ.) A Jew, who in 1652, was entrusted
with the working of the Mint of Opeln (Silesia).
MISEREY, ALBERT ERNEST (French). Contemporary Sculptor,
born at Menilles (Eure); pupil of A. Gauthier and Thomas. By
him are various Portrait- medallions, one of which, that of
M"'" Louis T*** was exhibited at the Salon of 1903.
MISERON Fide MISSERONI.
MISHARWY Fide MISSERWY.
MISSERONI. A fomily of Gem-engravers of the sixteenth and
seventeenth centuries. Girolamo and Gasparo Misseroni were con-
temporaries of Jacopo da Trezzo, and were called from Milan to
Prague in the service of the emperor Rudolph II. Their descendants
Ambrogio, Alessandro, Ottavio, Dionis, and Giulio all worked for
the Imperial court, and, according to Nagler, produced very fine
work.
The family was originary of Milan.
The name occurs in various forms : MISERON; — MISSERONI;
MISURONNI, &c.
Bibliography. — Nagler, Allgemdnes KunstJer-Lexikon. — Babelon, op. cit. —
Maiiette, op. cit.
— 94 —
MISSERONI, ALESSANDRO (Ital.). Gem-engraver at Prague, circ.
1605.
MISSERONI, AMBROGIO (Ital.). A brother of Dionis, and Otta-
vio; worked in the service ot the emperor Rudolph II., in the early
years of the seventeenth century.
MISSERONI, DIONISIO (DIONIS, or DENIS) (ItaL\ Gem-engraver
to the emperor Rudolph II. at Prague, end of the sixteenth and
beginning of the seventeenth century.
MISSERONI, FERDINAND EUSEBIUS (ItaL). Son of Dionis M. ;
Gem-engraver of the seventeenth century. He was raised to the
nobility by the emperor Leopold I., who created him Lord of
Lisom, and confirmed in his favour the privileges of his ancestors,
as Engraver to the Imperial court. He was also nominated Keeper
of the Imperial Cabinet of curiosities.
MISSERONI, GASPARO (Ital.). Gem-engraver of the second half ot
the sixteenth century, who with his brother Girolamo M. worked
at Milan. He was a pupil of Jacopo da Trezzo, and was engaged at
the Imperial court at Prague towards the latter part of his life. His
name occurs in Cellini's memoirs, and a document, dated 5. May
1557, records a payment made to him for a cup in crystal.
MISSERONI, GIROLAMO (or HIERONYMO) (ItaL). Milanese Gem-
engraver, who also distinguished himself in the cutting of vases in
crystal, agate, and lapis-lazuli. Several of his fine works, and ot
those of his brother Girolamo, are preserved at the Florence
Museum and in various collections at Vienna and Prague. Towards
the end of the sixteenth century he settled in the Bohemian capi-
tal, and worked tor the emperor Rudolph 11. In the Vienna
** Kunstkammer " is preserved a Beaker, four feet high, in rock
crystal, by this engraver. It has been valued at € 3000.
MISSERONI, GIULIO (Ital.). Gem-engraver at Prague, seventeenth
century; he was called to Spain and worked there for the court of
the Escurial.
MISSERONI, OTTAVIO (Ital.). A brother of Ambrogio and Dionis,
&c. ; Gem-engraver at Prague, early part of the seventeenth cen-
tury; later at Madrid.
MISSERWY or MISHARWY, JOHN (Brit.). Engraver of the dies of
the Testoon, second issue, 1555, of Mar}-, Queen of Scots; obv.
^ MARIA DEI G SCOTOI^-REGINA- 1555. Crown above the
letter M; on either side, crowned thistle; ^L. DILICIEDNICOR*
HVMILE. Shield on cross potent. Another variety reads DILICI.
— 95 -
The coin was current for 5 shillings. By Misserwy is also the Hard-
head or Lion, of the same date.
In a document of 1555, we read : " JOHNE MISSAllUY
INGLISCHMANE. Schort thairefter thair come hame ane Inglisch-
mane quha vpone fair promisis be moyen of cowrte was appointit
maister Coinyeour and David Forrest placit to be generall (quhair
of thair wes never ane befoir) quha be command of the quein
regent and counsale coinyeit the peces efter following To witt
Testoon of Mary, 1555, by Misserwy.
*' Thair wes coinyeit be the said Inglischman fra the xxvj ot
Januar 1554 to the xiiij of Februar 1555 as the buikis beiris in tes-
tanis of ix d fyne and of wecht sex denneiris having cowrse of V s
the pece — j"" xxx stane xij punde vij ounce xij denneiris. The fre
proffitt of Ilk stain Thair wes lykwyse coinyeit be him in lyounis
of a denyer fyne xxviij in the ounce of iij half pennyis Ilk pece fra
the vii) of Marche 1555, to the last of August immediatlie follow-
ing Ixxxxiij stane vj pund v once xij deneyris The fre proffitt of Ilk
stane" (Cochran Patrick, Records of the Coinage of Scotland, I,
98).
Bibliography. — H. A Grueber, Handbook of the Coins 0/ Great Britain and
Ireland, 1899.
MISSET, M"'^ AUGUSTINE (French). Contemporary Sculptor, born
at Paris ; pupil of Jouffroy. By her are various Portrait-medallions,
amongst others, one of a Lady, which was exhibited at the Paris
Salon, 1885.
MITCHELL, r. N. (Amer.). Sculptor, and Medallist, of the middle
years of the nineteenth century; worked at Boston. By him are the
following medals : General D"" Joseph Warren, of Boston (4 var.) ;
— United States Naval Hospital, Portsmouth, Va (or Portsmouth
Yellow Fever medal); — Medal of the United States Agricultural
Society, 1852; — Medal of the Maine Agricultural Society
(signed on ^L. F. N. & H. MITCHELL) ; — Medal of the Sandwich
Islands Agricultural Societv ; — Medal of the Massachusetts Chari-
- 96-
table Mechanics' Association ; — Medal of the Worcester County
Mechanics' Association, 1841; — The Sargent Medal; — The
W. H. Harrison Medal, 1840; — Commemorative medal of the
Bunker Hill Jubilee, 1850; — International Exhibition at Philadel-
phia^ 1876.
MITCHELL, H. (Amer.). Son of F. N. Mitchell, the Boston Medal-
list, and also a Die-sinker, whose signature I have however only
seen on one medal, in conjunction with that of his father's :
Prize medal of the Maine State Agricultural Society.
MITCHELL, J. (Brit.). Publisher of Medals, mostly engraved by
Pinches. He resided in Bond. St., London. His name occurs on a
Memorial medal of WelUngton, 1852.
MITH. This signature occurs on the two following gems : Head
of a horse, sard (Berlin); — Head of an eagle, sard (Poniatowski).
Gems with those letters are usually assigned to the dactyliotheca
ot King Mithridates, says King, but on no sufficient grounds.
Bibliography. — King, op. cit.
MITLETA (Bohem.). Mint-master or Moneyer at Prague, under
Duke Boleslaus, circ. 1005. His name occurs on deniers of that mint
and period.
MITROWSKY, JOHANN NEPOMUK, BARON VON (Bohem.). Mint-
master general of Bohemia, 1740-1749, and re-elected again, 1749-
1755-
MITTELBACH, CHRISTOPH (Genu.). Mint-master at Reinfeld
(Schleswig-Holstein), 1620.
MITTERMAYER, JOSEF FRANZ VON WAFFENBERG (Atistr.). Son
of Matthias Mittermayer; appointed Mint-master at Vienna,
I. June 1709.
MITTERMAYER, MATTHIAS VON WAFFENBERG (Atistr.). Mint-
master at Vienna, circ. 1679-1705 (?); died. 22. December 1708.
His initials occur on the coins issued by him, which were all
engraved by the Mint-engraver, Johann Michael Hoffmann. Among
these are the two commemorative Thalers of the Siege of Vienna,
1683, Double Ducat of 1682, Ducats of 1683-84, Quarter Ducat,
1694, Thalers and Sechsers, &c. A Thaler of Prince Ferdinand
Wilhelm Euseb of Schwarzenberg, and consort Maria Anna, 1696,
of which several varieties exist, is also signed : MM. ; and likewise
a Thaler in gold (10 Ducats) and one in silver of Prince Ferdinand
von Dietrichstein Hollenburg zu Nikolsburg.
Bibliography. — C. Oesterreicher, op. cit. — Fiala, op. cit. — Tobler-
Meyer, op. cit.
— 97 —
MIVELT, GEORGES (Belg.). Goldsmith, and Mhit-engraver at Liege,
appointed on 28. July 1557, by Bishop Robert de Berghes.
Bibliography. — Pinchart, Graveurs beiges. Revue de la num. beige, 1861.
p. 174-
M.K. Vide MARTIN KUNE. Mint-master at Eisleben, 1560-1573.
M.K. Vide MAX KIENLEN. Mint-master at Ulm, 163 5-1639.
M.K. Vide MARTIN KRAFFT. 1738-1781. Mint-engraver at Vienna,
1769; later at Milan.
MK. Vide F. MATZENKOPF. Mint-engraver and Medallist at Salz-
burg, arc. 1 727- 17 5 4.
M.K. Vide MARTIN KESSEL. Mint-master at Saalfeld, 15 94- 16 14.
M.K. Vide MARCUS KOCH. Mint-master at Koenigsberg in Prussia,
1624-1625.
M.K. Vide MARCUS KOCH. Swedish Mint-master, 1628-1663.
MK. or MK. F. Vide J. C. MORIKOFER. Swiss Medallist, died at
Berne, 1790.
M.K. Vide MICHAEL KLEINER. Mint-master at St. Petersburg,
1808-1809, Kolpin, 1818 and Ischora, r8io-i8ii.
M.K. Vide MICHAEL KUTSCHKIN. Mint-engraver and Medallist at
St. Petersburg, 1845-1872.
M.K.P. Vide MICHAEL KUTSCHKIN (FECIT) (P on Russian signatures
signifies Fecit).
M.L. Vide MAGNO LIPPI. Mint-master at Parma, 16 18.
M.L. Vide MATTHIAS LAUFFER. Counter-manufacturer at Nurem-
berg, 1623.
M.L. r/rfg MATTHIAS LONGERICH. Mint-master at Idstein (Nassau),
1692.
MNESARCHOS, MNH2APX0S {Greek). Son of Euphron or
Euthyphron, and named as the father of Pythagoras. He is said to
have been an Engraver of rings (oaxTjAisvAuos?). According to some
accounts, he was not of purely Greek origin, and may have belong-
ed to the Tyrrhenians of Lemnos and Imbros. He died at the
beginning of the tyranny of Polycrates, towards the middle of the
sixth century B.C. (Diog. Laert.,VIII, i). He cultivated the art of
gem-engraving more for glory than for gain.
Bibliography. — Babelon, op. cit. — King, op. cit.
L. FoRRER. — Biooraphical Noticts of Medallists . — IV. 7
- 98 -
M. 0. r/^?^ MARTIN OMEIS. Medallist at Dresden ; died in 1703.
MO. B. (Ital.). Medallist's signature, which occurs on a Portrait-
piece of Pope Sixtus v.; ^L. PVBLICAE ■ COMMODITATI
Bridge ; struck in the sixth year of his pontificate, 1590. Vide M., M-B.,
MOB. (Armand, I, 293, 6. Ill, 141).
MOCCHI, LORENZO CIGLIA (^Ital.). Sculptor and Medallist, of the
end of the fifteenth century, who, according to the noteworthy
•\\
Portrait-medal of Lorenzo Ciglia Mocchi, by himself.
conjecture of G. Milanesi may be identified with the so-called
MfiDAILLEUR A LA FORTUNE (^/. v. Vol. II, 127).
— 99 —
Hern von Fabriczy does not pronounce against this attribution,
which appears quite reasonable, as the medal of Lorenzo Ciglia
Mocchi (illustrated) is signed on ^L. L.C.M., which initials can only
represent the name of Mocchi. All the eight medals bearing on ^.
a nude Fortune holding inflated sail above her head would there-
fore be the work of that artist, about whom however nothing is
known. " His works ", says von Fabriczy, " betray a more mechanic-
al capacity, not only by the lack of inspiration in the portrait, but
also by the style of the figure on the reverse, which reminds us of
an engraving. "
Medal of Alessandro di Gino Vecchietti.
The medals attributed to Mocchi would .comprize : His own
Portrait-medal, dated 1495; — Ludovico Lucio, of Siena); —
Gianozzo Salviati, of Florence; — Alessandro di Gino Vecchietti
(obv. illustraled) ; — Unknown Personage, obv. Youthful bust
to 1.;^. POCHEFORTVNAVOLECHECOSIISTENSI. For-
tune, &c. ; — Francesco Barbolano; — Giuliano Daniele Nico-
lai, &c.
Since this was written, Prof. Bode's remarkable monograph on
Niccolo Spinelli has established beyond any doubt that the latter
artist is the author of the above medals.
Bibliography. — C. von Fabriczy, op. cit. — Armand, op. cit. — Heiss,
Mt'dailletirs de la Renaissance. Florenu I, XIV. — LB. Supino, op. cit.
100 —
MOCCHI, FRANCESCO (IfaL). Sculptor and Medallist ot the first
half of the seventeenth century, who resided at Florence, and died
there in 1646. One of his best known medallic productions is a
Portrait-piece of Alessandro Farnese, Duke of Parma, with a repre-
sentation on ^L. of his equestrian statue,
Heiss ascribes to this artist a Portrait-medal of Pope Clement VIII.,
signed F. M. F. on obv. ; ^L. GREGEM . NE . DESERAS. Pope kneeling
to r. (^Fide vol. II, p. 116.)
Isolated medals, says von Fabriczy, have been ascribed to this
artist, by recent research, with more or less justification.
Bibliography. — Bolzenthal, op. cit. — Heiss, op. cit., Florence, II, p. 93. —
C. von Fabriczv, op. cit.
MOCCHI, STEFANO (Ital). A Florentine Gem-engraver of the end
of the seventeenth century. He was a contemporary of Andrea
Borgogne.
MOCK, HANS {Germ.'). Mint-master at Strassburg, 1 498-1 501.
MOCKE, HEINRICH (Austr.). Mint-master at Landshut, circ. 1457.
MOCKS (MOCK or MOCKH), HANS KASPAR (Germ.). Mint-master at
Hechingen, circ. 1606; also at Hagenau, under John George ot
.Hohenzollern, 1 605-1 623.
Bibliography. — Bahrfeldt, Miinien der Furstenthumer Hohen:(oUern.
MODERNO (//fl/.). Sculptor and Medallist of the end of the fifteenth
century and first half of the sixteenth. Eug. Miintz has suggested
his identification with GIOVANNI GUERINO, Mint-engraver at
Rome, i548-i549(F/£f<? Vol. II, p. 336), but Molinier seems nearer
the truth in naming CAMELIO (Vittore Gambello), a Venetian
artist, 1460-15 39, with whose works Moderno's productions bear
great analogy.
It is quite clear that MODERNO is only a cognomen, as L'ANTICO
which designated the Medallist Pier Giacomo Ilario. The signatures
OPVS MODERNI ; — M. F. ; — MODERNVS ; — MODERNO ; — 0. MODERNI ;
— HOC. OPVS.MODERNI.ee. ; — OPVSMODERNI and goldsmith's stamp:
CA occur on Plaques which belong to the latter end of the fifteenth
century, and connected in style with the Paduan and Venetian
schools. Molinier states that on the della Rana gate of Como
cathedral, which gate was chased in 1507 by Tommaso and Jacopo
Rodari, we find the exact reproductions of two of Moderno's
plaques : Hercules contemplating Antaeus lying dead at his feet,
and Hercules fighting Geryon.
In Francis of Holland's Treatise (1549) Moderno is mentioned as
an Engraver of leaden seals (papal bullae), which proves that the
artist also worked at Rome.
— lOI —
From the evidence of Moderno's productions, we conjecture
that the artist was a native of Northern Italy (CameHo was a Vene-
tian), that he was engaged in pontifical service (Camelio was
Zecchiere under Leo X., circ. 15 15), and that his signature OPVS
MODERNI C. C. or CA might be interpreted into OPVS MODERNI
Cognomine Camelii or Cameli. Molinier's hypothesis has not, so far
as I am aware, been refuted by more recent commentators.
The Adoration of the Magi.
The list of Moderno's works is an extensive one, and many of
his unsigned plaques have probably not yet been identified : David
slaying Goliath, circular; diam. 105 mill. ; — Another; circular;
d. 70 mill. ; — Another, circular ; 30 mill. ; — Another; 71X55
mill.; — Virgin and Child and two Angels; 38 X 32 mill.
(Victoria and Albert Museum) ; — Virgin and Child between Saint
Jerome and Saint Anthony ; signed : HOC OPVS MO; 110x63 mill.
DERNI
C. C.
102
(Louvre); — Virgin and Child; no X 65 mill.; — Another,
dated MCDXCVII ; no X 65 mill, (an imitation of the middle of
the sixteenth century); — Virgin and Child, and several Saints;
67 X 54 mill. ; — Virgin and Child, and two Angels ; inscr. AVE
REGINA CELORVM ; 86 X 66 mill. ; — Virgin and Child, and
several Saints; stamped : CA; 132 X loi mill. (Vienna Museum);
— The Holy Family ; circular; 42 mill. (Berlin Museum); — The
Adoration of the Magi; 106 X 50 mill, (a specimen m the Louvre
has a long inscription on the back : IHESVS GLORIA IN EXCEL-
SIS^ etc. showing it to have been used as a Baiser de paix) ; — Our
Lord's presentation in the Temple; 98 X 64 mill. ; — The Scourg-
ing of Christ; signed : OP. MODERNI and stamped : CA ; 137
X 100 mill. (Museums of Vienna and Berlin) ; — The Crucifixion ;
Mars and Victor}-.
(reduced)
127 X 88 mill.; — The Entombment; 100 X 65 mill.; —
Another, on the same subject, but differently depicted, 105 X 68
mill.; — Another, 69 X 79 mill.; — Another; 100 X 70;
view of Jerusalem in the background (Berlin Museum); — Another;
94 X 90 mill. ; Half-length figure of Christ supported by St. John
and the Virgin (Victoria and Albert Museum) ; — Another, 94
X 90 mill. ; similar to the last, without the Genius accompanying
the Virgin; — Another; a variety of the last ; — Another; 118
X 1 01 mill. ; in background, view of Mount Calvary on which
three crosses (Molinier 179) ; — The Resurrection ; 100 X 63 mill. ;
— Martyrdom of St. Sebastian; 130 X 92 mill. (Fortnum was
inclined to ascribe this plaque to Bartolomeo Montagna, vide
Bronzes &c., p. 46); — St. Sebastian; 77 X 5$ mill. (Piot gave
this St. Sebastian to Daniele Arcioni, but nothing justifies this
attribution); — St. Hieronymus ; 75 X 60 mill.; — Another;
57 X 44 mill.; — Augustus and the Sibyl; circular; 57 mill.; —
— 103 —
Mars and Victory; circular; 105 mill. ; — Another; 71 X 55 mill.
(illustrated) ; — Mars seated on trophies of war; circular; 69 mill.
(Mol. 187); — Another, a variety; circular; 64 mill, (both these
plaques are signed : M. F. := Modernus Fecit)-, — Vulcan, Venus
and Cupid; hat badge; 40 mill. ; — Venus and Cupid; hat badge;
Hercules and Cacus.
(reduced)
50 mill. ; — The Fall of Phaeton ; circular ; 104 mill. ; — Another,
a variety; circular; 96 mill.; — The infant Hercules strangling
two serpents; circular; — Another; 88 X 75 mill.; — Hercules
Hercules and the Nemean Lion.
(reduced)
and Cacus; signed : 0. MODERNI ; 70 X 53 mill, {illustrated); -
Another; circular; d. 69 mill. ; — Hercules and Geryon; signed
— 104 —
jjj ; 68 X 54 mill.; — Hercules and the Lernaean Hydra;
96 X 72 mill, ; — Another ; circular; — Hercules and the Nemean
Lion; 77 X 66 mill, (illustrated) ; — Another, circular; diam. :
105 mill, (at the sale of the His de La Salle's collection (1880) a
specimen brought 475 francs) ; — Another, a variety, with different
background; 57 X 65 mill.; — Another, similar, circular; diam.
52 mill, (illustrated); — Another, divided in three compartments,
two of which depict the Judgment of Solomon, and Hercules and
Acheloiis; 91 X 41 mill.; — Hercules cleansing the stables of
Augeas ; 71X53 mill.; — Hercules and Antaeus; 73 X 57 mill.;
— Another, a variety; 100 X 77 mill.; — Another, signed :
0. MODERNI; 69X 54 mill. (Victoria and Albert Museum) ; — The
Hercules and the Nemean Lion.
(reduced')
Rape of Dejaneira; 93 X 42 mill.; — Arion, prisoner of the
pirates; circular; 105 mill.; — Descent of Orpheus to the lower
world; circular; no mill.; — Orpheus claiming Eurydice from
Pluto; circular; no mill.; — Orpheus and Eurydice; circ. ; 105
mill, (the His de la Salle specimen brought 5 13 francs) ; — Orpheus
charming the animals; circ; 105 mill.; — Death ot Orpheus;
circ. ; 60 mill. ; — Head of Medusa; circ; 44 mill.; — Lucretia
stabbing herself; circ; 53 mill.; — Another, shell cameo (in the
Paris Medal Cabinet ; probably an imitation from Moderno's plaque) ;
— Two females, one behind the other; circular; 54 mill.; — A
Fight between horsemen; legend : DVBIA* FORTY — ^A; circular;
53 mill. (Louvre; Victoria and Albert Museum; this plaquette was
used as a prototype for various medals by Ruberto, P. P. Galeotti,
etc.); — Another, a variety; 50 X 55 mill.; — Lion chase;
circular; 82 mill.; — Hercules strangling the Nemean lion, his
club at his feet, and on a tree behind are suspended a bow and
quiver of arrows, to left is the entrance to a cave with rocks and
trees above (Molinier, 5^3, a rectangular variety ofthesi^e, $6 by 49);
— 105 —
— Adam and Eve ; 86 X 60 mill. ; — Madonna and two children;
127 X 82 mill. (Berlin Museum); — The Entombment of Christ;
71 X 56 mill. (BerHn); — Another, oval (Berlin); — Resurrection
of Christ; 27 X 22 (Berlin) ; — Hercules strangling Antaeus
(Berlin); — Head of Medusa; circular; 58 mill. (Berlin); — Aeneas
crossing the Styx; circular; 61 mill.; — Expulsion of Coriolanus;
42 X 50 mill. (Berlin); — Bust of Lucretia, 23 X 85 mill. (Ber-
The Virgin, by Moderno (in the Gamier Colin, Paris).
lin); — Engagement before the walls of Rome; 42 X 50 mill.
(Berlin); — Coriolanus and the Roman Ladies; 41 X 50 mill.
(Molinier, n° 140); — Fight before the walls ot a city; 42 X 50
mill. (Mol., n° 148); — Triumph of a Hero; 42 X 48 mill. (Mol.
n° 144); — Self Sacrifice of Marcus Curtius; circular; 33 mill.
(Berlin); — Engagement between Horsemen; circular; 39 mill.
(Berlin); — An Engagement; ^L. Female bust; 71 mill. (Berlin);
— Triumphator and retinue; circular; 39 mill. (Berlin); —
— io6 —
Triumph, surrounded by Hunting scenes ; circular; 74 mill. ; —
Triumph; rev. Bust of Faustina; circular; 37 mill.; — Allegory
of Sculpture (MoL, n° 36) ; — Science, War and Peace ; 66 X 38
mill. (Berhn).
Bode describes the following Plaquettes as in the Art of Moderno:
Madonna, half-length, with two Genii ; — Pieta; — St. Barbara;
— St. Agatha; — Mars ; — Vulcan, Venus and Amor; — Venus
in Vulcan's forge ; — Triumph ; — Hercules strangling Antaeus ;
— An Engagement; — Martyrdom of St. Sebastian. These are all
reproduced in Bode's work, and preserved in the BerHn Museum.
Lucrezia, by Moderno.
Bibliography. — E. Molinier, Les Plaqiuttes, Paris, 1886. — Armand, op. cit.
— E. Miintz, Uaklier monetaire de Rome, 1884. — Raczynski, Les Arts en Por-
tugal. — Dr Julius Cahn, Die Medailleti und Plaketten der Sammlung W. P. Met^ler,
1898. — Fortnuin, Bronzes in the South Kensington Museum, 1861. — Bode, Die
italienischen Bronien, Berlin, 1904.
MODIXHEM, BERNARD VAN (Belg.). Goldsmith at Mahnes, and
Die-cutter at the Mint there under the Mint-master Hubert Bouwens,
circ. 1473-^1488. Between 1485 and 1488, when Modixhem was
employed as Engraver at the Mint of Malines, the following
currency was struck there : Double and Single Griffons, Four, One,
and One-half Gros pieces.
Bibliography. — A. Pinchart, Biog. des gravetirs beiges.
MOEGLICH, TOBIAS FRIEDRICH {Germ.). Modeller in wax, of the
eighteenth century, born at Nuremberg in 1747, and who worked
later on at Rome and other places, circ. 1773, 1783.
Bibliography. — Meusel, Ktinstlerlexikon,l\, 57.
— 107 —
MOEHSEN, R. C. (Germ.). A Nuremberg Engraver, by whom is a
Portrait-medal of D' Gottfried Thomasius, of Nuremberg (^signed :
R. C. M.)-
MOELEN, HEINDRICK VAN DER (Belg.). Goldsmith, and Seal-
engraver, mentioned in 1 3 24, as having engraved the seals of the
Netherlands, in 1524, for the emperor Charles V. He was paid
.257 livres 18 escalins 6 deniers of Artois for that work.
Bibliography. — Pinchart, op. cil.
MOELINGEN, GYSBERT VAN (Dutch). Medallist and Line-engraver
of the second half of the eighteenth century. He filled the post of
Mint-engraver for Guelders, at Utrecht, in which capacity he is
mentioned in a document of 15. August 1760.
Bv him are the following medals, which are all reproduced in
Van Loon, SuppL, VI, VII : —
Visit of Princess Anne with her children to Princess Maria
Louisa at Oranjewoud in Friesland, 1754 ; — Jubilee of the Reformed
Orphanage at Amsterdam, 1757; — Medal of the Mint of Guel-
ders, 1762; — Another, 1764; — Installation of Prince Wil-
liam V. as General Stadholder, 1766; — Marriage at Berlin ot
Prince William V. of Orange and Princess Frederica Sophia
Wilhelmina of Prussia, 1767; — Inauguration of William V. as
Markgrave of Veere and Flushing, 1766; — Silver Wedding of
Hendrik van der Graaf de Vapour and Adriana de Labarre, 23. July
1768; — Birth of the Hereditary Prince of Orange, 1770; —
"Friendship" Medal of Delft (signed: G. B. V. M. F.) ; — Prize
Medal of the Batavian Society of Sciences at Rotterdam, 1770; —
Golden Wedding of Jacob van der Lely and Maria Magdalena van
Assendelft, 26. November 1770; — Birth of the hereditary Prince
William VI., later William I., King of the Netherlands, 24. August
1772; — Death of Jan Isaak Rauwertz, minister at The Hague,
10. May 1773 (signed: GYSB. VAN MOELINGEN F.) ; — 50 years'
Jubilee of Everhardus van Kampen, 1777; — loo'^ Birthday of
Pietertje Breed veld, widow of Jan Puts, 2 5. November 1778 ; — and
also : Birth of the Prince of Orange, 1748 ; — Medal in honour of
Prince Willem IV., 1750; — Princess Anna, consort of Willem IV.,
1750; — Princess Carolina, 1750; — Prince Willem, 1750; —
Memorial medal of Willem Muilman, minister at The Hague, 1759;
— Memorial Medal of Frederick Carel Engels, minister at The
Hague, 1765 ; — Silver Wedding of Johan Verstolk Schepen of
Rotterdam, and Magdalena van Royen, 1768; — Silver Wedding
of Johannis de Haas and Margaretha Cruyder, 177 1, etc.
His work is not of great merit.
Bibliography. — Kramm, De Levem en Werken der Hollandsche en Flaamsche
KunstschiUers, Buldhouwers, Graveurs en Bouwmeesters, Amsterdam, i860. —
— io8 —
Nagler, Allgenieines Kunsthr-Lexikon, 1904. — Nagler, Monogramviislen, 1881 —
Menadier, Schaumunien des Haiises Hohen-ollern. 1901. — Dr F. P. Weber, Medals
of Centenarians, Num. Chron., 1895, 309. — Revue beige de numismatique, IV,
104. — Catalogues, &c.
MOELLER, CHRISTIAN. Vide MULLER infra. Schlickeysen, Schult-
hess-Rechberg, and more recently Herr Jos. Hamburger (in Wil-
mersdorffer Catalogue III) have mentioned a Christian Maler Junior,
who however does not exist, the Nuremberg medals of that time
(1673), signed C. M. being by Christian Moeller. A Thaler of Julius
Franz of Lauenburg, 1673, is thus signed.
Bibliography. — Injormation kindly supplied by Herr C. F. Gebert.
MOELLER, C. A. (Dan.). Medallist and Mint-engraver at Copenha-
gen, after 18 13.
MOELLER, MICHAEL (Germ.). Mint-master at Gottorp (Holstein),
under the Duke Frederick III. (16 16-1659). His initials M. M. occur
amongst others on a Sterbethaler of 1659.
MOERIKOFER, JOHANN KASPAR (Swiss). Medallist and Coin-
engraver, born at Frauenfeld, 7. November 1738, died at Berne,
circa 1800. He was a nephew of Johann Melchior Morikofer, with
whom he was first apprenticed. Later he visited Paris and for some
years practised gem-engraving and die-sinking there, until he was
called back to Berne, on the death of his uncle, Easter 176 1, to fill
the vacant post of Engraver of the coins of the Republic (176 1-
1790).
By this clever artist were probably cut the following coins of
Berne : N. 4 Ducats, undated (signed : MK); — 3 Ducats, 1772; —
2 Ducats, 1 77 1, 1788-89; — Ducats, 1788-89 ; — Quarter Ducats,
1766, 1771, 1777-78, 1781; — iR. 10 Batzen, 1773-74; — 5
Batzen 1764, 1766, 1768, 1776-77, 1786-87; — 2 | Batzen, 1764-
65, 1776-78, 1787, 1790; — Batzen, 1765-66, 1776, 1772, 1774-
76, 1778-79, 1784-85, 1788-90; — Half Batzen, 1770-72, 1774-
78, 1784-85, 1788 ; — Kreuzers, 1765, 1772, 1774-77. i779-8i,
1785, 1789; — Half Kreuzers, 1762-66, 1769, 1771, 1774-75,
1777-78, 1780-81, 1785-86, 1788-90.
Among the medals I have come across by him are : Prize Medals
of the State of Zurich (several varieties, said to have been designed
by Salomon Gessner, and signed on obv. and ^L. J, C. MK. F.); —
Medal of the Corporation " zur Safran " at Zurich, 1774 (illustrated);
— *' Sechzehnerpfenning " of the City and Republic of
Berne, undated (a Medal of Reward for services); — "Sech-
zehnerpfenning" of Berne, 1765 (ex. : SENAT'ET XVI'VIRI
STAT. I EXTER-BERN. | 1765.); — Another, dated 1766; —
Various School Prize Medals ; — School Prize Medal of Burgdorf
— 109 —
(Psalmenptenning), undated {circ. 1772, sev. var.) ; — Prize Medal
of the Bernese Agricultural Society, founded by Tschiffeli, 1759
(signed : Morikofer F.) ; — Portrait-medal of Johann Melchior
Morikofer, 1757, reproduced in Domanig, Die Deutsche Medaille,
n° 380 (signed : I. GASP. MORIKOFER.); — Portrait-medal of
Catherine II. the Great (the best of all the Portrait-medals of that
famous Czarina); — School Prize Medals of Mellingen and Brem-
Medal on the ' ' Saffron-xMongers " Festival at Zurich, 1774.
garten, undated (signed : M); — Portrait-medal of King Stanislaus
Augustus of Poland; — Count Caylus; — Christian Gellert (171 5-
1769); — Portrait-medal of Joseph I., King of Portugal ;j^. DEUS
VLTOR ET TVTOR. Allegorical figure of Portugal crushing loe
under her feet (1750).
J. C. Morikofer was a distinguished, consciencious and modest
artist.
— no —
Bibliography. — Bolzenthal, op. cit. — Haller, ScJnuei^er MHn:( und Medaillen
Cabinet, Bern, 1780. — J. A. Pupikofer, Der Kanton Tlmrgau, 1835. — J. C.
Fuesslin, Geschichte der besten Kiinstler der Sdnueii, Zurich, 1774. — Nagler, op. cit.
— C. Brun, Sdnvei^. Kiinstlerlexikon. — Bulletin & Revue suisses de numisma-
tique. — Tobler-Meyer, op. cit. — Franks & Crueber, op. cit. — Jenner, Mi'iiiyen
der Schvueii, 1901. — Poole, Swiss Coins in the Sotdh Kensington Museum, 1878. —
Raczynski, Dictionnaire historico-artistique du Portugal. — Demanig, Die Deutsche
Medaille, 1907.
MOERIKOFER, JOHANN MELCHIOR {Swiss). Medallist and Coin-
engraver, born at Frauenfeld, 17 November 1706, died at Berne,
7. April 1761. His father was in the medical profession. He learned
die-sinking with his step-brother J. H. Koch of Thun, and first
copied models from works of his predecessors, principally Hedlin-
ger. From 1755 until his death he was Mint-engraver at Berne.
Among the coins which he executed are : M . 4 Ducats, undated ;
— 3 Ducats, 1757; — Ducats, 1759; — M.. 10 Batzen, 1757-60;
— 5 Batzen, 1755-56, 1758-59; — 2 | Batzen, 1755-56, 1759; —
Batzen, 1754 (7 var.); — Half Batzen, 1755 (4 var.), 1759; —
Kreuzers, 1755, 1758.
Morikofer engraved seals and also some medals, which are of
fine execution : Prize Medal of the Royal Society of Sciences of
Gottingen, with bust of George II., 1751 (signed : MORIKOFER);
— Portrait-medal (1754) of Albrecht von Haller, physician, natu-
ralist and poet of Berne, i7o8--|- 1777 (2 var.; one signed : .IM.
MK. P.); — Third Centenary of the University of Basle, 1760 ; —
Portrait-medal of Voltaire; — Portrait-medal of Frederick II. the
Great, 1759; — Large Seal of the State of Berne, etc.
Bibliography. — As above. — Franks & Grueber, op. cit. — F. Krohn,
Thomsen Bronce Medailler, 1867. — Die von Johann Melchior Morikofer gestochetie
Haller medaille, Revue Suisse, 1904, 32.
MOFFATT & CO (Amer.). Issuers ot Californian private currency,
1849-185 3 : (San Francisco) A''. 5 Dollars, 1849-50. Head ot
Liberty; ^L. Eagle; — S9.43, oblong; — 10 Dollars, 1849-52. Head;
^L. Eagle; — 16 Dolhrs, oblong (illustrated); — 20 Dollars, 1853.
Head ; ^L. Eagle.
,flJ¥; (To '
MOGENOT or MOUGENOT (French). Goldsmith of Nancy, and
Engraver at the Mint there, circ. 1698-17 12. He also executed some
medals.
— Ill —
MOGG, JOHANN {Germ.). Mint-warden at Langenargen, 1733.
MOGNETTI, SAMUEL (Swiss). Sculptor and Medallist of the third
and fourth quarters of the nineteenth century, who resided at
Geneva. He is the author of the following medals : Independence
of Neuchatel and Entry into the Swiss Confederation, 1856; —
— Medal of the " Abbaye des Carabiniers" of Geneva, 1875
(^L. only); — 4*^ Centenary of the " Societe de I'Arquebuse et de
la Navigation ", 1875 (signed : S. Mogtietti fecit) ; — Medal of the
" Societe cantonale des Carabiniers genevois", 1877 ; — Tir Can-
tonal vaudois at Payerne, 1884; — 20''' Anniversary of the
Republic of Neuchatel, 1876 ; — Tir cantonal vaudois at Morges,
1891 ; — 2"'^ Centenary of the Foundation of the "Societe des
Carabiniers reunis de Satigny, Russin and Dardagny " (Geneva),
i«^97; — Cardinal Gaspard Mermillod, 1883; — Official medal
of the Genevese cantonal Society of Carabineers, 1877 ; — Eugene
Sue, 1857 Q), etc.
Bibliography. — Bulletin et Revue suisses de numismatique, 1 882-1 904.
MOIGNIEZ, JULES (French). Contem'porary Sculptor, born at
Senlis (Oise); pupil of Comolera. He is the author of some Por-
trait-medallions and Plaquettes, some of which were exhibited at
the Salon in 1881.
MOINE, ANTONIN MARIE (French). Sculptor and Painter, born at
St. Etienne, 30 June 1796, died at Paris, 18. March 1849; pupil
of Girodet, Gros, and the Ecole des Beaux-Arts. By him are various
Plaquettes in bronze, Portrait-medallions, Panels in relief, etc.
M. Roger Marx draws attention to this artist's medallions, which he
calls " curieusement romantiques".
Bibliography. — Chavignerie et Auvray, op. cit. — R. Marx, Medailleurs
francais.
MOINE, JEAN (French). Director of the Mint at Lyons, 1848-
1857 5 distinctive mark : a lion. The Mint was closed in 1857.
MOISE-KLINKNER C° (Ainer.). This signature occurs on Tokens of
the Longfeld Pharmacies, San Francisco ; E. N. MOISE on a Veteri-
nary Dentist's Token, of Ira Barker Dalziel ; L. H. MOISE on a
Apothecary's Token of W. F. Kremer, San Francisco. Specimens
ot all these tokens are in the Boston Collection.
MOISET, JEAN (French). Mint-engraver at Valenciennes, «Vc. 1355.
MOISET, JACQUEMART (French). Mint-engraver at Valenciennes,
circ. 1355.
MOLA, GASPARE (Ital.). Goldsmith, Medallist, Coin-engraver, and
— 112 —
Chaser in metal, born during the last quarter of the sixteenth
century (aVr. 1580) at Breglio, in the territory of Como. Nagler,
Schlickeysen, Bolzenthal and other writers state in error Lugano as
his native town. He was apprenticed to a goldsmith at Milan, where
he also learned die-sinking. His first work of note he executed in
commission for the celebrated founder Portigiani, who entrusted
him with sculptural work for the bronze gates of the Dome of Pisa,
circ. 1601. A document of 1607 records a payment made to him
of 900 gold scudi for various acquisitions he made on behalf of
Duke Charles Emmanuel of Savoy. From this we learn that the
artist traded in works of art, especially pictures, bronzes, armoury,
etc., and later, when at Rome, he obtained a licence to deal in these.
During the early period of his activity, Ferdinand I. de'Medici,
favourably impressed by his rising talent, called him over to
,■,.-, .-r^v •■-■7> 7^.,,>_
^^ ^M:B%
-'-./
i^H-
Tallero of Cosimo II., 1610.
Florence, appointing him "^ Maestro delle stampe delle monete ",
a post which he retained but for a short time. Cosimo II, on his
accession in 1608, induced Mola to come back again to Florence,
where for two years, 1609-1611, he filled the post of Chief-engraver
at the Zecca. His adventurous journey to the Tuscan capital, and
the vexations he endured at the hands ot the directors of the
Florentine mint, form a curious episode of his Hfe, reminding one
of the frasques of Cellini, or Leone Leoni. The artist would not
submit to the humiliation of having to copy dies engraved by his
colleague, the German Kolb, whose work he and his friends consid-
ered far inferior to his own. Many of the coins of Cosimo II. of
that period are no doubt by him, but not being signed, it is impos-
sible to distinguish them. From Florence, he passed to the Mints of
Guastalla, and Mantua, where in 161 3 and 1614 he cut dies for
various coins, which, especially the gold Zecchini and silver Scudi
of Ferdinando II. Gonzaga, are considered to be very good
productions.
— 113 —
Many of Mola's authenticated works are still extant at Florence.
To the Florentine period of the artist's activity belong the follow-
ing medals : Portrait-medal of St, Charles Borromaeus (one of
the earliest medallic productions of the artist, and said to have been
among the acquisitions made in 1607 by Duke Charles Emmanuel I.
of Savoy; — Charles-Emmanuel of Savoy, 1606 {illustrated}; —
Ferdinand I. de' Medici, 1598; 1%. Hercules slayino; the centaur
Nessus (signed : GASP. M.) ; — Portrait-medallion otFerdinand I.,
uniface (signed : G. M.) ; — Cosimo II., 16 10; ^L. PREMIA
VIRTVTIS (signed : GASP. M.) ; — Another, with ^L. Cross of
S. Stefano; — Cosimo II. and Maria Ma^jdalena of Austria, 1599
(signed : GASP. M.-MDIC); — Cosimo ll;^L. SIDERAMEDICEA.
^•^
Portrait-badge of Charles Emmanuel, Duke of Savoy, 1606.
Jupiter seated ; — Maria Magdalena of Austria ; I^. PREMIA VIRTV-
TIS ; — Cosimo II. and Maria Magdalena, 161 8 (signed : G. MOL.);
— Another, with their conjoined busts, uniface (signed : GASP. M.) ;
— Maria Magdalena ; ^L. A peacock, AETHERA (signed : GASP. ;
obv. illustrated); — Ferdinand II., 1623 ; I^. PREMIA VIRTVTIS
(signed : GAS. MOL.) ; — Another, a variety, etc.
A medal with busts on either side of Cosimo II. and Maria
Magdalena of Austria bears both signatures of G. MOL and G. DUPRfi,
and Domanig suggests that the portraits modelled by Dupre may
have been cast by Mola. The specimen illustrated inVon Fabriczy's
work (both English and German editions) is clearly signed by
Dupre.
Besides these medals are also cameos, works of decorative art and
jewellery. " Mola's skill as armourer and goldsmith ", says Von
L. FOKRER. — Biographical Notices of Medallisls. — IV. 8
— 114 —
Fabriczy, '* is shown in the shield and parade helmet damascened
with gold in the Museo Nazionale, which was long believed to be
a work of Benvenuto Cellini. He appears before us as a medallist
in a series of thirteen medals of the Grand Dukes Ferdinand L,
Cosimo 11. , his wife Maria Magdalena of Austria, and Ferdinand II.
In the conception of the physiognomy many of these are capable
and fresh, while in the pompous and stiff arrangement they already
sound the prelude to the excesses of the barocco in this respect.
The extraordinary delicacy of the technical elaboration constantly
demoralises the eye of the beholder whose taste is not quite assured.
In the portrait of the widowed Grand Duchess (illustrated),
executed after 1621, the master produced a piece, which, as far as
simplicity and expression are concerned, is worthy to rank beside
the best creations of the Cinquecento ".
Mola settled at Rome in 1623, and in 1625 was appointed Mint-
engraver at the Papal Zecca, in succession to Jacobo Antonio Moro,
Maria Magdalena of Austria (obv.)
who died in January 1625. The Mint archives preserve a record ot
the first payment made to him in February 1625 of 15 scudi for
work done. According to the most authentic documents, he
remained in office until the end of 1639, died on the 26. January
1640, and was buried at Santa Maria Traspontine, although his
friend Petrecini mentions his name in 1642 among living artists.
Von Fabriczy places his death after 1649, ascribing to him the
medals of Innocent X., signed : G. M. This signature, however,
occurs on several medals of Alexander VII. (165 5-1667), from
which fact Bolzenthal concluded that the artist was still living in
1667. The error arose from a confusion of names, as Mola was
succeeded at the Papal Mint by his nephew Gaspare Morone-Mola,
who signed also his productions : G. M. After 1640 no coins bear
Mola's signature, and the medals of Innocent X. and Alexander VII.
always bear only the initials G. M. Mola's last bill in the unfortunately
very incomplete accounts of the Papal Mint is of 1639. In 1640
Gaspare Morone appears in these accounts as " Incisore dei Ferri
— 115 —
della Zecca", and remains in this quality until 1669, when he is
replaced by Girolamo Lucenti.
By Mola are the following coins : Urban VIII. (1623-1644).
M. Scudo, 1625 ; — 2^. Scudo, An XII (The Holy Conception ;
several varieties, all signed : GAS. MOL. or GASP. MOLO) ; — Same
date (TE MANE TE VESPERE.ROMA. The Pope kneeling
before the Archangel Michael ; two varieties signed : GAS. MOL. and
GASP. MOLA); — An XI (VIVIT DEVS • ROMA. The Archangel
slaying the Dragon (some varieties unsigned, others with : GAS. M. F.
or GAS. MOL. P.); — An XII (Same type; four varieties, signed :
GASP. MOLA P.; GASP. MOLA); — An XV (Same type ; two varieties,
signed : GASP. MOLl) ; — J^. Testone, An XIV (signed : G. MOL.
under Pope's bust ; ^. VIVIT DEVS ; two varieties) ; — An VIII
(several varieties ; AVCTA AD METAVRVM DITIONE.ROMAE
Roma seated; signed G. M.) ; and others of lower denominations, as
Portrait-Quattrini of year XIII. , signed : G. M.; — G. MOLA, or
G. MOLL
Mola is also the author of various medals of Urban VIII., who
gave him an order for a series of Pontifical medals, partly from
former portraits by earlier artists, and partly from his own models.
The first he apparently executed at Rome was that issued in 1625
for distribution at the feast of the apostles St. Peter and St. Paul to
commend cardinal Barberini on his journey to France. Mola
trained two pupils who assisted him in his work : Lazzaro del
Solaro, and Francesco Nicolini. In 1632, Mola was temporarily
replaced by Alessandro Astesano, but already reinstated in the next
year. Amongst his most noteworthy productions is an y^^///<5Z)« set
with cameos, a crown of lapis-lazuli, which was presented by the
Pope to the Queen of Hungary, a shield, and the following medals :
Urban VIII. (1623-1644). The Transfiguration, 1623 ; — Equity,
PAX IN VIRTUTETUA, 1624; — Porta Santa of San Giovanni
in Lateran, 1626 (signed : GAS. MOLO); — Another Jubilee Medal,
on the Canonization of Santa Maria Maddalena de'Pazzi; — Another,
Porta Santa closed, 1625 (several varieties); — Plan of Fort Urban,
SECURITAS PUBLICA, An IV (signed : GAS. MOLO) ; — Conse-
cration of St. Peter's cathedral. An IV; — View of the Confessione
Vaticana, 1626 (GASP. MOLO) ; — Plan of the castle of Sant' Angelo,
1627; — The Washing of the feet. An V (signed : GASP. MOLO
C. PRIV. S. PONT) ; — Another, with bust of Christ ; — Canoniza-
tion of S. Andrea Corsini, An VI (signed : GAS. MOLO) ; — View
of the harbour of Civita Vecchia, An VI; — The Washing of the
feet, An VII; — Roma seated, AUCTA AD METAURUM
DITIONE ROM^ (medal commemorating the return of the duchy
of Urbino to the See on the extinction of the Della Rovere family);
— Coronation of the Pope on the feast day of the archangel
— ii6 —
St. Michael, An VIII; — The Pope consecrathig the BasiUca
Vaticana, An VIII; — The Pope kneeUng before the archangel
St. Michael, An IX (signed : GASP. MOLO) ; — View ot the Confes-
sione Vaticana, ORNATO SS. PETRI ET PAULI SEPULCHRO,
An X (signed : G. MOLO) ; — Facade of the Church of S. Bibiana,
An XI (signed: GASP. MOL.);— View of the Church of S. Caius near
the Terms of Diocletian, An XII (signed : GAS. MOL.) ; — The
Washing of the feet, An XIII (this medal is very common ; I have
seen specimens in gold, silver and bronze) ; — Facade of the Church
of St. Anastasia, 1636 (signed : GASP. MOLI); — View of the
Baptistr}' of Constantine in St. John Lateran, An XIV; —View of
the Pontifical Palace of Castel Gandolfo, 1639 (signed : GAS. MOL.) ;
Vr-i
Charles of Lorraine, Prince of Vaudemont.
— Christ and his disciples in the boat, 1639; — The Church ot
St. Caius, An XVI; — Assaggium generale, 1639 (medal commem-
orating the recoinage begun in that year at the Papal Zecca); —
View of the Pontifical Arsenal, An XVII (signed : GASP. MOLO.) ; —
First Centenary of the Society of Jesuits, An XVII ; — The
Quirinal Palace, AD ^DIVM PONTIFICUM SECVRITATEM,
1640 (signed : G. M. F.) ; — The Pope kneeling before the archangel
St. Michael, An XVII; — The archangel St. Michael holding scales
appearing to the Pope, An XVII, &c.
The medal of 1632 with ^. Port of Civita Vecchia was engraved
by Astesano during his short tenure of office ; but probably most of
the other annual medals issued at the Zecca between 1625 and 1639
were executed by Mola, who also cut some with likenesses of private
individuals,as those of Cassiano Dal Pozzo (mentioned by Berto-
lotto); — Alessandro Gambalungo, of Rimini; — Charles of Lor-
raine, prince of Vaudemont, 1621 (signed : GASP., illustrateiT) ; —
— 117 —
Louis XIII. , as a youth ; — and Popes : Leo X. ; — Hadrian VL;
— Clement VII. ;' — Paul III. ; — Julius III.; — Marcel II. ; —
Paul IV. ; — Pius V. ; — Gregory XIII. ; — Sixtus V. ; —
Urban VII. ; — Gregory XIV. ; — Innocent IX. ; — Clement VIII. ;
— Leo XL ; — Paul V. ; — Gregory XV., and possibly others.
Mola's signature on coins and medals occurs under various forms :
GAS. M.; —"gas. MOL. F. ; — GASP.M; — GASP.; — GAS. M.; — G. M.;
— G. M. F. ; — MOLA ; — MOLO ; — GAS. MOLO ; — GASP. MOLO F. ; —
GASPARO MOLO; — G. MOL.; — GASP. MOLI, and G. MO. or
G. M. FECIT.
In a document of 1642, the artist is named : GASPRO MOLI.
Supino (p. 184) states : *' L'abilita artistica del Mola e dimostrata
dal celebre scudo ed elmo, ora al Museo Nazionale, per tanto tempo
attribuiti a Benvenuto Cellini. Servi prima nellaZecca di Firenze e
fece le medaglie con I'impronta di Ferdinando I., Cosimo II.,
Maria Maddalena d' Austria e Ferdinando II., nonche varj punzoni
per monete ; ando poi in quella del duca di Guastalla, e due
monete guastallesi da lui coniate portano le date 1613-1614. Fu
quindi a Roma e conio moltissime medaglie per i papi Urbano VIII.,
Innocenzo X. e Alessandro VII. Sebbene la maggior partd dei suoi
lavori siano stati eseguiti nella prima meta del secolo xvii, non
risentono affatto del carattere del tempo e si fanno ammirare per la
bellezza della modellatura, per Teleganza dell insieme e la finezza
dei particolari ".
Bibliography. — Cinagli, Le Monete de^ Papi, 1846. — Bolzenthal, op. cit. —
Ammon, op. cit. — Madai, Thaler Cabinet, 1766. — Serie dei Conj di Medaglie
Pontificie da Martino V. — Pio VlI.esistenti nella pontijicia :^eccadi Roma, 1824. —
A. Heiss, Florence et les Florentins, II. — Supino, op. cit. — Krohn, Thomsen
Catalogue. — Bulletin de la Societe suisse de nutnismatique, 1888, p. 66. —
Dr Julius Cahn, op. cit. — E. Plon, Benvenuto Cellini. — Domanig, op. cit. —
Hildcbrand, op. cit. — Monatsblatt der num. Gesellschaft in Wien, 1897, 77. —
Kearv, Guide to Italian Medals in the British Museum. — D"" Merzbacher, op. cit.
— Rohdot, op. cit. — Stroehlin, Sale Catalogue, October 1898. — Schulthess-Rech-
birgsche Mun^-u. Medaillen-Sammlung, Dresden, 1868. — Nagler, op. cit. —
Bertolotto, Moro, Gaspare Mela e Gasp. Morone-Mola, Archivio storico lombardo,
1877. — Information kindly supplied by Baron de Bildt, Swedish Minister at Rome.
MOLA, PAOLO ANTONIO (Jtal.^. Mint-master (jecchiere) at Milan,
1681.
MOLARD or MOLART, MICHEL (French). Medallist of the second
half ot the seventeenth century, born at Dieppe, where he first
practised carving in ivory. Later he settled in Paris. The dale of his
activity is comprised between 1643 and 1694. ^^ worked on the
medallic series of Louis XIV., and had an apartment in the Louvre,
from about 1684 to 1703. According to Guiffrey, he probably died
in the early months of 17 14.
This Engraver's signature occurs in various forms : MOLART. F.;
— II« —
— MOLARD. F.; — M. M. F.; — A. MOLART F. (sic); — MOLART; —
M. MOLART F. ; — MOLART. FECIT.
Among his most interesting medallic productions are : Battle of
Dunkirk, 1658 (reproduced in Rondot, PL XXXVII, i;^ signed
LD.); — Another, with obv. by H. Roussel, and ^ signed :
MOLART. F. ; — Battle of Fleurus, 1690 (obv. by Roussel, and also
by Mauger); — Action off Beachy Head, 1690 (obv. by Roussel);
— Capitulation of Mons, 1691; — Battle of Steinkirk, 1692; —
Battle of Landen, 1693; — The Dauphin; ^L. Marie Anne Christina
of Bavaria, 73 mill. (obv. illustrated); — Peace with Spain, and
Marriage of Louis XIV., 1660; — Victories of Louis XIV. in the
Netherlands, 1672; — Portrait-medallion, 1672 ; — Portrait-medal-
Portrait of the Grand Dauphin.
lion of Louis XIV., 1672; — Battle of Senef, 1674; — 20 years'
Truce, between France, Spain, and the Netherlands, 1684; —
Capture of Bergen, 1691; — Establishment of the Academy of
Rome; — Building of Churches for the neo-catholics ; — Conquest
of Savoy ; — Battle of Staffarde, legend : INFELIX ALLOBROX
PROFLIGATUS; — Portrait of Louis XIV., 1693; — Battle of
Rethel; — Battle of Lens; — Creation of Knights, 1662; — Capture
of Lille, 1696 ; — Victory of Rethel, 1697 ; — The Grands Jours;
leg : PROVINCI^ AB INJURIIS; — Illness of the King, &c. All
the above medals vary in size; they occur in various combin-
ations with obverses or reverses by Roussel^ Roettier, and other
contemporary medallists who were engaged on the same series.
— 119 —
The following medals by Molart are all of the module of 30
*' lignes " : (1638). Facade of the Val-de-Gr^ce ; — 1643. Taking
of Thionville; — Battle of Carthagena; — 1644. Capture of
Philipsburg; — 1645. Battle of Liorens and capture of Balaguier;
— 1648. Peace of Westphalia ; — 1654. Consecration of the King;
■ — Relief of Arras; — 1657. Montmedy taken; — 1660. Interview
between Louis XIV. and Philip IV. ; — Marriage of Louis XIV.
with the infanta Maria Theresia; — 1661. The King taking in
hand the government of the State; — The King accessible to all
his subjects; — Birth of the Dauphin; — 1666. Death of the
dowager Queen, Anne of Austria; — The King's clemency; —
1667. The Paris observatory; — 1670. Embellishment of Paris; —
1672. Holland subdued; — 1673. Maestricht taken ; — 1674.
Second conquest of Franche Comte ; — Battle of Senef; — 1675.
Assistance rendered to Messina; — Hotel des Invalides; —
Limburg taken; — 1677. Valenciennes taken (signed: A. MOLART F.);
— Battle of Cassel; — Cambrai taken; — 1678. Lewe taken; —
Peace of Nymwegen; — 1680. Raising of sailors; — 1681. Subjec-
tion of Strassburg and taking of Casale ; — 1682. The King's self-
condemnation ; — 1683. Strassburg fortified; — 1684. Bombard-
ment of Genoa ; — Peace with Algiers ; — Twenty years' truce ; —
Luxemburg taken; -^ 1686. Illness of Louis XIV.; — 1687.
Recovery of the King ; — Festivities at the Hotel de Ville ; — 1688.
Campaign of the Dauphin; — 1689. Promotion of Knights of
Saint-Esprit; — 1690. Naval battle; — 1691. Mons taken; —
Engagement of Leuze ; — 1692. Namur taken; — Engagement of
Steinkirk; — Engagement of Pforzheim ; — 150 towns fortified; —
Institution of the Military Order of Saint-Louis; — 1693 . Flourishing
state of the navy; — Prosperity of the Royal Family (medal presented
to Canadian Indians); — 1694. Battle of Ter; — Givonne taken, &c.
Guiffrey mentions a few other medals b)^ Molart, which occur in
various sizes : 1644. Battle of Fribourg ; — 1673. Perrault's project
for the Louvre ; — 1667. Bust of Louis XIV. ; — Bust of the King,
crowned with laurel-wreath; — 1681. Building of a canal to connect
the two seas; — Head of Louis XIV.; — 1683. Death of Queen
Maria Theresia; — 1685. Head of Louis XIV.; — The real
supporters of the throne ; — Bust of the King ; — Bust of Bouche-
rat (mentioned in Molart's widow's list of dies and puncheons,
presented to the Mint on 14. June 17 14); — The State apart-
ments (Mercury between two goddesses) ; — Extinction of Heresy
(Reli2;ion blessing the King in armour) ; — Portrait of the Dauphin ;
— Liberality to authors; leg. : BONARUM ARTIUM REMUNE-
RATORI (signed : MOLARTFECIT) ; — The State granaries, 1672;
— Cuirassed bust of Louis XIV. (sev. var.); — Laurel-wreathed
bust of the King; leg. : LUDOVICUS MAGNUS REX GALLIA-
— 120 —
RUM INVICTISSIMUS; — Half-length portrait of Louis XIV.;
leg. : LOUIS LE GRAND ; — Cuirassed bust of the Dauphin ; —
Bust of Louis XIV. with the cross of the order of the St. Esprit in
front of cuirass, &c.
Both artists, Mauger and Molart, were most prolific Engravers;
Molart preceded his colleague at the Medal-mint, and like him, was
engaged in producing a series of reductions of earlier medals.
Guiflfrey gives the following account of the expeditious process by
which these Medallists executed their medals so rapidly : " Dans
I'atelier de presque tous les artistes se trouvent des alphabets de
lettres ou d'ornements graves en reHef et servant evidemment de
poincons pour ebaucher les legendes des coins. Le graveur ne prend
pas la peine de tailler la legende en relief sur le poincon, operation
fort longue, il se contented'executer le sujet qu'il imprimeencreux
dans le carre; puis, d I'aide de ses alphabets ou de ses ornements
mobiles, il acheve son carre en y frappant successivement chaque
lettre de la legende ou les ornements qui restent a ajouter. Mais ce
procede exp^ditif est quelquefois pousse plus loin. Lors de I'inven-
taire apres deces de Molard, parmi les objets trouves dans son atelier,
figurent non seulement des alphabets de differentes grandeurs, non
seulement des fleurs de lys qui rentrent dans les ornements dont
nous parlions, faciles a ajouter apres coup ; mais meme des poincons
de tetes de face et de profil, de pied, de mains et autres, — je copie
textuellement I'inventaire, — servant a former partie de la figure.
Grace a ces pieces de rapport, certains graveurs en arrivaient a
supprimer la gravure pr^paratoire du poincon. lis ^bauchaient
sommairement leurs carres en y imprimant les titres, les membres
et les attributs prepares pour servir a toute occasion et gravaient
directement en creux. On juge des resultats d'un pareil procede.
Les medailles perdent a cela toute originalite, toute delicatesse ; mais
on etait arrive a pref^rer la rapidite et I'economie a la variete, a la
perfection. Quant aux graveurs qui se resignaient a subir de
pareilles exigences, ce n'etaient plus que des ouvriers condamnes a une
fabrication presque machinale " (J.J. Guiffrey, Les graveurs de
medailles. Revue numismatique, 1885, P- I59)-
A Michel Molard is mentioned as Mint-engraver at Amiens,
1 692-1 698, but according to Rondot, this artist is not the Medallist
of that name.
Bibliography. — Bolzenthal, op. cit. — Rondot & De La Tour, op. cit. —
Revue numismatique, 1885, 1889. — Ammon, op. cit. — Calalo^us, &c. —
Blanchet, op. cit., II, p. 398. — Franks & Grueber, op. cit. — Keary, Brit. Mus.
Guide to English Medals, &c.
MOLART, MICHEL II {French). Mint-engraver at Amiens, circ.
1692-1698.
— 121 —
MOLARINHO, JOSfi ARNALDO NOGUEIRA (Par tug.). A native of
Guimaraes, and a Medallist of merit, who lived at Porto during
the second and third quarters of the nineteenth century. He was
employed at the Mint of that city as Engraver, and, says Aragao,
his numerous works in die-sinking are justly appreciated.
I have noticed his signature on medals ot the — Inauguration of
the Minho Railway, 1875, and Douro Railway, 1879; — Angola
Expedition, i860; — Prize Medal of the Braga Exhibition, 1863 ;
— Friendly Society of Typographists, 1864; — Inauguration of the
Crystal Palace at Porto, 1861 ; — Agricultural Show at Braga, 1863 ;
— Medal of the Real Associacao central da Agricultura Portugueza,
1864; — Horticultural Show at Porto, 1877 ; — Capelloand Joens,
Portuguese explorers, 1855; — Tercentenary of Camoes, 1880; —
Centenary of the Marquis de Pombal, 1882 ; — Jao de Deus, poet,
1893 ; — Visit of the Emperor D. Pedro II. to Porto, 1872, etc.
Bibliography. — A. C. Teixeira de Aragao, Descripfilo geral e hislorica das
Moedas cunhadas em nome dos Reis, Regentes e Gm'ernadores de Portugal, Lisboa, 1874.
— A. Moyaux, Les Cheminsdc fer, 1905.
MOLIN, FEDERIGO (Ital.). Mint-inspector at Venice, circ. 1630.
His initials F. M. occur on coins.
MOLIN, J. P. (Swed.). Sculptor of the second halt of the nineteenth
century, who modelled a medal, engraved by Ericsson, with bust of
Charles XV., and commemorating the Universal Industrial
Exhibition at Stockholm, 1866.
MOLINET, MICHEL {French). Hereditarj' Mint-engraver at Mont-
pellier, fw. 1590-1593.
MOLINET, ROBERT, surnamed OLIVIER {French). Appointed Mint-
engraver at Montpellier, 2. December 1593; he resigned in 1598.
Barre, in his nomenclature of French engravers, gives the date of
his activity as from 1 583-1 593.
MOLINO, DOMENICO {Ital.). Mint-inspectoi {-ecchiere) at Venice,
1625.
MOLINO, JERONIMO {Ital.). Mint-inspector at Venice, 1610-1612
and 1634-1636.
MOLINO, ZUANO MARCO {Ital.). Mint-rector at Cattaro, 1 602-1 604.
MOLL, ANTON {Austr.). Chief-engraver at the Mint of Vienna,
1754-1758. He had been Assistant-engraver from 1750-1754. His
signature : A. MOLL F. occurs abo on medals, as on that ot 1757,
commemorating the Victory of Count Daun over the Prussians at
Kolin, and a religious Badge with representation of Christ and the
Virgin.
— 122 —
Moll was the son of a Tyrolian sculptor; he married in 1757 a
sculptor's widow, Francesca Donner, but died in the following year.
Bibliography. — KataJog der K. K. Munistempel Samtnlung, &c. — E. Fiala,
op. cit. — Krohn, Thomsen Bronce-Medaillier . — Schlickeysen-Pallmann, op. cit.
MOLLER, CHRISTIAN {Germ.). Mint-engraver at Nuremberg,
previous to 1674, and probably from 1669. He is the author of the
very rare Shooting medal of 1671 (Imhofll, p. iii), signed CM.,
which has often been ascribed to Christian Maler, who however had
been long dead at the time.
BiBUOGRAPHY. — C. F. Gebert-Nurnberg, Geschichte der Mun^statte der
Reichstadt Nurnherg, 1891.
MOLLER, C. A. (Da«.). Mint-engraver at Copenhagen, 1813. His
initial M occurs on coins and medals. There is a commemorative
medal by him of the Return ol the King of Denmark from the
Congress of Vienna, 181 5.
MOLO Vide GASPARO MOLA supra.
MOLO or MOLA, PAOLO ANTONIO {ltd.). Mint-master at Milan, 1 68 1 .
MOLOSSOS (Gr^^A-). Mint-engraver at Thurium, circ. 404-388 B.C.
All scholars, Raoul Rochette, von Sallet, Brunn, D"" Head, Evans,
Blanchet, etc., are agreed thatthe signature M0A0210Z on Thurian
coins refers to the Engraver of the dies and not to a magistrate.
On a Didrachm in the British Museum collection, the artist's full
signature occurs on the exergual hne of the ^, and abbreviated to M
on the obv,, a repetition of the same signature on both sides of
coins, which has already been observed on some of the works ot
Aristoxenos, Euainetos and Kimon,
According to D' Evans, Molossos was a contemporary of the great
masters of Syracuse, but his coins, which belong to the period
comprised between B.C. 404 and 388, show a degradation of style
and drawing so much more marked and extraordinary seeing that the
issues of the same mint of the period immediately preceding rank
amongst the most exquisite productions of monetar}- art, such as
the beautiful tetradrachms signed I1T0P02, O. W., etc.
In a find of Tarentine didrachms of Evans' II. Period (B.C.420-
388) were several Thurian coins signed M0A0H02, which enables
one to determine the approximative date of the last. On the other
hand, the similarity of style and work with the coins signed
NIKANAP02 and OPY, which Molossos appears to have imitated,
proves that he did not work previous to about 404 B.C.
The following are some of the varieties of Molossos' dies.
I, J^. Didrachm. Obv. Head of Pallas to r., wearing necklace
and crested Athenian helmet, on the side of which, Skylla, with
her hand to her head; on flap of helmet, M. ^. OOYPION. Bull,
— 123 —
with r. fore-leg raised, and tail erect, butting to r., standing on bar
on which : M0A0120I ; in ex., tunny-fish to r. : border of dots.
Weight : 123.5 grs.
obv
B. M. Cat., Italy, p. 292, n° 59-. — Von Sallet, op. rit.y
p. 31. — Num. diron., 1896, PI. IX, n° 10.
2. JR,. Didrachm. Similar to last, but without the signature on
Head, Hist, num., p. 72. — Garrucci, op. n't., t. CVI,
n° 12. — Raoul-Rochette, op. n't., PI. Ill, 22. — B. M. Cat.,
Italy, p. 293, n°^ 60-61. — Brunn, op. cit., p. 296. — Ward,
Greek Coins and their parent cities, p. 12, n°* TJ-1^-
3. iR. Didrachm. Similar; but the signature in smaller characters.
Garrucci, op. cit., t. CVI, n° 13. — Num. Chron., 1896,
PI. IX, n° 1 1 . — Von Sallet, op. cit., p. 31. — Vienna Museum
Cat., n° 4692.
4. iR. Didrachm. Similar, but between the plumes and flag of
helmet, the inscription E.
Garrucci, op. cit., t. CVI, n° 11. — Vienna Museum Git.,
n° 4693.
- 124 —
On some specimens, the signature MOAOIIO or M0A0H02
appears in unusually large letters ; this must no doubt be ascribed
to a degradation ot style. The coins thus signed may have been
copied by inferior artists.
Bibliography. — Head, Historia Nuviorum, 1887. — A. Evans, Horsemen oj
Tarenlum. — Imhoof-Blumer, Monvaies grecqiies. — A. von Sallet, Kunsllerinschrif-
ten, &c. — L. Forrer, op. cit.
MOLSDORF Otherwise HANS WELLER (Germ.). Mint-master at
Friedberg (Saxony), I54i--j- 154). His distinctive mark was a lime-
leaf.
MOLTEDO {ItaL). Sculptor and Medallist, who worked in Paris
about 1826, and was engaged on the Durand series of medals. I
have come across his signature, MOLTEDO F. only on two medals,
those of Thomas Sydenham, the "English Hippocrates", f 1689,
and D"" Thomas Barthohn, Copenhagen (Durand Series, 1844).
Bibliography. — Weber, op. cit. — Franks & Grueber, op. cit.
MOLVENTER, JOHANN (Austr.). Seal-engraver, Gem-cutter, and
Die-engraver at Freiburg inBrisgau, and Ensisheim, circ. 1 594-161 1.
MONACHY, GEORGES (Belg.). Mint-engraver at Liege, under
bishop Gerard de Groesbeck, 1 567-1 571, and afterwards at Cambrai
and Stavelot. His name occurs in various forms : Monachy, Monacy,
Monausie, Monicus, Munichs, Muenix, Munx, Munex, Munix,
Muniex and Muninex.
Bibliography. — Pinchart, op. cit. — Renesse, Histoire numismatique de
Vh'iclie et principaute de Li^^e, Bruxelles, 183 1. — A. de Witte, op. cit.
MONAGHT, PIERRE {French). Mint-master at Saint-Pourcain,
1 529-1 53 1. His privy mark is a Z at the end of legends. In January
15 3 1 the Mint was transferred to Montferrand.
Bibliography. — E. Faivre, op. cit.
MONAU, PAUL (Germ.). Mint-contractor at Schweidnitz, 1517-
15 18. In 1546, he declined an offer to work the Royal Mint at
Breslau.
Bibliography. — Schlickeysen-Pallmann, op. cit. — Friedensburg, op. cit.
MONGAYO (Amer.). A South-American Engraver of the early part
of the nineteenth century, who signed a Royalist Badge of Fer-
dinand VII. of Spain granted for Valour, Buenos- Ayres, 1808. He
appears to have been Mint-engraver at Potosi, where this medal
was struck.
Bibliography. — Prado y Rojas, Catdlogo de las monedas y niedaUas, Sec. — Rosa,
Medullas y monedas de la Republica Argentina. — J. T. Medina, Medallas coloniales
ifti/xiM0-ammcawfl5, Santiago de Chile, 1900.
-- 125 —
MONCEAU, JEAN DE {French). Engraver of jetons, during the
second half of the sixteenth century. He was a Goldsmith by pro-
fession, and in 1560 he engraved irons with the arms and motto 01
the Roy Dauphin.
Bibliography. — Barre, op. cit. — Rondot, op. cit. — Blanchet, op. cit., II,
p. 396.
MONCEL, ADOLPHE EMMANUEL (French). Contemporary Sculptor
and Medallist, born at Paris ; pupil of Millet, Thomas, and Mercie.
At the Salon of 1891 he exhibited two Portrait-medallions in
bronze: M'"'= K***; — M™^ N***, and in 1894, another, of M"«=
Carnot.
MONCEL, REGNAULT DE (French). Mint-master at Le Mans, 1429.
MONCK, J. BERKELEY (Brit.). Issuer of Reading Tokens, 181 1-
i8i2, comprising : Forty Shillings, in gold; — The same, in
silver ; — Half Crown ; — Eighteen Pence (3 var.). All these were
engraved by Halliday, and are fully described in Davis, Nineteenth
Century Token Coinage, 1906, pp. 29-30.
MONDE, A.J. VAN DER (D«/£:A). Assistant Mint-engraver at Utrecht,
from about 1806 until his death in 1824. He first worked under
the Chief Engraver George, and cut the Daalder of 1807 with
KONINGRIJK; then under David van der Kellen;his colleagues at
the Mint being from circ. 1819, P. van de Goor, and J. P. Schou-
berg.
'IT''
MONDELLA, GALEAZZO (Ital.). Gem-engraver of Verona, mentioned
by Vasari as one of the cleverest artists of the first half of the
sixteenth century. Molinier suggests the attribution to him of a
plaque, engraved on chalcedony^ representing Septimius Severus
ordering the body of Albinus to be decapitated (Berlin Museum);
the signature is : nmj ; and D"^ Bode ascribes to him a Relief in
bronze, representing the same subject ; also two other Plaques in
bronze, Mars and Venus surprised by Vulcan; oval, 4,8 X 5,7 ;
— Venus and Amor between other gods; oval, 3,4 X 4,3.
Mondella was a compatriot of Matteo del Nassaroand his teacher
in gem-engraving.
Bibliography. — Molinier, Les Plaqueltes, 1886. — Vasari, op. cit. — Marietta,
op. cit. — Babelon, op. cit. — Bolzenthal, op. cit. — Bode, Die Italienischen Bronien,
Berlin, 1904.
MONDI, D. (Ital.). MedaUist of the second half of the sixteenth
century. His signature : D. MONDI occurs on a medal, dated 1561,
with portrait on obv. of Camillo Castiglione (15 17-1598), and
— 126 —
^L. EX VARIO CONSTANS. Diana descending from heaven on a
cloud and Endymion asleep (51 mill.).
BiBUOGRAPHY. — Armand, op. cit., Ill, 115. — Blanchet, op. cit., II.
MONDRANT (French). This Engraver's signature occurs on the
obv. of a Portrait-medal of Louis XIV., dated 1681. Fide Rondot,
op. cit.y p. 322.
MONET, PIERRE (French). Mint-master-general of the French
coins, 1 58 1.
MONETA, ANTONELLO BELLA (//dt/.). Mint-engraver at Venice,
circ. 1454.
Bibliography. — N. Papadopoli, Alcune Noti^ie sugli Intagliatori della Zecca di
Venecia, Milano, 1888.
MONEYERS (Mediaeval). Vide Notes, Vol. II, pp. 372-4; also
MINT-MASTERS supra.
MONGIN (French). Foreman Die-sinker at the Duraffour Works
at Lyons, 1848. He published a Portrait-medal of Louis Napoleon
Bonaparte, of that date, of which 2700 specimens were struck.
Vide De Saulcy, op. cit., pi. XLII, 4.
MONGINO, STEFANO (Ital.). Medallist of the second half of the
seventeenth century, who resided at Novara, and is mentioned by
Bolzenthal. Perrin, in his List of Savoyard Engravers, gives Stefano
Mongino as Mint-engraver at Novara, in 1630.
MONIGGA (Ital.). Gem-engraver of the seventeenth century, but
whose works are not of very great merit.
MONl£ (French). Engraver of the first quarter of the eighteenth
century, whose signature (M0NI£ F.) occurs on a Portrait-medal
of Charles Dommey (48 mill.), a specimen of which was in the
late Baron Pichon's Collection (lot 516).
Monie was working at Paris in the second half of the eighteenth
century. The Dommey medal is of that epoch. By this engraver
are jetons of the Six corporations of merchants of Paris, 1780, and
others (Note de M. Florange).
MONIER, £miLE ADOLPHE (French). Contemporary Sculptor and
Medallist, born at Paris, pupil of Ponscarme, Chaplain, and V.
Peter. At the exhibitions of the Paris Salon for 1902, 1903, and
1905, he showed various Portrait-medallions,Plaquettes, and Medals,
which are of good taste.
MONNERON, FRtlRES (French). Issuers of Tokens or private cur-
rency in 1791-2, also of various commemorative medals of the
— 127 —
Revolution. Hennin mentions the following : Message of the King
to the National Assembly, 1791 ; — General La Fayette, 1791 (by
Rambert Dumarest; several varieties); — Jean Jacques Rousseau,
1791 (by Dumarest ; sev. var.) ; — Medaille de Confiance of 5 Sols,
1 79 1, Type, so-called : au Facte federatif, or au Serment by Dupre;
many varieties); — Medaille de Confiance of 2 Sols, 1791 (by
Dupre ; many varieties) ; — Medaille de Confiance of 5 Sols, 1792 (by
Dupre ; Hennin describes six varieties, of two types : Commemo-
ration of the storming of the Bastille ; and Hercules endeavouring to
break fasces); — Medaillede Confiance of 2 Sols, 1792 (by Dupre;
several varieties of the types ot the Pyramid, and Liberty seated); —
Monneron of i Sol, type of Hercules, 1792 (a pattern, by Dupr^).
Most of Monneron's issues were struck at the Soho Mint, Birming-
ham, and a few Pattern pieces were never placed in circulation.
The tokens (medailles de confiance) of 1791 are scarcer than those
of 1792, of which there was a large coinage. On the 3. September
1792, the National Assembly stopped the issues of private currency,
and the issuers were to redeem it within a month from the prom-
ulgation of the government decree. Vide AUGUSTIN DUPRfi {Vol.
I, p. 647).
Bibliography. — Hennin, Histoire tiutnismatique de la Revolution fratifaise. —
Dewamin, Cent ans de numismatique Jrangaise de ijSpd iSSp. Paris, 1893.
MONNIER, CLAUDE (French). Mint-master at Romans, previous
to 1537 (from circ. 1500) and again atter 1540; on i. February 1543
he was appointed for the third time, and resigned in 1548. His
issues are signed either CM or M. He may be the author of a medal
with portrait of Francis, Duke of Valois, Count of Angouleme;
J^. Arms of France-Dauphiny, which was presented in 1504 by
the city of Romans to the Duke, during the Mint-mastership of
Claude Monnier.
Bibliography. — E. Faivre, op. cit. — Mazerolle, o/>. cit., II, p. 14, n" 68.
MONNIER, L. GABRIEL {French). Engraver of Besancon, born
in 1733, died in 1804. By him is a Prize Medal of the Central
School of the Cote-d'Or, dated 1796.
MONSflGUR, ALEXANDRE (French). Contemporary Sculptor, born
at Belfort (Haut-Rhin), 7. April 1849; pupil of Gerome, and A.
Millet. By him are various Portrait-medalHons, among which the
best known are : 1878. Colonel Denfert-Rochereau ; — 1880. Auto-
portrait ; — 1882. M. S***; — Col. Denfert-Rochereau, &c.
Bibliography. — Chavignerie ct Auvray, op. cit. — Catalogue du Salon, 1882.
MONTAGNA or MANTEGNA, BARTOLOMEO (Ital.). North Italian
Sculptor of the second half of the fifteenth centur}\ At the Victoria
— 128 —
and Albert Museum, South Kensington, there is a bronze Plaque
representing St. Sebastian tied to a pillar between statues of Mars
and Minerva (3 X 2 | inches.). It is signed : M, School of Mantegna.
An artist of that name was a famous Painter of Vicenza, circ.
1489-1522.
Bibliography. — Fortnum, Bronzes in the South Kensington Museum.
^ MONTAGNY, fillENNE (French). Sculptor and Painter, born at St.
ttienne TLoire) on 17. June 1816; died at Paris in 1896; pupil
ofF. Rude, and David d'Angers. He is the author of many famous
pieces of sculpture and of some fine Portrait-medallions in bronze :
1850. Thioliere Duchossv ; — 1852. M. Bavon, magistrate; —
1859. M. J***; — M™^ B.'^C***; — 1873. M"'^^ C B*** ; — 1880.
M. Fourneyron, &c.
Bibliography. — Chavignerie et Auvray, op. cit. — Larousse, Grand Diction-
naire.
MONTAGNY, FLEURY (French). Son of the Line-engraver Jean
Montagny; Medallist, born at St. htienne, 4. February 1760, died
at Marseilles in 1836. He received his first instruction from his
father, and was later apprenticed to a Paris Die-sinker. When the
French Government created in 1789 the State manufactory of arms
at Versailles, Fleury Montagny was a member of the Committee,
with Dupre, Dumarest, Jaley, and Galle, to whom were entrusted
the works of engraving, chasing, and sculpture at the new estab-
lishment. In 1809 he was appointed Director of the Marseilles Mint.
Bibliography. — Chavignerie et Auvray, op. cit. — Rondot, op. cit., p. 373.
MONTAGNY, JEAN PIERRE (French). Medallist and Coin-engraver,
son of the Line-engraver, Clement Montagny, born at Saint-Etienne,
31. July 1789, died blind at Belleville in 1862; he was a pupil of
his father, of his uncle Fleury Montagny, and Cartellier.
Chavignerie and Auvray, mention the following productions
which the artist exhibited at the Paris Salons : 18 19. The four
Evangelists, bas-relief in wax; — Models in wax; — Marriage-
Piece; — Various Jetons for the Mint; — Aesculapius, wax
model; — Bas-relief, engraved on steel; — 1822. Frame of medals
and wax impressions : Marriage Medal; — The Four Evangelists;
— Two commemorative Medals of the Birth of the Duke of Bor-
deaux, after Laffitte ; — The Duke and Duchess of Berr}^, and the
Duke of Bordeaux ; — Bailly, first mayor or Paris ; — Charles
James Fox; — 1824. A Portrait, model in wax; — Frame of
medals; — 1824. Coronation of Charles X; — Charles X., King
of France; — Pope Leo XII.; — 1833. Accession of Louis Phi-
lippe; — Stamp of the Society fibre des Beaux-Arts, after a draw-
ing by Hittorff; — Jeton of the Soci^te fibre des Beaux- Arts; —
— 129 —
Jeton for the Charcoal trade of the city of Paris; — Prize Medal,
with the King's bust, granted by the French government; —
1834. Commemorative Medal of the Passage of the Great St. Ber-
nard by Napoleon (after Andrieu ; 2 var.) ; — Bonaparte, first
consul of the French Republic; — France guided by her Genius
(allegorical subject in connection with the Revolution ot 1830); —
Commemorative Medal of the Restoration of Napoleon's statue on
the Colonne Vendome ; — Commemorative Medal of the capture
of Antwerp citadel; — Marquis Lally-Tollendal, 7 1830 ; — 1835.
Medallions and Bas-reliefs representing Hunting scenes, Fights be-
tween animals, 6cc. ; — Truth lighting up Justice and the Genius of
Pattern 5 Franc pieces, by Montagny.
Evil conquered, bronze medals; — Medal of the Societe libre des
Beaux- Arts ; — 1837. Fi'''iiTie oi medals ; — 1838. Portrait-medallion
of Jacques Laffitte; — 1838. Prize Medal of the City of Marseilles ;
— Agriculture, with the attributes of the town of Valenciennes ;
— 1851. Thirty medals and models in clay; — 1852. Commemo-
rative medal of the Election of Louis Napoleon to the Presidency
of the French Republic ; — Cardinal (jousset^ archbishop of
Rheims.
L. FoRKEK. — Biographical Notiets of Mtdallists. — IV. 9
— 130 —
Various commemorative medals of the Revolution ot 1848,
described by De Saulcy, are by Montagny : Journees de Fevrier
1848 (Genie du mal vaincu); — Archbishop Affre (struck at the
Paris Mint); — The 23. and 24. February 1848 {^L. Genius); —
The Revolution of 1848, Triumph of Liberty (sev. var., signed
MONTAGNY F. or MONTAGNY FECIT); — Another, on the same
event, of different type; — Pattern 20 Francs, 1848(2 var.); —
Pattern 5 Francs, 1848 (2 var.; illustrated); — Pattern 10 Cen-
times, 1848 (2 var.). These pattern pieces, which exist in gold,
silver, and copper, were executed in competition with other artists
for the Monetary Commission of 1848.
In 1824 he produced a Pattern 5 Franc piece of Charles X., and
in 183 1 a Pattern 100 Franc piece of Louis Philippe, also three
Pattern 5 Franc pieces, of same date. Again in 1852 he executed a
Pattern coin of Louis Napoleon, v^'ith his bust on obv. and head of
Liberty on ^L.
By Montagny are also the following medals : Visit ot Queen
Victoria to Chateau d'Eu, 1843 (2 var.) ; — Jean-Jacques Rousseau,
1712-1778 (sev. var.); — Campaign of 1814 (^. Napoleon obser-
vant I'ennemi); — Return of Napoleon's ashes from St. Helena,
1840; — Transfer of the body of Napoleon to the Invalides, 1840;
— Napoleon's Tomb at St. Helena, 1841; — Prince Louis Napo-
leon Bonaparte, elected to the Presidency of the French Republic,
1848; — P. J. Beranger, poet; — Bosquet, marshal of France; —
Cabet, French socialist; — Obelisk of Louqsor, 1831; — Louis
Philippe and Leopold L of Belgium and consort, Visit to Paris,
1835; — Louis Philippe and Marie Amelie, 1833; — Louis
Philippe, Historical Museum of Versailles, 1837; — Victor Emma-
nuel II., King of Sardinia^ 1859 (2 var., with French and Italian
legends); — Marat (sev. var.); — Voltaire, 1820 (sev. var.); —
Robert Boyveau-Laffecteur, Jeton of the Royal Academy of Medi-
cine of Belgium (3 var.); — Pope Leo XII., 1826, &c.
Bibliography. — Chavignerie et Auvray, op. cit. — Bolzenthal,o/>. c//., p. 299.
— Rondot, op. cit. — De Saulcy, Souvenirs numismatiques de la Revolution de
1848. — D"" F. P. Weber, op. cit. — Tobler, Die Mun:^^ und Med ai lien- Sam mlung
Wunderly v. Muralt, IV. — 'Numisviatic Circular, vfi^ 60552-57. — Dewamin,
Cent ans de numismatique frangaise, 1889.
MONTAGNY, PIERRE ANTOINE {French). Medallist, whose activity
ranged between 1790 and 18 16. He executed various medals and
jetons : Napoleon I., conquests, and campaign of 1806 (Istria,
Dalmatia, Naples, lena, Berlin, &c.); — Medal of the French
nation, 31. December 1770 (signed on ^L. P. AM.); — Jean Silvain
Bailly, mayor of Paris, 179 1 (signed : P. A. MONTAGNY F.) ; —
Private currency; token or Bon for 6 Blancs (2 Sous 6 Deniers),
1791; ^. Bust of Minerva (signed : MONTAGN.); — Bonaparte,
— 131 —
First Consul, Scientific Expedition under Capt. Baudin; — 1811.
Birth of the King of Rome; — 1791. Mirabeau; JE POURSUI-
VRAI LES FACTIEUX PARTOUT; ^L. LA NATION LA LOI
1791 METAL DE CLOCHE.
^■^■^
Pattern Five Francs, 181 5.
To this Engraver a Pattern 5 Franc piece of Louis XVIIL, 181 5,
unsigned, is generally attributed. It is reproduced in Dewamin,
Cent ans de numismaiique frangaise. Pi. 40, n° 10.
. Bibliography. — Bolzenthal, op. cit, — Rondot, op. cit. — Edwards, 0^. cit.
— Hennin, Histoire numismatique de la Revolution frattfaise, Paris, 1826. —
Nagler, op. cit.
MONTAIGU, ANDR£ DE (French). Mint-master at Marseilles, 1541 —
December 1545 ; then at MonteHmar, 1547 — circ. 1556 when the
Mint was closed. The Marseilles currency of that Master bears the
letters °AM° in monogram, and that of MonteHmar has an E at the
end of the ^L legend.
Bibliography. — E. Faivre, Etat actiul dei Ateliers monetaires frattfais etde leurs
differents, Paris, 1895.
MONTALAMBERT, PIERRE DE (French). Mint-engraver at Angers,
before 145 1.
MONTALEU, ROETTIERS DE (French). Chiet-engraver at the Paris
Mint, in succession to Dupeyron de la Coste, under Louis XVL;
his privy-mark is a lion. Vide ROETTIERS.
MONTADTI, ANTONIO (Ital.). A Florentine Sculptor, Architect,
and Medallist of the first half of the eighteenth century, who died
in 1740. He first worked in his native town, later at Rome, and
distinguished himself in architecture as well as in sculpture. He was a
pupil of Giuseppe Piamontini. At Rome he was entrusted with the
superintendence of the building of St. Peter's. When Frederick IV.
of Denmark visited Florence in 1708, Montauti executed his
— 132 —
Portrait-medal on the ^L. of which is a personification of the
Arno. He also preserved the memory of many notabilities of his
time : Lorenzo Magalotti ; — Orazio Ricasoli Rucellaj ; — Aretafila
Savini Rossi, &c. His signature is : A.M.F.
Bibliography. — Bolzenthal, op. cit. — Krohn, Thomsen Medailler.
MONTBRUN, BLAISE {French). Mint-master at Marseilles, 1644.
MONTDACO, MENAULT DL (French). Mint-master at Bayonne, 1535-
1542 ; privy mark, D at the end of the legends.
MONTDELIF, GUILLEMOT DE {French). Mint-master at Le Mans,
1428.
MONTEILH, LOUIS FERDINAND (French). Line- and Gem-engraver,
Chaser, etc., born at Angouleme in 1792 ; died there on the 9*'' of
May 1869. He was deaf and dumb by birth, and was educated at the
institution of the Abbe de I'Ep^e at Paris. Later he studied draw-
ing and modelling, and learned the art of engraving in general, and
particularly gem-engraving. His cameos and intaglios in carnelian
and crystal, seals, pendants. Portrait-medallions (executed in
Nini's style) of Louis XVL, Marie Antoinette, Turgot, d'Epreme-
nil, and others, are not without merit. Many of them are signed :
MONTEILH, S. M. (Monteilh, sourd-muet).
Bibliography. — Emile Biais, Le Graveur Monteilh, Numismatic Circular,
1907, col. 3914.
MONTEIRO {Brazil.). Mint-engraver at Rio de Janeiro, 1858. By
him is a commemorative medal of the Inauguration of the Don
Pedro IL Railway.
MONTELUPO,RAFFAELLODA(//a/.). Goldsmith and Chaser of Flo-
rence, sixteenth century. He was one of Cellini's teachers and his
colleague, and is said to have designed some of the medals and
decorative works of Cellini.
MONTENI. Vide ANTONIO MONTAUTI supra.
MONTENZ, JEAN DE (French). Mint-engraver at Lyons, circ.
1379.
MONTFORT, JEAN DE (Belg.). A Flemish Sculptor and Medallist of
the first half of the seventeenth century. He was Assayer at the
Antwerp Mint in 1602, Councillor and Mint-master in 1613. He
also resided for some time in France, and has executed about ten
medals, the best known being that of the Infanta Isabella, daughter
of Philip II. He signed : MONTFORT F. ; — lO.MONT.F- ; — MONF.F.,
or MONT.
— 133 —
Pinchart describes the following medallic productions by this
artist : 1596. Archduke Albert;]^. Altar {illustrated); — I599-
Philip III. of Spain; ^L. The Archdukes Albert and Isabella; —
1599. Archduke Albert ; ^L. The Infanta Isabella (on their marriage) ;
— 161 5. The Infanta Isabella; ^. Cipher crowned with date 1615,
and St. George slaying the Dragon; — 1633. The Infanta Isa-
bella;!^. CD DLXVI-iETERNITATI AVGVSTiECID D CXXIII
Archduke Albert, 1596.
The Infanta seated on globe above clouds with peacock at her feet
(on her death) ; — 1644. Memorial Medal of Elizabeth of Bourbon,
consort of PhiUp IV. of Spain (signed : MONFORT); — Undated.
Jean Richardot, president of the privy council ; I^. INSISTAM Owl
(lO.MONT.F.) ; — Charles Alexandre de Croy, prince of the Holy
Roman Empire, count of Fontenoy-le-Chiiteau ; ^. J'AIME QVI"
M'AIMETESVSTENTERAY-CROY (illustrated); and perhaps
also : Joachin Aarssens, Abbot of S' Peter's Church of Ghent,
1629 ; — Anne de Croy, duchess of Arschot, princess of Arenberg,
1619.
Memorial Medal of Charles Alexandre de Croy, by Montfort.
Interesting particulars are given of Jean de Montfort by Picqu6
in Revue beige de numismaliquc, 1897, pp. 86-89.
— 134 —
This medallist's activity began at the time when Conrad Bloc,
who may have been his master, ceased to work in the Netherlands,
and, says Pinchart, "His medals are chased with more art than
those ot Bloc, and they distinguish themselves in that the portraits
are better modelled and more expressive. "
Jean de Montfort executed the lion in gilt copper which adorns
the mausoleum, erected by the Archduke Albert, to the Dukes of
Brabant John II. and Anthony of Burgundy, in the church of Sainte-
Gudule at Brussels.
Bibliography. — Bolzenthal, op. cit. — Pinchart, Histoire de la Graviire des
Medailles, 1870. — C. Picque, La Medaille de Genevieve d^Urfe, duchesse de Croy,
Revue beige de num., 1897. — A. Pinchart, Jean de Montjort, Revue beige II, 2
(1852), p. 97. — Rondot and De La Tour, op. cit. — Van Loon, op. cit. —
Catalogus, &c. — Kramm, op. cit.
MONTLUC DE BALAGNY, JEAN DE (French). Governor of Cambrai,
under the protectorship of Francis of Alencon; he issued there
obsidional Ecus in 1581.
MONTLUgON, JACQUELIN DE (French). Sixteenth century Painter
to whom M. Blanchet attributes various projects for jetons and
medals (Proceedhigs of the Congres de f histoire de fart). Vide also
D. Mater, Etudes sur la numismatiqne du Berry, Gaz. Num. fr.,
1905, p. 247.
MONTORTIER, JEHAN DE (Frfwr/;). Mint-master at Angers, 1552 —
21. May 1557.
MONTOURCIN, c£SAR DE (French). A merchant of Toulouse, who
during the Ligue contiacted in 1590 to work the mint there for a
term of one year.
MONTPENSIER, FRANCOIS DE (French). Mint-engraver at Lyons,
1 503 -1 5 23. r/^^MONTPANCIER.
MONTPANCIER, FRANCOIS DE (French). Francois Nicolet, surnam-
ed De Montpancier (also Montpensier), goldsmith of Lyons, and
Mint-engraver there from 1503 to 1523. In 1509 he cut dies for
Dizains in billon called Ltidovicus, and in 1515-16 Testons ol
Louis XII.
Bibliography. — Rondot, Les Gravmrs de Lyon.
MONTPANCIER, PIERRE DE (French). Goldsmith of Lyons, who
was employed at the Mint there to cut dies, 1515-1517.
MONTREDON, GERMAIN H^ (French), Mint-master at Lyons, 1427.
He struck there Blancs of Charles VII.
— 155 —
MONTREDON, JEAN DE (French). Goldsmith of Riom, who in
1592 applied for the post of Mint-engraver there, but unsuccess-
fully.
Bibliography. — N. Rondot, and H. de La Tour, op. cit.
MONY, ADOLPHE STEphANE (French). Contemporary Sculptor,
born at Paris; pupil of Guitton and Bartholdi. By him are various
Portrait-medaUions : 1777. M""^ A. Mony; — 1880. Antoine Eme-
lin; — 1881. S. Mony; — 1883. M-^ F. D*** ; — 1885.
M"- Nancy M*'^*; — 1886. A. Mony; — M"^Elise V*^; — 1895.
M. P. V***; — 1897. Study ofa female figure; — 1903. M"«C. B***;
— Adolphe Brunier.
Bibliography. — Chavignerie et Auvray, op. cit. — Catalogues du Salon, 1882-
J90S.
MONZE (French). Sculptor of the third quarter of the nineteenth
century, by whom I have seen a uniface Portrait-medallion
signed^ Mon:^e' F. ijj^ (size: 61 mill.) of R.C. Sage, member of
the Academic des Sciences, born in 1740 (illustrated).
Medal of R. C. Sage, 1779, by Monze.
MOORE, JAMES(5r/7). Contemporary' Founder and Caster, residing
at Thames Ditton,and employed at various times by sculptors and
modellers, to cast Portrait-medallions. Prof. Legros, Lant^ri, Morel-
Ladeuil, and other artists' productions were cast by him. He died
in April 1905, at the age of seventy-nine.
- 136 -
He was until a few years ago the proprietor of the Thames Ditton
Bronze Foundry, where he produced altogether over 250 works of
colossal proportions, besides 340 smaller works, from statues by
distinguished sculptors and artists, including Sir Frederick Leighton,
Thomas Brock, C. B. Birch, Sir Edgar Boehm, Count Gleichen,
G. F. Watts, and Hamo Thorneycroft. Mr. Moore occasionally
visited Balmoral to receive the personal commands of Queen Victoria
in relation to a colossal equestrian statue of the late Prince Consort,
by Sir Edgar Boehm, which now stands at Windsor, and which is
14 ft. in height.
MOORE (Brit.y Secretary to the Society for the Encouragement
of Arts, &c., and Issuer of some Patterns for the coinage, and
Medals, which were engraved by Hancock : Undated Halfpenny ;
^L. VIVAT ! across the field, and edge inscribed : ARMIS TUTE-
RIS MORIBUS ORNES (sev. var.); — Halfpenny, 1788 (sev.
var. ; one Ulustraied), &c.
Pattern Halfpenny of George III., issued by Moore, 1788.
Bibliography. — Montagu, Copper Coins of England, 1893. — Spink, Montagu
Catalogue, &c. — Crowther, op. cit.
MOORE, JOSEPH (Brit.). Medallist of the second halt ot the nine-
teenth century, born at Birmingham, 17''' February 18 17, died
there in 1901.
His father had served in the Peninsular War and met with a
serious accident when the future Engraver was yet a child. At ten
years of age he persuaded his parents to allow him to try to earn
his own living; he entered the office of a then well-known silver-
smith, and while there he learned drawing under Henry FoUet
Osier.
His next step in life was when he was apprenticed tor eight-and-
a-half years to Thomas Halliday, a die-sinker, of Newhall Street,
nearly opposite to Little Charles Street. His training with Halliday
was most valuable to him. In starting business for himself he
— 137 —
began with dies for button making, which at that time was one of
the chief, if not the greatest, industry of the town. At that time
a " Brummagem button " was something more than a necessary
article for fastening clothes together. Buttons were made in all
sorts ot fanciful and really artistic designs, — approaching in not
a few instances to works of art.
Joseph Moore, at the Exhibition of 185 1, was awarded the prize
for excellent workmanship in the manufacture of buttons.
Before the term of his apprenticeship drew to a close he had a
strong desire to become a medallist. He obtained the requisite
tools, fitted up a bench in the attic of the house in which he then
lived, and, rising everj^ morning at four o'clock he would copy
^W
some of the designs he had brought from his shop on the previous
night.
When eighteen years of age he for a short time was under the
tuition of Samuel Lines, in whose school have been taught so many
talented engravers and die-sinkers.
In 1844, it was suggested to Moore that he might make a coin
which would be an improvement on the heavy and cumbersome
penny-piece which was then in currency. He designed a model
penny — absolutely his own idea — of about the sizeof a farthing,
inside the raised rim of which was a small piece of silver which
brought its value up to the proper standard. The rim was inge-
niously devised with the object of making the penny distinguish-
able from other coins of a similar size in the pocket merely by
- 138-
feeling it. There was an enormous demand for these tokens; so
great, indeed, that Wyon, the coin die-sinker to the Mint, when
he came to consult Moore about his system of making dies so that
they would not break, good-humouredly explained that they had
met with such favour with the public that he had been compelled
to advertise the fact that tliey were the result of private enterprise
and not a Government issue.
Later, the Engraver entered, under advantageous conditions, the
business of W. James Taylor, medallist, Summer Lane. Mr. Ralph
Heaton of the Mint, and Mr. James Hinks were the first to give him
remunerative work. At that period the Birmingham Mint was
making dies for currency, and in their production Moore's services
were required.
By the very necessities of his case he has been unfortunate,
inasmuch as some of the best of his work has gone forth far
and wide without bearing his name, having been executed on
commission for leading Art firms. For half a century he devoted
himself exclusively to engraving medals and furnishing designs for
exhibitions in India, Canada, America, Australia, for Universities,
or in commemoration of all the principal events that have occurred
during that period. Whilst the general public may never know halt
of the excellent work he has performed, in Art circles it has not
been unrecognised nor unappreciated.
" Amongst the best known productions of Moore's skill is the
medal representing" Christus Consolator", which he executed when
Pattern Penny of Queen Victoria, i860, by Moore.
he was 29 years of age. At the time it attracted much attention.
It contained 16 figures. When the idea of reproducing it on a
medal was mentioned to Mr. Peier Hollins, he urged Moore not
to attempt to carry it out. He pointed out the difficulty of retaining
on a medal only two-and-a-quarter inches across the individuality
of the features of the 16 figures in the picture. But Moore tried, and
this very successfully. When Queen Victoria visited Birming-
ham in 1858 for the purpose of opening Aston Hall, Moore
— 139 —
designed the medal in commemoration of the occasion. A gold
impression of the medal — the cost of which was chiefly defrayed
by Mr. R. Heaton — was presented to Her Majesty, who expressed
her high appreciation of it. He also made the die for the medal of
the late John Henry Chamberlain, whose features are reproduced
with great fidelity. On the reverse side ot this medal is the Art
building, with the inscription : " Given for Design in memory of a
Medal of the Royal National Eisteddfod at Carnavon, 1877.
Master of Design ". Moore was one of the most energetic members
of the now moribund Art Guild, in which, during the period of its
existence, he took much interest; and in the formation of the
Midland Art Club, he rendered valuable assistance" (Birmingham
Faces and Places, 1898, p. 45.)
For some time, Joseph Moore was in partnership with Mr. Allen,
and the business was carried on under the style ot ALLEN & MOORE,
at Great Hampton Row, Birmingham. (F/c?^ ALLEN & MOORE, Vol. I,
p. 41.)
Beside the Aston Hall medal, mentioned above, I have a note of
— 140 —
the following medallic productions of this Engraver : Set of English
Cathedrals; — Welsh medals of the Portmadoc Eisteddfod, 185 i
(signed : A. & M.) ; — Royal National Eisteddfod, viz. Carnavon,
1877 (signed : J. MOORE BIRM. ; illuslraled), and others; — Medals,
of Public Institutions, as those of King Edward's Grammar School,
and the Institution for the BHnd ; — Prize and Exhibition medals,
and Medals and Badges of Societies, Orders, and Lodges ; —
Meeting of the British Association at Birmingham, 1849 ; —
Eminent Men : Lord Brougham ; — Sir Charles Napier ; — Duke
of Wellington; — General Gordon; — George Frederick Muntz,
1890; — George Dawson; — R' Hon. Joseph Chamberlain; —
John Henry Chamberlain ; — Nathan Mayer Rothschild ; — Johann
Ronge; — Prince Oscar of Sweden, on his Visit to the Works of
BY RIS FRIFND
Dr Lawson Tait, 1890.
G. R. Collis, Birmingham, 1862 (signed : J. MOORE F.); — The
Duke ofLeinster, Lodge of Free Masons, Lima, Peru, 1861; —
John Bright and others, Corn Law Agitation, 1846 (signed :
A. & M.BIRM"'); — Richard Cobden, Free Trade established, 1846 ;
— Charles Giles Bridle Daubeny, M. D., Meeting of the British
Association at Cheltenham, 1856 (sev, var.); — Thomas Holloway,
1857 (sev. var.); — Another, Advertising medalets, 1858 (sev.
var.) ; — Robert Burns, Centenary, 1859 (signed : J. MOORE S2 );
— Martin Luther; — Joseph Paxton, architect of the Crystal
Palace; — William Roscoe, Centenary, 1853, — D"" W"' Ross
Jordan, Birmingham, 1890 (A. J. N. 803); — D' Lawson Tait,
Birmingham, 1890 (A J. N. 892; in Boston collection ; illustrated);
— D"" John Dalton, Manchester, 178 1 (struck between 1850 and
1870); — Lord Brougham, National Association for the Promotion
— 141 —
of Social Science, 1857; — D' C. B. G. Daubeny, Oxford (A. J.
N. 631); — D' Sir Charles Hastings, British Medical Association
(A. J. N. 656); — Augustus Graham, Brooklyn Institute; —
Schiller (Medal executed in commission for the William Tell
Society, and published by C. L. Norton, a Birmingham bookseller);
— Opening of the Clifton Suspension Bridge, Bristol, 1864; —
Completion of Plymouth Breakwater, 1848; — Society of Arts
School of Design, Birmingham, designed by T. Clark; —
Edward VI. Grammar School, Birmingham, Tercentenary celebra-
tion, T852; — Industrial Exhibition at Plymouth, 1865 ; — French
Revolution of 1848 (5 var.); — Eugene Cavaignac, 1848; —
John Frothingham, British Canadian Schools; — Canadian Jubilee
Medals of Queen Victoria, 1887, and 1897, &c.
By Moore are also some Patterns for coins : Model Crown
(undated) ; — Model Two Shilling piece (signed : A. & M., illus-
trated, Vol. I, p. 41); — Penny of Queen Victoria, i860 (sev. var. ;
one illustrated). " These Patterns", says Montagu '* were sent by
Moore to the Mint for the approval of the Government, but were
not accepted. The dies were destroyed in 1886 -after several
examples had been restruck in silver, white metal, bronze and
copper"; — Australian Tradesmen's Tokens; — Cent and Half
Cent of Rajah Brooke, of Sarawak, North Borneo (engraved for the
Mint, Birmingham).
G. W. de Saulles, late Chief-engraver at the Royal Mint, 1893-
1903, worked for Joseph Moore from 1888 to 1892.
Moore's signature occurs in various forms : J. MOORE SC; —
J. MOORE F.; — JOSEPH MOORE; — J. M.; — M. ; — MOORE F., &c.
Bibliography. — S. M. Spink, Catalogue of Mr. Montagu's collection of Coins
frovi George I. to Victoria, London, 1891. — Hildebrand, o/>. cil. — Marvin, o/». cit.
— Numismatic Chronicle, 1888-1903. — Cochran-Patrick, Scottish Medals. —
Montagu, Copper Coins of England, 1893. — W. J. Davis, Token Coinage of
Warwickshire. — Id., Nineteenth Century Token Coinage, 1904. — De Saulcy,
Souvenirs nuviisviatiques, &ic. — D"" Horatio R. Storer, MS Notes. — Mc Lachlan,
Canadian Diamond Jubilee Medals, 1897.
MOORE, JOSEPH (Brit.). Son of the last, and his able successor, as
Die-sinker, Seal-engraver and Medallist.
Among his most recent productions! have noticed : Tercentenary
of Shakespeare (with his portrait surrounded by the busts of Phelps,
Macready and Irving; ^. View of Stratford-on-Avon); — Sir
Henry Irving (Memorial medal) ; — William Murdoch ; — Glasgow
Industrial Exhibition, 1886-7, etc.
Probably many of the later medals mentioned under Joseph Moore
Sen' are by his son.
MOORE, SAMUEL (Amer.). Fifth Director of the United States
— 142 —
Mint at Philadelphia, appointed July 15, 1824, and succeeded by
Robert Maskell Patterson, May 26, 1835.
Bibliography. — Evans, History of tlx U.S. A. Mint. — Snowden, Washington
Medals.
MOORS, M. (Germ. ?). A Treble " Chnstfestthaler ", undated, of
Hamburg, is signed M. MOORS, according to L. & L. Hamburger,
who described the piece m Raritdten-Catalog, IV., 1900, lot 349. On
obv, is a representation of Christ's birth, and on ^L. the Adoration
of the Magi.
MOOS, MELCHIOR VON (Szuiss.). Mint-master at Lucerne, 1545-
1549-
MORAES, MANUEL HL (Poring.). Goldsmith, and Mint-engraver at
Lisbon, appointed on 3. October 1667, in succession to Joao
Baptista Coelho; in 1688 he was made an Assayer, and resigned,
7. July 1704 (Arch, da casa da moeda).
Bibliography. — A. C. Teixeira de Aragao, Descripfoo geral e historica das
Moedas cunhadasem nomedos Reis, Regentes e Governadores de Portugal, Lisboa, 1874.
MORAES, MANOEL DE (Port.). Medallist of the third quarter of
the nineteenth century, and Engraver of the following medals :
Medal of the Royal Humane Society of Portugal, 1852; — Visit of
Charles Albert, King of Sardinia, to Oporto, 1854, &c.
MO RAN, FERNANDO (French). Mint-master at Bordeaux, circ.
1610.
MORAO, HENRY DE (French). Mint-master at Dijon, circ.
1610.
MORAN & CLARK (Amer.). Issuers of private currency, at San
Francisco (California), vi^. 10 Dollar pieces, obv. Inscription.
^. Weight in wreath (circ. 1849-50).
MORAND, HUGUES (French). Mint-engraver at Besan^on, circ.
1699-1721.
MORAU, HENRY (French). Contemporary Sculptor, born at Pondi-
ch^ry; pupil of Alphee Dubois and Henri Dubois. By him are
numerous Portrait-medallions, some of which have been exhibited
at the Paris Salons from time to time : 1888. M. le D' H. M***; —
j^iie A. M***; — 1889. Maitre A. M***; — M-= V. C*=^; — 1893.
Mile A. M***, &c.
MOREAU (French). Engraver of the first half of the nineteenth
century, best known for his various Patterns for the coinage of
— 143 —
Charles X., 1824, and Louis Philippe, 1830. These consist of:
5 Franc pieces (Dewamin Pi. 49, 2); — 2 Francs (D., PL 49, 3) of
Charles X. ; — 100 Francs ; — 5 Francs &c. of Louis Philippe.
Tliis artist's signature : MOREAU S. occurs on a medal commemo-
rating the Recovery of George IIL, Cheltenham, 1788-9.
Pattern Five Francs of Charles X.
Moreau engraved also Jettons, Tickets, Advertising Counters,
Badges, Prize Medals, &c.
Bibliography. — Dewamin, op. cit.
MOREAU, AUGUSTE MATHURIN {French). Sculptor of the nine-
teenth century, born at Dijon, 18 November 1822; pupil of
A. Ramey and Dumont; won in 1842 the second Grand Prix de
Rome; Knight of the Legion of Honour since 1865. Beside many
fine works of sculpture, he has executed Portrait-medallions, cast
in bronze, some of which were exhibited at the Paris Salons, as late
as 1906, when he showed fifteen bronze Plaquettes entitled :
Souvenirs de Troyes; and 1907, a bronze Plaquette, " Enfant",
after Boucher.
Bibliography. — Cliavignerie et Auvray, op.cil.
MOREAU, EDMONDE AUGUSTIN JEAN (French). Nineteenth cen-
tury Sculptor, born at Paris, 8. May 183 1 ; pupil of A. Toussaint.
He is the author, amongst others, of a Portrait-medallion, carved
in ivory, of his master, A. Toussaint, executed after a drawing by
Gumery.
Bibliography. — Chavignerie et Auvray, op. cit.
MOREAU, fiTIENNE (French). Contemporary Sculptor and Gem-
engraver ; pupil of Macquet. By him is a gem representing a Lion and
Cupid.
MOREAU, HIPPOLYTE (French). Contemporary Sculptor and
— 144 --
Medallist ; pupil of Jouffroy. He exhibited Portrait-medallions, cast
in bronze, at the Salons of 1897 and 1903.
MOREAU, JEAN (FrtJMc/?). General des Monnaies, circ. 1626.
MOREAU, LOUIS (French). Contemporary Sculptor, born at Paris;
pupil of his father, Thomas, and of Mathurin Moreau. At the Salon
of 1904 he exhibited .1 Portrait-medallion of his mother.
MOREAU-VAUTHIER, GABRIEL JEAN PAUL (French). Contemporary-
Sculptor, born at Paris; pupil of his father, and Thomas; died in
1893. At ^he Salon of 1892 were two Portrait-medallions by him :
M"= S. M***; — J. C***. He excelled in ivory carving.
MOREHEN, HORACE (Brit.). Contemporary Sculptor and Medallist
of London, by whom are the following Portrait-medallions : Lord
Salisbury, February 1895; — Gladstone, April 1894. These ^^'^
medallions were published by J. H. Mayer & C°, London, in terra-
cotta, and old ivory; they measure both 8 inches in diam. This
artist has also executed Portrait-plaques of Miss Ellen Terry, Sir
Henry Irving, and others.
Bibliography. — Information kindly supplied by D' F. Parkes Weher.
MOREIRA.CYPRIANODASILVA (Portug.). Engraver, born in 1755,
pupil ot Joao de Figueiredo at the Lisbon arsenal; and appointed
Engraver of coins, arms, and medals at the Mint there, 19. August
1804, with a yearly salary of 360 $ 000 reis. In 1812, his name
appears as fourth Engraver; in 1814 as third; and in 1826, the
year of his death, as second. His work is very creditable, but I have
never come across any of his medals.
Bibliography. — Aragao, op. cit.
MOREL (or MORET), ALFRED (French). Contemporary Sculptor,
born at Tours (Indre-et-Loire), and author of various Portrait-
medallions, amongst others, one of M""* G***, which was exhibited at
the Paris Salon of 1880.
MOREL, ANDR£ (French). Mint-master at Chambery, circ. 1565.
Vide Perrin, op. cit., p. 150.
MOREL, ANDRfi (French). Mint-master at Lyons, 1543. to circ.
1 5 61; he was succeeded by Francois Guilhem. Vallentin (Annuaire
nmnismalique, 1894) mentions coins of Henry II., dated 1560, and
struck at Lyons by Andre Morel, signed with an M above trefoil
after the date ; but this Mint-master's usual privy-mark is AM.
MOREL, ANDR£ II (French). Mint-master at Lyons, under
Charles IX. and Henry III. He signed his issues, like his prede-
— 145 —
cesser, AM, with, in addition, a pellet in the O's and three dots in
the Cs of the legends. He struck posthumous Douzains of
Charles IX., in 1575, before the return of Henry III. from Poland,
and coins in the name of Charles X. On the surrender of Lyons
to Henry IV., 7. February 1594, he had to resign in favour of
Jehan Filliard, of Grenoble.
Bibliography. — E. Faivre, op. cit.
MOREL, EDMOND {French). Last Director of the Mint ot
La Rochelle, 1824 — 16. November 1837; privy-mark, a trident.
MOREL-LADEUIL, LEONARD (French). Contemporary Silversmith
and Worker in metal, born at Clermont-Ferrand in 1834, died at
Louis Napoleon, Prince Imperial.
Boulogne-sur-Mer in 1888. He began as a chaser in bronze, and
worked with Vechte ; he also studied sculpture under Feuchere.
In 1855 he executed a remarkable shield for Napoleon III., and
among his most noted productions are: Courage slaying the hydra
L. FoRRER. — Biographical Notices of Medallists. — IV.
— 146 —
of Anarchy; — Night; — Dreams; — Music and Poetry; —
Much ado about nothing; — The Merchants of Venice, and other
compositions taken from Shakespeare; — Paradise Lost; — Toilet
of a Pompeian lady; — TwiHght; — Dawn; — Charity (bas-
relief in repousse silver) ; — Prometheus comforted by the Oceanids
(bas-relief in repousse sihev) ; — La Fable (1880), etc.
Morel-Ladeuil worked for a long time almost exclusively for the
London and Birmingham Silversmiths, Elkington & Co. The Vase
of the Helicon, executed by him, was offered to Queen Victoria in
honour of her Jubilee. One of his finest works, the famous "Milton "
shield (Paris Exhibition, 1867), is now in the Victoria and Albert
Museum, South Kensington.
In 1878 the artist was decorated with the Legion of Honour.
At the Salon of 1888, he exhibited three Bas-reliefs: The Good
Samaritan ; — Time dispersing the hours ; — Amor Patriae ; —
and a Portrait-medallion in bronze.
D"^ F. P. Weber possessed a Portrait-medallion by him of the
Prince Imperial Louis Napoleon, as cadet and volunteer, 1873 (?),
signed : MOREL-LADEUIL, and cast by James Moore, of Thames-
Ditton, from a plaster model {illustrated). This medallion is now
in the British Museum.
In the Museum of the Palais de I'Academie, at Clermont-Ferrand,
are original models (in red modelling-wax on white wood), made
by Morel-Ladeuil for a medal to commemorate the Opening of
Epping Forest to the public, 1882.
Bibliography. — Chavignerie et Auvray, op. cit. — D"" F. P. Weber, op.cit.,
and Num. Chronicle, 1907, p. 249.
MOREL, EUGtNE (French). Sculptor and Medallist of the early
part of the nineteenth century, by whom are various medals, some
of which are signed : MOREL FILS. It is possible that there may
have been two Die-sinkers of that name, father and son.
His signature occurs on the following works : J. A. Manuel,
French deputy, 1823 (plaquette); — Mercier, ex-sergeant of the
Paris Garde nationale, 1823 (plaquette); — Defence ofthe heights
oftheButtes Chaumont by the pupils of the Polytechnic School,
30. March 1814; — Charles Jean Jules, king of Sweden (2 var.,
signed: MOREL FILS F., and MOREL F.) ; — Joseph Francis Oscar,
Crown-prince of Sweden, 1825 ; — William Frederick George Louis,
Crown-prince of Holland, 1799 (signed: MOREL FECIT); — Birth
of the Duke of Bordeaux, 1820; — Bonaparte crossing the Great
St. Bernard, an VIII; — D"" Andre Mazet, Paris, 1821; — George,
Prince Regent of Great Britain ; — Napoleon and Marie Louise
(plaques and medals); — Napoleon I. (plaques o( repoussd work);
— Marie Louise (repousse plaques); — Death of Prince Ponia-
towski, 181 3 ; — Napoleon's family, &c.
— 147 —
MOREL, MICHEL {French). Mint-engraver at Montpellier, circ.
1542-1560.
MOREL, REMOND (^French). Mint-engraver at Toulouse, 1562.
MORELLI (^Ital.) Gem-engraver of the early part of the nineteenth
century, who worked for Napoleon I. Some of the cameos, form-
ing part of the Napoleon relics, which were stolen from the
Liverpool Museum, in April 1905, were by this artist. These
objects are thus described :
1 . A ring set with sardonyx-cameo portrait of Napoleon, lau-
reated head and classical costume. The cameo is set off with small
diamonds, and the ring was a gift from Napoleon and Marie
Louise to Madame Ney, Princess of Moskowa.
2. A snuff-box, 3|in. by 2|in., made of vari-coloured enamels
and beautifully chased gold, with a sardonyx set in the lid, carved
with cameo containing portraits of Napoleon, Marie Louise, and
the young King of Rome, and signed MORELLI. Lapis lazuli, small
diamonds, and other valuable stones had been called into orna-
mental requisition for the box, which was a present to Marshal
Ney, Prince of Moskowa, from Napoleon and Marie Louise at the
same time as the ring was given to Madame Ney.
3. A gold seal with miniature military accoutrements adorning
the handle, and set with a cornelian upon which the initial" N"
and the Imperial eagle had been engraved in intaglio. The lower
part of the seal opens, displaying a small recess, which is said to
have held the private seal of Napoleon.
Pistrucci was apprenticed to Morelli.
MORELLO, ANDREAS (French). Mint-master at Chambery, 1563-
1565.
MORET, ALFRED (French). Contemporary Sculptor and Medallist,
born at Tours. By him are also Portrait-medallions : 1880.
M""^ G***; — 1884. D-- M***; -- 1885. L. D***; — 1886. D-" M***.
Bibliography. — Catalogues du Salon.
MORETTI, MARCO AZIO (ltd.). Gem-engraver and perhaps also
a Medallist of Bologna, who flourished about 1495. He is praised by
Achillini; and To. Baptisto Pio, in a Latin elegy of 1509, invited
him to engrave a portrait of his Chloris. Mariette does not appear to
attach veVy much faith to these contemporaries' estimation.
Bibliography. — Babelon, op. cil. — King, op. cit. — Mariette, op. cit.
MOREY, VIRGILE (French). Contemporary Sculptor, born at
Paris; pupil of Hippolyte Moreau. By him is a Portrait-medallion,
which was exhibited at the Paris Salon in 1884.
MORGAN & CO (Vide H. MORGAN infra). Die-makers, Medallists,
— 148 —
and licensed Token Manufacturers, at 12 Rathbone Place, Oxford
St., London, in the early part of the nineteenth century,
from about 181 1. They mainly employed Halhday, who cut
the dies of all the tokens struck by this firm, either under
the style of H. Morgan, or Morgan & Co. They were accused in
181 1 of issuing imitations of inferior value of the tokens of
Garratt & Co. of Bristol (Davis, Nineteenth Century Token Coinage,
p. loo-i).
Bibliography. — Davis, op. cit.
MORGAN, GEORGE T. (Brit.). Sculptor and Medallist, born at
Birmingham, in 1845. He studied at the Art School there, and
won a National Scholarship at the South Kensington, where he was
a student two years. He worked for Mr. Pinches, about 1873-1875,
and later went over to the United States, and was Assistant Mint-
engraver at Philadelphia (U. S. A.) under William Barber and
Charles E. Barber, circ. 1876- 1890. He is best known by the so-
called "Bland " Dollar (illnstratecf), which is his design and execu-
" Bland" Dollar, 1878, by George T. Morgan.
tion, and was first struck in 1878. Amongst his medals are : David
Roberts, 1796- 1864, executed in 1875 ^^^ ^^^^ ^^^ Union Co. of
London (signed: G. MORGAN SO.); — Thomas Carlyle, on his
80''' Birthday (engraved by Boehm); — Railway Exhibition at
Chicago, 1883 (in conjunction with Barber); — Henry Bessemer,
1879 (a specimen in gold was presented to H. M. Edward VIL in
1906, and is now in the Royal Collection), etc.
Bibliography. — Evans, History oj the U. S. Mint and Coinage, 1892. —
Watson, History oj tJx American Coinc^e, 1899.
MORGAN, H. (Brit.'). Issuer and Manufacturer ot tokens, in the
early part of the nineteenth century; he resided at 12 Rathbone
Place, London. Amongst his issues are : Cornwall, Shilling, 181 1;
— Derby, Shilling, with view of Peterborough Cathedral; —
— 149 —
County of Devonshire, Shillings, with view of Eddystone
Lighthouse (lo varieties, all engraved by Halliday); — Gloucester,
Shilling and Sixpence (arms of city) ; — Hampshire County,
Shillings (Ships at sea) ; — Leicester, Shillings (4) and Sixpences
(2), 1811; — London, Shillings (9) and Sixpences (6), rSii (all
engraved by Halliday); — Lynn, Eighteenpence, Shilling, and
Sixpence, 1811; — Mansfield, Shillings (3), 1812; — Bristol,
Shillings (5), undated; Sixpences (2), etc.
MORGANTI, BENTO or BENVENUTO (Ital.). Medallist of the early
part of the eighteenth century, born at Rome, studied at Coimbra
(Portugal). His father was librarian to Don Thomas d' Almeida,
first patriarch of Lisbon. The artist distinguished himself in Port-
ugal as an Engraver of coins and medals, some of which are
described in the work : Niwiismalogia, breve recopilagao das algumas
medalhas dos imperadores romanos, Lisbon, 1737.
Bibliography. — Raczynski, Dictionnaire hislorico-artistique du Portugal.
MORGHEN, RAFFAELLO (Ital.). Line-engraver, of the early part ot
the nineteenth century (1788-1833). He designed amongst others
the following medals : Marie Louise of Bourbon, and her son Charles
Louis, second king of Etruria, 1803 (after a model by Santarelli) ;
— Giovanni Fantoni, 1807 ; — Ferdinand IIL, king of Etruria, on
his visit to Milan, 18 14; — Ferdinand IV. of the Two-Sicilies, 1792,
etc.
His work in line-engraving comprises 254 pieces, among which
the best are those which he executed at Florence.
MORGUE, LOTS (French). Mint-master at Montpellier, circ. 1492.
MORGUE, PIERRE I. (French). Assayer and Engraver at the Mint
of Montpellier, appointed on 22. December 1397, and replaced by
Jean Perrin, 4 May 1398. In 1401 he was Die-cutter at the Mint
of Villeneuve Saint-Andre. His name still occurs on documents of
1418.
BiBLiOGR.\PHY. — Rondot, op. cit.
MORGUE, PIERRE II. (French). Mint-engraver at Montpellier,
circ. 1435.
MORGUET, JEHAN (French). Mint-master at Amiens, circ. 15 41.
MORI, lOHANNES ANTONIUS (Ital.). Mint-engraver at Rome,
circ. 1612-1623. Ammon says he signed: I.A.M.; or I.A.MORI. Vide
Kohlers Miin:(bel., PI. xix, 207.339. Fide MOM.
MORIA, M""- BLANCHE ADfiLE (French). Contemporary Sculptor,
born at Paris; pupil of Schroeder, Chapu, and Merci^. At the
Salon of 18S5 she exhibited a Portrait-medallion ofM"" A. B***, and
in I905,M'"^ de B***; — Claire D***;— Jeannette ; — Jeanne L***;
— 150
— M. Raulin, architect; — Raymond; -
1906, Scenes rustiques; — 1907, Jannine ;
— fitude; — M. Raulin; — Invocation;
M"^ Poilpot, etc.; —
Le baiser ; — Jeanne ;
Au village, etc.
MORICE, LLO'H (French). Contemporary Sculptor, born at Angers;
pupil of Brunclair. At the salon of 1894 ^ noticed a Portrait-
medallion by him of the sculptor and medallist Alexandre Charpen-
tier.
MORILLON, ANTOINE (Belg.). Writer, Philosopher, Jurist, Painter,
Sculptor, and MedalUst, of the sixteenth century. A native of
Louvain, he was born circ. 1522, and died 9. October 1556. Under
the auspices of Cardinal Granvella, who engaged him as librarian.
he visited Italy and Sicily, in search of antiquities. The first medal
executed by him, according to D"" Simonis, is dated 1543, and pre-
sents a bust of Seneca {illustraled^, after the antique; the ^L. bears
ANTON MORILLON
the following inscription : EX LAPIDE . Another depicts
SCULPS
— 151 —
the features of the famous philosopherTheophrastus; legend-' OEO-
0PA2TOI MEAANTA EPE2I02. A third medal, also dated 1543,
represents D. Christo Abevuszum, a young personage of West
Friesland ; legend : D . CHRISTO ABEV VSZ VM . AET . XIX .A.M.
F.'JaMDXLIII.
These three productions are the only authenticated works of the
Louvain artist, but D' Simonis suggests the attribution to him also
of a medal of Cardinal Granvella, ^L. Vessel of Ulysses passing near
rock on which three sirens (Armand II, p. 255) given by Plon to
Leone Leoni ; and of another, now unfortunately lost, of Lambert
Lombard, with the inscription : IN EFFIGIEM LOMBARDI A.M.
Obv. of Portrait-medal of Seneca, by Morillon.
Morillon may have been a pupil of Lombard. At his death, he
left a valuable collection of ancient coins to his brother Maximilian,
who was a bishop.
D' F. P. Weber recently presented a specimen of the Seneca
medal by Morillon to the National Collection.
Bibliography. — Drjulien Simonis, LArtdu medailleur en Belgique, Bruxelles,
1900.
MORIN, A. C. (Amer.). Die-sinker at Philadelphia (U.S.A.), in
the middle years of the nineteenth century. His signature : A. C.
MORIN FECIT PHILAD. occurs on a Prize Medal of the Pensylvania
State Agricultural Society, 185 1.
MORIN, GEORGES (French'). Contemporary Medallist, who exhi-
bited several Plaquettes at the Berlin Kunst-Ausstellung, i907:Herr
Schmidtmann; — Prof. Dessoir; -- Christening Plaquette; —
Medal of the Berlin Chamber of Commerce, etc.
MORIN, JEHAN (French). Mint-master at Le Mans, 1425 (for one
year).
MORIN, LUCAS (French). Mint-master at Le Mans, 1426-1428.
— 152 —
MORIN, PHILIPPE (French). Mint-master at Nancy, 1555-56.
Bibliography. — Lepage, cp. cit.
MORING, T. (Brit.). Die-sinker o{ London, ci re. i860. He engraved
in that vear a Prize Medal of the Motfat Academy Club, signed :
T. MORING F.LONDON.
MORING, W. (Brit.). Designer of the Centenary Jewel of
Albion Lodge, London, 185 1. (Fide Marvin, Masonic Medals,
ccccLxxvm, p. 192.)
MORITZ (Germ.). Goldsmith, and Die-cutter at Brunswick, circ.
1567, in which year he engraveed Thalers, Goldgulden, and Fiirs-
tengroschen.
Bibliography. — E. Fiala, Mun:{en und Medaillen der Welfiscimi Lande, 1905.
MORIZOT, JULIE (French). Contemporar\' Sculptor, born at Saint-
Amand (Cher); pupil of L. E. Cougny. By her are numerous
Portrait-medallions in terra-cotta and cast bronze, amongst which
the following were exhibited at the Paris Salons : 1873. M. B***; —
^me B***. — j8y^_ E. L. Cougny; — 1876. M"^ Francoise
Gabrielle C***; — 1877. M. A. L***, etc.
Bibliography. — Chavignerie et Auvray, op. cit.
MORLET, PIERRE (French). Mint-engraver at Amiens in 1433,
then at St. Quentin, 1434-5.
MORLON, PIERRE ALEXANDRE (French). Contemporary Sculptor,
born at Macon; pupil of Falguiere, Mercie, and H. Dubois. Since
1 90 1 he has exhibited every year at the Paris Salons Portrait-
medallions and Plaquettes. In 1906 I noticed especially three fine
Plaquettes : Society Medico-chirurgicale ; — Vers la lumiere ; —
L'Imprimeur; — and a medal, Gallia (obv. and^.); — and in 1907 :
M. Destailleurs, architect; — M"^^ de R***; — M""^ Morion; —
Gallia, medal belonging to the Paris Mint; — Aux Armes, similar
medal; — Marriage Plaquette; — Decorative Plaquette ; — La soif;
— L'imprimeur ; — Plaquette for Motor Races, &c.
MORLOT, g£d£ON (Swiss). Mint-master at Geneva, 25. September
i6or to circ. 6. February 1602. He issues are signed M. He died
in 1602.
MORMON ISSUES. The Mormons at Salt Lake City issued in 1849
and 1850 private currency consisting of: 1849. 2 |, 5 and 10 Dollars
(Clasped hands; ^L. Eye), 20 Dollars (Clasped hands; ^. Mitre over
eye); — 1850. 5 Dollars (type as last, stars on ^L.). The 1849
20 Dollar piece is extremely rare.
MORO, JACOBO ANTONIO (ItaL). Medallist and Coin-engraver,
— 153 —
born at Milan, and appointed Mint-engraver at Rome, in succession
to Giorgio Rancetti in 1610. He served under Popes Paul V. Bor-
ghese and Gregory XV., remaining in office until 1624, when
Gaspare Mola was called to fill his post. He died in January 1625.
From 1 62 1 he was assisted by Camillo Corradini. One of his finest
productions is an Agnus Dei set with intagUos in precious stones.
Moro's medals are usually signed : I. A. M. ; — I. A. MORO, or
I. A. MORI. Amongst the best known are : Paul V. The Church of
Santa Mar4a Maggiore, 161 5 ; — St. Peter's Cathedral, An Xm. ;
— The Vatican'Palace, an XVI. (signed : I. A. MORI) ; — The
Quirinal, 1616 ; — Paul V., large medallion; ^. Ponte di Ceprano
(2 varieties), 1620, and others of 1614 and r6i8; — Gregory XV.
Peace and Religion, 1623, medal for distribution by the Duca di
Fiano on his journey to the Valtellina, etc.
The coins of Paul V. Borghese are not signed, but may in all
probability be ascribed to Moro, after the fifth year of his pontificate.
The Portrait Scudi and Testoni exhibit ver}-^ fine work.
Moro's name has been confused with that of Morone, who first
worked at Mantua, 1623, and later was Mint-engraver at the Papal
Mint at Rome, from 1640 to 1670.
Bibliography. — Cav. Bertolotti, Antonio Moro, Gaspare Mola e Morone-Mola,
incisori della Zecca di Roma, Milano, 1877, — Bolzenthal, op. cit. — Keary,
op. cit.
MORO, ZUAN (Ital.). Mint-inspector at Venice, 1781.
MORODET, ANTOINE (French). Mint-master at Amiens, 1645.
MORODET, JEAN JACQUES (French). Contracted in 1645 to strike
173 Marks' worth of gold Ecus, and 156 Marks' of Quarter Ecus,
of Louis XIII. He was Mint-master at Amiens from circ. 1641 to
1647. Vide Mazerolle, op. cit. I, 626, 630.
MORONE-MOLA, GASPARO (Ital). Nephew of the renowned
Medallist and Coin-engrave*r Gaspare Mola, and himself also a clever
Engraver. The date of his birth is not on record, but we know
that in 1633 he was working at Mantua as Mint-engraver there.
In 1637 we find him already in Rome, where he entered into a
partnership with Gaspare Mola and Orazio Ghibellini for the pro-
duction of commemorative and personal medals. On the death of
his uncle, he was appointed his successor as Engraver at the Papal
Zecca. He received his first monthly payment from the Mint in
February 1640. From that date until 1665 he executed all the annual
pontifical medals, as well as most of the coins, serving four Popes
in succession : Urban VIII., Innocent X., Alexander VII., and Cle-
ment IX. In 1668 he was given an assistant in the person of
Lucenti, who became his successor.
— 154 —
Morone's signature on coins and medals is nearly always : G. M.
but on medals it occurs also as : MORO, or MORONE. Among the
coins signed: G. M. are: Urban Fill., M.Scudo, 1643; — J^. Scudo,
An XX, 1643 (The Holy Conception ; sev. var.); — An XXI,
1643 (ROMA Half-length figures of the apostles St. Peter and
St. Paul); — An XX, 1643 (TE MANE TE VESPERE.ROMA.
The Pope kneeling before the Archangel Michael; 2 var., both
signed : G. M.) ; — Same date (VIVIT DEVS . ROMA. The Archangel
slaying the Dragon ; ilhislrated)-, — JR.. Testone, An XX, 1643
(VIVIT DEVS; sev. var., all signed : G. M.), and others of lower
denominations. The coins of the succeeding Popes under whom
Morone worked do not appear to be signed.
Amongst the artist's medallic productions are : Urban VIIL
(1640-1643) : Bust of St. Peter, An XVIII; — Mining scenerv and
works of Monte Leone, FERRI . FODINIS . APERTIS MDCXXXXI.
ROMi^ (signed : G. M.) ; — View of the Wharves di Termini,
UBERIORL ANNONAE.COMMODO, An XIX ; — View of the
walls of Rome, ADDITIS.URBI.PROPUGNACULIS, An XX
(signed: G. M.) ; — Coronation of St. Elizabeth of Portugal, An
XX; — Roma seated, and St. Peter's, AUCTA. AD.METAU-
l
Scudo of Urban VIII., 1643, by Morone.
RUM.DITIONE.ROM.E, An XXI (signed : G. M.) ; — Peace
seated between Prudence and Strength, 1644 (signed : G. M.), etc.
— Innocent X. (1644-1655). Justice and Clemencv, An II. ; — Two
Angels supporting a cross, FRVCTVM SVVM DEDIT IN TEM-
PORE, An III; — The Basilica Lateranese, DECOR DOMVS
DOMINI, 1647;— Interior of St-Peter's, VATICANIS.SACELLIS.
INSIGNITIS, An IIII ; — St. Peter in glory, VP THESAVROS
ANNI SANCTIORIS TECVM APERIAM, An V ; — The Palace
of the Capitoline Museum, An V ; — The Heavenly Father in the
clouds, FIAT PAX IN VIRTUTE TUA, An VI ; — The Washing
— 155 —
of the feet, An VI ; — Jubilee Medal ; The Pope assisted by the
clergy opening the Porta Santa, 1650 (5 or 6 varieties of types);
— Jubilee Medal ; — The Porta Santa closed (5 var.) ; — Conse-
Medal for Merit of Pope Alexander VII.
- is6-
cration of the mausoleum of St. Agnes, An VII; — The Fountain
of the Piazza Navona and Obelisk, built by Cav. Bernini, An VII ;
— Condemnation of the views of Jansenius, REPLEVIT ORBEM
TERRARUM, An IX ; — View of the Church of St. Agnes, An X ;
— St. Peter holding keys and book, An X; — Two Angels sup-
porting a cross. An X; — The "Spirito Santo", REPLEVIT
ORBEM TERRARUM, An XI ; — The Washing of the feet, TU
DOMINUS ET MAGISTER, An XI. — Alexander VII. (1655-
i66jy The following medals are also signed : G. M. : — Accession
Medal, with bust of Christ on ^., An I. ; — Justice and Peace
embracing each other. An I; — The Porta del Popolo, and Arrival
of Queen Christina of Sweden in Rome, An 11 (2 var.); —
Assagium generale, 1656; — Cessation of the Pestilence of 1656,
UT UMBRA ILLIUS LIBERARENTUR. An III ; — Another, with
legend : POPULUM RELIGIONE TUETUR, An III ; — The
Washing of the feet. An III; — The Church of Castel Gandolfo,
1659 ; — Another, with legend : DILEXI DOMINE DECOREM
DOMUS TUJE, An V ; ^- Dedication of the Church of S. Tommaso
da Villanuova, An V ; — The Church of S. Maria della Pace,
An V; — The Palace of the Ouirinal, 1659; — Medal for Merit
(illustrated); — The Court of the Collegio Romano, OMNIS
SAPIENTIA A DOMINO MDCLX ; — The Arsenal of Civita
Vecchia, 1660; — Bust of Christ, VIVO EGO JAM NON EGO
ROMA, An VI; -^ Plan of the Piazza Vaticana, FUND AMENTA
etc., 1661 (2 var.); — The Church of S. Maria in Campitelli,
An VIE; — The Church of S. Maria in Via Lata, An VIII. ; —
St. Peter's Cathedral, PRIMA SEDES FIDEI REGULA ECCLESI^
FUNDAMENTUM, An VIII; — The Royal Staircase at the
Vatican Palace, An IX ; — The Procession del Corpus Domini,
An X (2 var.); — Beatification of St. Francois de Sales, An XI;
— The Hospital of San Spirito, AEDIBUS OECONOMIA ET
DISCIPLINA RESTITUTIS, An XII ; — The Piazza Vaticana and
Portico minore. An XII (2 var.); — Facade of the Church of St.
Andrea della Valle, An XII ; — The Washing of the feet, FORM AM
SERVI ACCIPIENS, An XIII; — The Plague of 1656 (2 var. in
Boston Museum) ; — The Plague of 1662, etc.
Morone's best medals are those of the New Fabric on the Campi-
doglio ; — San Giovanni in Laterano ; — Circo agonale ; — Jubilee
Medal, 1650; — Queen Christina of Sweden; — Carlo Antonio
dal Pozzo; I^. Pieta, etc., and he is also the author of the Portrait-
medals of Charles I., duke of Mantua, and Dukes Vincenzo I.
^nd II.; — Charles, duke of Nevers, 1608, &c.
Most of the writers on Papal medals have confused the works of
the three medallists J. A. Moro, Gaspare Mola, and Gasparo
Morone, who were three distinct artists and have all three been in
— 157 —
succession Engravers at the Zecca of Rome from 1610 to about
1670.
Bibliography. — Bertolotto, /. A. Mora, Gaspare Mola, e Gasp. Morotu-Mola,
Archivio storico lombardo, 1877. — Cinagli, ot>. cit.
MORONI. Vide MORONE supra.
MOROSINI, FRANCESCO (Jtal.). Mint-master at Cattaro, 1608-
1610.
MOROSINI, LODOVICO (7/a/.). Mint-master at Venice, 1748.
Initials L.M.H. on some of his issues.
MOROSINI, PIETRO (Ital.). Mint-master at Cattaro, 1 624-1 627.
MOROSINI, VETTOR (Ital.). Mint-master at Venice, circ. 1762.
Some of his coins are signed : VET.M.
MORREL (^French). This Engraver's signature occurs on a medal
of the " Societe d'Emulation et de Prevoyance des Pharmaciens "
of Lyons, dated 1853.
MORRELL, RICHARD (Brit.). Goldsmith, whose name occurs as
one of the Jury of Goldsmiths elected by the Commonwealth in
1649 to superintend the making of standard trial pieces of Gold and
Silver for the coins.
Bibliography. — Chaffers, Gilda Aurifahrorum, p. 62.
MORRIS, WILLIAM (Brit.). Poet and artistic Decorator, born near
London in 183^, died, 3. October 1896. He was educated at Marl-
borough College and Oxford, where he became intimately
acquainted with Burne-Jones. In 1863 he established the business
in stained glass and decorations which bears his name.
^^-
•W.Monifc \
Morris has been the great English exponent of the revival of
artistic taste throughout Europe within the last twenty-tive years,
and as such his name cannot oe omitted here. "He it was", says
- 158 -
one of his biographers, "who snatched from the hand of Ruskin
the torch which Pugin earUer in the century had kindled, and fired
the love of beauty in us... He stamped the mark of his personahty
upon the design of his generation... Morris was an absolutely
healthy idealist... He has exercised considerable influence upon
manufacture, but only indirectly, his methods being professedly
those of art. The greatest pleasure in life he said, was the pleasure
of creating beautiful things " (Fide art. W. Morris by Lewis
F. Day, in Easter Art Annual, 1899).
Indirectly this great artist has influenced medallic art in this
country and inspired new ideas in the earlier accepted theories.
MORRISON, JAMES (Brit.). Purveyor of the Royal Mint, anno 8
of George III,, Deputy Master and Worker, anno 2^.
MORRISON, JAMES W. (Brit.). Deputy Master and Worker of
the Royal Mint, anno 43 of George III. Probably the same person as
the last.
MORSIUS. This signature, which is probably a fictitious one,
occurs on a gem, formerly in the Denham collection^ representing
Hercules carrying a bull.
MORSSHEIMER, MAX (surnamed WAGENSTRYBER) (Germ.).
Moneyer at Worms, circ. 1483.
MORTIER, PAUL (French). Contemporary Sculptor, born at
Rheims; pupil of Roufosse. At the Salon of 1888 he exhibited a
Portrait-medallion of Louis Corrons, and in 1892 a decorative Pla-
quette, of excellent taste.
MORTON, ARCHBISHOP (Brit.). Held the See of Canterbury from
1487 to 1500, and issued Half Groats of Henry VII. which are
Canterbury Half Groat of Henry VII.
— 159 —
distinguished by an M and ton (part of the rebus or punning sym-
bol of the name of the archbishop). There are many varieties (one
illustrated).
MORTON, ARTHUR (Brit.). Contemporary Sculptor and Medallist,
residing in London, who at the Royal Academy of 1905 exhibited
an Arts and Crafts Medal, in silver.
MORVILLER (French). There is a Portrait-plaque in repousse work,
of Napoleon and Marie Louise, by this artist, in conjunction with
Gayrard.
MOSCA or (MUSCA), GIOVAN MARIA, surnamed PADOVANO (Ital.).
Architect, Sculptor, and MedaUist, born at Padua towards the end
of the fifteenth century. He was a pupil of the sculptor Agostino
Zoppo. Many of his works, executed in Italy before his settlement
in Poland in 1530, may be seen at Padua and Venice. He took part
in the decoration of the Chapel del Santo in St. Anthony's church
at Padua; in the church of St. Agnes is a Bas-relief : " The Judg-
ment of Solomon " by him, and above the gate of the old Baptis-
tery, " The Offering of Abraham. " Two of his mythological statues,
a "Satyr," and "Venus rising from the sea-foam" were exhibited
at one of the recent Exhibitions of Italian Renaissance Art at Paris.
Marble statues by Mosca of St. Sebastian and St. Pantaleone adorn
the altars of the church of S. Rocca at Venice ; a "Carita" is in
the church of St. Stephen, and another in the " del Carmine "
church, &:c. All these fine works carried the fame of the artist far
beyond the frontiers of his native country, and in 1530 he was
invited, in conjunction with other Italian artists, by Sigismund I.,
king of Poland, to settle at Cracow. There he executed the mauso-
leum in red Hungarian marble of king Ladislaus Jagiellon. On the
death of Sigismund I., Mosca passed into the service of his son,
Sigismund Augustus, who loaded him with honours and presents.
He was still living at the beginning of 1573 but probably died in
the same year.
Besides remarkable works of sculpture, as the tombs of the three
consorts of Sigismund Augustus, the monument of St. Maciejowski
in Cracow cathedral, and that ot bishop Dzierzkowski in Gniezno
cathedral, Padovano modelled several artistic medals, in the Italian
style. Only four are known, all bearing the date 1532, cast in
bronze, and of 70 mill, in diameter: Sigismund I.; ^.Polish eagle
(signed : lOHANNES MARIA PATAVINVS. F. ANNO DOMINI NOSTRI.
M.D.XXXII); — Queen Bona Sforza ; ^L. Artichoke (signed :
JOHANNES— MARIA— PATAVINVS— FECIT) ; — Sigismund II. (Sigis-
mund Augustus); ^L. Lion to 1., &c. (signed: JOHANNES MARIA
PATAVINVS F. ; illustrated); — Princess Isabella, daughter of Sigis-
mund I.; ^L. HIC ARMEI LINVS EST NOSTRAE PVDICITIAE
— i6o
INDEX Diana (signed : JOA MAR PAT FT.). Originals of these medals
are very rare ; but numerous later casts of smaller size, in silver and
bronze, are met with.
'■•■r?ii
1^
Sia;isniunu ii.,kin" ul Poland.
A contemporary of Mosca, GIOVANNI JACOPO CARAGLIO {q. v.
Vol. I) settled over in Poland at the bidding of king Sigismund I.,
towards 1539. He was a native of Verona,where, c/rc. 1526, he
— i6i —
excelled in engraving on leather from models by Raphael, Titian,
Rosso de' Rossi, Pierino del Vaga, and others. Later he gave him-
self up to gem-engraving, goldsmiths'- and medallic work. One of
his works, an oval Portrait-cameo in agate, of Queen Bona Sforza
of Poland, signed : JACOBV. VERON. was formerly in the Debruge-
Dumenil collection in Paris. Pietro Aretino, who recommended the
artist to Sigismund I., mentions two medals by Caraglio, which
are now lost : Queen Bona ; 1^. FORTIS BONA PRVDENS A
D.MDXL Crown above united arms of Poland and Sforza; —
Alessandro Pesenti, of Verona;^. VIRTVTE-DVCECOMITE-
FORTVNA. Musical implements. Caraglio did not sign his medals,
so that other portrait-pieces of Sigismund Augustus, of Italian
character, may be attributed to him, although there is no other
evidence than the work.
A medal by Mosca (illustrated) is thus described in the Sale Cata-
logue of the Maxwell Collection (March 1906): Italian XVP*" Cen-
tury Portrait-medal by Giovan Maria Mosca, of Sigismund Augus-
tus ofPoland, 1530-1572;^. PARCERE SUBIECTIS ET DE BEL-
LARE.SVPERBOS, Lion walking to left, with signature of artist in
full ; below, lOANNES. MARIA. PATAVIN VS. F. {Armand, i, ^-^),
diam. 66, fine and rare.
Bibliography. — Joseph de Zielinski, Notices hio^raphiques sur Jean Marie Mosca
(Padovano) et Jean Jacob Caraglio, artistes italiens en Pologne au XVI' siecle, Rivista
italiani di numistnatica, 1904. — Armand, op. cit. — Bolzenthal, op. cit. —
Merzbacher, Kunst Medaillen Katalog, Mai 1900, n°^ 566-569. — Fortnuni,5roM^«
IK the South Kensington Museum.
MOSCETTI, CARLO (Ital.'). Medallist of the third quarter of the
nineteenth century, residing at Rome. By him I have seen the
following medals : Prof. Luigi Maria Rezzi, of Piacenza; — Libera-
tion of Rome, 1870; — Medal of Merit {Roma revendicata at suoi
Ubcralori); — Fifth Century of the German Hospital at Rome,
under Papal patronage and Austrian Imperial Presidency, 1885;
— Vaccination Medal, with bust of king Umberto, 1878; — Gari-
baldi, 1875 ; — Cholera Epidemics, 1885-86; — Attempt on the
life of Umberto I., 1878 ; — Raphael (International Artistic Asso-
ciation of Rome) ; — Giuseppe Valadier, &c.
The work of this Engraver is not of much merit.
MOSCHI, PAUL (Swiss). Moneyer at Freiburg, but a native of
Strassburg. He was employed at the mint of Freiburg, which he left
in 1596.
Bibliography. — D"" Carl Brun, Sclnuei^er. KUnstterlexikon.
MOSENGEIL, GOTTFRIED (Germ.). Warden of the Mint at Frank-
fort-on-Main, appointed 5. November 176 1.
L. FoRRER. — Biogra[>hicaI Nolica of Medallists. — IV. (I
— l62 —
MOSER (^Swiss). Die-sinker of the middle years of the nineteenth
century, who resided at Lyons. The only medallic work I know by
him is a Portrait-medal of the French poet Cresset, 1854.
St. Vincent Rebellion suppressed, 1773.
MOSER, GEORG MICHAEL (Swiss). 1706-1783. Goldsmith, Chaser,
and Enameller, Cem -engraver, and Medallist, born at Schaffhausen
on 17. January, 1706. His father, Michael M., was a Coppersmith
- i63 -
of some note. With him, young Moser learned drawing and chasing.
At the age of i8 he went to Geneva and applied himself there to
the goldsmith's art. After a year and a half he left for Paris and
London, practically without means. In England, he was first
employed by a cabinet-maker, named Trotter, as a chaser of brass
ornaments for furniture. Becoming acquainted with the celebrated
artist Hayd, under his patronage, he soon made himself a name.
The fine enamelled snuff-boxes (enamelled by a process of his
own invention), watch-cases in repousse work, and other objects
of decorative art attracted the notice of the wealthy amateurs,
among them Lord Bute, and later also the King and the Prince ot
Wales.
In 1729, the artist married the daughter of the painter Claude
Gugnier of Grenoble, by whom he only had a daughter, Mary M.,
who became a flower painter of some note.
Moser was drawing-master to George III. during his boyhood,
and on the latter's accession in 1760 he was employed to engrave
his first seals. Before that, he had engraved seals tor George 11. and
medals of various institutions. For a fine watch-case, executed in
commission for Queen Charlotte, adorned with whole length
figures of her two eldest children, he received a " hatful of guineas".
His signature : G. M. MOSER F. 1774 occurs on a cameo, engraved
after the cameo of Alexander, representing a Cupid playing famil-
iarly with a lion, accompanied by a young Nymph, naked, and a
Bacchante with a tambourine in her left hand ; also on several
medals : MOSER F. on a large Portrait-medallion of George III.,
commemorating his Coronation, but undated; — Suppression ot
the Rebellion at Saint Vincent (^illustrated), &c.
" When Hayd'sArt School, afterwards known as the St. Martin's
Lane Academy was established, about 1736, Moser became manager
and treasurer, and continued in that position until the school was
absorbed in the Royal Academy". King George III. presided at the
official transformation in 1768.
" Moser ", says the writer of the artist's biography in
Sydney Lee's National Dictionary of Biography, " was an original
member, afterwards a director, of the Incorporated Society oi
Artists whose seal he designed and executed, and was one of the
twenty-one directors, whose retirement, in 1767, led to the
establishment of the Royal Academy, whose first President was Sir
Joshua Reynolds, and the second, Moser himself. The artist had
been elected first keeper, having rooms assigned to him in Somerset
House ".
" He died at Somerset House, 24. January 1783, and was
buried in the churchyard of St. Paul's, Covent Garden. His funeral
was attended by most of his fellow academicians and pupils ".
— 164 —
" On the day after Moser's death, a notice of him from the pen
of Sir Joshua Reynolds was published in which he was described as
the cleverest gold chaser in the kingdom, possessed of a universal
knowledge of all branches of painting and sculpture, and in every
sense the father of the present race of artists ".
Moser was in the receipt of a Royal pension of € 100.
Fiisslin remarks : " Er ist nicht nur ein grosser Kunstler, der aut
einer gebahnten Strasse mit Leichtigkeit und sicherm Schritte eine
hohe Stufe der VoUkommenheit erreicht ; er ist Erfinder und wusste
das Schmelzmalen auf einen bisdahin unbekannten Grad der
VoUkommenheit zu bringen ; auch verbesserte und berichtigte er
vieles darinne, und seine Farben sindvon besonderer Schonheit ".
Bibliography. — F. M. O'D., Moser, Diet. Nat. Biog. — Chaffers, op. cit. —
Betts, op. cit. — Bolzenthal, op. cit. — D^Carl Brun, Moser, ScinL'ei-^. Kfmstler-Lexi-
kon. — Fusslin, Best. Kstler IV, p. 129. — F{issli,K.-Le-s..l,p. 443 ; II, p. 918. —
Nagler, K.-Lex. IX, p. 515. — Gaz. des Beaux-Arts, XXV, p. 535, 539-541. —
Mailer y K. Lex. Ill, p. 131. — Seubert, K.-Lex. II, p. 605. — Singer, K. Lex. Ill,
p. 254.
MOSES, SIEGMUND {Germ.). Die-cutter at the Mint of Breslau,
1610-1616.
MOSSHAMER, BENEDIKt (Austr.). Mint-warden, and Master at
Salzburg, 1685-17 18. His name occurs also as MOSSHAMMER.
MOSSMANN, WALTER (Brit.). Mint-warden at Edinburgh, 1559.
MOSSOP, WILLIAM (Brit.). Medallist of the second half of the
eighteenth century, born at Dublin in 175 1, died there either in
1804 or 1806. The following particulars are borrowed from Frazer's
work On the Medallists of Ireland and their Work.
" The name of Mossop's flither vvas Browne, and when he died,
his widow married W. Mossop, a relation of the popular actor and
stage-manager, Henry Mossop. The father of her child having been
a Roman catholic, she changed his name, to obtain admission for
him into the Blue Coat School, to that of her second husband. On
leaving this school, about 1765, he was apprenticed to a Mr. Stone,
die-sinker, who made seal-dies for the Linen Board, and work of
similar description, upon which he kept young Mossop occupied.
At this time, the trade of die-sinking in Dublin was remunerative;
for there was much demand for buttons struck in metal, which
was so well paid that the workmen w4io fabricated heavy gilt
buttons (then in ordinary use for gentlemen and their servants'
liveries) were able to earn large wages, and seldom worked above
three or four days each week, spending the rest of their time in
idleness and drinking. Stone was of intemperate habits, which
caused his death; and his son, following the father's example.
- i65 -
likewise soon killed himself. The entire support of unfortunate
Stone's family devolved on Mossop. He continued to work for
the Linen Board up to 1781, when a change took place in the
management ot the board ; and the dismissal of their secretary-
led to a system of contract, which deprived him of his employ-
ment at a time when, having married, he was burdened with a
young family. A circumstance occurred about this period which
in a material degree influenced the course of Mossop's life. He
was requested to value a collection of medals for some friend,
who contemplated purchasing them; and becoming much interest-
ed m their execution, when his friend decUned to do so, he
secured the collection himself. Their possession excited in him
the desire to make similar beautiful works of art; and thus his
labours as a medallist commenced. He carried his ambitious design
into execution without delay, and the result proved how wisely he
had selected his proper vocation. The medal he first produced was
that of Mr. R3'der, a well-known popular . actor in Dublin, which
was made in 1782; and when we consider that this premier essay
was executed by a person who had no previous training in such a
pecuUar and special department, that the modelling of the portrait,
and its subsequent engraving on a steel die, were due to the
unaided development of his skill and natural talent, resulting m a
finished work deserving of high commendation, and one that placed
him in the rank of a medallist of exceptional ability, it must be
admitted we are describing the history of a man of genius, far
beyond the average standard. The portrait of Ryder was, by general
consent, considered a striking likeness. There is a rather rare engrav-
ing, which may have possibly aided Mossop's modelling — and,
no doubt, he enjoyed opportunities of studying his appearance when
acting on the stage — but we have no evidence that he was
permitted to model Ryder's face from a life-sitting ; and if this be so,
the result is still more surprising and exceptional. When the medal
was completed, it was inspected and admired by crowds of citizens;
yet it is related that, after the lapse of several months, there was
only a single medal sold : whether this is correct or not, it is beyond
question that it is seldom met with at present. Soon after he executed
a medal — still more scarce, of which I know only a solitary
impression in the Royal Irish Academy — that, with side busts,
of the Right Hon. John Beresford and his wife.
" Two works of such marked excellence succeeding each other
attracted the notice, and, better still, the assistance and friendship
of D'' Quin, advantages which to Mossop's serious disappointment,
were soon lost by the death of his influential friend and benefactor,
of whom he completed a medallic likeness, at the request of
Mr. Wade, one of his patients, in grateful acknowledgment of his
— i66 —
recovery from a severe illness. D' Qiiin contemplated the idea of
sending Mossop to Boulton's great mint works in Birmingham ; but
his death put an end to this arrangement. In Gilbert's History of
Dublin (Appendix to Vol. 11) there is a detailed list of most of
Mossop's works, compiled by his son, and collated by D"" A. Smith,
with the assistance of private letters, which formed the first reliable
record of his labours. In the year 1784, Mossop resided at 13 Essex-
quay. He modestly describes his occupation as " letter-cutter and
die-sinker". He was subsequently employed by the firm of Camac,
Kyan and Camac (1793) in coining into halfpence the copper
which they obtained from their property, the Wicklow Copper
Mines. There was a scarcity of copper at that period, owing to the
Union Penny, 1789, by Mossop.
restricted working of the Royal Mint, which led to numbers of
traders striking private tokens throughout England and Ireland.
Amongst them, the Dublin Company of Camac competed so
largely that, to a great extent, at least in Ireland, they displaced the
royal coinage, and the phrase, *' a Camac " became for several years
synonymous with a halfpenny. Mossop was engaged in making
their dies and superintending the practical working of their private
Camac, Kyan and Camac Haltpenny, 1793, by Mossop.
mint. The subsequent failure of this firm, in addition to the loss
of his appointment, entailed on him serious pecuniary loss. In 1797
he returned to his occupation as a private die-sinker, and so long
as work could be obtained he continued his laborious and little-
appreciated toil.
- i67 -
" The celebrated sculptor, Edward Smith, was a friend of
Mossop's, and aided him by his council and designs in some ot his
medals.
" It is difficult to obtain information respecting the numerous
seals of which Mossop prepared dies for different incorporated and
other public bodies in Ireland. Several of these seals were executed
in silver, and as they became disused were melted down for their
intrinsic metallic value, and so destroyed. I have a small silver seal
of the Irish Ordnance Department, which, I believe, is his work-
manship. He engraved a few compositions inairnelian and on ivory;
in the latter material he cut a small copy of the marriage of Cupid
and Psyche, but I am unable to trace its present possessor.
Masonic School Medal, by W. Mossop.
"Before cutting the steel die, Mossop was in the habit ot
executing in wax a careful model of the portrait or design he
intended to complete. He employed wax softened with turpentine,
and coloured white or brown, which was laid down on pieces of
slate or glass, and accurately moulded to the intended form. In
modelling figures, they were designed as a primary study, and the
drapery laid on by subsequent stages. He thus preserved the posi-
tions of the limbs correct, however minute they were ; and the
examples I have of his workmanship evince by their delicate manip-
ulation the fineness of his touch and skill as a draughtsman-
Several of his steel dies were still recently preserved in the posses-
sion of Mr. J. Woodhouseof Dublin, who follows the same inter-
esting profession as a medallist. "
— i68 —
The die-sinker John Jones (^;. v. Ill, 82) continued to strike
medals from Mossop's designs and dies after the death of that artist,
which occurred at DubHn in 1804 or 1806, after a few hours'
illness, from an attack of paralysis and apoplexy.
Mossop's signature on coins and medals occurs in the following
different forms: W. M. F.; — W. MOSSOP; — W. MOSSOP F. ; —
MOSSOP F.; — MOSSOP, or MOSSOP FECIT.
List of the Artist's Medals & Coins. Thomas Ryder, actor ; —
Medallion of the Right Hon. John and Mrs. Beresford, 1788; —
Henry Quin, M. D., 1789; — David La Touche, 1785; —
WiUiam Alexander, 1785; — William Deane, 1785 ; — Edmund
Sexton Viscount Pery (Dean Dawson states, that when Mossop had
finished this medal. Lord Pery expressed himself highly pleased and
inquired what remuneration he expected. On Mossop replying,
'' Twenty guineas", he handed him a cheque for forty, remarking
that he " considered the artist had not put a fair price on his work.
Dr Henry Quin.
and hoped he would be satisfied with what he thought proper to
give ") ; — Cunningham Prize Medal of the Royal Irish Academy,
with bust of Lord Charlemont, 1776; — Down Corporation of
Horse Breeders, 1787; — Primate Robinson, Lord Rokeby, 1779;
— Pattern for the Camac Halfpenny, 1793 (signed: MOSSOP F) ; —
Camac Halfpenny, 1793 (illustrated); — Union Penny, 1789
(executed from a design by Sir Joshua Reynolds; only a few bronze
proofs were struck (it is said, six only) when the die broke
(illustrated); — Medals given at the Commencements, Trinity
College, Dublin (2 var.), 1793; — Castlebar Medal, 1791; —
Louis XVI., two types (signed : W. M. This and the next medals
were copied from those by F. LOOS) — Marie- Antoinette, 1793
(signed: W.M.) ; — The Dauphin of France as Louis XVIL, 1793
(W. M.) ; — Louis XVI. and Marie-Antoinette, 1793 ; — Medal ot
the Friendly Brothers of Saint Patrick (sev. var.); — Ticket of the
— 169 —
Private Theatre, i796(sev. var.); — Ticket ofthe Private Tlieatre,
undated (signed: MOSSOP) ; — Another, a Trial piece (signed :
MOSSOP F.) ; — Medal ofthe Society for thepromotion of Rehgion
and Virtue, 1792; — Memorial Medal of Camden, 1794; —
D' Barret's School Medal ; — Tyrone Regiment, for soldierly Merit
(one specimen was recently sold (1906) from Sir Henry Irving's
collection); — Bantry Bay Medal (French Expedition to Bantry
Bay) ; — Order of Orange and Blue (sev. var.); — Orange Asso-
Union Penny, 1789.
elation, with bust of William III., made in 1798; — The Hon. Henry
St. George Cole, 1798 ; — Masonic School Medal (designed by the
sculptor, Edward Smith; illustrated); — Medals of the College
Historical Society (2 var.); — Mossop's Medal (History, Oratory,
and Poetry; 2 varieties); — Dubhn Society Medal; — Medals of
the Farming Society of Ireland (3 var.), 1800; — Navan Farming
Society Medals, 1800; — Irish Ordnance Medal, etc..
The Portrait of D"^ Quin was reproduced by the Tassies in paste.
Bibliography. — William Frazer, The Medallists of Ireland atid tlxir Work. —
Bolzenthal, op. cit. — Dictionary of National Biography. — Numismatic Chronicle,
jS-jj-iS^-j {English Personal Medals). — Raspe, op. cit. — Tancred, oi>. «7. —
Gray, op. cit. — Davis, Nineteenth Century Token Coinage. — Murdoch Sale Cata-
logue, 1906. — Marvin, op. cit. — Medallic Illustrations, etc.
MOSSOP, WILLIAM STEPHEN (5n7.). Son of the last, and also a
Medallist, born nt Dublin in 1788, and educated at the Academy of
Samuel White. " He was ", says Frazer, " in 1802, placed in the
Art Schools of the Royal Dublin Society, under Francis West, the
master of the Figure School, and became afterwards his private
pupil until the unexpected death ot his father obliged him, at the
age of sixteen years, to commence practising his future profession
for a livelihood. His first work was a medal lor the Incorporated
Society for Promoting Charter Schools in Ireland, which he began
under his father's directions, and it was finished soon after, before
he was seventeen years ot age. His art studies were resumed for a
time under Mr. West; and, in 1806, young [Mossop was
— 170 —
commissioned by the Farming Society ot Ireland to prepare a medal
for their shows, which was likewise intended to be worn as a
badge by their life members. In 1810 he designed and struck a
large-sized medal to commemorate the fiftieth year of the reign of
George III., and in 1813 received the premium offered by the Society
of Arts for a die intended for a school medal. This was afterwards
purchased from him by the Feinaglian Institute and employed as
their premium medal. In the succeeding year (18 14) he competed
again, with success, in accordance with an advertisement of the
Society of Arts, who promised to purchase the die, but afterwards
neglected to do so. The design which he prepared was a fine head
of Vulcan.
" Mossop followed the process adopted by his father when design-
ing the model of the future medal-die he intended to engrave,
using a preparation of bees-wax, melted and softened with turpen-
tine, coloured white by the addition of flake white, or brown with
oxide of iron. He spread this tempered wax upon a piece of glass
or slate, adding and working in successive portions until the design
was completed to his satisfaction. Several models prepared by him
in this manner are in my possession, which evince his skilful manip-
ulation and freedom of touch. With the care of a genuine artist,
when the human figure wasintended to be reproduced, he,as a pre-
liminary stage, represented it in a nude condition, to secure a
natural and correct rendering of the postures and relative measure-
ments of the individual parts; afterwards the needful draperies and
other accessory embellishments were added and worked over. Such
models were made upon a scale that afforded a design of larger size
than the die which was intended to be engraved. They were plotted
into squares of equal measurements, and so transferred with accuracy
to the metallic surface, similar to the well-known method adopted
by painters. Thus the perfect medal was finished from a well-con-
sidered model, though the artist did not carry out in all instances
his primary ideas after a servile manner, for I find some of his
medals to differ in detail from the wax design, and the alterations
were usually improvements as well.
"Mossop was nominated secretary to the Royal Hibernian Acad-
emy when it was founded, and held office during his life-time.
He died in 1827, after an attack of mental aberration — another in
the long list of those artists whose minds have suffered from
incessant brain work and the anxieties inseparable from the pursuit
of their profession when wanting the recompense of adequate
patronage.
" About seven years before his death he contemplated preparing
a series of forty medals to represent the portraits of distinguished
Irishmen. He completed the first medal of the set, that of Henry
— lyi —
Grattan, and worked out almost perfectly four others, namely,
Ussher, Charlemont, Swift and Sheridan ; but the inscriptions wnth
their names were not added, and the dies remained for several years
without being hardened. At length they passed into the possession
of J. Woodhouse, who annealed them with complete success, the
designs having by good fortune remained intact and in perfect con-
dition since they left the hands of Mossop. Another medal, it is
stated, was modelled by him, which I have seen no impression of,
namely, " Hercules slaying the Hydra". The heads of the hydra
in this design were reported to represent those of three prominent
political agitators in Dublin. The medal he made for the Rifle Bri-
gade is described from an unique example in my possession.
"Mossop left some valuable designs cast in plaster of Paris,
Certain of these casts reproduce the models he prepared for his Irish
portrait-medals : one represents the original design for his prize-
\
I^Vv
Dean Swift, by W. S. Mossop.
medal of Vulcan, and a few have no relation to any of his completed
dies. He was employed like his father in preparing the seals of differ-
ent corporate bodies and public boards, and some of the designs
he prepared for this purpose are works of artistic value, and well-
executed ; but no list of these seals has yet appeared. The following
imperfect record of such as have fallen under my own observation
is subjoined: Chamber of Commerce, Waterford ; — Cork Institu-
tion, MDCCCVII; — County of Sligo Infirmary, 1813; — Irish
Medical Office; — Seals of the Irish Treasurj^and Sub-Treasurers;
— Waterford Harbour Commissioners ; — Derby Corporation Seal;
— Strabane Corporation ; — yy**' Regiment ; — Richmond Lunatic
Asylum; — La Touche ; — Episcopal Seals, with Arms (various);
— Prussian Consulate; — United States Consulate; — Command-
ing Officer of theRoyal Artillery in Ireland ; — Seal of the Benchers
of King's Inns (possibly by the elder Mossop) ; — Seal of the
Rotundo Lying-in Hospital, MDCCCVII.
— 172 —
The following steel-dies of Mossop Jun"" are preserved in the
Museum of the Royal Irish Academy : Obv. and I^. dies of the
small medals of William III. ; — Obv. and ^L. dies of Richard
Wogan Talbot's medal; — Obv. and I^. dies of George IV. 's
medal, and a "hubb" for the head of George IV.; — Obv. and
1^6. of George III.'s Coronation medal ; — Obv. of the heads ot
the "Three Georges", commemorating the Centenary of the
House of Hanover. "
List of Medals. Incorporated Society for Charter Schools in
Ireland ; — Medal of the Farming Society of Ireland (3 var.) ; —
George III.'s Jubilee Medal, 1809 (signed: W.S.M. FECIT) ; —
Kildare Farming Society, 181 3 ; — Centenary Medal of the House
of Hanover, 18 14 (signed : MOSSOP F. on obv., and MOSSOP FECIT
on ^L.); — Head of Vulcan; — Daniel O'Connell, 1816 ; —
Feinaglian Institution (3 varieties of different sizes and designs); —
Irish Society School, Coleraine; — Cork Institution Medal ; — North
of Ireland Society; — Dublin Society Medal; — Large Wellington
Medal (unfinished; size: 2*7 in.; inscription: WATERLOO,
JUNE); — Medalet of Wellington, 1815, published by West; —
Order of Merit of the 22"*^ Cheshire Regiment; — 77''' Regimental
Medal; — Medal of the Rifle Brigade; — Sir Charles Giesecke; —
Colonel Talbot; — Right Hon. Henry Grattan, 1820; — Archbishop
Ussher; — Dean Swift (illustrated); — Richard Brinsley Sheridan;
— Lord Charlemont; — Visit of George IV. to Ireland, 1821
(5 varieties, one struck for the Orange Association); — Club of
Apprentice Boys of Derry, with bust of Rev. George Walker, 18 14;
— Orange Association (3 varieties, one a reproduction of his father's
medal); — Unfinished medals, with figures of Fortune holding
caduceus, Equity, and an allegorical representation of Agriculture,
etc.
He also cut dies for the Dublin Penny and Halfpenny of 1804
(payable at the Pawnbrokers' Office, Bishop St.); — Nevill & Go's,
Halfpenny, 1803; — St. Patrick's Halfpennies 1804, 1819; —
Fingall, Halfpenny, 1804, etc.
Bibliography. — As above.
MOTTE, MENAUTON DE LA (French). Mint-master at Morlaas,
1492.
MOTTA, CHARLES (Swiss). Die-sinker of the second half of the
eighteenth century. According to Schlickeysen, he was residing
at Geneva, circ. 1770. In 1788 we find him at Motiers-Travers
(canton Neuchatel), in which year he submitted Pattern pieces for
4, 2 and I Creutzers for the Neuchatel coinage of Frederick
William II., 1788. These were not adopted.
— 173 —
Motta's signature occurs on Prize-medals of Geneva.
Bibliography. — W. Wavre, La "■' graude lacune '' dans U monnayage de Neuchd-
tel de 1 614 ci lySp, Musee neuchatelois, 1894.
MOTTEN, THOMAS DOMINIQUE VAN DER (Belg.). Mint-director at
Antwerp, 31. December 1752 to 18. December 1753; then at
Brussels, 1766-1772.
MOTZ, THOMAS (Swiss). A native of Berne; Mint-master at Hals,
1436, and Passau, 1438.
MOUARD, LOUIS BERNARD (Fmich). Sculptor of the middle years
of the nineteenth century, who exhibited various Portrait-medallions
at the Paris Salons, in the fifties.
MOUCHERON, EUGENE LOUIS, Vicomte de (Fm«:^). Contemporary
Sculptor, born at the castle of Maison-Maugis (Orne); pupil of
Fremiet. At the Salon of 1880 a Portrait-medallion in bronze of
Baroness B***, by him, attracted well-deserved attention ; and in
1890 he exhibited another of M. de M***.
MOUCHET, BENOIT (French). Mint-engraver at Montpellier, circ.
15 ^S't 1541- He signed his name Benet mouchet.
MOUCHON, LOUIS EUGfiNE (French). Medallist, Gem-engraver,
Metal-chaser, and Line-engraver, born at Paris, 30. August, 1843,
now residing at Mentone. He was apprenticed to his father as a
Die-sinker. "J'ai fait mon apprentissage chez mon pere, " writes
the artist, " graveur d'objets de ville, dans I'absolue ignorance de
tout. Colliers de chien, plaques de portes, monies a bouteilles et a
savon, marques a moutons, hnches de forestiers, chandeliers d'hotels
et numeros de cles, voila a la confection de quoi j'ai passe ma jeu-
nesse. Plus tard, je fis des timbres sees et humides, des fers pour la
reliure, des poin^ons de maitres pour bijouiiers ; plus tard encore
de la gravure sur bois, de la taille-douce, de la vignette en tous
genres; j'etudiai la galvanoplastie et la photographie ; j'inventai
meme ditferents procedes chimiques. J'ai fait quantite de sceaux, de
cachets a la cire et des blocs d'acier pour le timbrage en couleur.
Not satisfied with his attainments, Mouchon continued his stud-
ies, and first attempted medal work, when already forty-three
years' old. His first productions in that branch of art were exhibit-
ed at the Salon of 1887. At the Universal Exhibition, Paris, 1900,
he obtained the Grand Prix for Engraving in the section of Deco-
rative Art. In the meantime he had been created a Knight of the
Legion of Honour, 1895.
Until recent years, Mouchon engraved in steel most of the types
of the French State papers of value, and by him were the Postage
— 174 —
stamps from lo to 30 Centimes of the type of the seated Republic,
which preceded thatnow in use with Roty's "Semeuse'.The same
artist engraved the French postage stamps for the colonies and pro-
tectorates, also postage stamps for Belgium (Brussels Exhibition),
Holland, Persia, Luxemburg, Greece, Portugal, Monaco, Argentina,
Abyssinia, Servia (of King Peter's coronation, with the supposed
mask of Alexander I., recalled type), &c. ; further, coin-types and
dies for paper money, comprizing a series of sixteen banknotes of
different value and designs for Portugal.
The artist's signature occurs on the current issue of French
postage stamps (1907), with the altered type of Roty's ** Semeuse ".
Mouchon's most remarkable productions in line-engraving are his
reproductions of the Livre d'heures of Symon Vostre and a Choix de
Priires after Hippolyte Flandrin.
The artist obtained in 1888 a Medal of the third class ; in 1889,
the Gold medal of the Universal Exhibition; 1894, ^ Medal of the
second class and the Diplome d'honneur at the Exposition Interna-
tionale du livre.
The following is as complete a list of Mouchon's medallic pro-
ductions as I have been able to compile :
Struck Medals & Placluettes. 1887. Concours annuel des eleves
imprimeurs-typographes, with bust of Gutemberg; — Concours
— 175 —
annuel des deves lithographes, with bust of A. Senefelder ; — Ensei-
gnementdu dessin; — 1889. Orpheus; — Lazare Carnot; — 1891.
Apollon berger; — 1894. Union du commerce; — 1895. Joan of
Arc; — St. Anthony of Padua, after Murillo; — Souvenir of
E. Mouchon to his friends; — 1896. Regina Virginum ; — Siren;
— 1897, Pattern for a coin; — Souvenir Plaquette of the Paris
Mint (Jllnstrated) ; — The Archangel Michael slaying the Dragon;
Souvenir Plaquette of the Paris Mini.
VjL. View of Mont St. Michel; — 1899. Joan ot Arc; — Queen
Wilhelmina of Holland; — 1899. The Pardon; — 1901. Roses et
parsiflores; — View and Arms of Mentone; — 1902, Nicholas II.,
Czar of Russia; — Alexandra, Czarina; —Edward VII., Coronation
medal; — 1903. Berlioz, and prince Albert of Monaco.
Cast Medals & Plaq.uettes. 1886. M"^ L. Mouchon (2 sizes);
Dead Hope.
— M"' Jeanne Mouchon ; — Georges Mouchon, youthful head ;
L. A. Mouchon; — M""' M. J. Simon; — M"' A. Hubert;
1S87. Fr. Filon, director of the Municipal Lavoisier school;
— 176 —
M™" Carlotta Overlino ; — M"*" Suzanne Terrier; — R. Terrier;
— Faith, after P. Dubois;— 1888. P. E. Gaumel; — M. X***; —
M"e and M. Mouchon, daugluer and son of the artist.
1889. Orpheus; — 1890, Ch. Gerson ; — Ecole municipale
Estienne (2 varieties); — Christ; — The Virgin; — 1891. Ren^;
— 177 —
— Apollon berger ; — 1892. To the Memory of Philippe de
Girard ; — Dead Hope (illustrated); — 1893. Menelik II., Emper-
or of Ethiopia; — H. Berteaux ; — P. E. Herbette; — Souvenir
of the 21. April 1893; — Tourelle de Chenonceaux; —
M"^ H. F. ; — Robert Estienne; — 1894. The French Republic;
— P. Tranchau; — M"^ X***; — 1895. M"^ Jeanne Mouchon
(oval; illustrated); — M. G. Mouchon, in militar}'' uniform (oval;
illustrated); — J. de Selves, French Postmaster-general ; — M""^ M.
F. Tranchau ; — St. Anthony of Padua ; — The Bridegroom ; — The
Bride; — Cupid; — Spring; — Autumn ; — Brittany shepherdess;
— Yoke of oxen ploughing; — Fleur deLys; — 1896. Inauguration
of the new building of the Estienne Municipal school ; — D"" Th^o-
phile Roussel; — 1897. L. Bedorez, director of the Seine school-
board; — Leon Bourgeois (Plaquette, and MedaUion); — J. de
Selves, prefect of the Seine; — The Archangel Michael; — 1898.
Joan of Arc; — Christand the Virgin; — 1901. Ros .set parsiflores;
— View and Arms of Mentone; — Alfred de Musset. — 1902.
Nicholas II. of Russia; — The Czarina Alexandra ; — Edward VII. of
Great Britain; — M. Glena, architect; — 1903. Berlioz and Prince
Albert ot Monaco ; — 1906. Amiti^ et Souvenir; — Agriculture ; —
In memoriam amicorum ; — S. A. le Prince de Monaco; — Diane;
— Alfred de Vigny; — La Source; — M. A. Mariani ; — 1907.
Cadran d'horloge; — Gallia Mater, medallion ; — Orgueil; — Alfred
de Vigny, plaquette; — M. Mariani; — Reliefs : Christ aux Oli-
viers; — Pelerins d'Emmaiis, etc.
At the Exhibition of Modern Medals, which was held at Brussels
in 1897, Mouchon was represented by the following works :
Struck Medals. Lazare Carnot; — Union du Commerce; —
St. Anthony of Padua ; — Apollon berger ; — Orpheus; — Regina
Virginum.
PLAauETTES. Art and Friendship.
Cast Medals. M. Poirson; — M"^ Mouchon (oval) ; — M. Mou-
chon fils (oval) ; — M"^ Simon ; — Menelik, Emperor of Ethio-
pia; — M"^ X***; — Rene Terrier; — Suzanne Terrier; —
M. Gerson ; — Head of the Republic; — St. Anthony of Padua;
— Apollon berger; — Orpheus; — Spring; — Autumn.
Plaquettes. M. Herbette; — M. Tranchau; — M""^ Tran-
chau ; — M. de Selves ; — M. Berteaux; — PhiUppe de Girard ; —
Christ; — The Virgin ; — Ecole Estienne; — Tourelle de Che-
nonceaux (illustrated) ; — Bergere bretonne ; — Attelage de boeufs
bretons; — Esperance morte.
At the Luxemburg Museum the following medallic productions
by Mouchon are on exhibition : Commemorative medal of the Foun-
dation of the Ecole Estienne ; — Orpheus ; — Gloire posthume,
commemorative medal of Philippe de Girard; — • Esperance morte;
L. FoKRER. — Biographital Notices of Medallists — IV. t»
- 178-
— Apollon berger ; — Menelik (illustrated) ; — Leon Berteaux.
painter ; — Emile Louvard ; — Jeanne Mouchon ; — M™^ Simon ;
— M"^ Carlottn Overlino ; — Rene Terrier; — Suzanne Terrier.
Tourelle de Chenonceaux.
*' Ce qui fait Toriginalite du talent de Mouchon, c'est que ce
talent est pour ainsi dire universel. II est graveur en medailles et
plaquettes, graveur en creux, graveur de poin^ons lypographiques.
Menelik II., negus of Ethiopia.
en fers a dorer, en ornements cisel^s pour la reliure, en orfevrerie;
il est ^galement peintre, dessinateur, photographe, imprimeur,
enfin tout ce qu'une main obeissant fidelement a un cerveau artiste
— 179 —
puissamment organise puisse executer (Archives de I'imprimerie,
octobre 1900, p. 15).
"Tardive a ete la manifestation de sa puissance artistique, mais
le succes immediat et indiscute : de la se degage la grande le^on :
rhomme rencontrait la soudaine recompense d'une longue patience;
il se r^vdait maitre de tons ses moyens ; du coup il s'imposait. La
joie de s'etre enfin ouvert la voie souhait^e ne ralentit pas son
effort. Le catalogue de I'oeuvre gravee de Mouchon remplirait des
pages ; que de plaquettes, que de medailles ou I'harmonie de la
composition, I'ingeniosite de inspiration sont servies par une exe-
cution parfaite ! Ce qui emerveille le profane, le voyant a I'neuvre,
c'est que cette meme main qui a besoin d'une vigueur extraordi-
naire pour entamer I'acier avec le burin, se conserve une telle
legerete, une touche si delicate, une si suave finesse de trait.
"Jusqu'en ces dernieres annees, Mouchon a grav^sur acier tous
les types de I'Etat pour les papiers de valeurs, soit directement,
soit pour les artistes a qui I'Etat les avait commandes. " Car, j'ai
tristesse a le constater, nous dit-il, je suis le dernier survivant des
hommes qui savaient leur metier avant I'introduction des procedes
mecaniques, chimiques et photographiques " (Moniteiir universel,
avril 1900).
Bibliography. — Roger Marx, Medailkurs frangais. — Id., Medailleurs contetn-
porahis. — L. Ben^dite, op. cit. — Gazette numismatiqiie fratifaise, 1897-1900. —
Gazette numismatique Duprie:^, 1898. — Art et Decoration, 1899. — D""}. H. de
Dompierrede Chaufepi^, op. cit. — Catalogues du Salon, 1887-1904. — Information
kindly communicated by the artist.
MOUCHY, LOUIS PHILIPPE (french). Sculptor of the eighteenth
century, born at Paris, 31. March 1734, where he died, 10. Decem-
ber 1801 ; nephew and pupil of Pigalle. By him are large Portrait-
medallions and Plaques in bronze, which however do not come
strictly within the scope of the present work.
MOUGEOT, JEAN JOSEPH (French). Gem-engraver, born at Paris
in 1780; pupil of Laurent pere. Morel, and Jouffroy. According to
Chavignerie et Auvray, he exhibited at the Paris Salon for the last
time in 1834, but I have been unable to find out the date of his
death. By him are the following gems : 1822. Two youths, after
Netscher; — 1824. Various Cameos; — Tiberius alighting from
his triumphal chariot; — 1827. Portrait-cameo; — 1823. The
Courtesan, after Sigalon ; — 1834. Heads of Octavia and youthful
Marcellus, etc. He executed a series of Portrait-cameos for the
"Iconographie romaine", and he also engraved statues and antique
bas-reliefs for the Galerie Napoleon (i" series), published by Lau-
rent and Robillard ; a Portrait, after Van Dyck ; — Souvenir, after
Arsene (subject inspired by Lamartine's " Meditations") ; — The
Courtesan, after Sigalon, for the Galerie du Luxembourg, etc.
Bibliography. — Rondot, op. cit.
— i8o —
MOULtRE, BERTHOMINE DE (French). Widow of Auger de la
Garde; acted as Mint-master at Morlaas, September 1582.
MOULIN, GUILLAUME (French). Mint- master at Villefranche, in
Dauphiny, 1420.
MOULIN, STEPHEN (French). Contemporary Sculptor, born at
Clermont (Oise). I have come across his signature on a Portrait-
medaUion in bronze of Augustin Leclercq.
MOULINIER, JEAN (Fr^wr/;). Mini-engraver at Bordeaux, 1758-
1784.
MOULLfi (French). Die-sinker of the middle years of the nineteenth
century. He resided at Paris, and took part in the 1848 Competi-
tion for the coinage of the second Republic, by sending a Pattern
10 Centime-piece, which was however not adopted.
Obv. of Pattern 10 Centimes, by MouUe.
Bibliography. — De Saulcy, Souvenirs numismatiques de la Revolution de 1848.
MOULY, FRANgOIS JEAN JOSEPH (French). Sculptor, born at
Clermont-Ferrand (Puy-de-D6me) ; pupil of Jouffroy. He is the
author of vaiious Portrait-medallions, some of which were exhibited
at the Paris Salon: 188 1. M"^ Jeanne Berthon ; — 1882. M""*^
Claudia Mouly, etc.
MOUNTJOY, LORD (Brit.). (WILLIAM BLOUNT). Mint-master in
London, under Henry VIII., anni i-io, and 23 ; he died in 1535.
The first coinage of that reign was made by virtue of an indenture
with him, and was similar in all respects to that of Henry VII. ".
Vide Kenyon, op. ciL, 83 ; Hawkins, op. cit., 482. Ruding, op. cit.,
I, 34, 301, 306.
MOUNTSTEPHEN, ELEY GEORGE (Brit.). Sculptor of the latter end
of the eighteenth century, known as a Modeller of wax medallions.
One of the Tassie Portrait-cameos, representing a Captain Mackin-
tosh, was executed from a wax model of this artist.
— I«I -
MOUROT, CLAUDE {French). Goldsmith and Engraver at Pont in
Lorraine, circ. 1634, in which year he is said to have cut a seal of
the King.
MOUSLEY, FRANK {Brit.). Assayer at the Mint of Perth (Western
AustraHa), appointed in October 1897.
MOUSSET, l£ON {French). Mint-engraver at Bayonne, circ. 1720.
MOUSTIER, COSME DU {French). Mint-master at Rouen, appointed
in February 1536; privy mark, a small hunting horn. He was still
in office in 1548.
MOUSTIERS, JACQUES DE {French). Goldsmith of Marseilles, and
Mint-master there, 1)27-1531.
MOUTENS, BARTH£lemy {French). Mint-master at Lyons, 1368.
MOUTERDE, CLAUDE {French). 1 761- 1 784. Master-gilder, Founder,
and Engraver, of Lyons ; son of Gabriel Mouterde, born 3 1 . July
1736. He has executed Portrait-medallions and religious Medals.
Bibliography. — Rondot, op.cit.
MOUTERDE, EMMANUEL {French). Son of Louis Antoine Mouterde,
born in 1801, died in 1872, and also a Manufacturer of buttons, and
Medallist. He studied at the Ecole des Beaux-Arts of Lyons, and
obtained in 1820 a first Mention for decorative work.
Among his medals are : Bust of Louis Antoine Mouterde (3 var.);
— D"" Joseph Ferdinand Gensoul, 1858 (signed : E. MOUTERDE j;
— Notre- Dame de S. Didier au Mont d'Or ; — CAST MEDALLIONS :
Alexandre Pierre Francois Barthelemy Monmartin ; — Robert
Francois Victor Edouard Bizot ; — Mgr. Pavy, first bishop of Algiers ;
— Jacques Bodin ; — H. Jayr, &c.
Bibliography. — Chavignerie et Auvray, op.cit.
MOUTERDE, GABRIEL {French). .. 1734-1759. Master-gilder and
Engraver at Lyons, born 30. January 1709. He executed one of the
cast medals ot the Jubilee celebrations at Lyons, in 1734, which were
made in imitation of those of 1666, signed by Jacques Mimerel, with
St. John the Baptist standing on obv. and Censer on altar on ^.
Bibliography. — Natalis Rondoi, Les graveurs du nom de Mouterde et le Mon-
ttayage du metal de cloche pur a Lyon. Lyon, 1880.
MOUTERDE, JEAN MARIE {French). .. 1773- f 1793- Master-
founder, Gilder, and Engraver, of Lyons; son of Gabriel Mouterde,
born 26. April 1748. He engraved various medals, and was one of
the promoters of the coinage of pure bell-metal in 1791.
He took part in the defence of Lyons, and was guillotined, 26.
December 1793.
— l82 —
Mouterde was the first to utilise pure bell-metal for purposes of
coinage; his dizains are well-known. His name, in conjunction with
those of Mercie and Mathieu, occurs on the following pieces : Bust
ofVienno, 1791 ; — Assignatde 5 Livres 1791 ; — Bustof Mirabeau,
which occurs in numerous varieties. To the same engraver may be
ascribed some of the dies for the Obsidional coinage of Lyons,
1793-
Bibliography. — Rondot, op. cit.
MOUTERDE, LOUIS ANTOINE {French). .. 1798-1822. Manufacturer
ot buttons, and Medallist, of Lyons; son of Jean Marie Mouterde,
born 15. September 1776, died 6. June 1838. His medallic pro-
ductions are usually signed : L.A. MOUTERDE. Among these Rondot
mentions a silver Medallion representing a female head, of pure
design and excellent execution.
Bibliography. — Rondot, op. cit.
MOUTERDE, LOUIS ANTOINE JEAN (French). Cousin of Emmanuel
Mouterde ; born in 1812; pupil of Jean Jacques Barre, 1830-1833;
was also more of a Die-sinker than a Medallist, but he however
produced several medals and medallions, which are signed :
L. MOUTERDE F., or L. F.
ENGRAVED MEDALS : Joseph Charles Jacquard, 1834; —
Bonne foi et Justice; I^. Tribunal de commerce de Lyon, 1835 ;
— Conseil municipal de Lyon, 1838 ; — The Virgin and St. Anne ;
^. St. Blandine. ^
CAST MEDALLIONS : J. C. Jacquard, 1834 (signed : L. MOV-
TERDE FECIT 1834); — J. B. M. Vianney, of Ars ; — M'"= Victor
Bizot, 1833; — Antoine Etienne Emmanuel Mouterde, 1835 ; —
Emmanuel Mouterde, 1836 ; — Francois Verrier, 1845 ; — Elizabeth
Scipion.
This artist, who was still living in 1880, was the last of the
family who distinguished himself in medal-work.
Bibliography. — Rondot, op. cit.
MOUTERDE, MARIE LMMXJiJJLL (Fren ch) .. i8i2-f 1836. Founder,
Gilder, Goldsmith, and Medallist, of Lyons; son of Jean Marie
Mouterde, born 23. May 1787, died 23. March 1836. His initials
M. M. occur on the medals engraved by him, which consist mostly
of religious badges. One of his best productions is a medal with
head of St. Anastasius on obv. and hali-length figure of St. Venan-
tius on ^L.
Bibliography. — Rondot, op. cit.
MOWBRAY, PATRICK (Brit.). Counterwarden at the Mint of
Edinburgh, 1691.
- i83 -
MOYA, ANTONIO DE OLIVEIRA (Port.). Mint-engraver at Bahia
(Brazil), appointed 6. April 1780.
MOYNE, GUILLAUME LE (Frefich). Mint-master at Arras, 6 June to
2. September 1424.
M. P. Fide MARTIN PUSCH. Mint-master at Buchholz (Saxony),
1530-1540.
M. P. Fide MARMITTA PARMENSIS LODOVICO). Mint-engraver at
Rome, and Medallist, circ. 1550.
M. P. Fide MATTHIAS PULS. Mint-master at Lubeck, circ. 1596-
1611.
M. P. Fide MARKUS PHILIPSSOHN. Mint-master at Elbing, 1628-
1632.
M. P. Fide MARTINENGO. Mint-master, and PRANGE, Warden, at
Wiirzburg, 1762- 1790,
Bibliography. — Schlickeysen-Pallmann, op. cit.
MP (Germ.). The signature /^^ occurs on a Portrait-medal in
box-wood of Andreas Diirer, brother of Albert, dated 1534. Nothing
is known of the author ot this fine production.
M. R. Fide MICHAEL RENNESCH. Mint-master at Reuss, 1623.
M. R. (MR). Fide MARTIN REIMANN. Mint-master at Coburg 1633-
1639.
M. R. Fide MARTIN REIMANN. Mint-master at Saalfeld, 1658-
1672.
Bibliography. — Schlickeysen-Pallmann, op. cit.
M. R. According to Hennin, these initials occur on a Monneron
of 2 Sols, 1 79 1.
M. S. Fide MICHAEL SCHALENBERGER. Medallist at Nuremberg,
1601-1608.
M. S. Fide MATTHIAS STEIN. Mint-master at Coblenz, 1627-1652.
M. S. Fide MATTHAUS SCHAFFER Senior. Medallist at Nuremberg,
circ. 1580.
M. S. Fide MATTHAUS SCHAFFER Junior. Medallist at Nuremberg,
circ. 1622-1655.
M. S. or M. S. F. F/if MAXIMILIAN SOLDANI. Medallist at Florence,
1658-1740. Also M. SOLD.
— i84 —
M. S. Vide MARTIN SMELTZING. Medallist at Leyden, 1696-17 12.
M. S. Fide MARCO SORANZO. Mint-master at Venice, 1765-1766.
Bibliography. — Schlickeysen-Pallmann, op. cit.
M. S. (Germ.). A Medallist of the second half of the sixteenth
centur)^ whose productions are signed : M. S., is mentioned by
Bolzenthal as a clever artist, whom from outward circumstances and
the character of his work we may conclude to have been a Nurem-
bergian. His productions consist chiefly of the portraits of eminent
persons of Nuremberg, viz. S. Welzer, G. Nutzel, M. Pfintzing,
S. Haller of Hallerstein, and C. Zinner. Beside these are Portrait-
medals of the Margrave George Frederick of Bayreuth, with the
same letters, and apparently from the same hand. All of them belong
to the seventh and eighth decades of the sixteenth century. Andreas
Imhof says the author of these medals was Matthaus Schaffer, who
was also known under the name of Hauschild, but there is
nothing to support his attribution.
Gabriel Nutzel, 1369.
Erman calls this artist a Nuremberg Medallist, and places the date
of his activity between 1556 and 1570. His style resembles greatly
that of the Master J, D. Most of his medals show facing Portraits :
155 1. Albert Romer, of Nuremberg; — 1556. Stephan Brechtl the
elder, countermaker at Nuremberg ; — 1561. Martin Pfinzing; —
1566. Martin Pfinzing; — Sebastian Welser; — 1567. Joachim
Pomer, of Nuremberg; — 1569. Georg Friedrich von Brandenburg-
Anspach (in various sizes) ; — Gabriel Nutzel (illustrated) ; —
Caspar Zinner; — Sebald Haller; — 1570- Georg Irnsinger ; —
Undated. Stephan Brechtl the younger (aet. 33).
D"^ Merzbacher catalogued two other medals signed : M. S. in
Kunst-Medaillen-Katalog, Mai 1900, lots 340-41 : 1555. Lienhart
- i85 -
Mair (illustrated). This medal, says D"" Merzbacher, offers analogy
with Ludwig Neufahrer's medal of the Tyrolian patrician Sebastian
KurczvoiiSeuftenau ; — I559- Sebastian (and Justina) Unterholzer,
Lienhart Mair, 1555.
(also attributed to Neufahrer).
born at Salzburg in 1507, burger of Munich, and later, merchant,
burger, and town-councillor of Nuremberg. *' Das Wort SOTTO ",
observes D"^ Merzbacher, *' vor der Jahrzahl der Vs. verrath
Sebastian and Justina Unterholzer, 1559.
italienischen Einfluss, Es lasst sich sonst an diesem Stuck nichts der
Art nachweisen, vielleicht gehort es zu den Arbeiten des Meisters
MS, mit dessen Manier eine andere Medaille des Unterholzer (Will
rV. 283) viel Aehnlichkeit hat ".
Bibliography. — Bolzenthal, op. cit. — Erman, op. cit. — D"" Merzbacher,
op. cit. — WiW, Niirnt^ergische Mfmibelusligungen, 4 vols, Altdorf, 1764. — Imhof,
Samitiluvg eines Nurnhergischen Mun:(cabinets, 1782. — Fiala, op. cit. — Bergmann,
Medaillen auf heruhmte Manner des osterreichischen Kaiser staates, Wien, 1844. —
— i86 —
Doppelmayr, Hislorische Nachricht von den Nurnbergischen Mathematicis und
Kiinsthrn, Niirnberg, 1730. — Catalogue of the Felix Collection of German Renais-
sance Medals.
MUDIE, JAMES (Brit.). Issuer of a series of medals, styled
" National Medals", commemorating British Victories over the
French, under the reign of George III., to whose son, George IV.,
the work was dedicated. The collection cost the publisher, in
addition to six years' devotion of his time and trouble, upwards of
€ 10.000.
This series, to which various British and foreign artists contrib-
uted, consists of the following pieces : i. George III., Religion,
Faith, and Constancy, 1817 (Webb and Depaulis); — 2. Settlement
of the British at Bombay, 1662 (Droi and Mills); — 3. Earl Howe,
French fleet defeated offUshant, 1794 (^. Wyon) ; — 4. Admiral
Earl St. Vincent, Spanish fleet defeated off" Cape St. Vincent,
1797 {Mills and Brenet) ; — 5. Admiral Viscount Duncan, 1797
(fVebb and W. JVyon); — 6. Admiral Lord Nelson, 1805 (Dro:() ;
— 7. Admiral Sir Sydney Smith, Acre defended, 1799 (Mills
and Brenet) ; — 8. Lieut. General Sir Ralph Abercromby,
Battle of Talavera, i
Arrival of the English army in Egypt, 1801 (Webb); — 9. Major
General Lord Hutchinson, Egypt delivered, 1801 {Webb and
Dupri) ; — 10. A Scottish soldier; ^. EGYPT | PORTUGAL |
SPAIN, &c., 1 80 1 {Dubois);— ri. Field Marshal Frederick, Duke
of York, 1802 {Webb and Brenet); - 12. Arthur, Duke of
Wellington; ^L. The English army arrives in the Peninsula, 1808
{Brenet; ^L. designed by/. Mndie); — 13. Battle of Vimiera, The
English army enters Lisbon, 1808 (5fl!rrt:and Mills); — 14. Lieut.
General Sir John Moore, 1809 {Mills and Coiiriguer); — 15. The
Duke of Wellington; ^. Passage of the Douro, 1809 {Brenet and
Dubois);— 16. The Duke of Wellington ; I^. Battle of Talavera,
1809 {Mills and Lafitte); — 17. Fabius Cunctator, The English
- i87 -
army on the Tagus, 1811 (^Petit and Dubois^; — 18. Marshal
General Lord Beresford, Battle of Albuera, 181 1 (JVebb andBrcnetY,
— 19. Lieut. General SirT. Picton, Badajoz taken, 1812 (Mills);
— 20. Lieut. General Lord Hill, Capture of Almarez, 1812 (Mills
and Gayrard); — 21. Battle of Salamanca, The British army
enters Madrid, 1812 {Brenet) ; — 22. The Duke of Wellington,
Battle of Vittoria, 181 3 {Mills and Lefevre); — 23. Id., The
English army passes the Pyrenees, iSi '^ {Brenet) ; — 24. Lieut.
General Lord Lynedoch, Capture of St. Sebastian, 1813 (JVebb and
Mills^; — 25. The Duke of Wellington, Surrender of Pampeluna,
1813 (Brenet and Dro^) ; — 26. Britannia, Battle of Toulouse,
iS 1 4. (Brenet) ; — 27. Britannia, Repose of Hercules, 1813 (Drox);
— 28. George, Prince Regent; England gives peace to the world,
iSi 4 (Mills 2.nd Dubois) ; — 29. Visit of the allied sovereigns to
England ; ^L. ARMIS ET CONSILIIS, 181 5 (Mills and Bremt) ; —
30. Britannia, Visit of Czar Alexander L and Fred. William III. of
Prussia, 1814 (Brenet and Barre) ; — 31. H. R. H. the Duke of
Cambridge, The English re-enter Hanover, 1814 (Webb and Barre);
— 32. Flight of Napoleon from Elba, Congress of Vienna, 1815
(Brenet and Depaulis); — 33. The British army in the Netherlands,
181 5 (Depan I is 3.nd Lefevre); — 34. Henry William, marquis of
Anglesey, Charge of the British at Waterloo, 181 5 (Mills and
Depaulis) ; — 3 5 . The Duke of Wellington ; ^. WATERLOO,
1815 (Brenet); — 36. Id., The English army enters Paris, 181 5
(Brenet) ; — 37. Napoleon, Surrender to H. B. M. S. Bellerophon,
1815 (Webb and Brenet); — 38. Id., Napoleon at St. Helena, n. d.
(Webb and Mills); — - 39. Admiral Lord Exmouth, Algiers, 1816
(Louis Brenet and Gerard) ; — 40. England gives a Constitution to
the Ionian Islands, 1817 (Depaulis).
Beside these Mudie published other medals, amongst which I have
noticed : Rev. Samuel Parr; — Death of Princess Charlotte, etc.
Bibliography. — An Historical and Critical Account of a Grand Series of National
Medals, published under the direction of James Mudie, Esq. and dedicated by permission
to His Most Excellent Majesty George the Fourth, London, 1820, in-40.
MUELICK, HANS (Germ.). Painter, Engraver, and Chaser of
Munich, circ. 1575. He is mentioned by Plon, Benvenuto Cellini,
FP- 3 5 2-3 J as having made a sword-handle ornamented with
medallions and other ornaments. The Muelick mentioned here may
be " Meister Miiller ", or Konstantine Miiller (q. t.).
MUELENBfiQUE, JEAN VAN (Bel^.). Goldsmith and Seal-engraver
at Brussels, was employed as a Die-cutter at the Mint of Lille, circ.
1460-1472.
MUHLE, CARL ADOLF (Dan.). Medallist and Mint-engraver at
Copenhagen, 1787 — 7 1855. By this artist is a medal with portrait
— i88 —
of Christian IV., on the Second Centenary of the Exchange at Copen-
hagen, 1824 (signed : C. A. MUHLE), and others.
MOHLENBECK, GEORGE (Germ.). Contemporary Sculptor, born at
Rigny-le-Ferron (Aube) ; pupil of Falguiere and Gauthier. At the
Salon of 1889 he exhibited a Portrait-medallion, cast in bronze :
M"^ Miihlenbeck.
MDHLER, HANS GEORG (Austr.). Mint-engraver at Waldstein
(Styria), «V^. 1677-1686. He was a native of Vienna.
M0HLSCHLAGEL (Germ.). In conjunction with Heuss, he
contracted to work for the Mint of Stuttgart, 1746; the Mint-master
at the time was Rasp.
Bibliography. — D^ E. Bahrfeldt, Das Muni-und Geldtuesen der Fursten-
thiimer Hohen:^oUern, 1 900.
MULEKYN, DONATUS (Ital.). A native of Florence, who was
employed at the Mint of Edinburgh, circ. 1351-1358. On Groats
and Half Groats of that mint, and of that period, copied from the
English types, the letter D occurs in one of the quarters of the
reverse and may stand for his initial.
Bibliography. — Burns, Coinage of Scotland, I, 248. — H. A. Grueber,
Handbook, &c.
MtLEETN, GEOFFREY (Brit.). Mint-master at London, under
Richard II., anni 19-21 (1396-98). He was probably of Italian
origin.
HtLEKYN, JACOBUS (Ital.). A native of Florence ; Mint-master
at Edinburgh, 1358-1377. His name occurs as *' Magister Jacobus
Monetarius ".
Bibliography. — Burns, op. cil. — Grueber, op. cit.
MDLET DE SAINT-MARCELLIN, ANTOINE (French). Mint-master at
Chambery, 1399.
MtLICH, ALBERT (Germ.). Mint-master at Liibeck, 1436.
MULLER (Germ.). Assistant Mint-master at Breslau, ^ 1797.
MOLLER (Germ.). Sculptor, Engraver, and Chaser of the second
quarter of the nineteenth century. By him is a chased Portrait-
medallion in silver commemorating the 40'*' Anniversary of the
reign of Frederick William III. of Prussia, 1837. Von KuU mentions
a Chaser of the name of Miiller, who was working at Munich in
1839. A Portrait-medal of Paracelsus, belonging to Durand's series,
1844, is also signed : MULLER. By the same artist are possibly also :
— i89 —
D*" Jacob Harsen ; — D"" Friedrich Gottfried Hayne, Berlin, 1823;
^Maximilian II. of Bavaria; — Gustavus Adolphus, 1845 (Durand);
— Mozart; — Goethe, 1833; — Schiller, &c. The two last are
signed : C. MULLER.
MULLER, ADOLPH (Aiistr.). Mint-engraver at Prague, circ. 1773.
MULLER, ADOLPH (Aiistr.). A Firm of Die-sinkers at Vienna,
now trading under the style of A. MULLER'S SOHNE. I have only come
across very few of their medallic productions : Betrothal of Archduke
Rudolf of Austria with Princess Stephanie of Belgium, 1880; —
Their Marriage, 1881 ; — Adam Mickiewicz, 1890 ; — 20''' Anni-
versary of the Schweckat voluntary Fire Brigade, 1890 ; — Choral
Festival at Heidenreichstein, 1890; — Trooping of the Colour at
Atzgersdorf, 1890 ; — Silver Wedding of the Emperor Francis
Joseph and Empress Elizabeth, 1879; — 5. Austrian federal Rifle
Meeting at Vienna, on the occasion of Francis Joseph's Jubilee,
1898, &c.
Bibliography. — Mitth. des Kluhs der MiatT^-und Medaillenfreunde in Wien, 1892-
1905.
MULLER, ALFRED (Germ.). Contemporary Sculptor, born at Paris;
pupil of Henri Burdif. At the Salon of 1903 he exhibited two
Plaquettes, representing a Child, and a Lady.
MULLER, ANDREAS (Dan.). According to Nagler, an artist of that
name flourished in Denmark, during the second half of the
sixteenth century, as an Engraver of Gems and Armorial bearings.
MULLER, ANDREAS (Germ.). Mint-master at Weissenstadt, 1622.
MULLER, RALTHASAR (Germ.). Goldsmith, and Seal-engraver, at
Munich, arc. 1642-1650.
MULLER, BARTHOLOMAEUS (Germ,.). Mint-engraver, and Medallist,
at Ulm, 1671-1706.
MtLLER, CONRAD (Germ.). Gem-engraver, born at Lauffen, near
Nuremberg, died at Strassburg in 1733. He produced a great
variety of seals, armorial bearings, etc.
MULLER, CONSTANTIN. Fide MULLER, KONSTANTIN.
MULLER, CHRISTIAN. Fide MOELLER.
MULLER, CHRISTIAN ANDREAS (Dan.). Also MOLLER. Sculptor
and Medallist, born in 1786, died in 1840- By him is a Coronation
medal of Frederick VI., 181 5, etc.
MtJLLER, CHRISTIAN ERNST (Germ.). Son of the famous Medallist,
Philipp Heinrich Muller ; born at Augsburg; resided for some
— 190 —
time at Nuremberg, and in collaboration with his father worked
for the medal-publishers F. Kleinert and L. G. Lauffer; he was
also employed between 1710 and 1720 by the Salzburg mint; —
later, and until 1741, he appears to have been working at Augsburg;
and from 1759 to 176 1, he was Mint- warden at Oettingen. Zeller
ascribes to him Portrait-Thalers, Half Thalers and Quarter Thalers
of Francis Anton von Harrach, archbishop of Salzburg, 1710-1720.
We know that in collaboration with his brother, Christoph
Heinrich Miiller, and under the supervision of his father, this artist
engraved Portrait-medals of Paul von Stetten, and by him are
also : Portrait-medal of Charles Alexander, Duke of Wiirtemberg,
^733 > — : 9- Centenary of the Foundation of the Abbey of Seli-
genstadt, 1725. — Ludwig Bartholomaeus von Herttenstein, 1741;
— Second Centenary of the Augsburg Declaration of Faith, 1730, etc.
Bibliography. — Bolzenthal, op. cit. — Zeller, Die an der furstev{hischdflich-
sal:(burgtschen Mun:(e angesteUten, u. a. Mun:(eisenschneider, Graveure und Medail-
letire, Wien, 1888.
MtJLLER, CHRISTOPH (G^rm.). Mint-warden at Dessau, 1693-1694,
and Miihlhausen, 1701; Mint-master at Eisenach, 1702-1715.^5
initials C. M. occur on the coins.
MCLLER, christoph, heinrich (Germ.). Medallist of Augsburg ;
Mint-warden there, 1725- 173 8. He was a son of PhiHpp Heinrich
Miiller, the celebrated artist, under whose direction, and in conjunc-
tion with his brother. Christian Ernest, he engraved, amongst
others. Portrait-medals of Paul von Stetten, etc.
MtJLLER, CHRISTIAN HEINRICH (Germ.). Born at Breslau, 27.
February 1772; at first a theologian, then a jurist, he was appointed
in 183 1, Director of the Breslau Mint; he died at Warmbrunn,
14. September 1849. He was the founder of the '^Gesellschaft fiir
vaterlandische Kultur ".
Bibliography. — Friedensburg, Schlesiens neiiere Muifs^eschichte.
MGLLER-VANDEVELDE, M™'^ DALILA (Germ.). Contemporary
Sculptor ; pupil of L. Gossin, Mathurin Moreau, and Hippolyte
Moreau. At the Salon of 1904, this artist exhibited a Portrait-
medallion of a young Girl,
MtJLLER, EMIL (Swiss). Contemporary sculptor and Medallist,
who was residing at Basle in 1894, but later at Lucerne. His
signature occurs on the following medals : Medal of the Federal
Rifle Meeting at Frauenfeld, 1890; — Federal Fete gymnastique
at Basle, 1894 (signed : E. MULLER, BASEL); — Sixth Centenary of
the Swiss Confederation, 1901 (signed : E. M.), etc.
Bibliography. — Revue Suisse de numismatique, 1891-1894-1901.
— 191 —
MULLER, FRANZ {Austr.'). Mint-engraver at Vienna, under
Leopold II., 1 790- 1 792. He was born at Benatek (Boiiemia) in 1762,
and was apprenticed to Wiirth. He worked from 1786 to 1787 at
the Mint of Kremnitz.
MULLER, FRANZ CARL (Aiistr.). Mint-engraver at Kremnitz, circ.
1782-1791.
MULLER, FRANZ FERDINAND (Germ.). Mint-warden at Munich,
1719; Mint-master there, 1725.
MtJLLER, FR£d£RIC CHARLES (Germ.). MedaIHst,born atStrassburg
in 1789, where he died in 1837. He settled in his native town on
the return from the regiment in 18 12. His parents and ancestors
were tinsmithsand burgers of that city. Amongst others he engraved
a medal representing the Strassburg Cathedral, and another the
Monument of the Marechal de Saxe, etc.
MULLER, GEORG (G^rm.). Mint-warden at Crailsheim, 1622.
MULLER, HANS (Germ.). Mint-master at Koenigsberg in Prussia,
1 66 1- 1 666. His issues are usually signed : H. M.
MULLER, HANS GEORG (Austr.). Mint-engraver at Vienna, 1668-
1686.
MULLER, HEINRICH (Germ.). Contemporary Sculptor, residing
at Dusseldorf. He modelled the Prize Medal of the Dusseldort
Exhibition, 1902, etc.
MULLER, HEINRICH (Germ.). Mint-master at Nuremberg, 161 1-
1616. He was a native of Vcltkirchen, and settled at Nuremberg
in 1588 as an assayer of gold and silver. On Paul Dietherr's decease,
he purchased the tools from his widow, and was appointed Mint-
master by the town council. He died in 1616, and was succeeded
by Hans Putzer. His daughter Margaretha married Georg Niirn-
berger.
Bibliography. — C. F. Gebert-Nurnberg, Geschichte der Mun:(stdite der Reichstadt
Nurnberg, 1891. — Ammon, op. cit.
MULLER, HEINRICH (Germ.). Seal-engraver, and Forger of coins,
who resided at Nuremberg, 161 2,
MULLER, HEINRICH CHRISTIAN (Germ.). Mint-master at Siegen
and Herborn, in Nassau, 1682- 1684, and later at Eisenach, 1689-
1690. In 1 69 1, he was appointed Mint- warden at Koenigsberg in
Prussia, where he died in 1718. His initials H. C. M. occur on
coins.
Bibliography. — J. Isenbeck, Dan Nassanisclx Mfin^u'esen, 1879. — P. Joseph,
Das Muii\recbt ^u Herbotn, Frankfurter Munzzeitung, 175.
— 192 —
MtJLLER, HENNING {Germ.). Mint-master and Engraver at Son-
dershausen, for the Counts of Schwarzburg, 1675-1682, and
conjointly at EUrich from 1675 to 1678, and Gotha, 1681-1683.
He was in the service of the Counts Christian Wilhelm I. and
Anton Giinter II., of whom he engraved medals of 1677 and 1679
(of thaler and gulden sizes resp.), and beside these he is the author
of the Thaler, Gulden, Double Groschen, and Groschen on the
death of Count Ludwig Giinther II. at Ebeleben, 1681.
The follovv^ing coins bear Miiller's initials : Christian Wilhelm I.
M. Ducats, 1679; — ^. 60 Kreutzer, 1675 (S "^^""Oj ~ I Thalers,
167]), 1676 (2 var.); — Gulden, 1675 (3 var.), 1676 (3 var.),
1677 (2 var.); — 24 Mariengroschen, 1675 ; — \ Thalers, 1676,
Anton Giinther II. M. Ducats, 1680; — 2^. Thalers, 1681, 1682;
— 60 Kreutzer, 1675 (5 var.); — | Thalers, 1676; — Gulden,
1675 (3 var.), 1676 (5 var.); — 24 Mariengroschen, 1675; —
I Thalers, 1676. Many other issues do not bear Miiller's signature,
which occurs also on currency of Duke Friedrich I. of Gotha,
1681-1682.
There is a jeton with Miiller's arms and the date 1680 on obv.
and Fbrtune on I^.
Fischer states that Henning Miiller belonged to a good family and
was a well-to-do and respected man. He appears to have had the
supervision of the coinage of the Gotha Mint, while still in the
service of the Counts of Schwarzburg.
Bibliography. — Ernst Fischer, Uber die Tdtigkeit des schwaribur^ischen Mun^-
meisters Henning Miiller, 1901. — Id., Die Miin:(en des Haiises Schwar:(burg, 1904.
MtJLLER, HIERONYMUS (G^n//.). Mint-master at Augsburg, 1494-
1515.
MtLLER, JEAN CONRAD (Germ.). Gem-engraver, and Medallist,
of the second half of the eighteenth century, born at Strassburg,
where his father, who died in 1733, followed the same profession.
He settled at Paris, and obtained a reputation for cutting seals,
armorial bearings, gems, etc. Mariette observes : " II marcha sur
les traces du sieur de Becker", but his work is of little merit.
Bibliography. — Babelon, Pierres gravies, 1894. — Mariette, op. cit.
MtLLER, JOACHIM (Austr.). Mint-engraver at Prague, and Karls-
burg, circ. 1749- -|- 1775. He was born at Libenau (Bohemia), and
worked at the Mint of Prague, first as assistant, then as Engraver,
until 1773, when he was removed to Karlsburg.
MOLLER, JOHANN (Austr.). Assistant Mint-engraver at Prague,
circ. 1750.
MULLER, JOHANN CHRISTOPH (Germ.). Modeller in wax, and
- 193 —
Medallist, who resided at Stuttgart, circ. 1670- 169 5. He is the
author of the following medallic productions, which are all signed :
JCM : Undated. Carl Ludwig von der Pfalz (illustrated) ; — 1671.
Nuremberg Shooting Medal; — Undated, and 1674. Eberhard III.
of Wurtemberg (Binder L, 139, 145, 146); — Undated. Wilhelm
Ludwig of Wurtemberg ; — Undated, and 1680. Friedrich Carl of
Wurtemberg; — 1682. Marriage of Friedrich Carl of Wurtemberg
with Princess Eleonora of Brandenburg, 1682 ; — Konrad Wilhelm
von Wernau, bishop of Wiirzburg, undated, 54 mill, (reproduced
in Domanig, Die Deutsche Medaille, n° 357), etc
Carl Ludwig von der Pfalz.
Miiller acted as Mint-engraver at Oettingen, circ. i6'//{. and a
Strassburg Thaler of 1679 on the Peace of Nymwegen bears the
initials I. C. M.
The medal of Charles Louis of the Palatinate is a very fine casting ;
most of the others are struck.
Bibliography. — Erman, op. cit. — Menadier, SdMumunien des Hauses Hohen-
T^oUern, 1901. — Domanig, Die Deutsche Medaille, Wien, 1907.
MULLER, JOHANN ELIAS (Germ.). According to Nagler, a son of
Philipp Heinrich Muller, who worked at Stuttgart, and later at
Augsburg, during the first half of the eighteeqth century.
MULLER, JOHANN FRIEDRICH (Germ.). Mint-engraver, and Medal-
list, at Ansbach, 1758-1766 (resp. 1769).
MULLER, JOHANN GEORG (Germ.). Modeller of the third quarter
of the eighteenth century, who was employed at the Porcelain
Manufactory of Charlottenburg. His signature occurs on Portrait-
medallions of Frederick the Great, 178) (signed : J. G. MCLLER.
FEC: 1785) and Frederick William IL, 1787.
Bibliography. — Menadier, op. cit.
L. FoRRER. — Bi"grapbical Notices of Medalliili. — IV. >J
— 194 —
MULLER, JOHANN GEORG (Germ.). Mint-engraver at Stargard
(Pomerania), 1692-1695.
MULLER, JOSEF (Austr.). Director of the Vienna Mint, before
1 90 1, when he was succeeded by Demeter Petrovits.
MtLLER, KONSTANTIN (Germ.). Goldsmith, Seal-engraver, and
Medallist, who was working at Augsburg, circ. 1545. He is men-
tioned by Bolzenthal, and D"" Fr. Kenner ascribes to him medals
and counters with decorative figures, portraits of ancestors of
Charles V., goldsmiths' models in gold, silver and other metals. By
an order of Charles V., dated from Worms, 20. May 1545, all seal-
engravers and die-cutters of the empire, were forbidden, under
severe penalty, to imitate within six years, any of this artist's
medals and counters.
Bibliography. — D' Friedrich Kenner, Urkundliche Beitrdge :(ur Geschichte der
Miini^en und Medaillen unter Kaiser Ferdinand I. {1^20 bis 1^64), Wien, 1903. —
Bolzenthal, op. cit. — V. Kull, op. cit., II, 714.
MtJLLER, LIBORIUS (Genn.). Mint-master at Berlin, 1 620-1625,
and 1628-1642. His initials L. M. or in monogram appear on his
issues, namely Thalers, Goldgulden, and Ducats of 1620, 28, 33,
35, 36, etc., of Georg Wilhelm (1620- 1640) and Friedrich
Wilhelm, 1641, etc.
Bibliography. — Ammon, op. cit. — Madai, op. cit. — Schlickeysen-Pallmann,
op. cit: — Nagler, op. cit. — Bahrfeldt, Die Mun:^- und Medaillen-Samnilung in
der Marienburg, Danzig, 1901.
MULLER, MATHAEUS (Swiss). Mint-master at Berne ; died 1 5 .
April 1532.
MULLER, MATTHAUS (Germ.). Modeller of Deisdorf (Saxony) ;
he is better known as a Forger of coins, for which offence he was
condemned to the gallows in 171 1.
MOLLER, MICHAEL (Austr.). Mint-master at Krummau (Bohe-
mia), 1642- 1644.
MULLER (or MILLER), MICHAEL (Austr.). Engraver at the Mints
of Gratz and St. Veit, end of the seventeenth and early part of the
eighteenth century. He was still in office in 1712.
MULLER, MICHAEL (Germ.). Modeller at Augsburg, aVr. 1552,
in which year he cut a view of Augsburg in boxwood.
MtfLLER, N. (Germ.). According to Nagler, a Gem-engraver at
Warmbrunn, first half of the nineteenth century.
MULLER, 0. (WOUTER) (Dutch). Silversmith, and Medallist of
Amsterdam, whose date of activity is comprised between 1653 and
— 195 —
i688. Bolzenthal calls him "der Meister MuUer", and praises
much the excellence of the execution of his medals, which, like
those of Peter Van Abeele, are embossed and chased, and in high
relief. Fide Franks and Grueber, Med. III., 11, 733.
Of interest to English collectors are the following medals by this
artist : 1652. Admiral Martin Harpertsz ; — 1653. Martin Tromp;
^L. Naval engagement; — 1654. Conclusion of the Peace of
Westminster with Holland; — 1655. Prince William I. and the
four Burgomasters of Amsterdam ; William I. and the four Admirals;
— Dedication of the new Town-hall of Amsterdam; — 1658.
Cromwell and Masaniello ; — 1666. Peace between Holland and
the Bishop of Miinster (The Prince Elector of Brandenburg); —
Michael de Ruyter ; ^L. Naval action (3 var., one illustrated) ; —
Cornelius Evertsen ; ^L Naval engagement ; — Cornelius Tromp ;
Admiral de Ruyter, 1666.
(an unpublished variety front the Murdoch collection).
^L Naval action; — 1667. Peace of Breda; — 1677. Marriage ot
William III., Prince of Orange, and Princess Mary; — 1688.
Embarcation of William of Orange at Helvoetsluys (3 var.), etc.
Bolzenthal says : " Only a few works are known by O. Miiller ;
two with the portraits of Admirals Mich. Adriaanszoon de Ruyter,
and Cornells Evertsen, the latter killed in battle in 1666, and
a beautitul one of the Elector Frederick WiUiam of Brandenburg,
1666, who assisted the Germans against the Bishop of Galen and
thus procured peace. All these medals are in silver; the last men-
tioned has on the obverse an excellent full face portrait of the
Elector crowned by two warriors in Roman costume ; underneath
words : keur vorst van Brandenburg. 1666, and around it, are
verses in Dutch, celebrating him as a faithful ally. On the reverse
— 196 —
is an allegorical representation surrounded also by a poetical
inscription in which the name of Miiller appears. "
Besides the medals above-mentioned I have found the descriptions
of a few others : William I., Prince of Orange ; ^L. The four
Admirals; — 1655. The Exchange of Amsterdam; — Undated.
A group of three figures representing Amsterdam, Valour, and
Commerce, &c.
" Les m^dailles de Muller ", says Pinchart, '* sont de tres grand
module et en haut relief. Toutes sont ornees de legendes ver-
sifiees en langue vulgaire (qu'il a peut-etre composees lui-meme),
particularite dont nous ne trouvons pas d'autre exemple d'un usage
aussi absolu. II n'a signe aucune de ses oeuvres a la maniere que
Font fait les autres artistes : il introduisait son nom dans les
legendes en declarant que c'est a I'art de Muller qu'elles sont dues.
Ces inscriptions nous apprennent encore que parmi les productions
de son burin, dont on ne rencontre que des exemplaires d'argent,
celles qui offrent les portraits de Martin Tromp et de Ruyter
existent en or. En 1666 Muller mit au jour cinq differentes medailles,
tandis que de 1656 a 1665 et de 1668 a 1676 et 1678 a 1687, il
n'a rien produit; du moins aucune oeuvre de ces epoques ne nous
est connue. "
Dutch works of reference give this artist's name as WOUTER
MtJLLER.
Bibliography. — Franks and Grueber, Medallic Illustrations, &c. — Kanim
Levin en Werken, &c. — Van Loon, op. cit. — Grueber, Guide, &c. — Pinchart,
Biographies, &c., Rev. num. beige, 1853, p. 52; 1889, p. 393. — Oelrichs,
GeddchtnissmHn:^en \ur Geschichte Friedrich Wilhelm des Grossen, Berlin, 1778. —
N. Chevalier, Histoire de Gtiillaume III., Amsterdam, 1692.
MULLER, PAUL HIERONYMUS. This name is given in K. K. Katalog
der Mun^en-und-Medaillen-Stempel-Samtnluug in Wien, no doubt in
error for PhiHpp Heinrich Muller.
MttLLER, PHILIPP HEINRICH {Germ.). Also MILLER. A famous
Medallist of the end of the seventeenth century, and early part
of the eighteenth. He was born at Augsburg, 2. October 1654,
and died there, 17. January 17 19, at the age of 65. His father's
name was Hans Jakob Muller, and his mother's, Barbara, nee
Wachler. Very little is known of the artist's life, especially of his
early career. His parents being of modest means, he was obliged to
begin quite young to provide for himself, and learned the trade of a
silversmith and chaser. Later, and with the advice and protection of
the Augsburg town-councillor, Leonhard Weiss, ne took to
medal-engraving, in which art he was soon to acquire universal
renown. In 1682 he married Anna EUsabeth Henesius, by whom
he had two sons, Christoph Elias and Christian Ernst, who both
followed their father's profession, but not with so much success.
— 197 —
Miiller's earliest medallic production is said to be a portrait ot
liis patron and friend, Lconhard Weiss, 1677, who in that same
year entrusted him with the execution of the fine commemorative
medal on the Completion of the Town-hall of Augsburg. He was then
employed by Caspar Gottlieb Laufer, Chief Warden of the Mint of
Nuremberg, and Friedrich Kleinert, on the large series of medals
(Medaillen-Cabinet), which they issued, under Imperial permission
or privilege, and in collaboration with artists residing at Nurem-
berg, Augsburg, and other places, and among whom where Martin
Brunner, Georg Hautsch, Oexlein, Vestner, &c. Mulltr settled in
business at Nuremberg, but returned to his native city sometime before
his death. His medals became known and admired all over Europe,
and they belong to the best of the time. He executed Portraits of
most of the Rulers and Princes of his time, and commemorative
Medals of events of interest in contemporary German history and
connected with other countries, as Great Britain, France, the
Netherlands, Italy, Austria, Russia, the RepubHc of Venice, &c.
Like Brunner he made a large number of dies for striking
draughtsmen in wood, which even excel the silver medals. Hofrath
D*^ von Ahorner presented a series of sixtv ot these in 1836 to the
Augsburg Historical Society, for the Annual Report of which he wrote
h. that year a biographical notice of the artist. Kohler, Lohner, Van
Loon, and other works reproduce some ot Ph. H. Miiller's medals,
which are usually signed : P.H.M. or marked with a Star ; those signed
with an M. only are supposed to have been executed in collaboration
with his sons, one of whom, Christian Ernst, was also employed by
the Salzburg Mint.
P. H. Muller worked for various mints, beside those of Augsburg,
Nuremberg, and Salzburg, already mentioned, and his signature
occurs on currency of Brandenburg, Wurtemberg, Lowenstein-
Wertheim, Lucerne, &c.
The following list includes all the best known medals and coins
by Philipp Heinrich Muller, but it is far from being complete. It
is impossible, from Lauffer's catalogue, to discriminate between the
works of the various engravers who contributed to his well-known
medallic series, but I have mentioned all those that have come under
my notice and about the authorship of which there can be no
doubt. They are given in their chronological order : —
1676. Commemorative medal of the Coronation of Leopold I.,
1658 (inscribed on theORG (Austr.). Moneyer at Vienna, 1450.
MUNINCX (or MONACHY), GEORGE (Bslg.). Mint-engraver at
Luxemburg, 1577.
MUNINCX (or MONACHY), HENRI (Belg.). Mint-engraver at
Luxemburg, 161 5, under the archdukes Albert and Isabella.
— 207 —
MUNKERT, ANTON {Germ.). Mint-warden at Munich, since 1901.
MUNSTERBERG, KARL VON {Bohem.). Mint-master to the Chapter
of Sts. Peter and Paul am Wyschehrad, 1524.
MUNT, NIKOLAUS (/^M55.). Mint-master at Ekaterinenburg, 1810-
182 1. His initials H.M. occur on coins issued under him.
MtJNTZBURG, EDLER VON (Germ.). Mint-director at Kremnitz,
1767-1770. His initials E.V.M. and E.v.M. occur on coins, sometimes
with the addition of a D, for DONATI, the Warden ot the mint.
MtJNTZER, \JLRICE (Bohem.). Mint-master at Eger, circ. 1500.
MtJNTZMAIER (Austr.). Various members of that family filled the
office of Mint-master at Zeiring, towards the end of the fourteenth
century.
MURAT (Fretwh). Mint-master at Paris, under the Commune,
appointed 8. May 1871.
MURDOCH, T. D. (Brit.). Sculptor of the nineteenth century, who
resided at Edinburgh, and whose signature : T. D. MURDOCH, EDIN.
occurs on a Prize Medal of the Edinburgh University, with bust of
the famous chemist Dalton.
Bibliography, — Cochran-Patrick, Medals of Scotland, 1884.
MURE, FRANCIS (Brit.). Mint-master at Calcutta, 8. July 1799
to 1802.
MURGEY, THEOPHILE FRANQOIS (Fr^wc/;). Contemporary Sculptor,
born at Dijon ; pupil of Toussaint. At the Salon 01 1886 he exhib-
ited Portrait-medallions : M"^ Murgey; — M. L^chauguette, &c.
MURRAY, ANDREW (^Brit.). A Mint-official of Dundee and Perth,
who was executed for importing false Hardheads, 1569. Fide Burns,
op. cit., p, 331.
MUSHATT, JOHN (Brit.). Counterwarden at the Mint of Edinburgh,
1686-1690.
MUSICUS. Probably a fictitious signature on a sard gem in the
Hague Collection, representing Harpocrates standing. Vide King,
op. cit., p. 221.
MUSPER, ERNEST AUGUSTE (Swiss). Contemporary Sculptor,
born at Bienne (canton Berne), now residing at Paris, where he
studied under Chaplain.
At the Salon of 1907 he exhibited six Piaquettes in metal and a
Medallion in clay.
— 208 —
MUSSARD, JEAN (Swiss). Mint-master at Geneva, 25. December
1649 to 21. January 165 1, the date of his death. The letter M occurs
on currency issued by him .
Bibliography. — E. Demole, Les maitris, les graveurs et les essayeurs de la
nionnaie de Geneve, Fribourg, 1885.
MUSSIDIUS LONGUS, L.{Rom.).M'mt-m!ister(Quatuorvirmonetalis)
at Rome, B.C. 43-42, in conjunction with P. Clodius M. f. ;
L. Livineius Regulus, and C. Vibius Varus. He was entrusted
with, the execution of the gold coinage.
MUSSLER, PHILIPP (Germ.). Mint-master at Michelstadt (Erbach),
1561-1562; Mint-warden at Frankfort-on-Main, 1567; Warden ot
the North Rhenish Circle, 1574; died in 1603.
MUSSOT, A. (French). Assistant Mint-engraver at Besan^on, 1705-
1707.
MUTEAU, JEAN (French). Goldsmith of Troyes; Mint-assayer at
Troyes, 1382-1388; Die-cutter there, 1399-1414. In 1414 he was
appointed Mint-engraver at Lyons, but did not remain long in
office, as Guyot de Valenciennes was elected his successor in
December 141 5. Muteau then returned to Troyes, where he died
between 141 5 and 1417. He executed works of enamelled gold plate
for the cathedral and church of Saint-Etienne at Troyes.
Bibliography. — Rondot, Orfivres de Lyon. — Id., Graveurs deLyon. — Id.,
Les medailleurs et les graveurs de nionnaies, 1904. — Graveurs de Troyes.
MJJZkRD (French) . Die sinker of Paris, who in conjunction with
Rohault, issued various Pattern coins, in 1844, ^^^ ^^ which is
reproduced in Dewamin, Cent ans de numismatique, PI. lvii, ii.
MUZZI (Ital.). Designer of a Portrait-medal of the Tuscan states-
man, Vittore Fossombroni, engraved by Fabris, 1844.
M.V. Fide MATTHIAS VAIST. Mint-master at Prague, 1688- 1694.
M.V. Fide MAURICIO VEGLIA. Mint-engraver at Turin, after 1817.
M.V.A. Fide M. VAN ABEELE. Author of a commemorative medal
of the battle of Nieuport, 1600.
M.W. Fide MATTHIAS WEBER. Mint-master to the city ot
Hildesheim, 1605-1618.
M.W. Fide MARTIN WULF (Junior). Mint-master at Riga, 1615-
1633.
M.W. Fide MICHAEL WUNSCH. Mint-master at Heidelberg, 1694-
1732. Also I.M.W.
— 209 —
M.W. Fide M. WASSIDLO. Die sinker at Warsaw, after 1835.
Bibliography. — Schlickeysen-Pallmann, op. cil.
MYCON (Greek). Gem-engraver of the first century A.D.His signa-
ture MYKflNOC occurs on a gem with a male portrait, whom some
have called Aristotle, and others, Caligula. This gem was formerly
in the Fulvio Orsini collection, and Faber mentions it in his pretace
to Ilhistriuni imagines, p. 4. Spon (Miscellanea, p. 122) gave a repro-
duction of it, describing the stone as a sard; he spells the artist's
name MIKHNOI, which according to M. Reinach is the only
correct orthography. Stosch possessed an impression and a drawing
of it. Lippert erroneously believed that a hyacinth signed MYKHN
with the supposed portrait of Caligula was the stone which had for-
merly belonged to Orsini.
Portrait-Gem, by Mycon.
King mentions four gems with the signature of Mycon: Head of
an old man, jasper (Stosch); — Head of Caligula, jasper (Lippert);
— Cupid on a lion, nicolo (Baron Magnancourt) once in Queen Caro-
line Murat's possession. Seemed to Clarac genuine, both work and
legend ; — Muse seated, a roll in her left hand, the right lifted, as
if declaiming; before her a mask on a cippus; jacinth. " Said to be
at Florence. The work of no particular merit, scarcely likely to have
received an artist's signature " (King). A carnelian intaglio of the
same description in the Story-Maskelyne collection, signed MYKfl-
N02, is considered antique by Prof. Furtwangler, who reproduces
it in Antike Gemnien, PI. l, 14, but states that the inscription is
modern.
Bibliography. — H. Brunn, op. cit., II, p. 516-517. — Furtwangler, Antike
Gemmen. — S. Reinach, Revue archeologiqtie, 1894, II, p. 296, — E. Babelon,
L. FoRRER. — Biographical Notices of Medallists. — IV. 14
— 210 —
Pierres gravies. — Daremberg et Saglio, Gemmes, IV, 1480. — King, Antiqiu
Gems. — Id., Handbook, etc. — S. Reinach, Pierres gravees, Paris, 1895. —
Bracci, t. II., PI. 85. — Raspe, n" 12187.
MYDDELTON, SIR HUGH {Brit.). Goldsmith, Medallist, and Seal-
engraver of London, temp. James I. He had a shop in Basinghall
St., and was patronized by Sir Walter Raleigh, On the accession
of James I. he was appointed one ot the Royal Jewellers. He died
in 1 63 1. The Welsh silver mines in Cardiganshire were discovered
by him.
Bibliography. — S. Lee, Did. Nat. Biog. — Chaffers, GUda Aurifabroriim.
MYLICZ, NIKLAS {Atistr.). Son of the Goldsmith and Die-cutter
Wolf Milicz; worked at the Mint of Joachimsthal, 1545-1564; died
in 1575.
MTLIGZ, WOLF (Austr.). Mint-engraver at Joachimsthal, circ.
1535-1545-
MYND, THOMAS {Brit.). Manufacturer of tokens, who resided at
Birmingham, towards the end of the eighteenth century. He issued :
Deptford Halfpenny, 1795; — Fowler's London Halfpenny, 1794
(engraved by Wyon) ; — London and Middlesex Halfpenny, with
bust of the Prince of Wales, undated, and others.
BiBLiOGR.\PHY. — Pye, Provincial Copper Coins, London,
MYONET, GUIGUES dit DOMEIN (French). Mint-master at Grenoble,
appointed 13, January 1490, and in office until 1503, when he
was succeeded by Thomas Blondel. On his coins is a G which really
stands for the name of the Mint, but it disappeared with Louis XIL
His issues comprise : Ecus d'or of Charles VIIL (Hoffmann, n° 8);
— A variety of same (Hoffmann, n° 9); — Carolus (Hoffmann,
n° 22 ; two varieties) ; — Douzains of Louis XU. (several varieties,
without the G). Myonet died at the end of 1502.
The mint of Grenoble was opened in 1489.
Bibliography. — R. Vallentin, Les Differents de la Monnaie de Grenoble de
1489 a i)S3y Annuaire numismatique, 1894, p, 529, — E. Faivre, op. cil.
MY?... {Greek). Mint-engraver at Agrigentum, «Vr. B.C. 415-406,
His signature occurs on the following coin, described in Brit. Mus.
Catalogue, Sicily, p. 9, n° 54,
iR, Tetradrachm, Obv. AKPAFANTINON- Two eagles standing
to r, on supine hare, which lies on rocks; the farther, with spread
wings, about to tear the prey; the nearer, with closed wings,
raising its head and screaming. ^, Quadriga to r., driven by
youth holding reins in both hands and goad in r, ; horses in high
action, the rein of the farthest broken and hanging down ; above,
Nike flying to I., crowning charioteer; below, MYP; in ex., Scylla
to r., her 1. hand raised.
— 211
Weight : 258. 6 grs. — B.M.Cat., Sicily, p. 9, n° 54. —
Weil, op. cit., PI. I, n° 13. Berlin Museum. — Head, Historia
Numorum, p. 106.
Tetradrachm of Agrigentura.
A variety in the National Collection is without the symbol on obv.
and shows a different disposition of the legend, but same reverse.
(Rothschild, Sale Catalogue, 1900, PL II, 83.)
In D"" Hirsch's Sale Catalogue, XIX (November 1907) was a very
fine specimen of tliis coin, with the signature MY very small under
the horses on ^L. This coin realized 10600 Marks.
This I^ on coins of Agrigentum signed MYP bears much resem-
blance with that of the engraver EYO of Syracuse, and the group-
ing of the horses reminds one of the later coins of Selinus, as
D"" Weil observes (Kiinstlerinschriften, p. 9),
Bibliography. — L. Forrer, op. cit. — Head, Historia Numorum, p. 106.
MTRON. The fictitious signature MYPON is said to occur on the
following gems, mentioned by King: Head of Muse, sard (Berlin);
— Lion passant, sard (Blacas); — Ajax kneeling and falling on his
sword (Berlin); — Apollo pursuing Daphne (called '* probably
modern "). Two of the Poniatowski gems bear also this signature :
Ulysses receiving a plant of moly from Mercury as a charm,
amethyst; — Aeneas addressing Venus after her interview with
him in the Lybian Wood, as she ascends to heaven, carnelian.
Bibliography. — King, op. cit. — Prendeville, Cotlection of Antique Gems oj
Prince Poniatowski, London, 1841.
MYRON(Gr^^). A celebrated Greek Sculptor, a native ofEleutherae
in Boeotia; pupil of Ageladas of Argos, lived about B.C. 500-440.
Not only was he one of the most famous artists in antiquity, but
one of his works, the renowned Discobolos, is at the present day
almost the best known example of Greek sculpture of this period,
if not of all times. We are fortunate in possessing not only several
admirable copies of this statue, but also of another famous work,
the Satyr Marsyas. On the other hand the wonderful cow or heifer,
so often sung of by later poets of Greece and Rome, can only now
— 212 —
be reproduced by the imagination. Myron was both versatile and
prolific, his work being exclusively in bronze.
His most representative work was probably the Discobolus,
described by Quintilian and Lucian. Of this statue one of the most
perfect replicas is in the possession of Prince Lancelotti in Rome;
another is in the Vatican ; and a third in the British Museum. This
wonderful work of statuary has often been reproduced on medals,
and in particular on gems.
Myron's bronze cow on the Pynx at Athens was one of the
favourites of the Greek and Roman world. In Cicero's time it was
standing in one of the largest open places at Athens, whence it was
Aureus of Vespasian, with the supposed representation of Myron's bronze Cow.
later removed to Rome, and was still to be seen in the Temple of
Peace in the time of Procopius, circ. 500 A. D.
The type of Herakles strangling the lion on coins of Heraklea,
Metapontum, Tarentum, and other mints, by the engravers Aris-
toxenos, Kal..., Philistion, &c., is said to have been copied from
Myron's bronze group. It occurs also on ancient and modern gems.
Didrachm of Heraclea.
Myron was also an Engraver in metals; a celebrated patera of
his is mentioned is by Martial.
Bibliography. — Wahers, Greek Art, 1904. — Smith, Dictionary, &c.
MYRTON (Greek). Gem-engraver of the first century A.D. (?) The
gem reproduced here is from Reinach's engraving, which is copied
from impressions in the Strozzi Cabinet at Rome. The original is no
longer extant, but there are pastes of it. The subject is, Fenus
riding on a swan. A copy by Cerbera came into the British Museum
with the Blacas collection. The engraving and inscription, remarks
Reinach, offer nothing suspicious.
— 213 —
King describes the Blacas gem as Leda, the swan flying towards her,
and in Handbook, &c., p. 266, he states : "Nymph with floating
veil borne upon the back of a swan with spread wings, under one
of which the name MYPTflN : formerly in the Strozzi Collection.
Stephani allows the name to be genuine from its evident connexion
Venus riding on a swan, by Myrton.
with the design, but supposes it to indicate Myrto, Pindar's mother;
or else the Eulaean nymph. Brunn thinks the work not sufficiently
important to bear an actual artist's signature; the name besides
exceeds the measure allowed to such, and is more than an accessory,
seeming to indicate either subject or owner.
Bibliography. — King, op. cit. — Reinach, Pierres gravies, 1895. — Archdol.
Zeils., 1858, p. 236. — Bernouilli, Aphrodite, p. 408. — Bracci, t. II, PI. 84. —
Brit. Miis. Gems, no 2304. — Brunn, of), cit., t. II, p. 570. — Clarac, p. 151.
— Kohler, t. Ill, p. 186. — Pierres de Stosch, p. 35, n" i42.-^Raspe, TassieGems.
MYS (^Greek). A contemporary of Pheidias, circ. B.C. 440. He is
mentioned as one of the most distinguished Engravers of ancient
times by Pliny, Propertius, Martial and Satius. He worked relievos
on the shield of the bronze statue of Athena Promachos, in the
Acropolis of Athens; the subject represented was the battle of the
Lapithae and the Centaurs, and other figures.
Bibliography. — Fortnum, Bronzes in the South Kensington Museum, &c.
M. Z. Vide MARIA ZENO. Mint-inspector at Venice, 1656-1657.
— 214
N
N. nde NYRIS. French Medallist, circ. i6-jyi6c)^.
N. Fide NtjRNBERGER. Two Nuremberg Medallists signed
occasionally N: G. F. Nurnberger, 1682-1724; and P. G. Nfirn-
berger, 1721-1743.
N. Vide NEUDORF. Mint-warden, and Engraver at Oldenburg,
1761-1765.
N. Vide JOHANN JACOB NEUSS. 1770-f 1847. Medallist ot
Augsburg.
N. Vide VITTORIO NESTI. Medallist at Florence, second quarter
of the nineteenth century,
N. Vide JOHANN LORENZ NATTER. Gem-engraver and Medallist,
1740-1763.
N (^French). Initial of a French Medallist, by whom are various
Jetons of Louis XIV., commemorating historical events, such as
the Taking ofNamur, the Peace of Ryswick, &c. There is also one
on the Paris Sewerage, 1668.
N (Su'iss.). Initial of a Mint-engraver at Chur ((jraubiinden),
circ. 1825. A 10 Batzen piece of that date is thus signed on obv.
N (^Greek). Possibly an artist's signature on a Corinthian Stater of
Leucas, in Herr Gustav Philipsen's collection at Copenhagen. The
coin belongs to the fourth century B.C. : —
Obv. Pegasos, with pointed wing, flying to 1. ; beneath, A (for
Leucas).
^L. Helmeted head of Pallas; around, three iv3'-leaves and the
letters AEY ; under the neck of Athena, the initial N, quite distinct,
although very small.
Var. B. M. Cat., Corinth, p. 128, n" 40; PI. xxxv, 8.
Bibliography. — L. Forrer, Les signatures, &c.
AN. AB. Vide ANTONIO ABONDIO. Medallist and Founder, died at
Vienna, 1591.
— 215 —
AND. SPIN. F. Fide ANDREA SPINELLI. Medallist of Parma, second
quarter of the sixteenth century.
A. N. Fide A. NEUSS. Medallist at Augsburg, circ. 1840- 1870.
ANIB. F/Wf ANNIBALE FONTANA. 1540-7 1587. Architect, Gold-
smith, Gem-engraver, and Medallist.
AN. SPI. F. Fide ANDREA SPINELLI supra.
AN {Ital.). Signature of a Venetian Medallist, who was working,
circ. 1450. By him is a Portrait-medal of the Doge Francesco
Foscari ; ^. veketia . magn.\ . an Draped female figure representing
Venice, seated facing, on throne. The same reverse occurs on a
medal of the Doge Cristoforo Moro, with obv. signed : ANT. Possibly
the two signatures AN and ANT refer to the same artist, but Armand
expresses his doubt about this.
Bibliography. — Armand, op. cit.
B. N. Fide BUNSEN andNEUMEISTER. Mint-officials at Frankfort-
on-M., 1764-1776.
B. N. Fide BISCHOF and NEUMEISTER. Mint-officials at Wurzburg,
1754-
C. N. Fide C. NIESENER. Mint-master at Mannheim, circ. 1746-
1750.
C.N. on Polish coins, I528-I534 = CRACAU (mint) and NICO-
LAUS, surname of the treasurer, Szydlowiecki.
F. N. Fide FRANCHINI, NICOLO. Mint-master at Ferrara, 1621.
F. N. Fide FRANZ NOWACK. Mint-master at Breslau, 1698-1717.
F. N. Fide FRANZ nOBELL. Mint-master and Engraver at Schwerin,
circ. 1832-1850.
G. N. Fide GEORG NtRNBERGER Junior. Mint-master at Frankfort-
on-M., 1644-1646.
G. N. Fide GEORG NEUMEISTER. Mint-warden at Wurzburg, 1754-
1762, and Frankfort-on-M., 1763-1789.
G. N. Fide G. NESTI. Medallist at Florence, second half of the
nineteenth century.
— 2l6 —
H. N. Vide HANS NEUDORFER, 1497-7 1563. Nuremberg patrician
and mathematician. His initials occur on Nuremberg medals.
H. N. or FN. Vide HANS NEUMANN. Mint-master at Schleusingen,
1550-1553, and 1555-1569; also at Eisleben, 1554-1555.
I. N. Vide JOHANN NEIDHARDT. Mint-engraver at Oels, 1674-
1705.
I. A. N. Vide JOHANN ANTON NOVAKH. Mint-master, Engraver,
and xMedallist, at Gratz, 1676- 1692.
I. N. (AKStr.y Initials of a Die-sinker, who executed various
Pilgrims' Badges of Maria-Taferl and Mariazell, in the last quarter
of the seventeenth century. He may have been JOHANN ANTON
NOVAKH q. v.
I. U. N. r. (Brit.). Engraver's signature on the obv. of a Portrait-
medal of Lord Clive, struck on his successes in India, 1766, and
bearing on the ^. the initials C. G. which are said to represent
the name ol C. GOSSET (VideYo\. II, p. 302).
Portrait-medal of Lord Clive, by I.U.N, (reduced).
Bibliography. — H. A. Grueber, Personal Medals, Num. Chroo., 1890, 60.
L. N. Vide LUDWIG NEU. Medallist in Saxony, circ. 1550.
L. N. Vide LEVIN NUMMERS. Mint-master at Narva, 1670-1672.
L. N. or L. N. F. VideJOEkHH LORENZ NATTER. 1705-7 1763. Gem-
engraver and MedaUist in Italy, England, and elsewhere; he died at
St Petersburg.
L. N. Vide LUDWIG NEIFAHRER (NEUFARER, NEIFARRER, &c).
German Medallist, circ. 1537-1560. Also L. NF. ; LV. NE., and
LvDNEIFA.
Bibliography. — Schlickeysen-Pallmann, op. cit.
— 217 —
p. N. Fide PETER NEWER. Mint-master to the city of Cologne,
1680-1693.
P. N. Fide PETER NEUSS. Mint-engraver at Augsburg, 1764-1775 ;
Mint-master there, 1775-1782.
P. N. V. H. Fide PETER NICOLAUS VON HAVEN. Mint-master at
Copenhagen, 1747-1761.
S. N. Fide SMELTZING NEOMAGIENSIS. Dutch Medallist, circ,
1686-1703.
S. N. F. F/V/f SCHOLZ (Warden) N(urnberg)FORSTER (Mint-master)
1760-1764.
S. N. R. Fide SCHOLZ (Warden) N(urnberg) RIEDNER (Mint-
master), 1764-1770.
Bibliography. — Schlickeysen-Pallmann, op. cit.
NAAMEN, JOHAN SERASTIAAN VAN (Dutch). Mint-masterat Utrecht,
1782-1794.
NACHENIUS, D. (Dutch.). Medallist of the last quarter of the
eighteenth century at Amsterdam. D"" H. R. Storer describes in
Amer. Journ. of Num. a Portrait-medal of D*^ Andreas Bonn, of
Amsterdam, 1788, bearing the signature : D. NACHENIUS.
NACHON, tTIENNE (Fr^«f^). Mint-master at Grenoble, 8. January
1517 to the end of 1531, when he fled; his privy-mark was at first
E, then N, and later, EN.
Bibliography. — E. Faivre, itat actuel des Ateliers nionetaires Jranfois, 1895.
— Annuaire numismatique, 1894, p. 338.
NACHTRABE, FRIEDRIGH (Germ.). Mint-master at Frankfort, and
Nordlingen, 145 6-1464.
NACUB (Bohem.). Moneyer at Prague, under Bogislaus, early part
of the eleventh century. His name 4- NACVB IN PRAGA occurs in
various forms on a number of coins.
NADADD, AUGUSTE B. (French). Contemporary Sculptor, born at
Abbeville (Somme); pupil ofDuret and A. Toussaint. By him are
various Portrait-medallions : 1867. H. Poirson, painter; — 1881.
M. Monval, of the Palais Royal; — 1882. M"" Petitpas; —
M. P***, &c.
Bibliography. — Chavignerie et Auvray, op. cit. — Catalogue du Salon,
1882, p. 416.
— 218 —
NAGELBECKH, STEPHAN (Gi'nn.). Mint-master at Landshut,
1451.
NAIUS, probably a misspelling for GNAIUS. This fictitious signature
occurs on a gem thus described by Raspe : Bust ot a Muse, in
front a Mask, (often called a Virgil.)
Bibliography.- King, Antique gems, London, i860.
NANNI DI PROSPERO DELLE CORNIOLE (ItaL). Vasari mentions
him as a Painter, and " the son of Prospero, the Gem-engraver ".
He is said to have executed some work in the glyptic art.
BiBLiOGR.^PHY. — Mariette, op. cit.
NANUCCI (ItaL). Medallist of the first half of the nineteenth
centur}-. His signature occurs on a Prize Medal of the Societa di
San Giovanni, 1827.
NALLET-POUSSIN, M-"^ EMMA CAMILLE (French). Contemporary-
Sculptor; pupil of J. Gigoux, Rudder,and J. Valadon. At the Salon
of 1889 this artist exhibited a Portrait-medallion in bronze of
M. J. Valadon.
NAPIER OF EDINBILLIE, SIR ARCHIBALD (Brit.). General of the Mint
at Edinburgh, r/Vr. 1590.
NAPIER, FRANCIS (Brit). A contract was passed between
James IV. and Napier, 5''' September 1591, by which it was ordered
that the " haillaucht and fourpenny peces, at the leist fourteine
hundreth stane veocht ", were to be brought in and delivered to
the said Francis Napier wdthin the space of four years, to be reduced
to the fineness often and a half deniers; as also all the other billon
money — '* penniys and twa penny plakis onUe exceptit " — these
last being the half-hardheads with I-R.
BIBUOGR.^PHY. — Burns, J/w Coinage oj Scotland, II, 373.
NAPIER OF WRIGHTSHOUSES, WILLIAM (Brit.). The working of
the Mint of Edinburgh was let for three vears, by Act of Parliament,
27*^ February 1^80-81, to Alexander Clerk of Balbirnie, Provost
of Edinburgh, William Napier of Wright sJmises, and four other
burgesses of Edinburgh, with THOMAS AITCHESOUN, master of the
mint, in consideration, " ofane hundreth thousand merkis promisit
be the pairtneris for the yeiris tak ".
BiBUOGRAPH\. — Burns, op. cit. II. 365.
NAR. Vide NARBONNE.
- — 219 —
NARAYEN, VITHAL {Iiid.). Native Die-sinker employed as Mint-
engraver at the Bomb.iy Mint from 1891 to 1904.
NARBONNE (French). Die-sinker of the last decade of the
eighteenth century. Two masonicmedalsof the Lodge of the Friends
of Peace, Paris, 1789 (obv. Miner\'a seated), are signed :
NAR . • . F., probably for Na rbonne fecit .
Bibliography. — Hennin, Histoire numismatique de la Revolution frangaise,
Paris, 1826. — Marvin, o/>. cit.
NARCISSE, PHILIBERT (French). Contemporary Sculptor, born at
Autun; pupil of Gonnet. A Portrait-medallion in bronze of
^me Narcisse was exhibited by him at the Salon of 1896.
NARDO (Ital.). Goldsmith in the Service of the Papal Mint at
Rome, I -1 84, in which year he is mentioned in conjunction with
Miliano as having executed stamps for the pontifical bulls: '* 1484,
12 Oct. Miliano et Nardo aurificibus florenos auri centum de
Camera pro factura stampe plombi (sic) bullarum apostolicarum,
ut est moris. "
Bibliography. — Eug. Miintz, L' Atelier monetaire de Rome, 1884.
NARDO, DOMENICO DI (Ital.). Sculptor in wood, who flourished
at Rome, during the second half ot the seventeenth century. He
was a pupil of P. Ceraso, and is said to have executed Portrait-
medallions of Popes, and contemporaneous celebrities.
NARET, GEORGES l£ON (French). Contemporary Sculptor, born at
Sezanne (Marne); pupil of Eugene Marioton. He is the author of
numerous Portrait-medallions, cast in bronze, some of which were
exhibited at the Paris Salon : 1886. M. J***; — M"- D***; —
1888. Georges Duvernoy; — M. and M"'' Marioton; — 1889.
M. Mocker; — E. Marioton; — 1890. M. J***; — 1893.
D"" Huguier, &c.
NASCIMENTO, ANGELO MANUEL DO (Portug.). Mint-engraver at
Lisbon, circ. 1795 -1799.
NASSARO, MATTEO DAL (Ital.). 1515-t 1547 or 1548. Painter,
Goldsmith, Gem-, and Coin-engraver, and Medallist, son of a
shoemaker of Verona, Jacopo dal Nassaro. In his youth, he learned
drawing and music, and was taught engraving by the two Veronese
artists, Galeazzo Mondella, who was a clever daughtsman, and
Niccolo Avanzi, who distinguished himself at Rome.
One of his first works of note was a Deposition from the Cross
in bloodstone, so managed that the sanguine spots of the jasper
— 220 —
represented the blood issuing from the wounds; it became the
property of the Duchess Isabella d'Este of Mantua. A Crucifixion
was treated in a similar way.
Soon after the battle of Marignano, Matteo went over to France,
either at the request of Francis I., or attracted there by the protec-
tion extended to Italian artists. The French king, who was a Uberal
patron of the art, purchased a number of his gems, and attached him
to his Court, where he chiefly engraved cameos, the fashionable
ornaments of the day. A head of Dejaneira b}' him was greatK'
admired, in which the various layers of the agate gave the different
colours of the flesh, the hair, and the lion's hide drawn over her
head (King, op. cit.,^. 263). Francis I. placed this stone in his casket,
and commissioned from the artist a portable Oratory adorned with
numerous gems, bas-reliefs, and statuettes in gold.
Of this same period are a Portrait-intaglio of Francis I., in the
Cabinet des Medailles, Paris (with the initials F. I- on the back) and
one of two commemorative medals of the Battle of Marignano,
which M. H. De La Tour has attributed to Dal Nassaro from conclu-
sive evidence. The intaglio measures 22x25 mill. Mariette and
1^^^^..
Portrait-intaglio of Francis I. (chalcedonyx).
Chabouillet had already seen in this fine gem a work of the famous
Italian engraver. De La Tour observes, in connection with it :
"Matteo est sans conteste I'un des plus habiles parmi tons les
artistes qui nous ont laisse, sur la pierre ou sur le metal, les traits
de Francois I. II combine et coordonne bien I'ensemble, il dessine
et modele vigoureusement; il attaque, creuse et approfondit la
pierre avec un brio et un entrain merveilleux; il a surtout, dans les
rinceaux de la cuirasse, peut-etre un peu trop saillant pour I'effet
general, une souplesse et une habilete consommees. C'est la une
oeuvre de maitre ' (Rev. num., 1893, p. 540).
The commemorative medal of the Battle of Marignano measures
36 mill, in diameter. On the I^. is a representation of the battle,
with Milan in the background from which the Swiss emerged on
their attack on the French.
— 22 I
Chabouillet and Babelon have ascribed to Dal Nassaro another
intaglio in the Paris Medal Cabinet, depicting a battle scene, which
according to Mariette was copied from Raphael's drawing oi the
Battle of Constantine on the Milvian bridge. It bears an inscription,
OP.NS which has been interpreted into opus -sassari. A group oi
Battle of Marignano.
Venus and Cupid, probably by the same artist, is praised for the
ideal purit\' of the drawing, the material, and engraving. To him has
further been ascribed a cameo in the Imperial Collection at
Vienna, the subject of which is Noah and the animals issuing from
the Ark.
The artist set so high a value on his works that he gave them
away as presents rather than submit to what he considered too low
an offer; he is said to have broken to pieces a fine cameo which
had not been accepted by a nobleman under such circumstances.
A document of 15 21 records a payment of 184 livres made to
Matteo for " les pourtraictz de 92 histoires de bergeryes prises
dans les bucoliques ".
After the defeat of Pavia (1525), the artist returned to Vienna,
but was recalled to Paris by Francis immediately upon the
recovery of his freedom, and settled definitively in France where he
married and had several children. He was granted a yearly pension
of 300 gold ecus beside numerous gratifications, and was employed
by the King, the French mint, and noblemen of the Court.
Matteo never filled the office of Mint-master or Engraver as
Vasari pretends, but he executed patterns (or models) for coins,
*' coings des monnoyes et testons ", and a medal which he struck
from the " coing desdicts testons par le commandement dudit
seigneur" (Francis I.). In 15 19, he received a royal bounty in the
sum of 112 livres to reimburse him for money expended in the
— 222 —
purchase of tools and appliances necessary in the production of this
work.
The medal mentioned here is in reality the Double Ducat of
Milan, with bust of Francis I. Only two specimens are known, one
of which is in the Paris Medal Cabinet. The Pattern Testoon by
Double Ducat of Francis I. for Milan.
Matteo exists in gold and silver, in two varieties. " Par tons ses
caracteres, " remarks De La Tour, " I'ensemble et les details, la
composition, le style, le relief des lettres, la couronne placee sous
le buste, la forme de Vhcu, celle des grenetis, etc., cet essai se
Pattern Teston of Francis I.
d^tache de toutes les autres monnaies du regne de Francois I. et
m^me de tons les autres regnes. A cela s'ajoute une indeniable et
frappante tournure italienne. "
In 163 1 Matteo received 100 ecus '* for a vase intended for
Madame, and 50 ^cus to erect machinery (mills) for making other
vases". We learn from this that the artist was also an engine-builder;
his was probably the first workshop in France tor the cutting and
engraving of precious stones. In a document of 1534, the mill is
thus described : " Un moulin porte par basteaulx pour pollir dya-
mans, aymeraudes, agattes et auitres especes de pierres. " It was
known as the *' Moulm de la Gourdayne".
— 22 X —
Dal Nassaro's name occurs for the last time in the account of
the king's privy purse in 1539, when Francis I. remitted 1400 livres
to " Mathee d'Alnassar, painctre, vallet de chambre et graveur dudit
seigneur, pour le parfaict de ses gaiges des annees 1536, 1537
et 1538, a ladicte raison de 600 livres par an". Notwithstanding,
he still remained in the king's service for several years, and pro-
bably until his death which occurred in 1547 or 1548, soon after
that of his Royal benefactor.
After the Battle of Cerisoles (1641), Matteo executed a commem-
Battle of Cerisoles.
orative medal, with bust of Francis I. on obv., absolutely identical
with that of his former medals and coins, and on j^. the King, in
Roman dress, seated on curule chair, between Victory (or Bellona)
and Mars, a design copied from the I^. of Cristoforo Geremia's
medal ot Alfonso of Aragon.
Contemporaneous with this medal are an intaglio and the fine
large cameo with portrait of Francis I., reproduced by Babelon,
Histoire de la Gravure, etc., PI. X, 3. Both works are attributed
to Matteo by Chabouillet ; Babelon is less positive, although he
believes that the medal and the cameo are by the same hand ; but
De La Tour objects to the style of the cameo which he does not
consider in keeping with that of the medal.
Raspe, Tassie Gems, describes, as by Dal Nassaro, or in his style,
the following gems : —
Two men, one in the character of Venus, the other as Caesar,
and two ladies armed as Amazons, killing with their lances two
bulls attacked by a bear and a lion ; above, is seen a divinity with
a torch which Mariette supposed to be Saturn ; — A Bull fight ;
— 224 —
Amazon on horseback and two cavaliers, etc. (3 var.) ; — Herakles
carrying a stag on his shoulders in the presence of satyrs and fauns ;
— Herakles with his club and other heroes fighting with the
Amazons; — Battle ot Constantine, mentioned above; — Battle
of cavalry and infantry with Mars in the clouds ; — Battle of four
horsemen, two of whom are dismounted; — A skirmish of cavalry
and infantry; — Portrait of Francis I., in white agate. All these
gems are in the Paris Cabinet des Medailles, Bibliotheque Natio-
nale.
Babelon suggests the attribution to Matteo of a beautiful ewer in
rock crystal and mounted in silver-gilt, which is preserved in the
Louvre museum. It bears the arms of Bourbon, and may have been
executed for the Constable of Bourbon, who perished so miserably
in 1527.
Dal Nassaro's name occurs in various forms in the accounts :
DALNASSAR, DALNASSAY, DALNASSAC, NAZARE, MESSIRE MATTEE, CtC.
Vasari makes of Matteo a master of modern glyptics ; De La
Tour, while not denying his talent, does not think his influence
was very marked on the French coinage, and it Marc Bechot was
his pupil, he fortunately preserved his own personality. A clever
draughtsman, of rare technical abilities, he lacked in inspiration,
correction and force ; he was more of an imitator than an originator,
although some of his portraits in precious stones rank amongst the
finest of the Renaissance.
Babelon sums up his notice of the artist by the following com-
ment : *' Matteo dal Nassaro fut done I'artiste italien qui introduisit
en France les procedes de la Gravure sur pierres fines usitees en
Itahe. II se fit par la le chef de I'ecole francaise de la Renaissance.
Les eleves qu'il forma et qui travaillerent sous sa direction perpe-
tuerent apres lui son art et ses procedes dans notre pays et leurs
ouvrages anonymes attestent qu'ils surent s'elever a la hauteur de
leur maitre et de leurs emules d'au-dela des Alpes" (p. 134).
Bibliography. — H. de la Tour, Matteo dal Nassaro, 1893. — Vasari, Le Vite
de pit tori, scultori ed archittettori, ed. Milanesi, V, pp. 271, 375-379. — A. de
Montaiglon, Ga^^ette des Beaux Arts, 2^ serie, t. XIII, 556. — Marietta, Traite des
pierres gravies. — Armand, Les Medailleurs italiens des XV^ et XVI^ siecks, 1887.
— Babelon, Histoire de la Gravure sur Gemmes en France, 1902. — King, Antique
Gems, i860. — Bolzenthal, op. cit. — Chabouillet, Catalogue, p. 64. — Tre'sor de
numismatique et de glyptique. — J. J. Guiffrey, Ncuvelles Archives de VArt Jrancais,
Paris, 1879. — E. Muntz, Histoire de VArt pendant la Renaissance, II. — Rondot
& De La Tour, Les Medailleurs et les Graveurs de monnaies. — Mazerolle, Les
Medailleurs fraufais, 1902. — C. von Fabriczy, Italian Medals, 1904. — E. Plon,
Benvenuto Cellini, pp. S9, 150. — J. Arneth, Die cinque cento Canieen. — Babelon,
La Monnaie. — Van Mieris, Hist, der nederl. Vorsten, II, 198. — Hoffmann,
Monnaies royales de France. — Gnecchi, Le Monete di Milano, 1884, PI. xxi, i. —
Charton, Hist, de France, II, 36. — A. Barre, Graveurs generaux et particuliers des
monnaies de France, 1867. — Renton, IntagliO'engraving^, past atul present, London,
1891, — Raspe, TassieGems, 1791.
NASSAU or NASSOW, HERMAN VON {Dan.). Mint-master at
Copenhagen, appointed in 1495, and succeeded by Berndt Buske
in 1526.
NASSIVET, GILLES (French). Mint-engraver at La Rochelle, 1782.
His privy mark was a Tower before the date.
NAT, JEAN VAN DER (Belg.). Mint-master at Louvain, 1488-1489.
NATALIS, FLAMINIO (Belg.). Goldsmith, Seal-and Gem-engraver
of Liege, during the second half of the sixteenth century; he is said
to have engraved medals also. King mentions him as an admirable
Engraver of coats-of-arms, and states that he died at Rome in 1596,
at the age of 55. Nagler mentions that Flaminio Natalis was a
relative of Michel Natalis, whose father was Mint-engraver to the
Prince of Liege, Elector of Cologne.
Bibliography. — Nagler, op. cit. — Mariette, op. cit. — Pinchart, op. cit.
NATHAN, GEBRUDER (Germ.). A Hamburg firm of Jewish Die-
sinkers, who issued a Presentation medal by the Jews of Hamburg
to Sir Moses and Lady Montefiore on their return from Egypt and
the East in 1841. This medal is described and figured by O. C.
Gaedechen in Hamburgische Munxen und Meifl///^«, Hamburg, 1850,
I, 258.
NATHAN, CHARLES (French). Contemporary Sculptor, born at
Paris ; pupil of Mulotin de Menu. At the Salon of 1882 he exhibited
a Portrait-medallion of M"'^ Nathan.
NATHANIEL. Vide NATHANIEL MARCHANT. Gem-engraver, and
Engraver of H. M'sSeals, 1739-1816.
NATORP, GUSTAV (Germ.). Contemporary Sculptor, born at Ham-
burg ; pupil of Prot. A. Legros, and Rodin. He is the author of
various Portrait-medallions cast in bronze ; one of Robert Browning
was exhibited at the Royal Academy in 1888, and at one of the
Exhibitions of the London Society of Medallists, of which the artist
is a member.
NATTER, JOHANN LORENZ (Germ.). A renowned Gem-engraver,
Medallist, and Coin-engraver, born at Biberach, in Swabia (Wur-
temberg) in 1705, died at St. Petersburg, 27. December 1763. He
was first apprenticed to a goldsmith of his native town, with whom
he remained for six years; he then went to Switzerland, learned
die-sinking with the Seal-engraver, Bernard Ochs, at Berne, and work-
ed there for several years, making also a prolonged stay at Neuchatel,
\.. FokRER. — Biographical Notices of Medallists. — IV. ij
— 226 —
as a skilled workman in the employ of the jeweller and gem-
engraver, Hug, who had been previously Mint-engraver at Berne.
From there, he visited Italy, studied gem-engraving at Venice,
practised the art with success at Florence, 173 2- 1735, and first
obtained notoriety at Rome, by his portrait of Cardinal Albani.
In 1740 he came to England, and three years after he left for
Denmark, where he was much patronized by King Christian VI.,
for whom he not only engraved gems but also medals. From
Copenhagen he went to Sweden and St. Petersburg, in company
with the Nuremberg painter, Mark Tuscher. In 175 1, the artist had
again settled in London (Vine Street, Piccadilly) which is the
address he gives in the work he published in 1754, Traite dc la
viethode antique de graver en pierres fines, comparee avec la metlnde
inodernCy el expliquee en diverses planches. Three years later, Natter
was appointed Chief-engraver at the Mint of Utrecht, and worked
there for the Princess-Regent, widow of William IV. of Orange-
Nassau, and daughter of George II. of England. I possess a letter
of Natter, dated from Utrecht, 23"* July 1757, and addressed to a
minister at the Dutch court, in which he complains of his emolu-
ments being too small, and of having too little leisure to devote to
gem-engraving. " M. Allamand m'ecrivait que j'aurais 1000 fl. de
traitement (comme on I'appelle), ceque j'avais regarde comme une
espece de pension, suivant la coutume d'autres Cours. A Londres, a
Copenhague, a Stockholm, en France, etc., ily aordinairement trois
graveurs; le premier Medailleur a le titre de Esquire \ sa pension
monte jusqu'a 300 €. St., maison, charbon, chandeles, tout franc ;
chaque coin pour des medailles est paye a part. Le second Medail-
leur copie le Portrait pour la monoye; le troisieme graveur fait le
revers, etc. " He goes on to say that in six months he has already
spent 800 florins, and ofl^ers to leave his collection of gems to the
,Prince, providing he agrees to pay him a pension of three hundred
pounds sterling for life, in which aise he would also undertake to
look after the Prince's cabinet. "En cette facon, " says he, "je
pourrois vivre tranquillement a La Haye, graver a mon aise, et
dessiner peu a peu la collection enti^re. " Evidently, the artist's pro-
posal was not taken into consideration, as within three years of
that date, he was again in London, where in 1761, he received an
appointment of Assistant-engraver to the Royal Mint, but in the
following year he left again for Copenhagen, and thence went to
St. Petersburg, dying in that city in 1763.
Natter, as a Gem-engraver, surpassed most artists of his time,
and perhaps even his contemporary, Jacques Guay, for whose
talent he did not express great admiration. His medals are of fine
execution. The following are ot interest to English collectors :
Charles Sackville, Earl of Middlesex, afterwards Duke of Dorset,
— 22- —
1733 (engraved at Florence, and signed on obv. L NATTER. F. 1733,
and on ^L. L. NATTER. F. FLORENT.) ; — Sir Robert Walpole, 1741;
— Another, with inscription on edge : regit nv.mmis animos
I ET NVMMis REGiTVR IPSE; — Tribute to George II., 1741;
— Sir Robert Walpole, Earl of Orford, 1742 (^L. Britannia
trampling upon Envy) ; — Prince William and Princess Caroline of
Orange, 175 1 (signed on obv. LOR. NATTER F. 175 1, and on
^L. L. N.) ; — Anne, Princess of Orange, Regent of Holland, 175 1 ;
— Coronation of George III., 1761 ; — Coronation of George III.
and Queen Charlotte, 1761; — Coronation of Queen Charlotte,
1761, &c.
Among his other medallic productions are also : Portrait-
medal of Christian VI. of Denmark ( " ouvrage ou j'ai peu de
Sir Robert Walpole, by L. Natter.
pratique ", writes the artist); — William Charles Henry Friso,
Stadholder of Holland, 1747 (2 var.); — Conclusion of the Peace
of Aix-la-Chapelle, 1748 (signed : N. S. [Natter sciilpsit], and not
N. V. S. which is N. van Swinderen's signature. The work of the
medal is entirely in Natter's style of treatment) ; — Portrait-medal
of Prince William IV. of Orange, 1750; — Prince William (V) and
Princess Caroline, 1751 ; — Death of William IV., 175 1 ; —
Medal with bust of Prince William IV. and his consort; 1^. Portraits
of their two children (175 1); — Memorial Medal of William IV,
(175 1); — Princess Anne taking the oath as Regent, during the
minority of her son (175 1); — The Stolpian Legacy, instituted
by Jan Stolp of Leyden, 1753.
Natter's gems are very numerous; unfortunately many are unsigned,
others bear signatures of ancient engravers, so that it is most
— 228 —
difficult to establish even an approximate list of his works. His
earliest signature isL. N. in very minute characrers; as his reputation
increased he signed : NATTER. On some v^e find his name NATTEP
in Greek characters, or the inscription, YAPOY, which is the
translation into Greek of the German word, Natter, a snake. The
following are described by Raspe t Serapis Ammon with ram's horn
(signed : L. N.) ; — Copy of the gem by Aspasios, with helmeted
bust of Pallas Athene decorated with a sphinx, a winged griffin and
four horses (signed : NATT6P €nOI€l) ; — Two other varieties of
the same subject ; — Birth of Minerva from the brain of Jupiter
(unsigned, but a sulphur in the Stosch collection is marked on the
border Natter f., which proves this gem not to bean antique,, and.
Half-figure of Pallas
(after the gem by Valerio Belli).
remarks Raspe : '* If this piece does honour to the talent of Natter,
it at the same time makes us suspect that he not only attended to
the study and close imitation of tlie antique, but Hkewise employed
himself in the manufacture of antiques, for the too passionate
admirers, who buy them at enormous prices, and thereby encourage
the dishonest abuse of talent ") ; — Half-figure of Pallas, imitated
from a gem in the Florentine Cabinet (illustrated) ; — Bust of Ceres,
veiled (bearing a resemblance to Agrippina major, and what seems
accidental, to the Duchess of Gloucester, signed ACPIAGIOY, and
supposed to be by Natter); — Mercury standing; (signed : AiOZ
KOYPIAOT) ; an imitation of the gem by Dioscorides. Raspe
mentions : " Natter has copied it with such success that one might
— 229 —
even suspect it to be a work of his own " ; and to quote the artist's
own words : " I am not ashamed to own that I continue to make
copies (with Greek inscriptions and masters' names) at all times
when I receive orders : but I defy the whole world to prove that I have
ever sold one for antique ") ; — Mercury holding caduceus (signed :
NATTEP €n); — Head of the dog Syrius (a copy of the gem
signed : TAIOC €110161, which Raspe calls a work of Natter's); —
Head of youthful Hercules (copied from the Florentine gem, signed
ONHCAC); — Hercules strangling the lion (signed : L. N.) ; — The
Repose of Hercules; — Venus sitting upon a rock; Cupid flying
towards her; — Othryades killing himself (executed for the Prince
of Orange) ; — Meleager before a statue of Ceres ; the boar's head
upon a pillar ; — Perseus holding a shield decorated with the head of
Medusa (copied from the gem by Dioscorides) ; — Head of Medusa
(signed : n3'S3TTAN); — Bust of Paris, in Phrygian cap; —
Another, signed : YAPOY ; — Bust of Augustus, called Britaimicus
(signed : AN); — Head of Augustus (signed : YAPOY); — Head
of Julia, daughter of Titus (signed : NATTER. " Much praise", says
King, " is given to the artist's copy on a reduced scale of the Julia
Titi by Evodus"); — Roman head, bare (signed : YAPOY); —
Portrait-cameo of^ George I., of England; — George II. : — Queen
Caroline, consort of George II. (signed : L. NATTER F.) ; —
Frederick, Prince of Wales, son of George II. ; — Christian VI., of
Denmark; — Cardinal Alexander Albani (signed : NATT6P.
€nOI€l); — William Pulteney, Earl of Bath; — Lord Duncannon
(signed : NATTER F.) ; — Lady Duncannon ; — Bust of HoUis, the
famous English patriot (signed : L. N.) ; — D"" Mead (signed :
NATTER F.); — Earl of Stairs, who commanded under George 11.
at the battle of Dettingen (probably by Natter) ; — Baron Philipp
Stosch (signed : NATTHP. €n) ; — Sir Robert Walpole
(natter F.); — Heads, uncovered, in the Roman manner, of
Miltiades, &c., several varieties, signed : NATTHP. €nOI€l ; —
Head of Cicero( ?) ; — The Character of Zingara by the Chev.
Bernini (NATTER F.) ; — Marquis of Rockingham (L. NATTER; two
varieties); — Prince William IV. of Orange, intaglio in carnelian ;
— Youthful bust of Prince William V., carnelian intaglio; - —
Princess Caroline of Orange, intat'lio in chalcedonyx; — Princesses
Amelie and CaroUne, daughters of George II., white carnelian; —
Prince of Liechtenstein, oriental onyx ; — Duchess of Portland ; —
Earl Bentinck; — The two sons of Earl Bentinck, red carnelian ; —
Archduke Joseph of Austria, chalcedonyx ; — Marshal Bathiany,
chalcedonyx; — Queen Ulrica Eleonora of Sweden; — A vase,
engraved on a small diamond (in commission for Lord James
Cavendish); — Seal of Christian VI. of Denmark; — Elephant, in
oriental jasper; — Portrait of Princess Anne of Holland, consort of
— 230 —
William IV. of Orange ; — The Princess Regent of Holland, facing
bust, in white agate (" d'un si haut relief, que la tete a presque
toute sa juste proportion en bosse ronde"); — Danae (a copy of
the Vettori Venus, to which is added the signature : ATAOT) ; — ,
' r
X
(5 ^^ U
(^'ff-tu/ ^ f Jrr^tOtx^t^ T^/^/^^
Autograph note of L. Natter.
Harpocrates ; — Head of Medusa (copied from an antique gem
signed : CCa)COKA€). On the Strozzi Medusa, now in the British
Museum, which is antique. Natter or Costanzi added the inscription,
lOAONOC ; — Head of Marciana; — Cupid chained to a trophy
(signed : ATAOT ; an imitation from the antique); — Bacchante ;
— 231 —
— Portrait ot Frederick V., of Denmark; — Numerous Seals,
Armorial bearings, ike; — Lion, amethyst; — Faun, small
sard (signed : KOIMOT. Kohler, p. 182, n° 8) ; — Portrait of
John Gaston, Grand Duke of Tuscany ; — A series of Portraits ot
the Triumvirs, Roman Emperors, and Empresses, &c.
On the Medusa of Sosocles in the Hemsterhuys-Galitzin collection.
Natter added the letter N. The artist's works preserved at
St. Petersburg are described in Bernouilli, IV.
Natter's charge for engraving a portrait varied from ten to
twenty-fire guineas. I reproduce (p. 230) a fac-simile, a little reduced,
of an autograph note of the artist in my possession, dated, 6. July
175 1, and addressed to Earl Bentinck, in which he mentions several
gems engraved by him and their respective prices.
Godfrey Krafft was one of Natter's most successful pupils.
In Natter's book, Traite de la methode antique de graver en pierres
fines, we gather, says Babelon, many valuable hints on the senti-
ments which animated gem-engravers of the eighteenth century
towards the works of the Greek and Roman glyptists. Many of these
artists indulged in the deplorable pratice of inscribing famous
engravers' names on ancient gems, or on their own productions.
Natter, whom Mariette accused of this mischievous custom, excuses
himselt by saying that there is no blame attached to it as long as
the modern gems are not sold for antique. " Quand bien meme ",
observes Babelon, " on admettrait la sincerite et la bonne foi de
Natter et de tous les artistes, il n'en est pas moins vrai que les
gemmes fausses, — car nous ne pouvons les appeler autrement au
point de vue archeologique, — se sont repandues a profusion dans
le monde des amateurs et ont donne lieu, apres eux, a des duperies
sans fin. Les noms de Phrygillos, de Pergamos, d'Olympios,
d'Onatas, de Pyrgotele, d'Athenion, de Cronios, de Dioscoride, de
Solon, d'Aspasios, d'Agathopus, de Pamphile, d'Eutyches, d'Hyllus,
d'Aulus, d'Epitynchanus, d'Evodus, de Tryphon et de tous les
autres graveurs grecs et romains connus dans les trois derniers
si^cles, ont ainsi ^te profanes et prodigues sur des gemmes, les unes
antiques, les autres modernes, qui s'^talent aujourd'hui dans toutes
les collections publiques. II faut lire dans les ecrits des meilleurs
juges en cette matiere, tels que: Raoul Rochette, Panofka, Koehler,
H. Brunn, Chabouillet, King, Furtwangler, Murray et vingt autres
savants contemporains, les embarras et les hesitations qu'on eprouve
i se prononcer pour ou contre I'authenticite de la plupart des
signatures qu'on releve sur les pierres fines. Nous ne saurions
songer a entrer ici dans cet examen delicat, mais nous ne ferons
aucune difficulte d'avouer que I'habilete diabolique avec laquelle
ces oeuvres ou ces signatures sont gravees nous jette dans une
perplexite d'autant plus grande que les pierres gravees, a I'inverse
— 2^2 —
des monnaies ou des autres monuments, n'ont jamais de patine, et
qu'ainsi aucun caractere exterieur ne revele, le cas echeant, leur
modernite ; observez, d'autre part, que les sujets graves sont
souvent des copies d'oeuvres antiques, copies qui peuvent avoir ete
executees a n'importe quelle epoque. Pourtant, les caracteres
paleographiques de I'inscription trahissent parfois la main du
faussairc, comme sur la Meduse Strozzi, aujourd'hui au Musee
britannique; la gemme, trouv^e a Rome au commencement du
xviii* siecle, est antique ; mais Natter ou I'un de ses emules y a grav6
la signature ZOAONOC, dont la modernite est reveleepar la forme
donnee aux caracteres. Parfois, le procede du faussaire se trouve
demasque d'une maniere assez inattendue. C'est ainsi qu'il existeau
Musee britannique une cornaline representant un sphinx que son
style remarquable permei de classer au iv^ siecle avant notre ere;
mais, dans le champ, on a inscrit a I'epoque de la Renaissance, la
signature 0AMYPOT, dans le but d'attribuer I'oeuvre a un artiste
grec du nom de Thamyras. Un tel graveur n'a jamais existe. Le nom
a ete emprunte a une autre gemme antique qui se trouve aujourd'hui
egalement au Musee britannique, seulement ici, etant donnees la
grandeur et la grossierete des lettres, nous sommes visiblement en
presence du nom du possesseur de la gemme. C'est ce nom qui, pris
pour une signature d'artiste au xvi^ siecle, a ete reproduit sur une
autre gemme... Si Natter a pu ecrire que I'art de graver les pierres
fines est le plus penible de tons les arts, nous pouvons, a notre
tour, sans crainte d'etre contredit, aflRrmer que de toutes les branches
de I'archeologie, I'etude des pierres gravees est, pour I'authenticite
des monuments, la plus difficile et la plus delicate " (Babelon,
La Gravure en pierres fines , 1894, p. 293).
*' Although his works deceived so many of his contemporaries,
they will be found on examination to differ materially from the
antique, particularly in the treatment of the hair. Indeed he fell far
short of the success already attained by Sirletti in the revival of the
ancient style " (King, op. cit., 1872, p. 436).
Natter was well versed in history and mythology, but he prefer-
red to imitate the contemporar}' French painters rather than the
Ancients, says Nagler. Koehler thinks he might have become one of
the most celebrated artists of modern times, had he remained
longer in Italy. Few Gem-engravers have shown themselves so free
from what is usually termed mannerism, and he worked with a true
feeling of the exigencies of the glyptic art.
Baron Stosch, the famous collector, patronized Natter, who
executed intagli in imitation of the antique for him ; later, the
Duke of Devonshire and the Duke of Marlborough, Earl Bentinck,
Lord Cavendish, and others also liberally supported him.
Natter, says Marvin, was a Freemason ; he is said to have taken
— 233 —
the rite of Strict Observance at Stockholm and St. Petersburg, and
by some Zinnendorf is thought to have obtained some of his
teachings from Natter; but this is doubtful ".
Bibliography. — Natter, Traite de la methode antique de graver en pierres fines
comparee avec la methode moderne, London, 1751: Suppl. 1764. — Murray and
Smith, Catalogue of Engraved Gems in the British Museum, London, 1890. — •
Mariette, op. cit. — Brunn, op. cit. — King, op. cit. — Koehler, Abhandlung itber
die geschnittenen Sttine mit den Namm der Kfiustler, St. Petersburg, 185 1. — Raspe,
Tassie Gems, 1791. — Furtwangler, Studien iiher die Gemwen mit Kiinstlerin-
schrijten, Jahrbuch des kais. deutsch. archaeoL Instituts, 1888-1889. — Nagler,
Allgemeines Kiinstler-Lexikon. — Bolzenthal, op. cit. — Franl^s and Grueber,
op. cit. — Babelon, op. cit. — Ruding, op. cit. — Gray, op. cit. — Grueber, Guide
to English Medals, 1891. — Marvin, op. cit. — Ammon, op. cit. — De Historie-
penningen en Munten betrekking hebhende op Ixt Slanihuis van Oranje-Nassau,
S' Gravenhaag. — Van Loon, BescMjving van Nederlandsche Historie-Penningen,
Suppl. W-V, 1848.
NAUD£, HENRI (FrencJj). Contemporary Sculptor and Medallist,
born at Brenier-Cordon (Ain) ; pupil of Thomas, P. Dubois, and
Ponscarme. He has exhibited a number of Portrait-medallions, Pla-
quettes, and Medals, at the Paris Salons, from 1889 to 1893. ^ ^^^^
seen by him: Bellona; — Genius conquering Time; — Flora in
triumphal chariot of the Sun (of very pretty design), etc.
NAUDIN (French). Die-sinker of the middle years of the nineteenth
century, who resided at Paris, and engraved various medals,
amongst which I may mention : Republican Medal, struck in
commemoration of the 24''' February 1848 (2 var.); — Commem-
orative Medal of the Banquet de la Sarthe, 15. October 1848
(2 var.y, — General Cavaignac subduing the Insurrection, June
1848 (these medals were struck in lead from bullets seized on the
insurgents who were made prisoners) ; — Third centenary of the
Reformed Churches in France, 1856, etc.
Bibliography. — De Saulcy, Souvenirs numismatiques, &c.
NAUHEIM, JOHANN PETER (Germ.). Mint-engraver, and Medal-
list, at Schwerin, circ. I752--|- 1761. He worked for the Dukes
Christian Ludwig II., and Friedrich, of Mecklenburg- Schwerin.
Some of his productions are signed : I. P. N.
NAUMANN (Swiss). This signature occurs on a nineteenth cen-
tury medal, depicting on obv. the castle of Morat, while on the
^. is a standing figure of Adrian von Bubenberg.
NAUNDORFF, EGIDIUS (5tt'^^.). Field postmaster of Charles XII.,
and Designer of medals, engraved by G. V. Vestner and P. H.
Miiller of Nuremberg, on the King of Sweden's Camping at Bender
(inscribed on ^L. : INV: EG: NAUNDORFF MAG: POST: IN CAMPO:);
— 234 —
— Return to Sweden, by Stralsund, 17 15 ; — Attack on Norway,
1716, etc.
NAUNHEIM (Bt'lg.). According to Nagler, and Kamm, Leven en
fVerken, etc. this Medallist was living in Belgium, circ. 1755. The
same authorities state that he is the author of a Portrait-medal of
J. G. Carpzov, 1756.
NAUSIAS {Creole). Gem-engraver of Athens, a contemporary of
the orator Lysias.
NAVALON, S. (Mexic). Medallist of Mexico, and Designer of
medals, third quarter of the nineteenth century. By him are numer-
ous official medals of Maximilian, 1864-1867, which are variously
signed : S. N. G. ; — NAVALON G(rabador) ; — N. D. ; — NAVALON
Ti{elineator), etc. They consist of Medals for Civil Merit, Military
Merit, Scientific and Artistic Merit, etc.; — The Virgin ofGuada-
loupe (varieties with head of Maximilian, conjoined heads of Maxi-
milian and his consort Charlotte); — Medal with bust of the
Empress, and ^L. al merito civil (" probably intended for presen-
tation to the recipients of the Order of San Carlos which ^yas insti-
tuted by the Empress, to be bestowed upon ladies distinguished
for their charities and other estimable qualities") ; — Repulse ot
the French atPuebla, 5. May 1862, etc.
Navalon designed the coinage of Maximilian, which consisted of:
M. 20 Pesos, 1866;— iR. Peso, 1866-67; 50 Centavos, 1866;
10 Centavos, 1864-1866, 5 Centavos, 1864-1866; — JE. Centavo,
1864. The obverseof the 20 Peso piece bears the names ofitsdesigner
NAVALON and engravers, OCAMPO and SPIRITU.
During the short reign of Maximilian, Navalon appears to have
been Chief-Engraver at the Mexico Mint, and Ocampo and Spiritu,
his assistants.
Bibliography. — A. Rosa, Monetario Americatw, 1892. — Betts, Mexican
Imperial Coinage, 1899. — Rexnte numismatiqtie helge, 1886, p. 346.
NAVARRE, HENRI {French). Contemporary Sculptor, born at
Paris; pupil of Chaplain and Verlet. At the Salon of 1907 he exhib-
ited a Portrait-medal in bronze, and two Plaquettes.
NAVARRE, SIMON DE (French). Mint-master at Compiegne, 1590-
1596.
NAVARRETE {Span.). Sculptor and Medallist of Valencia (Spain),
circ. 1855. A medal of the Exhibition at Valencia, daiedMDCCCLV,
bears his signature, in conjunction with that of the designer,
Farinos.
- 235 —
NAZARO, ORAZIO (ItaL). Goldsmith of Cremona, who was resid-
ing at Rome towards the end of the sixteenth century. Milanesi
suggested him as the author of a Portrait-medal of the Genoese,
Benedetto LomelUni, 1569, signed BN ; obv. Bust to 1. J^. man-
SVETVDO. H.V Draped female figure trampling under foot a snake,
and holding a dove (size: 45 mill.).
Bibliography. — Blanchet, op. cit. — Armand, op. cit., I, 253; III, 121.
NAZAUAL or NAZAVAL (Chil). Sculptor and Medallist of San-
tiago de Chili, end of the eighteenth centur}-. A Proclamation
medal struck by that city in honour of the accession of Charles IV.
of Spain, 1789, is signed on truncation of king's bust: NAZAUAL F.
and in exergue of reverse : NAZAUAL INCIDIT.
NAZEM, M""^ CHRISTINE {French). Contemporary Sculptor, born
at Amiens; pupil of Giraud. At the Salon of 1890 there was
Medallion in bronze by her, representing the Mater Dolorosa.
N. B. Vide NICCOLO BONIS or DE BONIS. Medallist to the Popes
Sixtus V. and his successors until Clement MIL ; also Mint-
engraver at Rome, circ. 1 580- 1592.
N. B. F/Vy^ NICOLAS BRIOT. Medallist and Coin-engraver, 1580-
1646.
N. B. Vide NOAH BRETTSCHNEIDER.Mint-engraveratKoenigsberg-
in-Prussia, circ. 1 624-1 660.
N.B. Vide NEUMEISTER {Warden) and BISCHOF (Master) of the
Wurzburg Mint, 1754-61.
N. B. F. Vide NIKOLAUS BERNHARD FUCHS. Mint-master at Konigs-
berg, 1 729- 1 73 2.
N.C. Videmc^OLQ CONTARINI. Mint-master at Venice, 1658.
N. C. Vide NICOLAS CHEVALIER. MedaUist, born at Sedan, died at
Utrecht, 1720.
N.C. Vide NICOLO CERBARA. Gem-and Mint-engraver at Rome,
circ. 1829-1858.
N. D. VidemZOLkMS DITMAR. Mint-master at Fulda, circ. i'J2']-
1764.
N. D. VideH. DARGENT. Die-sinker at Brussels, circ. 1840- 1860.
N. D. Vide NAVALON DIREXIT. Mint-engraver at Mexico, 1864-
1867.
Bibliography. — Schlickeysen-Pallmann, op. cit.
- 236 -
NEALE, THOMAS (Brit.). Mint-master at the Royal Mint, London,
circ. 1 678-1 699, and succeeded in that office by Sir Isaac Newton.
He was called the Projector, and became famous for his system of
lotteries, which he founded in 1694, on the principle of those
existing at that time at Venice.
His signature, N. C. A. P. (Neale, Custos Artijex Primus) occurs on
medals by F. D. Winter, commemorating the Landing of William
of Orange at Torbay, 1688; — William's landing in Holland,
Portrait-medal of Thomas Neale.
1691; — His triumphal Entry into the Hague, 1691; — The
Duke of Zell, Knight of the Garter, 1691 ; — Capture of Athlone,
1691; — Battle of Aghrim, 1691 (2 var.); — Battle of La Hogue,
1692 (2 var.)', — William arrives in Holland, 1694, etc.
Neale bore a great resemblance in features to James IL
A patent was granted to him and others, under James IL, to
coin tin money at the rate of 20 d. from each pound of tin with
40 per cent, profit to the King.
Bibliography. — Franks-Grueber, Medallic Illustrations, &c. — Montagu,
Copper Coins oj England, 1893.
NEAVE, W. A. (Brit.). Mint-master at Madras, from October to
November 1832.
NEBELTHAU, JACOB (Germ.). Ducal Saxon Mint-master and Admin-
istrator of the Saalfeld Mint, [588.
NECOCHEA, MARIANO (Peruv.). Mint-master at Lima (Peru),
1837. His signature occurs on a Pattern 8 Reales of that date,
described in Fonrobert's Catalogue, n° 9055. On the coin he
is styled as EL GRAN MARISCAl'dn MARIANO NECOCHEA DIRECTOR
DE LA CASA DE MONEDA LIMA.
NEFF, MARTIN (Germ.). Mint-master in the service ot the Prince-
Abbot of Kempten at Obergiinzburg, 1621-1622.
— ^37 —
NEGELEIN (Germ.). Goldsmith and Modeller of Ratisbon, circ.
1520. He engraved Seals, Armorial bearings, and modelled Por-
trait-medallions.
NEGELEIN, JOACHIM (Germ.). Pastor and Professor at Nuremberg,
died in 1749. He designed numerous medals engraved by Vestner.
NfiGRE, HENRI (French). Contemporar}' Sculptor, born at Paris ;
pupil of Baudoin, and A. Trupheme. He has modelled numerous
Portrait-medallions and some Medals. At the Salon of 1893
there was a Portrait-medallion of Pastor Collas by him, and in 1897
three medals in boxwood, etc.
Bibliography. — Catalogues du Salon, 1891-1897.
NEGRISOLI, GULIELMO (ItaL). Sculptor of the early part of the
nineteenth centur\', by whom are Portrait-medallions of Napoleon I.
NEIDHARDT, GEORG (Germ.). Counter Manufacturer at Munich,
circ. 1580.
NEIDHART, JOHANN (Germ.). Medallist and Coin-engraver, born
at Nuremberg, and in the service of the Dukes of Wurtemberg at
the Mint of Oels, from 1672 to 1707. He also worked for the
Imperial Mint of Brieg, and tor the Episcopal Mint of Neisse. By
him are various medals, amongst others a Scho I Prize Medal of
the city of Breslau, 1703, and commemorative medals of the Siege
^\
*^Sl
W.^k
Christian I. and Christiana of Saxe-Merseburg.
of Belgrade, 1688, signed I. N., and Peace of Passarowitz, 1718
(executed in conjunction with Martin Brunner).
Ammon calls his work poor, but a Portrait-medal of Christian I.
and Christiana ot Saxe-Merseburg (illustrated) exhibits undoubted
skill.
Bibliography. — Friedensburg, Neuere Mim^eschichte Schlesims. — Mitthet-
Ittngen des Kltibs der Mun--iiud Medaillenjreunde in IVign, 1890-1895. — Ammon,
op. cit. — Domanig, Die Deutsclte Medaille, 1907.
— 238 —
NEIDHARDT, WOLFGANG (Germ.). Artistic Founder and Modeller
ot Augsburg, circ. 1620.
NEIDINGER, JOSEPH (or JOHANN) FRANZ (Germ.). Medallist of the
second half of the seventeenth century, who resided at Venice, and cut
aseriesof medals with portraits of various members oftheBarbarigo
family, etc. I have seen his signature on the two following medals :
Franz Anton Berka, count Howora, baron von Dubba and Lippa,
16^5-1706 (signed: 10. FRANC. NEIDINGER.); — Francisco Morosini,
doge ot Venice, 1688-1694 (signed : NEIDINGER); — D"^ J. C. Fetz,
of Feldkirchen, &c.
Little is known of the artistic career of this Engraver, whose
work is not of great merit.
Bibliography. — Bolzenthal, op. cit. — D« Merzbacher, Kunst-Medaillen-
Catalog.
NEIFAHRER . Vide NEUFARER infra.
NEISOS. Fictitious signature on an ancient gem : standing figure
of Alexander, beardless, holding fulmen and aegis, large oriental
sard, in St. Petersburg Museum (nCICOT)- Stephani decides uncon-
ditionally in favour of the inscription, which he says is of the same
date as the intaglio, but this is not the opinion of other experts, most
ot whom pronounce the signature as modern (xvi. Cent.); —
— 239 —
Cock in a car drawn by two rats, legend broken off N€|.--, black
jasper, in Baron Roger's collection, &c.
Bibliography. — King, op. cit. — Babelon, op. cit. — S. Reinach, op. cit. —
Furtwaiigler, op. cit.
NELL, HANS {Genu.). Line-engraver_, and Medallist of the second
quarter of the sixteenth century, at Augsburg, mentioned by
Bolzenthal, after Stetten, as the author of a Portrait-medallion of
Charles V., circ. 1540. Stetten has omitted to describe this medal,
and it is therefore impossible to recognize it among the great num-
ber dedicated to the fame of this monarch.
Bibliography. — Bolzenthal, op. cit. — Stetten, Kunst-, Gewerb- tind Haitd-
werks-Geschichte der Reichstadt Augsburg, 1779. — Nagler, o/». cit.
NELLI, HENRI (Fretich). Contemporary Sculptor and Medallist,
born at Tarbes (Hautes-Pyrenees); pupil of Dantan aine. By him
are Portrait-medallions.
NEMECEK, A. {Hung.). Contemporary Medallist of Budapest. His
signature occurs on the ^L. of a Portrait-medal of D' Theodor
Billroth, 1894.
NEPOS. Fictitious signature (N€nCOC) which occurs on a sard of
the Schellersheim collection, representing a youth playing the lyre.
Bibliography. — King, op. cit.
NERESHEIMER, J.B. and NIGGL (GtT/;/.). Die-sinkers and Manu-
facturers of artistic buttons, etc. at Munich, nineteenth century.
NERI, PAOLO (IfaL). Sculptor, and Gem-engraver, born at Rome
in 181 3. Besides many works of sculpture. Portrait-medallions in
rerra-cotta, Cvc, he has executed Portrait-cameos and other Gems.
NERI DE' RAZANTI, PIETRO DI (Ital.). Gem-engraver at Florence,
arc. 1477.
Bibliography. — E. Babelon, La Gravure en pierres fines, Paris, 1894. —
E. Muntz, Histoire de FArt pendant la Renaissance, I, pp. 241 and 258. — Id., Les
Arts a hi Cour des Fapes, I, 6 ; II, 1 1 3.
NESH, H. (Austr.). Contemporary Sculptor of Lemberg, whose
name occurs in conjunction with that of GYP. CHODEBSKT on a
Prize Medal of the Lemberg National Exhibition, 1894.
NESTI, VITTORIO (Ital.). Sculptor, and Medallist at Florence,
during the second quarter of the nineteenth century. He has exe-
cuted Portrait-medals, mostly bearing inscriptions on the reverses.
His best known medallic productions are: Antonio AUegri, 1825 ;
— Bernardo Luino ; — Ferdinand, Count of Bubna-Lititz,
Commander-general of Lombardy (on his death, 1825); — Diodara
— 240 —
Saluzzo, poetess, 1842 ; — Juditha Pasta ; — Gioacchino Rossini ;
— Maria Felicita Malibran, 1834 ; — Antonietta de Montenegro,
1844; — Gaudenzio Ferrari ; — Raphael; — Enrico Mylius, 1854;
— Carlo Parea; — Bonaventura Cavalerius ; — Subscribers to the
Italian Iconography, 1843 ; — Giuseppe Parini, 1825; — D' Gio-
vanni Rasori^ of Milan, 1837; — Giovanni Antonio de Kramer,
Milan, &c.
Nagler states that Nesti was Mint-engraver at Florence, from
about 1825, but I have been unable to verify that statement. His
signature on medals occurs in various forms: VITTORIO NESTI; -
VITT. NESTI; — V. NESTI; — NESTI; — NESTI F. ; — V. N. etc.
Bibliography. — Bolzenthal, op. cit. — Joseph u. Fellner, Miinien von Frank-
furt a. M., 1896. — Krohn, Tbomsen Bronce Medailler. — Nagler, op. cit. —
Mitth. des Kluhs &c., 1901-1902.
NESTOR. Probably a fictitious signature, which occurs on a gem,
in chrysolite, with bust of Cupid, at The Hague Museum (NE2T)-
Bibliography. — King, op. cit. — Brunn, op. cit.
NETHE, CONRAD JOSEPH (Germ.). Die-sinker of Konigsberg,
who in 1776 competed for the post of Engraver-general of the
coins of the Netherlands at Brussels, in succession to James
Roettiers. He was unsuccessful, T. V. van Berckel having been
appointed.
Bibliography. — A. Pinchart, Hisloire de la gravure des ntedailks en Belgiqiu,
i«70.
NETZER, HEINRICH (G^rw.). Sculptor and Medallist, born in 1865
at Isny in Wurtemberg; a pupil of the Academy of Munich. His
Marriage-medal ot Prince Rupprecht of Bavaria, 1900, is reproduced
in Die Moderne Medaille, 1900, p. 69, and presents on obv. a
figure of Hymen, accompanied by the legend : YMENAI02- It is ot
powerful design and originality.
This artist's works of sculpture are better known, as the Triton
in the Herzog Wilhelmsstrasse at Munich, the colossal group of
Prometheus in the new University building at Wiirzburg, the
Orpheus Fountain at New- York, etc.
NEU, LUDWIG (Germ.). Medallist in Saxony, circ. 1550.
NEUANTOS (Greek). Coin-engraver at the Mint of Cydonia in
Crete, circ. 350-308 B.C. The inscription NEYANTOZ EPOEI
which occurs on a Tetradrachm of Cydonia is known since the
eighteenth centur\% and was published for the first time by the
Jesuit father, Froehlich, of Vienna. There can be no doubt as to
the signification of this signature which is followed by the word
ErOEI.
— 241 —
JB^. Didrachm. Obv. Female head to r., wearing necklace and
earring with four pendants; the hair is gathered up and rolled
around the head, and adorned with vine-leaves and grapes ; behind
the head, the inscription in minute characters : NEYANTOl |
EnOEl : border of dots.
^L. KYAHN. Male figure (Kydon), nude, standing to 1., bending
his bow : border of dots.
British Museum Collection. — Paris Medal Cabinet. —
Dumersan, Description du Cabinet Allier, p. 55. — Friedlan-
der, Arch. Zeitiing, 1847, p. 117; PI. viii, n° 3. — Von
Sallet, Kiinstlerinschriften, ike, p. 31. — Burlington Fine
Arts Club Exhibition Catalogue, 1904; PI. cm, 206. —
Numismatic Chronicle, 1894, P- 9j "° 9i PI- Ij 8. —
Svoronos, Numismatique de la Crete, p. 100, n° 3. — Macdon-
ald, Hunter Catalogue, PI. xli, 7.
The British Museum possesses a Didrachm of Cydonia, reproduced
in Brit. Mus. Cat., Crete, PI. vii, n° i, and presenting on the
obv. the same characteristics of style, which must in all probability
have been engraved by the same artist. Instead of the signature,
there is behind the head a monogram, in which some have endeav-
oured to read an Engraver's signature. Mr. Warwick Wroth, in
his admirable introduction to the Catalogue of Cretan Coins, gives
the following objections against this suggestion : i . The head is
of identical style with that of the signed coin; 2. Cretan engravers
never signed in monogram, but always in full, as far as evidence
allows us to judge ; 3. The- monogram can be better explained by a
magistrate's name than by an artist's signature.
Bibliography. — W. Wroth, Cretan Coins, Num. Chron., 1884, pp. 1-58. —
Id., Introduction to the Brit. Mus. Cat. of Cretan Coins, &c. — Dr B. V. Head,
Historia Numorum, pp. 385, 391. — G. Macdonald, Catalogue oj tlx Greek Coins
in the Hunterian Collection, II, 178. — Photiades Pacha Sale Catalogue, lot 1245. —
Nagler, op. cit.
NEUBAUER, ERNST GEORG (Germ.). Mint-master at Berlin, 1725-
1749; probably, as Amnion states, a son of Johann Georg Neu-
bauer. His signature EGN occurs on the following coins : Frederick
L. FoRREK. — Biographical Notices of Medallists. — IV. 1 6
— 242 —
William I. AT. Double Ducats, 1732-1733; Ducats, 1725, 1726,
1728-1740; Half Ducats, 1726; Wilhelms d'or, 1737-1740; Halt
Wilheltns d'or, 1738-1740; — J9^. Thalers, 1727. — Frederick II.
A/". Friedrichs d'or, 1741-1743, 1746; Double Ducats, 1749;
Double Ducats, 1741-1749; — JB^. Thalers, 1741 ; Gulden, 1741 ;
Half Gulden, 1741;}^, Thalers, 1740-1746.
D*" Menadier describes a gold Ducat of Frederick William I.,
1740, bearing the letters EGN, and a Portrait-medal, by P. P. Werner,
on the Great Parade, 1733, with N on ^L. Nagler describes Neu-
bauer also as a Medallist.
Bibliography. — Ammon, op. cit. — Menadier, Schaumun\eii des Hatises
Hoheniollern. — Von Schrotter, Das Preussische Muniwesen, 1903-4.
NEUBAUER, JOHANN GEORG (Germ.). Mint-master at Berlin,
1718-f 1725. He had previously been Mint-warden at Minden,
1685, Stargard, 1689, and Magdeburg, 1693. His issues are
usually signed : IGN, as the following : Frederick William I. N.
Double Ducats, 1724; Ducats, 1719-1725; — JB^. Thalers, 1718-
1719; Double Thalers, 1719; Gulden, 1719-1724; Half-Gulden,
1719-1723.
He was the fiither of the famous theologian, D. Ernst Friedrich
Neubauer, and perhaps also of Ernst Georg N., who succeeded him
as Mint-master at Berlin.
Bolzenthal states that J. G. Neubauer executed a Portrait-medal
in honour of the theologian, Joachim Lange, withl^. Female figure
seated with a lamp and scales.
Bibliography. — Ammon, op. cit. — Bolzenthal, op. cit. — Von Schrotter,
op. cit.
NEUBAUER, JOHANN (Justr.). Contemporary Medallist, residing
at Vienna. His signature occurs on a commemorative medal of the
Inauguration of the Gundulic Monument at Ragusa, 1893.
NEUBERGER, ANNA FELICITAS (Germ.). Modeller in wax, at
Augsburg, 1680; daughter of Daniel Neuberger. By her are numer-
ous Portrait-medallions. This artist was also a clever Painter.
NEUBERGER, DANIEL (Germ.). Modeller in wax, born at Augsburg,
circ. 1600; died at Vienna in 1660. He modelled all kinds of
historical and mythological subjects, battle-scenes. Portrait-medal-
lions, &c. (Battles of Alexander the Great, Portrait of Ferdinand III.).
Some of the specimens of wax modelling at Hertford House are
probably by him.
NEUBERGER, FERDINAND (Germ.). Modeller in wax, Augsburg,
circ. 1630.
— 243 —
NEUBERGER, EAJiS (Genu.). Mint-master at Amberg, 1621, and
Erlangen, 1622.
NEUBERGER, RUDOLF (Atistr.). Contemporary Medallist, and
Mint-engraver at Vienna, born in that city, 12. February i86r. He
is a pupil of Professors Stephan Schwartz, Trautzl, and A. Scharff.
In May 1883 he entered the Vienna Mint as an apprentice, and
continued his studies at the Art School of the Austrian Museum ;
four years later, he became Assistant-engraver; in 1893, K. K.
Mint-engraver {Miinigraveur) ; in 1901, K. K. Engraver and
Medallist to the Mint, and in 1905 Chief-engraver.
Besides engraving dies for the Austrian coinage, Neuberger has
devoted his leisure time in the service of art. He has executed a
Portrait-plaquette of Emperor Francis Joseph I.
number of Prize Medals for Exhibitions, Societies, &c., and in 1898,
he showed to the " Kliib der Miinz- und Medaillenfreunde " ot
Vienna a fine series of Counters with charming representations of
animals.
It is only within the last eight years that the artist has begun
modelling Portraits, in which he worked under the direction of the
great master, A. Scharff. Among his reproductions are : Portrait-
plaquette of H.I. M. Francis Joseph I. (illustrated); — Portrait-
plaquette of Empress Elizabeth (illustrated); — Portrait-plaquette
of Carl Pickel; — D"" Joseph Pommer, composer; — Wilhelm
Zierer, banker; — H.R.H. Prince Nitika of Montenegro; —
— 244 '—
Professor Kohl; — Prof. D' J. Pommer; — Bergrat Kronfuss
Wostry;— Ludwig Anzengruber; I^. The German Volkstheater at
Vienna (reproduced in Moderne Medaille, p. 21) ; — Reopening of the
Mining Works at Kuttenberg, 1888; — Medal on the 25*'' Anni-
versary of the Vienna " Landstrasser " Choral Society, 1891 ; —
Portrait-medal of Field Marshal Count Radetzky, 1892; — Choral
Festival at Krems, 1892 (3 var.); — Silver Wedding of King and
Queen Carol I.of Roumania, 1894; — Jubilee Medal of the Emperor
Francis Joseph I., 1898 (two varieties, with View of Schonbrunn
Portrait-plaquette of the Empress Elizabeth.
Palace, and Karls Bridge and the Hradschin at Prague); — Another,
with youthful and older portraits of the Emperor face to face ; —
Another, for suspension; ^L. viribus unitis, 1848- 1898; — Fifth
Federal Rifle Meeting at Vienna, 1898; — Erection of the Kaiser
Franz Josef Monument at Schwechat, 1898 (sev. var.); —
20''' Anniversary' of the Schwechat Fire Brigade (^. by A. Miiller);
— Portrait-plaquette of A. ScharfF, 1903 (after the bust, modelled
from life by the artist in 1902); — Medal of the Numismatic
Society of Vienna (reproduced in " Blatter fiir Miinzfreunde ",
1893, PI. 97); — The Karls Church at Vienna; — Jeton on the
Artist's Wedding, 1894; — N. 10 Kronen piece of 1892 ; —
— 245 —
Nickel 20 Heller piece, 1892 (I^. only): — 10 Heller piece, 1892
(both sides) ; — M. 2 Heller piece, 1882 (both sides) ; — 10"' Anni-
versary of the Foundation of Feldmarshal Graf Radetzky von
Radetz Veterans' Society, 1887; — Prof. D"" Josef Pommer, 1901;
— ^L. of Medal on the 25*'' Anniversary of the Technical Society
of Lemberg, 1902 ; — Memorial Medal of Anton .ScharfF, y 6 July
1903; — Portrait-pLiquette of D"" Karl Lueger, burgomaster of
Vienna, 1905 {reproduced in Mitth. der Oester. Gesellsch. fiir Miinz-
und Medaillenkunde, Janner 1906); — A Portrait-medalet, of the
same ; — Hofrath Pfliigl von Leiden ; — Large Portrait-plaquette
of the late Empress Elizabeth of Austria, 1907, commemorating
the Completion of the Kaiserin Elizabeth Monument (for this medal
the artist was awarded by His Majesty the gold Cross of Merit
with crown).
Thanks to his strenuous efforts and perseverance, Rudolf Neu-
berge'r now stands in the front rank of Austrian medallists. His
portraits display sentiment and power, and an uncommon keenness
of artistic perception.
Bibliography. — Injonna Hon privately obtained — Die Moderne Medaille, 1900.
— Mittheiliingen dcs Klubs der Mhni- and Medaillen/reutide in JVien, 1890-1905.
NEUDECK, ANDREAS (Austr.). Contemporary Sculptor, Medallist,
and Mint-engraver at Vienna. He was born on 18. October 1849,
and entered the Mint as Assistant-engraver, circ. 1870. On F.
Gaul's death in 1874, he was promoted to the rank of Engraver,
and in 1903 he became Director of the Engraving Department at
the Mint, which office he still holds.
Neudeck is a clever Die-sinker, and for many years worked under
the great Master A. Scharff, for whom he cut many reverses
of medals, being especially successful in decorative work and the
carrying out of minute details.
Amongst this artist's best known medallic productions are :
Fourth Austrian Federal Rifle Meeting at Briinn, 1892; — Visits
of the " Kliib der Miinz-und Medaillenfreunde " of Vienna to the
St. Florian Institute, May 1894, ^'""1 Klosterneuburg, 1896 (in
conjunction with F.X. Pawlik) ; — Double Gulden of 1873, struck
as a Prize for the Vienna Rifle Meeting of that year (engraved in
conjunction with F. Gaul, and Friedrich Leisek) ; — Prize Medal
of the Horticultural Society of Krakau ; — Mining Double Gulden
of Kuttenberg, 1887 (obv. by Friedr. Leisek); — ^. of AT. 20
Kronenpiece of 1892 (obv. by A. Scharff); — ^L. of One Krone,
1892 (obv. by Schartf) ; — Nickel 20 Heller piece, 1892 (obv.
only); — JE. One Heller, 1892 (both sides); — Prize Medal for
successful pupils ot the Theresianum at Vienna, 1883 ; — Prize
Medal for Pupils of the Oriental Academy of Vienna, 1884; —
Prize Medal for the International " Concurrenzdorren " of Vienna,
— 246 —
1 888 ; — Visit of the Emperor to the Mint, 1899 (in conjunction
with A. ScharfF); — Prize Medal for Pupils of the Consular Acad-
emy at Vienna, 1899 ; — Jubilee of the Lower- Austrian Choral
Society, 1885 ; — Medals of the Vienna Touring Club, 1888 ; —
Medal of the Moravian Agricultural Society, 1895 ; — Paul Cons-
tantin Fiala von Feigelsfeld, j 1685, Memorial Medal, 1898; —
Horticultural Show at Prague, 1898; — Marriage Medal of Alfonso
Count Paar with Eleonora, Princess Windischgraetz, 1901 ; —
Birth of Maria Alexandra, Princess of Baden, 1902 ; — Prize Medal
of the I. Corinthian Ornithological Society, 1896 ; — Ticket of
the Berndorf Metallwaaren fabrik, 1897 ; — Inauguration by Francis
Joseph I. of the Institution built (1886) on the site of the Ring-
theater, which was burnt down, 8. December 1881 ; — Centenary
of the Accession of Leopold the Saint, 1896 (in conjunction with
F. X. Pawlik) ; — Second Centenary of the Preservation from
plague of the Vienna Mint officials, 1879; — Commemorative
Jeton of the Marriage of H. I. H. Archduchess EUzabeth with
Prince Otto zu Windischgraetz, 1902; — Mining Medal of Littai,
1886 ; — 5 Kronenpiece, 1900 (designed by A. Scharff); — The
German Theater at Prague ; — Hans Makart, 1884 ; — Frankfort-
on-M. cathedral (I^), 1886; — Antwerp cathedral; — Arkadenhot
at the Vienna Town House; — Russian Church at Vienna; —
Count Enzenberg, 1900 ; — Finance Minister Bohm-Bawerk, 1905 ;
— Technological Museum, 1905 ; — Plaquettes, Castles Bachofen
and Echt, &c.
At the Frankfort-on-M. 1900 Exhibition of Modern Medals, this
artist's work was represented by fifteen medals.
Bibliography. — Mittheilungen des Klubs der Muni- und Medaillenfreunde in
fVien, 1890-1905.
NEUDORF, S. M. (Germ.). Mint-warden and Engraver at Olden-
burg, 1761-1765; then in the service of Simon Augustus, Count
and Lord of Lippe, for whom he engraved a Conventions-
thaler, 1767, struck to commemorate his 41" birthday. The
artist's initials :S. M. N. occur on the truncation of the Prince's bust.
Bibliography. — Schlickeysen-Pallmann, op.cil. — Ad. Hess Nachf. , i?wMwa«n
Sale Catalogue, 1892. — C. T. Jorgensen, Beskrivelse over Danske Monter 1448-
1888, Copenhagen, 1888.
NEUDORFER, HANS (Germ.). A Nuremberg patrician and famous
mathematician, born 1497, "I" 1563. He designed various medals for
contemporaneous Nuremberg Medallists, in particular for Valentin
Maler, who modelled his Portrait-medallion.
NEUDLINGER. Vide JOSEPH FRANZ NEIDINGER supra. German
Medallist, who resided at Venice, during the second half of the
seventeenth century, and engraved a series of Portrait-medals of the
— 247 —
Barbarigo family, and other patricians. Ammon calls him Neudlin-
ger in error.
NEUFARER, also NEIFAHRER, LUDWIG (Aiistr.). Medallist, and
Coin-engraver of the first half of the sixteenth centur}\ The date
and locahty of his birth are not known, but he died at Prague in
the spring of 1563.
From the place of origin of his earliest works, we may surmise
that he was a native of Tyrol or Lower Austria. In 1541-42, he is
mentioned as Court Goldsmith to Ferdinand I. of Germany, Hun-
gary, etc., and Mint-medallist and Engraver at Joachimsthal. Later
(1550) he w\is Mint-warden at Prague, until about 1546. On 13.
August 1547 he was appointed Mint-warden at Vienna, and on
I. May 1557, Mint-master at Prague. After August 1560, being
unable to attend to his duties on account of ill-health, a substitute
Heinrich Treusch von Butler.
was procured in the person of Hans Harder, who ultimately suc-
ceeded him, 18. May 1562, when Neufahrer was pensioned off. At
Prague, the medallist Michael Hohenauer acted as Mint-warden
and Engraver under him, which accounts for various productions
on which we find the signatures of both artists. On one of his
pension receipts, Neufahrer styles himself ehemaliger Hojgoldschnied
und Quardein in Wien und dann ^u Prag Milnxmaister. He died in
April or May 1563, presumably at an advanced age.
The following medals bear Neufarer's signature, which occurs in
various forms : LvDNEIFA ; — LN : F ; — L. N ; — L. NF; — LV- NE. ;
— LVD. NEV ; — LVD. NEVF. FEC ; — LVDWIG NEIFARRER ; — rf ; —
a rosette on coins, etc. : Hieronymus Apfelbeck, 1532, 32 mill. ;
— Peter Hoffmandl, 1535 ; — Leonhard II Colonna, baron von
Vels, privy councillor to King Ferdinand L, burggraf of Tyrol,
-248-
and fieldmarshal, 1536 (Bergman, PL xiv, 65); — Wolfgang von
Roggendorf (1536) (Berg., PI. xiii, 64); — Arnold von Bruck
(Berg., PL vii, 30); — Sebastian Kunz von Senftenau of Innsbruck,
1536 (Bohm. Privm., PL xxvi, 220) ; — Leonhard, baron von
Vels, 1536; 39 mill. ; — Christoph, baron von Madruzzo, cardinal
bishop of Trento, 1540 (Berg., PL 11, 6); — Conrad von Bem-
melberg ("derkleine Hess"), general, 1540; — Heinrich Treusch
von Butler (" der lange Hess "), 1 5 40 (illustrated) ; — Prince Elector
Johann Friedrich, 1542; — Johann Freiherr von Wolkenstein,
1541; — Leonhard IL Colonna, 1543 ; —Johann Hartting, 1542-
1543, 36mill.; — Christoph von Madruzzo, 1548 (Berg., PL 11, 7).
All these medals bear the monogram ff . ; — Charles V., on the
double Betrothal of PhiUp IL with Princess Mary of Portugal, and
of his sister Joan with Prince John of Portugal; this medal is
signed : LVD. NEVFA. (or NEIFA-) F- on ohv. and LV. NE on ^. ;
Portrait-medal ot Charles V., by Ludwig Neufarer.
— John George of Saxony; ^. Prophet Elias (signed : LVD "NEV °
FE °); — Hieronymus Schlick (Bohm. Privm., PL li, 431); — John
Frederick of Saxony, 1542; — Stephan Schlick (^. by Michael
Hohenauer; Bohm. Privm. PL XLix, 413); — Chairedin Barbarossa
(two varieties of Portrait-medals, signed: LVD. NEV. F.,and'L. N. F.);
— John Huss, the reformer (several varieties, one of which repre-
sents on obv. a scene out of SoJoma, and is signed : L. N. F. ; the
I^. by Hohenauer represents Huss at the stake; — Religious
medals, depicting: Story of Samson; — Prophet Jona; 1^. Christ's
Resurrection (1557; signed : LVNA); — Abraham offering Isaac ;
^L. Christ on the cross, etc. ; — Historical medals : Story of Cur-
tius ; — Croesus and Solon, etc. ; — Allegorical medals : One,
dated 1541; another, of 1533 has on obv. heinte-}-an-|-^^R~I~
MVRGEN-f-AN-f-DIR-j- ' I'5 '33 Youth tO I. ; I^. ES* IST" DI AXSCHOK"
DEM ■ BAVM • AX • DP w v * MAT ' 3 . Male figure leaning against a tree
(signed : LVD. NEVF. FEC), etc. ; — King Ferdinand I. and consort
— 249 —
Anna; ^. Eagle, 1536 (Domanig suggests Neufarer as" the author
of this medal); — Portrait-medaUion ot Ferdinand I.; ^. plain;
signed : ^F (Dom., n° 74); — Medal of Francis I. or Louis XII.
of France ; ^L. Salamander (signed : L. N.) probably a copy of The-
venot's medal of Francis I. of same type, 1533 (illustrated); —
Giambattista Pisani ; I^. Milo of Croton (signed : L : N. F.) ; — Medal
IraiiCis 1., King of France.
of Barbarossa, a famous corsair, -J- 1546; signed : ^E (a specimen
in Mr. Max Rosenheim's collection) ; — Georg and Magdalena
Gienger, undated ; 3 6 mill . ; — Nikolaus Schindel, 1 544 ; 3 3 mill., &c.
Of striking analogy of treatment and work with Neufarer's
medal of Sebastian Kurcz von Senftenau is a Portrait-medal of
Lienhart Main, 1555 (illustrated) which has been ascribed to the
Medallist who signs : M. S
D"" Domanig mentions a medal of Bartholomaeus Schenleb, abl
Gottweig, 1533, which is in the art of Neufahrer, althou
of
unsigned.
bbot
h
Lienhart Main, 1555.
— 250 —
Prof. D"^ B. Pick, in his Catalogue of German medals exhibited
at the Kunstgewerbe-Ausstellung, Dresden, 1906, describes tv*'o
medals by Ludwig Neifahrer : Karl V., 1542 {M ) and John Fred-
erick, Prince-Elector of Saxony (1542?; lead. Gotha). Also the
following, signed |^, on which he expresses doubts as to the correct
attribution to Neifahrer ; Christoph von Madrutsch, bishop of
Trent, 1540 (iR.)j — Wilhelm Prandt zu Prandthaussen, 1536
(iR. gilt) ; — Frederick, Duke of Saxony, son of George the
bearded, 1539 (iR. uniface).
The coins engraved or issued by Neufarer bear his privy mark, a
rosette.
Erbstein has suggested that the artist may have worked for
Valentin Maler, of Nuremberg, some of which medals bear the
monogram ^f on the portrait sides.
Bibliography. — E. Fiala, Ludwig Neufarer, Num. Zeits. 1890. — Erman,
Deutsche Medailleure, 1884. — Schlickeysen-Pallmann, op. cit., p. 327. — Ham-
burger, Raritdten-Cabiiiet, IV. — Domanig, op. cit. — E. Fiala, Bescljreibung, etc.
— R. Weil, Die Medaille auf Johannes Huss, Zeits. fur Num., 1886, p. 225. —
Ammon, op. cit. — C. Oesterreicher, Regesten aus J. NewaWs Publicationen iiber
osterreicfnsche Mdn^rdgungen, 1890. — J. und A. Erbstein, Nachricbten tiler den
Goldsclimied, Medailleur und Mun:(ineister Ludwig Neufarer , etc., Blatter fiir Miinz-
treunde, 1886. — Mittheilungen des Klubs, etc., 1900, 97. — D^ Merzbacher,
Kunst-Medaillen-Katalog , 1900. — Armand, op. cit. — Domanig, Die Deutsche
Medaille, 1907.
NEUGEBAUER, EHRENFRIED (G^rm.). Comptroller of the Imperial
Mint of Breslau, -f i6jj.
NEUGEBAUER, HANS (Germ.). Mint-engraver at Brieg, 1622.
NEUHAUS, HANS FRANZ VON (Austr.). Mint-director at Gratz,
1577-
NEUMANN, CASPAR {Germ.). He designed many of the medals
engraved by the Kittels, which bear his signature C. N. with the
initials of the artist.
NEUMANN, GEORG CASPAR (Germ.). Medallist of the second quarter
of the eighteenth century. Nagler states that he issued, between
1730 and 1740, a series of Portrait-medals of celebrated men.
NEUMANN, HANS (Germ.). Mint-master at Schleussingen (Hen-
neberg), circ. 1550-1553 and 15 5 5-1 569. Nagler states that between
1554 and 1555, he was Mint-master at Eisleben, and that his
monogram W or initials H. N. occur on Saxon currency. I have
met with the signature H. N. on a Thaler of 1558 ot William VII.,
prince and count of Henneberg, as well as on Thalers of 1564 and
1565 of George Ernest.
Bibliography. — Ammon, op. cit. — Nagler, op. cit.
- 2)1 —
NEUMANN, HEINRICH. Fide HANS NEUMANN. Nagler, Allgem.
Kiinstlerlexikon, mentions a Hcinrich Neumann as Medallist at
Schleussingen, inthe serviceofthe Counts of Henneberg, 1564. He
no doubt refers to the Mint-master above-named, who probably
engraved dies for the coinage, and may have executed medals also.
NEUMANN, JOHANN GEORG (Germ.). Medallist of the latter end
of the seventeenth century, whose initials J. G. N. occur on a
Portrait-medal of D"^ Johann Juncker, of Halle, 1680.
NEUMANN, LEOPOLD WILHELM (G^r///.). Contractor of theBreslau
Mint, 1657.
NEUMANN, LORENZ (Austr.). Provisional Mint-master at Kutten-
berg, 1635-1636. The Groschen issued under him are distinguished
by a circle.
NEUMANN, LUDWIG (Germ.). Medallist of the sixteenth century.
By him are very fine Portrait-medals of Princes of the Ernestine
House of Saxony (Singer, Allgemeines Kiinstler-Lexikon, 1898).
NEUMEISTER, HEINRICH (Gmn.). Moneyer at Ratisbon, 1345.
NEUMEISTER, JOHANN GEORG (Germ.). Mint-master at Wiirzburg,
1746-1761. On some of the currency of that period we find the
initials B. N., which stand for BISCHOF, Mint-warden, and NEU-
MEISTER. Schlickeysen describes him as Mint- warden at Wiirzburg,
1754-1762, and at Frankfort-on-M., 1763-1777. Joseph states that
Neumeister was appointed at Frankfort on 19. April 1763. His
initials G. N. occur on the currency of that mint, in conjunction
with those of Philip Christian Bunsen (C. B.) Mint-master, from
1764 to 1789. Neumeister died in 1790.
Bibliography. — Joseph u. Fellner, op. cit. — Schlickeysen-Pallraann, op. cit.
NEUNER, HANS (Germ.). Mint-warden to the Franconian Circle,
probably at Nuremberg, 1588.
NEUSS, AUGUST (Germ.). Son of Johann Jakob Neuss, and also a
Medallist, who worked at Augsburg, circ. 1840- 1870. On his
father's death, he became the owner of the Die-sinking establish-
ment, founded by him towards the end of the eighteenth century.
A commemorative medal of the First German Parliament, dated
1848, still bears the signature of J. J. Neuss as Director, and or
A. Neuss as the Engraver. The artists, Sebald, R. Daufler, Rabausch,
and others worked for A. Neuss, whose name then appears as
Director, as on the Portrait-medal of Archduke John of Austria,
1848 (a. NEUSS DIR. — SEBALD F.). Amongst other medallic pro-
ductions of A. Neuss, I may mention the following : Archduke
— 2)2 —
John Baptist of Austria, 1848; — Field Marshal Count J. J. W.
Radetzky, on his Victories at Somma Cariipagna and Custozza,
1848; — Cathedral of Frankfort-on-M., 1867; — The German
Confederation, 1840; — Austro-Hungarian Constitution, 1849
(engraved by Rabausch) ; — Swiss Federal Choral Festival at St-
Gall, 1856 (engr. by C. OH) ; — Prince Charles Egon of Fiirsten-
berg, and consort Amalie, 1848 (engr. by Rabausch); — Clemens
August, archbishop of Cologne; ^L. immota . resistit ; — D"" Georg
Anton von Strahl, 1843 ; — Inauguration of the Railway from
Munich to Augsburg, 1840, &c.
NEUSS, JAKOB (G^rw.). Assayer, and Mint-engraver at Augsburg;
died in 1775.
NEUSS, JOHANN GEORG (Germ.^. Mint-warden at Presburg, 16.
June 1695 ^^ 1709-
NEUSS, JOHANN JAKOB {Germ.). Medallist and Mint-Engraver at
Augsburg, circ. 1765-1800. By him are various medals, amongst
which I have noted : 50^'' Birthday of Prince Elector Carl Theodor
of Bavaria, 1780; — Coronation of Leopold I., 1890; — Visit of
Francis I. to Augsburg, 1792 ; — Medal of the French Revolution;
— Carl von Miihlbach, 1793; — Peace of Luneville, 1801, &c,
NEUSS, JOHANN JAKOB (Germ.). Son of J. J. Neuss Sen^ ;
Medallist, and Gem-engraver, and owner of a private mint at
Augsburg; born in 1770; died in 1847 or 1848. He was apprentic-
ed to J. M. Buckle, on whose appointment as " Hofmedailleur "
to the Court of Baden, he became Medallist to the city of Augsburg.
After the incorporation of that town in the kingdom of Bavaria,
he obtained the title of K. B. Hofgraveur.
The medals by Neuss, says Nagler, are of tasteful treatment, and of
very careful and clean execution. His gems, seals, works in precious
stones, crystal, &c. have a certain merit. At any rate, we cannot
deny the Engraver, as Bolzenthal notices, the merit of having been
an industrious artist.
The list of Neuss's productions is a very extensive one, but I only
know of the following : Sede Vacante of Brixen, 179 1; — The
French Revolution; — Peace of Luneville, 1801 (three types); —
Peace of Amiens, 1802 (two types); — Hans Adam, Marquard,
Qirl and Aloys, Counts of Reisach, 1805; — Ben. Adam von
Liebert, 1808; — Prize Medal of the Augsburg Academy; —
Empress Josephine ; — Queen Hortense, of Holland ; — King
Maximilian, of Bavaria; — Duke Eugene of Leuchtenberg ; —
Medal on the Constitution of 1816 granted by Maximilian to
Bavaria; — Commemoration of the Augsburg Confession, 1820;
Castle Gailenbach, the property for 200 years of the families
- :i33 —
von Koch and von Paris, 1822; — Visit of King Maximilian of
Bavaria and Queen Caroline, to Augsburg, 1824; — 23*'' Anniver-
sary of Maximilian's Reign, 1824; — Accession ofLudwigl. of
Bavaria, 1825; — Johann Lorenz, Baron von Schaezler, 1826; —
Pope Leo XII., 1827; — Albrecht Diirer, Third Centenary, 1828;
— D"" Georg Pickel, Wurzburg, 1828; — Inauguration of a Monu-
ment to King Maximilian, at Passau, 1829; — DomeofUlm, 1830;
— St. Martin's Church at Landshut, 183 1; — St. George's Church
at Nordlingen. — Dedication of the Evangelical Church at Munich,
1832; — D"^ Carl von Rotteck, 1832; — D"" Franz Xavier von
Haeberl, 1834; — D"" Joseph Hoerger, Augsburg, 1834; — Death
ot Emperor Francis I., 1835 ; — Accession of Emperor Ferdinand I.,
1835 ; — Visit of Ludwig I. of Bavaria to Augsburg; — Return of
Ludwig I. from Greece, 1838; — Bishop Wittman, ofRatisbon;
— Inauguration of the Gutenberg Monument by Thorwaldsen, at
Mayence, 1837; — Centenary of the Diocese ofRatisbon, 1840;
— Inauguration of the Railway line from Munich to Augsburg,
1840; — 4*'' Centenary of Printing, 1840; — Federation of Ger-
man States, 1840; — Dome of Cologne, 1842; — Kissingen Spa,
1842; — First German Parliament, at Frankfort-on-M., 1848
(engraved by A. Neuss); — Weakness of the Frankfort Diet in
connection with Christian VIII. of Denmark's open letter, 1846;
— Clemens August, archbishop of Cologne, undated (engr. by
A. Neuss); — D"" Georg Anton von Strahl, 1843 (engr. by
A. Neuss) ; — The Reisacher, f 1511, 1805.
Besides the above, Neuss has executed a series of Portrait-medals,
and Historical, Religious, Prize medals, &c. ; also figures in precious
stones copied from antique seals, and gems, amongst which I will
only mention a Portrait in carnelian of Prince Charles of Bavaria,
1824, seals, armorial bearings, and other works in die-sinking
and decorative art.
Bibliography. — Bolzenthal, op. cit. — Nagler, Allgetneims Kiinsthr-Lexikon.
— Various Sale Catalogues, &c. — Singer, op. cit.
NEUSS, MATHIAS VON (Germ.). Mint-master at Taucha, near
Leipzig, 1621-1623.
NEUSS, PETER (Germ.). Mint-master at Augsburg, 1775-1782.
According to Schlickeysen, he was also a Medallist. His initials
P. N. are said to occur on the currency issued by him.
NEUTHALER, PHILIPP (Austr.). Mint-master at Kremnitz, 1598-
161 5 ; died in May 16 16.
NEUVILLE, JULIEN (French). Contemporary Sculptor and Medal-
list; born at Paris ; pupil of the Ecole des Arts decoratifs. He is the
author of some Portrait-medallions.
— 254 —
NEUWALDT, ANTON (Germ.). Mint-masler at Gundelfingen,
1623.
NEVILLE, GEORGE (Brit.). Archbishop of York, 1465-1476. His
privy-mark, (d, occurs on York coins of Henry VI., and
Edward IV.
Bibliography. — Grueber, Handbook, &c. — Hawkins, op. cit.
NEVILLE, ROBERT {Brit.). Bishop of Durham, 1437-1457. His
privy-mark, interlaced rings, occurs on Pennies of Henry VI.,
struck at Durham. Bishop Booth, who succeeded Neville,
continued to use the Neville rings as mint-mark.
Bibliography. — Hawkins, op. cit.
NEWER, PETER {Germ.). Mint-master at Cologne, 1680-1693.
His issues are signed : P. N.
NEWMANN, MRS FLORENCE {Brit.). Contemporary Sculptor and
Medallist, born in London"; pupil of A. Legros, George Frampton,
George Hampton, and others.
At the Salon of 1897, this artist exhibited a Portrait-medallion
of a Child, and in 1904 two Plaquettes in metal representing the
one a Male head, and the other a Female head. Later, I noticed at
the Royal Academy Exhibition, 1906, a Portrait-medallion in
bronze by her of W. A. Geare, Esq., and in 1907, another of
D"" Waterhouse, in pewter.
NEWTON, SIR ISAAC {Brit.). A famous natural philosopher, born
in Woolsthorpe, near Grantham, in Lincolnshire, 25. December
1642, died in London, 20. March, 1727 ; buried in Westminster
Portrait-medal of Sir Isaac Newton, by James Roettiers.
— 2)3 —
Abbey. He entered Trinitv College, Cambridge, in 1661, where he
applied himself to the study ot mathematics, becoming professor in
1669. He invented the method effluxions, established the theory
of gravitation, discovered the composition of light, &c. In 1687,
encouraged by Halley, he published his "Principia".
In 1695, on ^he recommendation of Lord Halifax, Newton was
appointed Warden of the Mint by William III., and in the follow-
ing year he directed the important operation of recalling and
remelting defaced and clipped currency, &c. Two years later, in
1699, he became Mint-master, a post which he held, with short
interruptions, till his death.
We have, from his pen, a " Report on the Gold and Silver Coin
of 1717" (Numismatic Chronicle 1849, p. 18 r, sqq. ; Revue de la
numismatique beige, 1899, p. 439. sqq.) which is still of great
interest and importance as a numismatic document.
In 1724, he was called upon to report on an assay of Wood's
copper coinage for Ireland.
Queen Anne raised him to the peerage in 1705.
Bibliography. — Kenyon, op. cit. — Ruding, op. cit.
NEWTON {Brit.). Silversmith and Jeweller of Norwich, who in
181 1 issued Halfpenny tokens. Fide Davis, Nineteenth Century
Token Coinage, p. 83.
NEYMANN, HENRY {French). Contemporary Gem-engraver, resid-
ing at Paris ; pupil of W. Ritzer.
At the Salon of 1896, he exhibited a stone representing Bacchus,
which is the only work I have seen of this artist.
N. F. Fide LVDWIG NEUFARER. Medallist and Mint-master at
Prague, t 1563-
N. F. Fide NICOLO FRANCHINI. Mint-master at Ferrara, 1621.
|sF {Germ.). Erman mentions under this monogram several
medals, which most certainly belong to Ludwig Neufarer {q. v.).
He states that the Medallist who signed thus was in the service of
Ferdinand I., which corresponds to what we know of Neufarer,
and the comparison of the medal of HeinrichTreusch von Butler,
signed If, with that of Charles V., signed LVD. NEIFA. will prove
beyond doubt the identity of this artist.
N. G. Fide NICOLAS GATTEAUX. 175 i-f 1832. Medallist at Paris.
N. G. I. F. {French). Signature of a Medallist, on a Portrait-piece
of Pomponne de Bellievre, French chancellor, 1601 {Tre'sor, I,
PI. 53, 4). Fide NICOLAS GABRIEL JAQUET.
-256-
N. G. & N. (Amer.}. Initials of a firm of San Francisco, who in
1840 issued private currency, in the form of Five Dollar pieces,
with obv. Eagle and ^L. inscription.
N. H. Vide NIKOLAUS HOVEL VON KOLPINO. Administrator of the
Mint at Olkusz in Poland, 1583-5. He was born at Dantzig.
N. N. Fide NIKOLAUS HENNIG. Mint-master at Elbing, 1652-
1662.
NL.. {Greek). Possibly an Engraver's signature on coins of Velia,
of the second half of the fourth century B.C.
J^. Didrachm. Obv. Head of Pallas, to I., wearing helmet
adorned with griffin ; on the flap, the letter; O, which is supposed
to be the initial of the engraver Philistion; behind, monogram /?.
^L. YEAHTHN. Lion to r. ; above, caduceus suspended from a
chain, begining with the two letters Nl...
Didrachm of Velia.
Enlargement of the reverse.
Var. med. Carelli, PI. cxxxviii, n" 39. — Franz von
Wotoch Sale Catalogue Numismatic Circular, January
1902. — Bulletin de Numismatique, 1902, i.
The coins of Velia described under n°' 105-107 in Brit. Mus.
Cat., Italy, bear similar obv. and I^. types ; symbol, caduceus, with
or without fillet. The specimen reproduced here offers a distinct
variety from these in the curious little chain bound to a caduceus,
and artist's signature Nl... Two didrachms of Velia in the National
Collection signed N on ^L. may be by the same engraver.
— 257 —
The coinsofVelia are of the highest interest as showing various
forms of the same engraver's signature; thus a didrachm (B. M.
Cat., n" 88) is signed on the band beneath crest of hehnet of
Pallas, OlAIITinNOI, and on i^. <t>l ; another, with <t>IAIZ-
TinN on obv. has <t> on ^.; B. M. Cat., n° 70 describes a coin
with the obv. signature, KAEYAHPOY and ^. >C; others bear the
monogram oi Kleodoros on both Obv. and ^L.
Most of the letters of the Greek alphabet occur on Velian coins,
and it is of course impossible to ascertain their signification; some
may be magistrates' initials, others those of engravers; others still
may represent special issues, and soon.
The following signatures occur on Didrachms of Velia; those
indicated in italics undoubtedly refer to Engravers.
A (A; A)
Ar (AP; A»)
B (B)
G. (r;1)
D (A)
E (E)
Herakleidas (HPA; H)
Th (0)
le (IE)
K (K)
Kleodoros (KAEYAQPOY ; >[! ; >E ; >i:)
Ni... (Nl; N)
Thr ; PO|; OP)
s (2;n?)
T (T)
Pha (<DA)
Philistion (<J>lAIITinNOI; OlAIITinN; O; OI ; l<J>)
Ch (X)
NICANDROS Vide NIKANDROS.
NICCOLO DI FROSINO. (FideVol. II, p. 164). A Goldsmith of Pisa,
who executed in 1560 a Portrait-medal of Charles the Bold, duke
of Burgundy, in commission for Cardinal Giovanni de' Medici,
second son of Cosimo I.
Bibliography, — Armand, Medailleurs iialiens. III, p. 94.
NICCOLO DI GIOVANNI BARONCELLI (IiaL). Sculptor and Chaser
of Ferrara, sixteenth century. He collaborated in the monument
ordered by Lionello d'Este in memory ot his father Nicolo, and
executed relief work, and panels.
L. FoRRER. — Biographical Notices of Mednllisls. — IV. 17
- 258 -
NICCOLO SPINELLI Vide SPINELLI.
NICEPHORUS. Probably a fictitious signature on a modern gem in
onyx, representing Mercury with his usual attributes, carrying in
his r. hand the eagle of Jupiter. This stone, which is described by
King as belonging to the Landgrave of Hesse's collection, is signed :
NIKHO. King describes a second gem bearing this signature :
Vulcan seated forging a helmet; sard, in the Florence Museum.
BiBLioGKAPHY. — King, op. cit. — Nagler, op. cit. — Raspe, TassU Gems.
NIGHINUS. Armand states that the signature L:NF might be
translated into : LUDOVICUS NIGHINUS FECIT, and would thus
represent LUIGI ANIGHINI (^. v. Vol. I), a famous Gem-engraver
of Ferrara, circ. 1550. I have personally no doubt that L : NF
represents LUDWIG NEUFARER, and that the Portrait-medal of Gio-
vanni Battista Pisani, thus signed, is by the Austrian medallist,
who executed other Italian Portrait-pieces. Vide also Mariette, op.
cit., p. 117.
NIGHOLLS, SUTTON (Brit.'). Line-engraver and Medallist of the
first half of the eighteenth century. He engraved views of London
for Stowe's "Survey", published in 1725, and for other works,
says Mr. Grueber. By him is an imitation or copy of the Phoenix
Badge (1574) of Queen Elizabeth, signed : Nicholis.
Bibliography. — Franks & Grueber, op. cit.
NIGHOLS, T. (Brit.). Contemporary Sculptor and Chaser in bronze.
By him is a Panel, representing the Virgin and Child, after Donatello,
which was executed in 1867 tor the Society of Arts' Competition,
and which is now in the Victoria and Albert Museum, South Ken-
sington.
BiBLicxJRAPHY. — Fortnum, Bronies in tlx South Kensingldn Museum.
NIGHOLYN, LUKE (Brit.). Mint-master at the Tower of London,
from the 17''' to the 24'^ year of Edward IIL, in conjunction with
others. He was a native of Florence, and his name appears in various
forms : LOTTO NIGHOLYN, JOHN LOTTE NIGOLE, LOTTE NIGOLI, etc.
In a document of 1344, "^^'^ ^^^^ • " ^" ^'^^ eighteenth year of
the king, George Kirkyn and Lotto Nicholyn, of Florence, late
masters and workers, were commanded to deliver to Percival de
Porche de Lucca, then appointed master and worker, all things
belonging to the said office." The same persons were reappointed
about two years afterwards.
Bibliography. — Ruding, op. cit.
NIGKEL, BALTHASAR (Gfrm.). Mint-master at Erlangen, 1549.
— 259 —
NICLAS (or NICHLAS) VON ESLARN {Aitstr.). Mint-master at
Vienna, 1326-1327.
NICLAS (or NIKLAS) DER MAESERLEIN {Austr.). Mint-master at
Vienna, 1336.
NICLAS DER MtJNSER {Ai(Sir.). Moneyer at Vienna, 1449.
NICLAS UNDERMHIMMEL {Austr.). Mint-master at Vienna, 1427-
1430, 1433-1436, 1437-1439, 1440, 1441. 1443-1446.
Bibliography. — Arnold Luschin von Ebengreuth, fVlens Mun^wesen, Handel
tind Verkehr im spdteren Mittelalter, Wien, 1902.
NICLAUSSE, PAUL FRANQOIS {French). Contemporary Medallist
and Sculptor, born at Metz (Lorraine) ; pupil of Thomas, Pons-
carme, and others.
He has exhibited at the Paris Salons since 1896 : Two Portrait-
medallions; — 1897. Two bronze medals and Four Portrait-
medallions in clay ; — 1898. Musique guerriere, medal (Jlliisi rated);
Musique guerriere, by Niclausse.
— Four Portrait- medallions in bronze : M""^ Dupont ; — M. Dupont;
— M. Walter Dailey ; — D' Henri Bonnet; — 1900. Montyon
Prize Medal (59 mill.) ; — 1901. Medal for the *'Club d'Union et
de Perseverance de Belma", 1901 (with bust of Antonio Jose de
Lemos (30 mill.); — Medal ot the "Soci^te des Sauveteurs du
Puy-de-D6me" ; — M. Jachiet ; — La Femme au Chat ; — Mater-
nite ; — Agriculture ; — Portrait of M"'= C*** ; — 1903 . M""= George
Peyrebrune. At the Salon of the ' Societedes artistes fran^ais', 1907,
he exhibited eleven models for Medals and Plaquettes.
— 26o —
" Musique guerriere ", and" Maternite" (Mes enfant s sont mes
bijaux) were executed in commission for the Societc des Amis dc la
Medaille d'Art.
Bibliography. — Catalogues du Salon, 1896-1905. — Roger Marx, Medailleurs
conUmporains . — Modenie Medaille, 1900.
NIGLE. Fide BALTHASAR NIELE. Mint-master at Erlangen, 1548.
NICOLAI. VidcJLkH SECOND.
NICOLAS, JEAN (French). A native of Anjou, who is mentioned
.IS Seal-engraver to Jeanne de Laval, second wife of King Rene 11.
of Sicily, i* 1480. He is called Gravator sigillonitn. By him is a signet,
in gold and enamel, which he executed for the Queen, with her
consort's portrait; for this work he w^as paid 11 livres.
Bibliography. — Lecoy de la Marche, Les Sceaux, 1889.
NICOLAS (^French). Gilder of Lyons, circ. 1306-13 10, who was
employed as Mint-engraver there.
NICOLAS (^French). Goldsmith, and Mint-engraver at Paris, circ
1526-1528.
NICOLAS DE FLORENCE. Fide NICOLO FIORENTINO. Vol. II, p. 91.
This artist, whose name occurs as Nicolas de Florence, de Fleurance,
Florence, Florentin, orle Florentin was evidently a native of Florence.
Medal of Charles VIII. and Anne of Brittany, 1499.
He was a Master-gilder at Lyons, from about 1493 till his death
in 1499. There he married Guillermine Le Pere, daughter of Louis
Le Pere, in collaboration with whom he executed in 1499 the dies
of the medal with the portraits of Charles VIII. and Anne of Brit-
tany, struck on their Visit to Lyons.
Bibliography. — Armand, op. cit. — Rondot, op. cil.
— 26l —
NICOLAS DE LAUSANNE {Swiss'). Mint-engraver at Paris, 1308-
13 13, His name occurs in an enquiry of that period relating to the
fabrication of false money. He may have been employed at the Mint
of Lausanne, before going to Paris, whence his name.
Bibliography. — A. Morel-Fatio, Histoire nioiietaire de Lausanne.
NICOLAS, FORTUNE l£ON FRANCOIS (French). Contemporary
Sculptor, and Medallist, born at La Crau (Var) ; pupil of Falguiere,
and Paris. By him are various Portrait-medallions, amongst which
I have noticed : 1886. M. Dollenc; — 1889. Horace Vernet ; —
1893. M"«= V***, etc.
NICOLAS, HIPPOLYTE (French). Contemporary Sculptor, born at
Limoges ; pupil of Paul Comol^ra, and of the Fine Arts School of
Lyons. At the Salon of 1892 he exhibited a bronze Portrait-medal-
lion of his grandfather.
NICOLAUS (Germ.). Moneyer at Liibeck, 1349.
NICOLE, BON ANATHOLE (French). Mint-engraver at Besangon,
circ. 1699-1703.
NICOLE, CLAUDE FRANQOIS (French). Medallist; son of a Mint-
official of Besancon, born in that city about 1700, but resided at
Nancy from 1726, and died there in 1783. He filled the post of
Mint-engraver at Nancy for several years, and engraved a number
of medals, some of which are described by Lepage. The first in
chronological order is dated 1734, ^"^ bears a portrait of Count
Palatine, Christian IIL, duke of Zweibriicken. Saint-Urbain had
originally been entrusted with the execution of this piece. In 1748,
he engraved a jetton *'du cabinet du Roy de Pologne", with
1^. Castle of Chanteleux. By him are further : Portrait-medal of
Stanislaus L, duke of Lorraine and Bar, 1765 ; — Charles Alexander,
of Lorraine;!^. Anne Charlotte, abbess of Remiremont; — Enthron-
ization of De La Tour du Pin, first bishop of Nancy, 1777; —
Model for a Commemorative medal on the Inauguration of a statue
of Louis XV. in the Place Royale at Nancy, etc.
Nicole is said to have executed also medals for chaplets, seals,
religious badges, and other medaUic productions.
Bibliography. — Rondot, op. cit. — H. Lepage, Notes et Documents sur les
Graveurs de Mottnaies et Medailles et la fabrication des Monnaies des Dues de Lorraine,
Nancy, 1875. — Beaupr^, op. cit. — Piol, op. cit. — Rei'ue beige, &c., 1855,
p. 314.
NICOLE (French). Son of the last; Medallist at Nancy, during the
second half of the eighteenth century. Vide Rondot & De La Tour,
op. cit., p. 358. In the early part of the nineteenth century, a Seal-
— 262 —
engraver of that name was residing at Brussels, and may have been
the same person (^Revue de la numismatique beige, 1855, p. 315).
NICOLET, M'"« FINA (French). Contemporary Sculptor, born at
Paris ; pupil of Ottin and Caudron. By this artist are numerous
Portrait- medallions in marble, terra-cotta, bronze, etc., some of
which were exhibited at the Paris Salon : 1869. M"^ B*** ; — 1873.
M""^ M. L. R***; — 1874. M. O. de V***; — F. Plante; — 1878.
M. G. N***, etc.
Bibliography. — Chavignerie et Auvray, op. cit.
NICOLET, FRANgOIS (French). Goldsmith of Lyons, and Mint-
engraver there from 1503 to 1523. He was surnamed De Montpan-
cier or Montpancier.
Bibliography. — Rondot, op. cit.
NICCOLO FIORENTINO. Vol. II. p. 91.
NICOLINI, FRANCESCO (^Ital). Sculptor, and Medallist, of the
second half of the seventeenth century. He was a pupil of Gaspare
Mola.
NICOMACHOS (Greek). The inscription NICONAC occurs on a gem
of the former Marlborough Collection, representing a Faun seated
ontheground upon his spread leopard's skin; hhckjasper (illustrated).
This stone is antique and the inscription authentic, but the latter
represents the name of the owner of the gem, and not an Engraver's
— 263 —
signature. Several reproductions exist oi this intaglio (J5r//. Mus.
Geim, n° 1036; Chabouillet, n° 1658; Dubois, Pierres de Grivaud,
Denarius of Augustus.
n° 193 ; de Jonge, Notice, p. 16, n° 15). The same design may be
seen on a denarius of Augustus, struck by P. Petronius Turpilianus
{ArchaoL Zeit., 1869, p. 99).
The inscription NICOMAC has been added on modern gems :
Head of youthful Herakles ; sard (Schellersheim) ; — Venus Ana-
dyomene; sard (Uzielli), etc.
Bibliography. — King, op. cit. — Renton, op. cit. — Babelon, op. cit. —
Reinach, Piertes gravees. — Brunn, o/j. cit. — Furtwangler.yo/^r^HfA, 1889, p. 65.
— Kcehler, op. cit. — Marlborough Gems, I, 54. — Raspe, op. cit. — Bracci, op.
cit., II, pi. 87. — Qarac, p. 155.
NICOMOS. Fictitious signature on a Poniatowski gem, representing
Cupid, disguised as Ascanios, presenting gifts to Dido; carnelian.
NICOT, LOUIS HENRI {French). Contemporary Sculptor, born at
Rennes (lUe-et-Vilaine) ; pupil of Falguiere, Lenoir, Mercie, and
Peter. At the Salon of 1903 he exhibited five Portrait-medallions,
amongst which one, cast in bronze, of J. B. Cacheux, painter.
NIDEROST, G. (Germ.). Mint-engraver at Pisa, and Medallist, circ.
1825-1858. His signature : NIDEROST or initials G. N. or N. occur
on gold and silver currency of Leopold IL, Grand Duke of Tuscany
(1824-1858), struck at Pisa, as : N. 80 Fiorini, 1827; Ruspone
or 40 Lire, 1836 and other dates; Zecchino, var. dates; — J^.
Francescone of 10 Paoli, 1836, 1858 and other dates; Franceschino
of 5 Paoli, var. dates; Fiorino of 2 | Paoli, 1847, 1856, and other
dates; Paolo, 1858 and other dates; Mezzo Fiorino, 1827, and var.
dates; Quarto Fiorino, 1827, and other dates, &c.
By Niderost are also several medals, amongst which I may men-
tion : Franchise granted to Livorno, 1834; — Plague of Cholera at
Leghorn, 1835 (signed : G. N.) ; — Portrait-medal of Leopold IL,
1838; ^. Allegory (G. NIDEROST F.) ; — Congress of Scientists at
Florence, 1841, &c.
Bibliography. — Domanig, op. cit. — Sale Catalogues, etc.
NIEDERHAUSERN, AUGUSTE de (Swiss). Contemporary Sculptor,
and Medallist, born at Vevey, now residing at Geneva ; pupil of
Chapu, Lanson, and others.
— 264 —
By him are various Portrait-medallions, of : H. F. Amiel ; —
J. B. Alexandre Stroehlin (2 var.); — Paul Verlaine (medallion
in wax) ; — Favon ; — Hodler, &c.
Bibliography. — Catalos^ues du Salon, 1889 sqq. — Revite stiisse de nuniisnia-
tique, 1892.
NIEDERLANDER, DAVID (Germ.). Mint-master at Tubingen,
Hechingen, 1 621-1623 > Mint-warden at Heidelberg, 1626. He
was in the service of the princely house of Leiningen-Dachsburg.
Bibliography. — Schlickeysen-Pallmann, op. cit. — Bahrfeldt, Mi'inien von
Hohen^ollern.
NIEDERMANN, CHRISTOPH (Germ.). Mint-master at Bayreuth,
1622.
NIELE, BALTHASAR. Vide NICKEL supra. Mint-master at Erlangen,
1549-
NIERT or NYERT, PIERRE DE (French). Mint-master at Pau, 1573-
1576.
Bibliography. — MazeroUe, op. cit. — J. A. Blanchet, Histoire vionetaire de
Beam.
NIES, I. CH. D. (Germ.). Founder of Mannheim, who made cast
reproductions of a Masonic medal, by Meyer, of the Lodge zur
Einigkeit, of Frankfort-on-M., 1742.
Bibliography. — Marvin, Masonic Medals , 1880.
NIESENER or NIESNER, C. (Germ.). Mint-master at Mannheim,
1746, in the service of the Count Palatine. His initials C. N. occur
on the currency issued by him.
Bibliography. — Ammon, op. cit. — J. V. Kull, op. cit.
NIEUKERKE, LOUIS VAN (Dutch). Mint-master at Brussels, 13.
August 1592 to 10. April 1593.
NIEUWKERKEN, LOUIS VAN (Dutch). Mint-master at Bruges,
29, April 1587 to 23. March 1593.
NIGGL. Vide BALTHASAR NICKEL. Mint-master at Erlangen, 1549.
NIK. Fictitious signature on a gem, representing Cupid playing
with a pig.
NIKANDROS (Gr^^^). Coin-engraver at Thurium, during the first
half of the fourth century B.C. Friedlander published for the first
time the coin bearing this artist's signature, NIKANAPO, in Arch.
Zeitung, 1847.
M^. Didrachm. Obv. Head ot Pallas to r., wearing crested
Athenian helmet, adorned on the side with the monster Skylla
- 265 -
tor., carrying gubernatum on left shoulder; leaf ornament on the
helmet's flap.
^. GOYPinN. Bull butting to r., the near fore-leg raised and
bent under him, head three-quarter-face to 1. ; beneath, on narrow
band, raised : NIKANAPO; above, a grass-hopper ; in ex., tunny-
fish to r. ; border of dots.
Head, Hist. Ninii., p. 72. — Garrucci, o/?. n^, PI. cvi.
14. — Raoul-Rochette, op. cit. — Friedlander, Arch. Zeit.,
1847, p. 117, PI. VIII, 3.
The period of activity of Nikandros may be comprised within
those of Historos and Molossos. His coins offer a transition of
style although they are similar in the work and treatment to those
of Molossos. Vide Evans, Contributions to Sicilian Numismatics, Num.
Chron., 1896, pp. 137-138.
Von Sallet preferred the style of Nikandros to that of Molossos,
and wrote : " Die Miinze des Nikandros ist von sehr schoner Arbeit,
wie schon die von Friedlander gegebene vortreffliche Abbildung
(von Trachsel) beweist " {op. cit., p. 32).
Brunn, Die Miinistempelschneider, p. 296, gives, after Friedlander,
his reasons for considering the signature NIKANAPO as that of an
Engraver : " Molossos und Nikandros sind wohl gewiss Kiinstler-
namen ; die Klarheit der Buchstaben, die Stelle, wo die Namen wenig
in die Augen fallend stehen, sprechen dafiir. Ein anderer Grund,
dass es Namen von Kiinstlern, nicht von Magistraten sind, ist
folgender : die obersten Magistrate wechselten haufig; wenn sie das
Recht batten, ihre Namen auf die Munzen zu setzen, so iibten sie
es alle nach einander aus ; es findet sich dann eine ganze Reihe
wechselnder Namen auf den Munzen einer Stadt. Auf den Silber-
miinzen von Thurium sind aber nur die beiden Namen Molossos
und Nikandros ausgeschrieben, die Namen der Magistrate dagegen
nur durch Anfangsbuchstaben bezeichnet, welche jedoch an bedeu-
tenderer Stelle, zum Beispiel unter dem Stadtnamen stehen. "
A Gem-engraver of the name of Nikandros, who flourished circ.
B.C. 300, engraved intagli signed : NIKANAPOC EHOEI, amongst
which is a bust on sard of an Egyptian Queen (Berenice I. or
Arsinoell.), but there is no connection between the engraver of the
coin and the gem-engraver.
— 266 —
Bibliography. — L. Forrer, Les signatures de grai'mrs sur les monnaies grecques,
Bruxelles, 1906. — Imhoof-Blumer, Monnaies grecques, p. 7. — Head, Historia
Numorunt, 1887. — Nagler, op. cit.
NIKANDROS (Greek'). Gem-engraver ot the Hellenistic period,
third century B.C. His signature : NIKANAPOC €nO€l occurs
on an amethyst of the old Marlborough collection, representing a
female bust, the style of which and arrangement of hair permit us
to assign it to the Ptolemaic period. King describes it as a head of
Julia Titi.
" Greatly abused ", says King " by Kohler : The portrait
without resemblance, executed utterly without taste, and legend
and all of modern origin, &c. D"^ B., though far from praising the
work, says it has something harsh and unfinished, yet gives the
effect of genuineness, and is quite different from the style of the
forgeries of the last century. The same holds good for the signature
cut in with a certain hastiness, where angular forms of the letters
and dots replace the usual curves and circles, so troublesome to
execute" (King, Handbook, &c., p. 254),
In the Marlborough Sale Catalogue, 1889, p. 79, lot 447, this
gem is described as representing the daughter of Titus, and the
cataloguer adds : " The inscription is beyond all suspicion genuine,
and might be of Ptolemaic date. It is retrograde.
NIKANAP<
cn.ci
" The portrait is to the left, and the signature behind the neck.
The original height of the gem must have been i \ inch, its width \
nearly. The work is bold and doubtless contemporary with the
personage it represents.
"It was formerly in the Deringh Collection. "
This very gem was exhibited at the Burlington Fine Arts Club
Exhibition in 1904, and is thus described in the Catalogue by
Mr. Cecil Smith : *' head and bust, perhaps of a Ptolemaic Queen
(c. 300 B.C.), Berenice I. or Arsinoe II. She wears a bead necklace.
Once a xMarlborough gem and wrongly restored as Julia Titi.
Signed NIKANAPOC EPOEI."
- 267 -
" Frische, lebenswahre,weiche und saftige Formgebung (Furt-
wiingler, " Antike Gemmen",u, 159). Hyacinthinesard. "
" Ein Vergleich mit derjulia des Euodos, die eine gewisse
ausserliche Verwandtschaft hat, lehrt am besten dieVorziige unseres
Steinesvor jener an sich vortretflichen Arbeit der Kaiserzeit kennen.
Wie viel frischer, lebendiger und wahrer ist das Werk des Nikandros
als jenes des Euodos! Das ist derselbe, uns auch sonst bekannte
Unterschied der Kunst des hellenistischen Zeitalters von der des
kaiserlichen. "
(Furtwiingler. Gemmen mit Kiinstlerinschrifteni Jahrbuch des K.
k. Archiiol. Inst., 1888, p. 211).
Bibliography. — Babelon, Pierres gravees, p. 132. — King, op. at. —
H. Brunn, op. «7.,II, 518. — Furtwiingler, op. cit. — Marlborough Sale Catalogue.
— Kohler, op. cit. — Raspe, Tassie Gems. — Catalogue of the Burlington Fine Arts
Club Exhibition oj Greek Art, 1903. — Daremberg and Saglio, Dictionnaire des
4niiquites greajues et romaines, art. Gemmae, by E. Babelon, IV, p. 1457.
NIKLAS (Germ.). Mint-master at Wasserburg-on-Inn, 14 15-
1439-
NIKLAS {Germ.). Goldsrrjith, and Mint-engraver at Straubing,
1459-
NIKLAS VON DER NEISSE (Germ.). Mint-master at Landshut,
1457-
NIKOLAI. Vide NICOLAI SCHWABE. Mint-master at Copenhagen,
1602-1629.
NILIS, JACQUES (French). MedalHst of the last quarter of the
seventeenth century, about whom Httle is known, beyond that he
engraved several medals of the series of Louis XIV., some of which
are signed. His name occurs in documents of the Paris Mint
archives, from 1688 to 1693. As Guiffrey suggests, it is possible
that NiHs was a relative, and perhaps a brother-in-law of Joseph
Roettier, whose first wife's name was Elizabeth Nilis.
This artist's usual signature was N, but it also occurs in other
forms : J. NILIS; — J. NILIS F. ; — I. NILIS; — NILIS, &c.
By him are the following productions : Head of Louis XIV.
(1688); — Battle of Cassel (1688); — Carousal on the King's
Marriage (1693); — Nice and Mons captured on the same day;
— . Laur. head of Louis XIV.; signed : J. NILIS F. (sev. var.) ; —
Hercules breaking fasces; legend : vincit concordia fratrvm
(copied from a puncheon by Warin) ; — Portrait of Louis XIV. ;
signed : NILIS; — New Pavement of Paris (1669); — Qpture of
Bouchain ; — Bust of Louis XIV., with cloak fastened on shoulder;
— Recovery of Louis XIV., 1687; — Portrait of the King,
— 268 —
wearing laurel- wreath ; signed : J. NILIS; — Taking of Bergen;
obv. by De La Have ; ^L. by Nilis, &c.
The Mint inventory of 1698 mentions further about twenty
Jetons, all signed N, with the interesting indication : Et cette lettre N
qui designe le grav^ur MLIS : Victor\' of the Downs; Victoria pacifera
(1659); — Portrait of the Dauphiness; — ^. of a Jeton, show-
ing a Tree; Chara Jai'i natoqiie Jovis 1689; — Laureated head of
King; Lad. magnus rex; — Another (1690); — Head of the Dau-
phiness ; — Laur. head of King (14 varieties), &c.
Bibliography. — Bolzenthal, op. cit. — J. J. Guiffrey, La Monnaie des
Medailles, Revue numismatique, 1889, pp. 442-446. — Blanchet, op. cit. —
Catalogus, &c. — Rondot et De La Tour, op. cit. — Jules Chautard, Notes rela-
tives aux graven rs J e Jetons de Galeres de Louis Georges, due de Veudome.
NILLSON, SVANTE EDWIN (Szved.). Contemporary Sculptor and
Medallist, born at Stockholm ; pupil of Adolph Lindberg, the Acad-
emy of Fine Arts of Stockholm; also of the Paris sculptors,
F. Lasserre, and Henri Dubois.
At the salon of 1898, he exhibited a Portrait-plaquette ; at the
Universal Exhibition, Paris, 1900, several Medals and Plaquettes;
T901. M. et M""^ B*** ; — President Kruger; — 1902, and 1903.
Various Portrait-medallions and Plaquettes.
The works of this young artist are in ver}^ good taste.
Bibliography. — Tijdschrift, &ic. — Catalogues du Salon, 1808-1904.
NILUS (N6IAOV) This signature occurs on a gem, described by
Raspe, with a head of Hadrian.
Bibliography. — King, op. cit.
NIMJGUE, jean de (French). Mint-engraver at Rouen, September
1393 ^o 28. June 1396. In 1397 he was Engraver at the Ecclesias-
tical Mint of Lyons.
Bibliography. — Rondot, Les graveurs de Lyon. — Rondot et De La Tour,
Les Medailleurs et les graveurs de Monnaies, 1904.
NIMPTSCH, KASPAR {Germ.). Mint-master at Brieg, under Johann
Christian, 1622. Friedensburg, in Schlesiens neuere Miin^eschichte
fully describes the various issues of this Mint-master.
NIMWEGEN, HENDRICK VAN. Vide HENRICK NOSTER infra.
NINET, AUGUSTE (French). Contemporary Sculptor, residing at
Paris; pupil of Dumont, and Bonassieux. At the Salon of 1892, he
exhibited a Portrait-medallion of M. Cuvelier.
NINI, JEAN-BAPTISTE (Ital.). Modeller, and Engraver of Portrait-
medallions, in lerra-cotta, was born at Urbino (Papal States) in
17 17, and died at Chaumont, near Blois, in France, in 1786.
— 269 —
Thither he had been called in 1772 by Le Ray, grand master of the
rivers and forests, and the proprietor of the castle of Chaumont
since 1750, to manage some glass and pottery works which had
been established in the dependencies of the manor house. There is
no trace left of the finely worked glasses of Nini, but about a
hundred varieties of his medallions still exist; these were cast in
clay moulds and retouched before baking with the help of sharp
Portrait-medallion of Nini, his wife and daughter.
tools in a surprisingly delicate manner. Among portraits engraved
by the artist, one of the most curious is perhaps that of FrankUn.
The celebrated American had come to France, and struck up a
friendship with Le Ray, whose hospitality at the castle of Chau-
mont he accepted at different times. Nini modelled his profile in
the lightly tinted clay which served him for the production of the
other ceramic works which Le Ray traded in. That portrait finished,
Nini, who was a skilful engraver, executed a steel die which
— 270 —
allowed him to multiply to his wish proofs of the medallion of the
approved model. This was his usual method of proceeding, and one
may easily conceive the advantage derived from it as regards rapid-
ity of execution, I would insist on this point : genuine and
contemporaneous medallions by Nini have all been retouched and
finished by hand on their issue from the mould and before the
baking of the clay.
The portrait of Franklin is signed with the tool :
NINI
F. 1777
Portrait-medallion of Benjamin Franklin.
The success of this medallion was considerable. He reproduced
it in many varieties ; on some, Franklin is wearing spectacles ; on
— 271 —
others, he is bare-headed, or coiffed with the cap of hberty.
In 1779, Nini sent to America five or ^ix cases containing about a
hundred specimens each, wrapped two by two in strong paper and
carefully tied. The ship was wrecked near the coast of Noirmoutier,
but a portion of the cargo was saved and taken to Nantes where it
remained forgotten in some corner of the custom warehouses. Nini
Suzanne Jarente de la Reynifere.
died in the meantime. The Revolution, the Empire, the Restora-
tion went their course. About 1830, the boxes were opened and
the Customs not prizing their contents, ceded them at a next-to-
nothing price to agents of the Navy. Later, a collector, M. Myr-
voix made the acquisition of four of the boxes, and in 1876, sold
two of them to an official at Angouleme, from whom some sped-
— 272 —
mens found their way to England in 1899 {Vide^^um. Circular,
Feb. 1899).
The following Portrait-medallions are reproduced and described
by Storelli : Female head, 1762 (M"'' Alcoque, in Cluny Museum);
— Aime Louis des MouHns de Lisle, 1762 ; — Other portraits of the
same, dated 1764, and 1770; — Male head, 1763 ; — Male head,
Portrait-medaillon ot a Lady (unknown).
of large size, 1763 (described erroneously as Choiseul, in Nevers
Museum); — Male head, 1763 ("Financier, perruque a mar-
teaux"); — Dornarius medicus, 1764 ; — Head of an Ecclesiastic,
1764 (2 var. ; a specimen in Blois Museum is described : Abbe
Joulin, cur6 de Chaumont-sur-Loire) ; — Marquis de Riancey, 1764;
— Male head, 1764; — J. A. de Castellas, 1764; — Male head,
— 273 —
1765 (in the field. Masonic badge of the Scotch rite); — Head
of an Ecclesiastic, 1765 (Henri Francois de Latour Dupin of
Lachau Montaubon, bishop of Riez?); — Chaulieu, nephew of the
abbot, 1765; — Louis Charrier de la Roche, bishop of Versailles,
1765 ; — Male head to 1., 1765 ; — Hugues Joseph Gamot, 1766;
— Guy le Gentil, marquis of Paroy, 1767 ; — Charles Juste, prince
of Beauvau, 1767; — Charles Ren^ Pean, lord of Mosnac, 1768;
— Albertine, nee baroness of Nivenheim, 1768; — Maria Theresia,
Empress of Austria, 1769 ; — Suzanne de Jarente de la Reyniere,
1769 (3 var. ; one illustrated) ; — Charles Juste, prince of Beauvau,
1770; — Louis XV., 1770; — Others (4 var. of type and size);
— Joseph Hyacinthe Frangois de Paule de Rigaud, count of Vau-
dreuil, 1770; — Louis Auguste, dauphin of France, 1770; —
Catherine the Great, Empress of Russia, 1771 ; — Others (3 varie-
ties), 1 77 1 ; — Jacques Donatien Le Ray de Chaumont, 1771 ; —
Marie Therese Joques des Ormeaux, consort of the last, 1774 ; —
Louis XVL ; — Marie Antoinette, 1774; — P. Berthevin, artist
1775 (2 var.); — Marie Catherine Jacquet, and Orien Marais, her
consort, 1775 ; — Male head, 1775 (Antoine Rene Voyer d'Argen-
son ?); — Michel Foucault, 1775 ; — Claudine de Bussy and Jean
Bouin, 1777; — Benjamin Franklin, 1777(5 ^"^"^-j <^"^ illustrated);
— The same, 1778 (2 var.); — The same, 1779 (2 var.); —
Louis XVL, 1780(3 var.); — Marie Antoinette, 1780 (2 var.); —
Voltaire, 1781 ; — Jacques Donatien Leray de Chaumont, 1783
(2 var.) ; — Therese Elizabeth Leray de Chaumont, 178X (signed :
Mini); — Male head (comte de Caylus?); — Young male head
(Louis Nicolas Bernot de Mouchy ? ; 2 var.); — Marie Claire
Francoise Guyot de la Mirande, m.arquise de Vaudreuil; — Male,
head (Jean Baptiste Joseph de la Fosse); — Female head, .to 1.
(2 var.) ; — Jugate heads of a young man and young lady, to r. ; —
Half-length portrait to 1. of a lady (2 var.); — Madame de Faugnes ;
— Charles IIL, King of Spain ; — Head of an Ecclesiastic, to 1.
(2 var.); — Jean Michel Moreau, engraver; — Louis G. Moreau,
painter; — Head of an Ecclesiastic, to r. ; — Male head, to r. ; —
Marquise de Bouffry (2 var.); — Nini, his wife and daughter
(illustrated) ; — Head of an Ecclesiastic or Magistrate (2 var.) ; —
Jugate heads of a boy and girl; — Various Portrait-medals ; —
Louis XVL ; — Medallion in wax. Bust of a lady to r. (illustrated);
— Medallion and wax of Catherine the Great,&c.
From Storelli, we learn the following details of this artist's career.
GianbattistaNini was born at Urbino (Papal States) in March 1717.
There he received, with his brothers, Vincenzo and Matteo, his
first tuition in art, and learned engraving from his father, Domen-
ico, a clever Engraver and technician. But while quite a youth,
he fled from the paternal home, to avoid embracing a literary pro-
L. FoKKEit. — Biographical Notices of Mtdallitli. — IV, 1 8
— 274 —
fession, for which he felt no inclination. Having to work for his
livelihood, he obtained employment at Bologna, where he studied
sculpture at the Clementine Academy. His brothers joined him
there, and all three executed many engravings ofsceneries, in which
art Nini had acquired a real talent. About 1740, he went to Spain,
and was engaged to superintend some glass works, near Madrid.
Portrait-medallion of Catherine II. of Russia.
He married a Spaniard, Isidore Laurus, by whom he had a
daughter. In 1758 we find the artist and his family at Paris. He
commenced by engraving prints, and later modelled Portrait-
medallions of various personages. The reputation which he rapidly
acquired induced Jacques Donatien Le Ray, steward of the Hotel
Royal des Invalides, who had founded in his domain of Chaumont-
. — 275 —
sur-Loire, ceramic and glass works, to attach Nini to himself for
life. So, in October 1772, he signed a contract with him, by which
the artist was to superintend his factories, while preserving to
himself liberty of work, and we see, by the numerous medallions
which he executed between 1772 and 1785, that he continued to
enjoy an entire artistic independence. Nini aied at Chaumont,
2. May 1786.
According to tradition, Nini was a very original character. He was
of short stature, and gave himself a peculiar and even grotesque
appearance by his extraordinary accoutrement. Crommelin, in his
Mhnoires, describes him as a dwarf, but notwMthstanding his
natural deformity, the artist enjoyed, amongst his contemporaries,
a reputation for ready wit, humour, and excellent taste. Franklin
honoured him with his iriendship, and Nini reproduced his features
m various ways.
Storelli gives an account of Nini's process in the execution of his
medallions: " Ecartant tout d'abord I'emploi d'un moule metal-
lique'*, says Mazerolle, " il etablit que I'artiste faisait d'abord un
modele en cire, sur lequel il prenait autant de creux en terre cuite
qu'il voulait; ces creux lui servaient ensuite a tirer les epreuves des
medaillons. D'ailleurs, il existe encore de nombreux monies en
terre cuite et jamais, dans des fouilles faites sur I'emplacement de
I'ancienne manufacture de Le Ray, on n'a mis au jour le plus petit
vestige de metal. Ajoutons aussi que les outils en ivoire, et les
poin(;ons pour les caracteres, et pour la signature, qui servaient a
Nini a executer ses travaux, ontet^ conserves, par suite d'un heureux
concours de circonstances.
" On ignore quelle est la terre employee par Nini pour les
medaillons qu'il a faits avant 1772; a partir de cette epoque, etant
fixe A Chaumont-sur-Loire, il reconnut I'excellence de la terre qui
servait aux poteries de sa manufacture et il en usa pour toutes ses
oeuvres parues de 1772 a 1785" (Gaiette numismatigue franfuise,
1899, PP- 90-91)-
M. E. Biais, late keeper of the Angouleme Museum, made the
following remarks on Nini's work, in the Numismatic Circular
(April, 1899, p. 328).
« Les medaillons de Nini sont de differentes teintes : les uns sont
en couleur toile ecrue; les autres d'un rouge de brique; il en est
aussi de ton brun tres clair. Ceux que nous connaissons de cette
provenance directe sont en tel etat de conservation admirable qu'on
les dirait sortis du moule a I'instant meme. On pent, a bon droit,
loyalement dire que ce sont des Jleursde moule.
« Les ressources du talent de Nini etaient grandes et varices ;
nous en avons la preuve dans les divers portraits qu'il a faits de
Franklin. Ces portraits offrent deux aspects essentiellement dis-
— 276 —
tincts les uns « sont en quelque sorte les portraits officiels du
savant et de rhomme d'£tat ; les autres, au contraire, representent
« B. FRANKLIN. AMERICAIN » d'une facon tout intime... »
« Comme la plupart des ceuvres superieures, les medallions de
J, B. Nini ont eu les honneurs de la contrefacon ; maisils sont ini-
mitables dans la force du mot. Ceuxmemes qui ont ^te coules dans
quelques-uns des moules originaux retrouves ont un granule, une
secheresse d'aspect, une teinte qui ne sont pas la caracteristique des
medallions petris, prepares, et retouches par Nini ; Ton n'y retrouve
ni la finesse de la pate ni le fini exquis du travail de I'original. Des
amateurs exerces ne peuvent assurement pas s'y tromper.
« Les medallions de la main de Nini sont des perles de perfection;
la figure de Franklin y triomphe parmi ses creations les meilleures.
lis ont I'aspect des plus fines effigies taillees dans le buis et polies
par la seule patine du temps.
« Jean-Baptiste Nini, medailleur-ceramiste « du plus haut merite »,
— comme I'a dit fort judicieusement M. Jouin, — s'est cree un
genre tout personnel, delicat jusqu'aux tenuites extremes, ou il a
magistralement excelle.
« En resume, les amateurs du plus haut parage ont recueilli avec
soin des ouvrages de Nini : ainsi le baron Jerome Pichon (qui
m'avait fait connaitre le r^cit de Crommelin, recit que j'ai eu le
plaisirde retrouver dans le livre de M. Storelli), ainsi MM. Eugene
Plot, Spitzer, Sauvageot, le prince de Broglie, le baron d'Alcochete,
Prosper Hyrvoix, le senateur Maurice Laporte, Henry Jouin, —
pour ne nommer que ces maitres connaisseurs, — avaient ou
possedent encore des Nini dans le tresor de leurs merveilleux
cabinets ».
Bibliography. — A. Storelli, Jean-Baptisle Nini, 1896. — A Villers, Jeati-
Baptiste Nini, ses terres citiles, 1862. — Jal, Dictionnaire critique de biographie it
d'histoire, 1867. — A. Demmin, Guide de V amateur de faiences et de porcelaines,
terres cuites, etc., Paris, 1867. — Les vioulesen terre cuite des tnedaillons de J.B.Nini.
— H. Jouin, /. 5. Nini etle medaillon de Franklin, Num.Circ, February 1899. —
E. Biais, Notes sur le graveur-ceramiste J. B. Nini, Num. Circ, April 1899.
NINO, UGOLINO DI. Fide ANDREA PISANO.
NISOS or NISUS. Fictitious Gem-engraver's signature on a Ponia-
towski gem, representing Sailors laying Ulysses asleep under the
shelter of a tree. Fide NEISOS supra.
NITIKIN, MICHAEL (Russ.). Assistant Mint-engraver at St. Peters-
burg, under Wassili Klimentoff, circ. 1762.
NITSCH, PAUL (Germ.). Goldsmith, Medallist, Gem-, and Seal-
engraver of Breslau, who was working during the last quarter of the
sixteenth century. He is the artist of the altar work in Breslau
Cathedral, and by him are dies of large gold coins of Bishop Adam
— 277 —
Weisskopf, of Breslau, 1588-1590. He also cut a medal of Abbot
Johann Queschwitz (i 586-1 590), and various seals, gems, &c.
Friedensburg and Seger give as works of this Engraver: Medals
of Andreas von Jerin, bishop of Neisse, 1588 and 1596 (weight of
four ducats); — Medal of Adam Weisskopf, 1590 (2 var.); —
Medal of Johann Queschwitz, abbot of St. Vincent, Breslau, 1586,
1596.
Bibliography. — Friedensburg, op. cit. — Friedensburg and Seger, Medaillen
auf schlesisclx Pt'r50«(?H, Breslau, 1901.
NITTEL, WENZEL {Austr.). Mint-inspector and Assayer at Gratz,
1794-1802.
NIZZOLA, JACOPO. Vide JACOPO DA TREZZO. Medallist and Gem-
engraver, of the third quarter of the sixteenth century. He worked
chiefly for Philip II.
N. L. Viiie NICOLAUS LONGERICH. Mint-master at Diisseldorf,
1680; Bonn, 1686, 1693-1694; Cologne, 1699-1700; conjointly
at Dortmund and Essen, 1688. His initials occur on coins of Dort-
mund as late as 1698.
NVL {Germ.). This signature occurs on a Portrait-medal of
Archduchess Maria Anna and Prince-Elector Johann Wilhelm, of
the Palatinate, undated, but commemorating probably their marriage
in 1678.
N. M. Fide NICOLO MICHIEL. Venetian governor of Trau in Dal-
matia, 1516. He signed currency.
N. M. Vide mcOLO MARTINENGO. Mint-master at Cologne, 1757-
1762; later at Wiirzburg. Vide also I.N.M-
N. M. F. OSTI (Ital.). This signature occurs on an oval badge.
Mater Salvatoris, 40x30 mill. It has been identified, but probably
in error, with that of Mercandetti.
N. NG. F. Signature of a Medallist, on a Portrait-medal of Henry IV.
of France and Marie de Medicis, 1601 ; ^. HAVD FLVCTVS, AT
ISTEQVIETEM {Tresor, I, PI. 30, 6).
N06LET, JULIEN {French). Mint-engraver at Rennes, appointed
27. June 1642 and in office until 1654.
Bibliography. — Rondot, op. cit.
NOCQ, HENRY {French). Contemporary Sculptor and Medallist,
and one of the most qualified representatives of modern French Art,
was bora at Paris on 13. January 1868. He studied under Chapu,
— 278 —
and first began to exhibit at rhe Paris Salon in 1887. In 1890 he
competed for the Prix de Rome in medal-engraving. At the Salon
of 1889 he obtained a Mention honorable. For the last fifteen years,
the artist has been a constant exhibitor at the Salons of Plaquettes,
Medals, Chasings in various metals, Enamel works. Carvings in
ivory, wood, etc. In 1900, he was awarded a Silver medal.
Specimens of Nocqs medallic and other productions are on exhib-
ition at the Luxemburg Museum, Paris; Victoria and Albert
Museum, South Kensington, London; and Museums at Brussels,
Hamburg, Dresden, Prague, Vienna, &c.
In 1896, the artist published a volume entitled : " Tendances
nouvelles ", which is a collection of personal views of notorious
artists on the contemporarv' decorative arts.
Writing about Nocq and Charpentier, M. Roger Marx mentions
the numerous objects of all sorts for which they are responsible,
and adds: "The future should take heed of the value of these works,
and be orrateful to the medallists for having by their co-operation
hastened on the revival of gold-and silversmith's work, of uphol-
stery, of binding, and indeed of each one of the so-called domestic
arts". (Studio, xv, 22).
H. Nocq is a member of the Societe nationale des Beaux-Aris,
A. C. N. of the Society des antiquaires de France, and a Knight of
the Legion of Honour.
Andre Michel, conservateur de la sculpture du moyen age et des
temps modernes au Musee du Louvre, writes : " Toutes ses medailles
— 279 —
sont d'une singuliere penetration dans la notation de la ressemblance
individuelle et d'un gouttres pittoresque dans la presentation. Vous
y trouverez tour a tour des souvenirs librementadaptes des medailles
du quinzieme et du seizieme siecle, les preuves d'une erudition
historique tres bien informee, d'une grande habilet6 technique et
d'une jolie verve primesautiere, et je vous laisse le soin de doser et
de combiner ces divers elements pour etablir « I'equation per-
sonnelle » de M. Henry Nocq " (Journal des De'bats, Paris, 26 mai
1903).
r
VV^
Paul Marguerritte, by H. Nocq.
Among his best known medallic productions, I may mention the
following Portrait-plaquettes, which are all marked with the stamp
of deep originality : A. Rodin (2 plaquettes, i medal, 1902,
^903); — E. Zola; — Anatole France (2 plaquettes, and one
medal, 1902); — Octave Mirbeau; — G. Geffroy; — G. Clemen-
ceau ; — Colonel Picquart ; — Paul Margueritte (illustrated) ; —
Henri Bataille, 1901; — Maxime Maufra painter, 1902; —
George B*** ; — M'"^ la Comtesse de P*** ; — C. V. Alvan
aine; — M-"* Ellen Andree ; — M™*' L. de P***; — Yvette
Guilbert, Portrait-plaquette 1893; — Leon Hennique; — The
two Rosnys ; — Paul et Victor Margueritte; — J. K. Huysmans ;
— 28o —
— Elemir Bourges ; — Descaves ; — J. F. RaffaelH, 1901 ; —
Paule; — Paul Lallemand ; — C. Clermont-Ganneau (illustrated^ ; —
E. Molinier, 1901 ; — Le pere Monsabre, dominicain, 1888; —
General Boulanger, 1888 ; — Ma grand'mere, 1888 ; — Endymion's
sleep, silver medal, 1890; — Venus and Cupid, silver medal; —
General the Marquis of Ormesson, Portrait-medallion, 189 1; —
Madame A. de Caillart, 1903 ; — E. Galle (ot Nancy) ; — Georges
M. Clermont-Ganneau examining the so-called " Saitaphemes Tiara"
(Plaquette, by Henri Nocq, 1903).
Lecomte, 1904; — J. Renard, 1904; — J. J. Weerts, 1904; —
O. Sainsere, 1906 ; — C. Roll, 1907 ; — Princess Marie Tenicheff,
1907; — Joachim, 1907; — Gustave Basin; — Insignia of the
Franco- Japanese Society ; -^Dom Montfaucon Medal of the Histor-
ical Society of the Sixth Arrondissement of Paris; — Diana,
(Societe du fusil de chasse), 1900; — L'Ours et le Samurai; —
— 2«I —
La Famille, Haec sunt ornamenta mea(for the Sociiti des Amis dela
Medaille), etc.
Nocq has been a regular exhibitor at the Paris Salons for many
years, and in 1906 he had a frame of medals at the Royal Academy,
London, which attracted well-deserved notice.
" Artiste de gout et d'intelligence ", wrote Saulnier in Revue de
Paris, " Nocq eut Chapu pour maitre, et il semble avoir appris de
lui le modele simple et ferme, le secret des arrangements d^coratifs.
Ses plaquettes, ses bijoux (bracelets, broches, anneaux, epingles,
boucles de ceinture, miroirs), outre qu'ils sont pratiques, de belle
matiere, doux a la caresse de la main, delicieusement appropries a
I'elegance de la femme, ont toutes les qualites de style, de puret6,
d'entente decorative qu'exige la glyptique. M. H. Nocq est I'un des
artistes les plus reflechis et les mieux doues de notre Renaissance
moderne ".
*' Henry Nocq, le delicat artiste qui a eu une si large part dans la
renovation du bijou, s'est affirme a la fois sculpteur, medailleur et
ouvrier d'art. Esprit judicieux et reflechi, il semblait reunir toutes
les qualites exigees pour reussir dans I'art qui nous occupe. Les
necessites de la vie en ont decide autrement et il n'a pu signer
jusqu'ici qu'un nombre restreint de medailles et de plaquettes.
Mais ce sont des oeuvres parfaites. Nous n'en voulons pour preuve
que la Diane qui decorela medaille de la societe "Le Fusil de Chasse"
et la serie de medallions que Ton a pu voir aux derniers Salons,
Tres pouss^s, ils denotent en Henry Nocq un observateur avise.
II suffit de citer les portraits de E. Molinier, de E, Carriere et la
serie d'effigies de membres de I'Academie des Goncourt " (^Art
decoratif) :
Gustave Babin, critique d'art, secretaire general de la Societe des
Amis du Luxembourg ^ further states : " On finira peut-etre, un jour,
par reconnaitre que M. Henry Nocq est le plus inteUigent, le plus
personnel, — et pourtant le plus traditionnel des joailliers et des
medailleurs d'a present; je ne fais aucune exception, heureux de
prendre date en vous signalant et cette vivante effigie de Roll, et
celle de M. Olivier Sainsere^ et la plaquette de Joachim, et ces
bagues d'une supreme ing^niosite de composition, comme d'une
distinction infinie".
M. Nocq has published several articles in connection with the
decorative, and what may be called also the domestic arts in
various artistic reviews. His critique of the new French coinage,
which appeared in '* Les Arts de la vie ", and was reproduced in
"Spink and Son's Numismatic Circular " (October 1906, col. 9391-
94) shows him as a competent judge, whose opinion deserves
consideration.
Bibliography. — Information kindly supplied by the artist. — Charles Saunier,
Quelques medaillons de Contemporains par Henry Nocq, Art et Decoration, 1903,
— 282 —
p. 105. — Art dicoralif, 1901. — The Studio, XV, p. 22. — Roger Marx, Medail-
leurs franfais, 1887. — Catalogues du Salon, 1888-1906. — Gaiette numismatique
franfaise, 1900, p. 429. — Nouveau Larousse illiistn (supplement). — Emile Molinier,
Rei'ue de I'art aiicien et nioderne, 1902-1905. — Gustave Geffroy, La vie artistique
t. VI, 336, 442. — Dr A. J. de Dompierre de Chaufepie, Medailles et Plaquettes
tnodernes, liv. XIV, p. 118; PI. lxxxii, lxxxiii.
NOEL, HENRI (Belg.^. Line and Seal-engraver at Liege, circ. 1609-
1637.
NOEL, JACQUES (French). Mint-engraver at Poitiers, appointed
28. July 1628, died in 1631. His name occurs in Mint documents
as early as 1598.
NOEL, JtROMI, (Belg.y Mint-engraver at Liege, 1612-1629, in
the service ot the bishop, Ferdinand of Bavaria.
NOEL, MICHEL (Belg.). Son of Henri Noel, better known under
the name ot NATALIS (q. v.), was employed as Mint-engraver at
Liege, about 1643.
Bibliography. — A. T'lnchiTt, Biographies des graveurs beiges, Revue num. belg.,
1861.
NOGARET, JEAN DE (French). Mint-engraver at Bordeaux, appoint-
ed 2. July 1592, and confirmed in his office, which became
hereditary, in 1608.
Bibliography, — Rondot and De La Tour, op. cit.
NOGENT, JEAN DE (French). Seal-engraver at Paris, in the service
of Philip the Bold, duke of Burgundy, second halfot the fourteenth
century.
Bibliography. — Lecoy de la Marche, Les Sceaux, Paris, 1869.
NOIR, JEAN LE (French). Mint-engraver at Amiens and St. Quen-
tin, circ. 1437-1439, in the service of Philip the Good, duke of
Burgundy.
Bibliography. — Pinchart, of. «7., Rev. beige, 1861, p. 179.
NOIROT, ADRIEN (Belg.). Mint-master at Antwerp, 9 June 1555
to 2 March 1559.
NOIROT, CLkVUL (Belg.). Mint-engraver at Dordrecht, circ. 1550-
1563, in which year he settled at Antwerp, on account of the
inactivity of the Dordrecht mint. By him are Jetons of the Chambre
des Comptes of Antwerp, dated 1550, 15 51 and 1553; the new
issue of Carolus of 1554; the Philippus in silver of 1557, the dies
for which had first been entrusted to Giovanni Paolo Poggini, who
did not satisfy the authorities; Half Real in gold, 1558-1559; Noir
— 283 —
denier or Mite de Flandre, 1561 ; Half, Fifth, and Tenth Philippus
in silver of 1562, &c. When it was decided to suppress the title of
King of England on Philip II. 's currency, this Engraver was employed
to cut the dies for the new coinage, issued at Antwerp and
Dordrecht, and he was still in office in 1563, when he made some
claims against the government, which were partly satisfied.
Bibliography. — A. Pinchart, Biographies desgraveurs beiges, Revue de la numis-
matique beige, 1855, pp. 180-184.
NOIROT, JEAN (5^/^.). Mint-master at Antwerp, 24. March 15 51
to 9. July 1555, and again, 2. August 1562 to August 1572, when
he fied, with bullion entrusted to his care, and his property was
sold by order of the authorities of the Mint.
NOIROT, JEAN (Belg.). Goldsmith of Bruges, who was appointed
Mint-engraver and Assayer there, i. December 1523. In 1535, he
WMS promoted to the post of Mint-master-general of the Nether-
lands, in which office he remained until his death in 1545. By him
are numerous Jetons issued at Bruges, between 1523 and 1536,
and also dies for the following coins, struck at that Mint : N. Real ;
Half Real; Florin Carolus; — JK. Real: Half Real; Four Patards;
Three Gros; Patard (2 Gros) ; Gigot (6 Mites); — Billon. Courte
(2 Mites); Blanc denier or Blanche Courte (2 Flemish Mites), &c.
NOIROT, PIERRE (Bel^.). Goldsmith of Bruges, and Mint-engraver
there, 5. November 1504 until his death, 30. November 1523. By
him are probably the dies for most of the coins issued at that Mint
between 1504 and 15 17 : M. Toison; Philippus; — JR.. Double
Patard ; Patard; Gros; Half Gros; Quarter Gros; Gigot of 6 Mites;
Denier noir of 4 Mites; and Courte of 2 Mites; — Also those for
the coinage of 1 5 2 1 : N. Real ; Half Real ; Double Carolus (2 types) ;
Carolus; — iR. Real; Half Real; Half Carolus; Gigot; — JE. Courte.
Besides coins, Pierre Noirot engraved Jetons.
Bibliography. — A. Pinchart, op cil.
NOLIN, J. {French). Engraver at Paris, circ. 1680- 1693. By him are
various medals of Louis XIV., which are signed : J. NOLIN.
Bibliography. — Rondot and De La Tour, op. cit., p. 321.
NOLTE & C°, OTTO (Germ.). Die-sinking Establishment, founded
at Berlin in 1875 by Otto Nolte, who is still chief partner in the
firm. They have occasionally issued medals, one of which commem-
orates the New Century, struck in 1900.
A correspondent writes : "Die Firma befasst sich speciell mit dem
Vertriebe von Gelegenheitsmedaillen, fabrizirt auch selbststiindig
Miederbesatze fiir Bayerische Madchen, und vertritt die Firma :
Friedr. Pauli und Comp., Niirnberg (Gold und Silber Carton und
— 284 —
Patent-Folien). Einen Katalog iiber Medaillen, Sec, besitzt die
Firma nicht ".
NOLTE (Germ.). Assistant-engraver at the London Mint, in 1838;
perhaps one of the ancestors of the present head of the Die-sinking
estabhshment of Nolte & Co at Berhn. I possess a letter from this
engraver dated 28. August 1838, in which he says: " During my
absence from town the engraving of Pistrucci's Coronation medal
(of Queen Victoria) has been overlooked — that is — neglected.
I shall attend to it immediately, &c ".
HOHCLLS, ROBERT (Fretich). Mint-master at St. Quentin, 1382,
in which year he issued 2000 Marks' worth of silver Gros Deniers.
Bibliography. — P. Bordeaux, Lui Moletie d'eperon. Revue fr. num., 1901,
P- 379-
NONIUS. This signature NONI occurs on a gem, described by Raspe,
and representing the Repose of Hercules. The gem may be antique,
but the signature has been added in modern times.
NOOST or NOST, JOHN VAN {Brit.). Sculptor and Medallist, born
in Piccadilly, London, in the early part of the eighteenth century,
settled about 1750 at Dublin, where he worked for many years,
and executed several public statues. He was appointed Statuar}' in
Ordinary to King George IIL He died in Mecklenburgh St., Dublin,
towards the end of September 1780.
By this artist are several medals, amongst which I have noticed :
Memorial Medal of George IL, probably executed in 1763, and
signed : I.V. N.; — Memorial Medal of William, Duke of Cumber-
land, 1766; ^. SWEET will's bloom IS CLOSED. Britannia and Cupid
mourning at an altar, &c.
Bibliography. — Franks and Grueber, Med. III., &c. — S. Lee, Did. Nat.
Bhg.
NOOT, JACQUES VAN DER (Dutch). Originator of a Jeton of
Brussels, 1627, described in Revue beige de numismatiqne, 1903,
p. 44.
NORBURY, FRANK J. (Brit.). Contemporary Sculptor, by whom is
a Portrait-medallion in copper, dated 1903, and reproduced in The
Studio, January 1904.
NORDHEIM, AUGUST FRIEDRICH VON (Germ.). Sculptor, and
Medallist of Frankfort-on-Main, born 23. April 1813 at Heinrichs
dorf in Thuringia ; pupil of Doll of Suhl. He first devoted himself
to Engraving, and \\as appointed Mint-engraver at Dusseldorf
in 1836. Six years later, on the advice of Baron von Reuter,
he was called to Frankfort-on-Main, where he made his name as a
- 285 -
Sculptor. He executed there numerous busts and statuettes, and in
1862 a colossal statue of Victorious Germania.
The Frankfort Mint secured his services from about 1857, and
we meet with his signature on the currency of that city until 1866,
Double Thalers, i860, 1861 {illustrated), 1862,1866; — Vereins-
Thalers, 1857-1862, 1864-1865, &c. It is generally believed that
W^^;?:
Double 1 haler of Frankfort-on-M., 1861.
the actress Janauschek served as prototype for the figure ot Franco-
fordia on these coins (bust on Double Thalers and Thalers ; full
standing figure (as Germania) on the Gedenkthaler of 1862). These
Double Thalers and Thalers are said to have realized high prices in
America, when first issued, as "Rothschild Love Dollars", the
public being led to believe that a favourite of one of the
Rothschilds was portrayed on them; — Gedenkthaler, 1863
(fURSTENTAG ZU FRANKFURT &C.), &C.
The signature : A. V. NORDHEIM further occurs on medals, as on
a commemorative piece of the Cooperation of German States and
cities in the completion of the Dome of Cologne, 1842; — Portrait-
medal of Archbishop Spiegel-Desenberg; — Prussian State Seal (in
Diisseldorf Academy); — Medal on the Schiller Festivities, &c.
Von Nordheim died on 13. August 1884.
Bibliography. — Paul Joseph u. Ed. Fellner, Die Miinien von Frank fur t-atii-
Main, 1896. — Miiller, Biographisches Kiinstler-Lexikon der Gegenwart, Leipzig,
1882. — Meyer und Singer, Khnstler-Lexikon.
NORMAN, ANTON (Germ.). Medallist of the first half of the
eigteenth century, who was in the service of the Danish Court, and
is mentioned by Flad, Ammon, Bolzenthal, and Nagler. There is a
Portrait-medal, dated 1702, of Frederick IV. of Denmark, by him,
NORMAN DE LUIS, ALEXANDER (Brit.). Mint-master at Dublin.
anno 9 of Edward I., 1281, under whom were probably issued
Pennies, Halfpennies, and Farthings.
— 286 —
NORTHALL, ONUPHRIUS (Humphrey?) (Brit.). Inventor of a
coining-press and machinery for inscribing the edges of coins and
medals. He offered his inventions to the Nuremberg Mint in 1694,
but without success, similar appHances having already been in use
at the private mints of F. Kleinert and the Lauffers. A Nuremberg
Thaler of 1694 bears the inscription on the edge : nach dem alten
SCHROT UND KORN, and Thalers and Half Thalers, struck there, in
September and October of the same year, for Bishop Johann
Eucharius Schenk von Castell, of Eichstadt, also bear an edge
inscription. But, for some reason or another, the process was aban-
doned, and not revived until 1733, w^hen an edge inscription was
added to the " Kanonenthalers " of Nuremberg, issued in that year.
Bibliography. C. F. Gebert, Geschichte der Mfinistdtte der Reichstadt Nurnberg,
1891.
NORTON, C.L. (Brit.). A Birmingham Bookseller, who published a
Portrait-medal of Schiller, by Allen and Moore. This medal was
engraved by Joseph Moore for the "William Tell" Society.
NOSSIG {Germ.). Contempoiary Sculptor, whose signature occurs
amongst others on a Portrait-plaquette of Paderewski, 1899, issued
by the Wiirtemberg " Metallwaaren-Fabrik " Geislingen-Stuttgart.
It is in galvano-bronze.
NOST, JOHN VAN. Vide JOHN VAN NOOST supra.
NOSTER, HENDRICK {Dutch). Mint-engraver at Nymwegen,
appointed on 22. June 1584. He was probably a son of Jan Noster.
Beside his annual salary of 72 Florins, this Engraver was paid a
similar sum in 1589 for the dies of a copper Half Liard, and in
1591 for a Jeton and silver Liard. During his term of office, the
Nymwegen Mint issued: .V. Crowns; — J^. Half Philippus
Daelders; Twentieth Philippus Daelders ; Liards; — JE. Liards, and
Half Liards. After 1591 Hendrich Noster's name no longer occurs
in Mint documents.
Bibliography. — Pinchart, Biog. des graveurs beiges. Rev. beige num., 1853,
291. — Kramm, op. cit.
NOSTER, JAN {Dutch). Mint-engraver at Nymwegen, from about
1544 until his death in 1564. Under him the following coins were
issued: Al. Couronne au soleil; Real; Half Real; Florin Carolus ;
— JB<. Real; Half Real; Florin Carolus; Four Sols; Sol ; Half Sol;
— Billon. Courte of 3 Mites of Brabant; Courte of 2 Mites of
Flanders.
Between 1565 and 1567 were further struck: M. Real; Hall
Real; — JR.. Philippus Real; Half, Fifth, and Tenth; Courte of
— 287 —
2 Flemish Mites. But these latter coins were probably engraved by
Aernt Gheelvoet, Jan Noster's successor.
Bibliography. — Pinchart, op. cit. — Kramm, Ln-en en Werken, &c.
NOTZLI, J. C. {Swiss") and BOSCOWITZ. Joint-designers of a Medal
commemorating the sixth Centenary' of the Swiss Confederation,
1891.
NOUCLES. Vide. ROBERT NONCLES.
NOUCLIDAS. Vide EUKLEIDES. Vol. II, p. 30.
NOVAK. Vide NOWACK.
NOVATINI, ANDREAS (Austr.). Engraver, born at Gratz in 1765,
worked at Vienna, where he (lied in 1797.
Bibliography. — Nagler, op. cit.
NOVE, JEAN DE LA {French). Mint-contractor at Cugnon, 1628,
in the service of the Counts of Lowenstein.
NOVELLINO, FRANCESCO (Ital.). Medallist of the end of the six-
teenth century, to whom Milanesi suggests the attribution of medals,
signed: F.N. : Pope Gregory XIV., 1591 (^. Busts ot Christ and
the Virgin); — Philip II. of Spain (^. optimo principi within
wreath), &c.
BiBLioGR.\PHY. — Armand, op. cit. — Supino, // Medagliere Mediceo, Firenze,
1899
NOVELLIUS (Rotn.). Engraver of coins at the Mint of Rome,
period unknown ; and one of the few Die-cutters of Republican
times, whose names have come down to us. An antique inscrip-
tion, edited by Marini, bears these words : — novellivs avg. lib.
ATIVTOR PRAEPOS/7«J SCALPTORUM SACRAE MONETAE. ** Neither the
coins themselves", says Stevenson, '*nor any writers on monu-
ments of antiquity, furnish the slightest particulars respecting the
artists who engraved the dies for the mint of Rome". It is suggested
that, during Imperial times, at least in the best period, different
engravers were employed on the obverses and reverses of the coins;
the best artists being entrusted with cutting the portrait sides.
Bibliography. — S. M. Stevenson, A Dictionary oj Roman Coins, London,
1889.
NOVISADI, CAREL CHRISTIAAN {Dutch). Mint-master at Harder-
wijk, 1758-1766, where he struck, amongst others: Cavalier dor,
and Half Cavalier d'or, of Overysel, 1760; — Cavalier d'or, and
Half Cavalier d'or, of Groningen, 1761, Stuyvers and Dutes, iR.
and JE. I'jGyi'j'ji; — Coins of Guelders : 1759.5 Florin; 1760.
— 288 —
Double Ducat ; Cavalier d'or; Half Cavalier d'or; >^. Ducat; 17^1.
Ducatoon; 1762. Half Cavalier d'or; Half Ducatoon ; Pattern Half
Ecu; 1764. Ducatoon ; Half Ducatoon; Three Florins; 1765. Half
Ecu; 1760-1765. 5 Florins; 1767. Halt Ducatoon ; 1774. Ducatoon,
etc. His privy mark on all the coins is a Tree.
There are several medals by B. van Swinderen and Gysbert van
Moelingen commemorating the opening of the Guelders Mint under
C. C. Novisadi.
Bibliography. — Muller, Cabinet de Mounaies Job. W. Slephanik, 1905. —
Van Loon, Beschrijving der Nederlandsche Historie-Penningen &c. Suppl., 1862.
NOVISADI, JOHANN ERNST (Dutch). Mint-master at Utrecht,
1738-1766.
NOVISADI, JOHANN CHRISTOFFEL(D«/c/;). Mint-master at Utrecht,
1766-1771.
NOWACK, FRANZ JOHANN {Germ.). Mint-master at Breslau, 1702-
17 1 5 or 17 17; he had been Mint- warden at Oppeln from 1699 to
1702. His initials F.N. occur on the currency from 1699-1712.
NOWACK, JOHANN ANTON {Austr.). Mint-master and Engraver at
Gratz, from about 1676, in which year he received a gratuity of
15 Florins for a three years' supply of the New year's Ducats and
Thalers, until 1692.
Nentwich, in a paper {Der Siempel Schneider I. N.) published in
the Mitth. des Clubs der Mun:{-und Medaillenfreunde in Wien^ 1894
pp. 463-5, has endeavoured to prove that Nowack was also an
Engraver, and that he must be identified with the Medallist, who
signs I. N., and whose productions date from the last quarter of the
seventeenth centurj'. The signature I.N. occurs on numerous
Pilgrims' Badges of Maria-Taferl and Maria Zell, also on Religious
Medals, Udalric crosses, etc.
NOWATIN, ANDREAS (Austr.). Sculptor and Medallist, born at
Gratz in 1765 ; died at Vienna in 1797. He was a pupil of the Acad-
emy of Vienna, where he won a gold medal. Amongst his best
medals are those of Minerva, Hercules strangling the lion, Achilles
dying, etc.
NOWATIN, HEINRICH (Austr.). Sculptor and Medallist, born at
Gratz, 12. July 1813; died 20. March 1867. By him are: Diana
and Amor ; — Diana and Actaeon ; — Stag springing, &c.
NOWATIN, IGNAZ(^K5/r.). Sculptor and Medallist, born at Gratz,
1777 ; died there in 1840. He was a brother of Andreas N., and
father of Heinrich N. By him are: Polyhymnia ; — Diogenes in his
tub ; — Head of Minerva, &c.
— 289 -^
NOYERS, PIERRE DE (French). Mint-engraver at Troyes, 1356-
I3)7» 1357-^58, and 1360.
Bibliography. — Rondot, Les Gravenrs de Troyes.
NOZME, JEAN DE {French). Mint-master and Engraver at Toulouse,
circ. 1 492- 1 49 5.
N. P. Vide mZO\.k\iS PRUCK. Mint-master at Diisseldorf, 1710-
1738.
N. R. Vide NORBERT ROETTIERS. Mint-engraver at Brussels,
London, and Paris, 1672-1725.
N. R.C. F/V/t^ NICOLO CERBARA. Mint-engraver at Rome, aV^. 1829-
1858.
N. S. Vide NICOLAUS SCHWABE. Medallist at Dresden, 15 90- 15 99,
and later at Copenhagen, 1602-1618.
NUCLIDES. Vide EYKAEIAA2. Vol. IL p. 30.
NUBELL, FRANZ (Germ.). Mint-master and Engraver at Schwerin,
1832. He is mentioned by Bolzenthal amongst the Medallists of the
first half of the nineteenth century.
NUGONE (Ital.). Mint-engraver at Bourg, 1586, in the service of
the Dukes of Savoy.
NtifRNBERGER, GEORG (G^rm.). Mint-master at Nuremberg, 1622-
1657; from 1623 to 1639 in conjunction with Hans Christoph
Lauer and 1639 to 1650 with Johann David Lauer. His son, who
eventually succeeded him, was adjoined to him in 1655. Gebert,
Geschichte der Miin~stdtte der Reichstadt Niiritberg, p. 102, reproduced
Niirnberger's portrait, after Sandrart, and from this engraving we
learn that this Mint-master was born in 1598 and died, 21. October
1657. Under him the interesting series of Swedish Thalers of
Gustavus Adolphus, 163 1-3 were struck, ns well as medals commem-
orating the Thirty years' War. His initials GN occur also on
Thalers of Frankfort-on-Main, 1644-1645, etc. (Vide Joseph and
Fellner, op. cit.; also Lejeune, Ein unbekannter Frankfurter Taler,
Berliner-Miinzblatter, 1904, p. 609).
NDRNBERGER, GEORG Junior (Germ.). Son of the last ; Mint-
master at Nuremberg, 165 5-71677. Privy-mark, a cross.
NURNBERGER, GEORG FRIEDRICH (Germ.). Son of the last ; appoint-
ed Mint-master at Nuremberg, 4 July 1677, and in office until
17 16. He retained his father's privy-mark, a small cross, adding
his initials GFN. on the larger coins. Although I find it stated that he
L. FoKRER. — Biographical Notices of MtdaUists. — IV. 19
— 290 —
was not only responsible for the issue of the coinage, but also
engraved dies, this does not seem at all certain. Bolzenthal
mentions his name as an Engraver of inferior merit, and in K. K.
Hauptmun:(amt Katalog der Miin^- und-Medaillen-Stenipelhe is repeat-
edly called a " Stempelschneider ". Gebert, on the other hand,
informs us that the following Mint-engravers worked under him :
Dockler, who cut dies for " Rathausthalers ''; Johann Jakob Wolrab,
1 674- 1 690; Hermann and Heinrich Hafner, Martin Brunner,
Georg Hautsch, and possibly others.
In 1700, Niirnberger issued a series of " Lammleinsdukaten
to commemorate the new (eighteenth) century : various muhiples
of the Ducat, and subdivisions (|, |, |, |g, andf:,), struck on round or
square flans. These coins were so much prized that at a later date
Cnrisioph GottHeb Lauffer, and also Johann Martin Forster issued
imitations, which differ somewhat in work and bear different initials.
Even in our day they are sometimes used for presents at Christening
or other religious ceremonies.
On the occasion of the accession of Joseph I., 1706, and later of
Charles VI., 171 1, Niirnberger issued Double Thalers, Thalers, and
gold coins with the respective portraits ot the Emperors. These are
all rather searce, and cannot have been issued in large quantities.
This Mint-master died after 172 1, the year in which he resigned
his office in favour of his son, Paul Gottlieb Niirnberger, who had
^^f^V'f-<r
Five Ducat piece of Nuremberg, 1700.
acted as joint Mint-master since 17 16. Gebert gives the date of his
death as 17 16 in error {Vide Berliner Miinzbliitter, 1903, p. 276).
Georg Friedrich Niirnberger's signature occurs on coins of Hall,
Nuremberg, Schwarzenberg, Bamberg, Mayence, Hohenlohe,
Nostitz, &c., on medals of Frederick I. of Prussia and of Charles XII.
of Sweden, which, says Mr. Grueber, " are considered good
specimens ofmedallic work ". I have further noticed his initials on
the following pieces : Ducat of Mayence, on the Peace of Ryswick,
1697; — Medal on the Peace of Ryswick, 1697 ; — Expedition to
— 291 —
Vigo Bay, i702(byHautsch); — Baron de Cohorn,Bonn taken, 1703
(by Hautsch); — Prince Eugene and Marlborough, Battle of Blen-
heim, 1704 (by M. Brunner); — Peace Festival at Augsburg, and
Battle of Blenheim, 1704; — Relief of Barcelona, 1706
(by M. Brunner); — Successes of the Allies in Spain and
Brabant, 1706; — Gulden of the " Frankischer Kreis ",
Thaler of Anton Johann, Count of Nostitz, 17 19.
1693; — Thaler of Wolfgang Julius zu Neuenstein, count ot
Hohenlohe, 1697; ■ — Ducat, Thaler (illustraled), and Half Thaler
of Anton Johann, count of Nostitz, 1719; — Thalers of Ferdinand
Wilhelm Eusebius, Prince of Schwarzenberg, 1696 and 1697; —
Double Thaler of Nuremberg.
Thaler of Hall-on-the-Kocher, 1705 ; — Prince Frederick, Landgrave
of Hesse, Victories over the French and Spaniards, 1704; — Peace
of Carlowitz, 1696 (by Hautsch); — Thaler of Bamberg, Sede
— 2^2 -^
Vacante, 1693 ; — Thaler and Half Thaler, of Lothar Franz, Baron
von Schonborn, bishop of Bamberg, 1694; — Recapture of Ofen,
1686; — Victory of Zeuta, 1697; — Genealogical Medal, 1697
(by Hautsch); — Marriage Medal of Joseph I. and Wilhelmina
Amalia of Brunswick, 1699; — Peace of Carlowitz, 1699; —
Adoption of a new Calendar, 1700; — Capture of Landau, 1702
(by Hautsch) ; — Augsburg recovers its freedom, and Ulm deliver-
ed, 1704 (by M. Brunner); — The Habsburg family, 1705 (signed :
BRUNER and G. F. N.+); — Relief of Barcelona by Charles III.,
1706; — Capture oi Landau, 1709 (by Hautsch) ; — Defeat of the
French at Mons in Hainault, 1709 (by M. Brunner); — Mons
taken, 1709 (by M. Brunner); — Capture of Douai, 1709 (by
M. Brunner) ; — Capture of Madrid, 1710 ; — Death of the Emper-
or Joseph L, 17 1 1 (by M. Brunner) ; — Accession of Charles VL,
171 1 (by M. Brunner); — Coronation of Charles VL, 171 1
(signed N ); — Prophecy of a Prosperous Reign, 17 11 (by A.Mayr);
— Hungarian Coronation of Charles VL, 1712 (by B. Richter) ;
— Preliminaries of Peace between France and Austria, 17 14 (by
M. Brunner); — Peace of Rastadt, 1714 (by M. Brunner); —
Birth of the archduke Leopold, 1716 (sev. var., by M. Brunner and
others); — Victory of Peterwardein, 1716; — Prince Eugene of
Savoy, 1697; — Fiirstenberg " Mining " Medals, 1704 and 1705 ;
— Capture of Azow; — Victory of Charles XIL at Narva; —
Coronation of Frederick L, King of Prussia, 1701 ; — Erection of
the Kingdom of Prussia, 1701 ; — The Unfortunate State of France
under Louis XIV.; — Marriage of Frederick Lewis, Prince of Wales,
with Princess Augusta of Saxony, 1736 ; — Prince Conti ; — Baron
von Cohoorn, 1703, and Capture of Bonn ; — Battle of Blen-
heim, 1704 (by M. Brunner); — Capture of Grevenburg by
Landgrave Frederick of Hesse, 1704; — Proclamation medal of
Joseph I. at Nuremberg, 1705; — Victories of the Allied Powers,
1706; — Attempted Invasion of Scotland, 1708 (by M. Brunner);
— Capture of Ryssel by the Allies, 1708 (by M. Brunner); — Peace
Negotiations with France, 1709; — Capture of Tournay, 1709 (by
M. Brunner); — Battle of Malplaquet, 1709; — Capture of St.
Venant and Aire, 17 10; — Duke PhiHp of Anjou defeated at
Saragossa, 1710; — Charles III., King of Spain, 1710, and others.
Bibliography. — Bolzenthal, op. cit. — Gebert, op. cit. — Franks and Grueber,
op. cit. — Schlickeysen-Pallmann, op, cit. — I. V. Kull, Repertorium, &c. —
Grueber, Guide &c. — Ad. Hess Nachf., Reimmaun Catalogue, 1892. — E. Fiala,
op. cit. — Hildebrand, op. cit. — Belts, op. cit. — Iversen, op. cit. — Ammon,
op. cit. — Katalog der Miinien und-Medaillen-Stempel-Sammlung desk. k. Haupttniini-
amtes in fVien, 1901. — Catalogiis der Nederlandsche en ob Nederland betrekkiug
hebhende Gedenkpenningen. — Fr. Dollinger, Die FUrstettPergischen Miinien und
Medaillen, 190?. — Nagler, AUgenieines Kinstler-Lexikon. — Ibid., Mouogranimisten.
— Berliner Mun^blatter, 1903, p. 276. — Domanig, op. ctt.
— 293 —
NtJRNBERGER, HEINRICH (Germ.). Moneyer at Vienna, 1420.
NtRNBERGER, JOHANN FRIEDRICH (Germ.). Mint-master-adjunct
at Nuremberg, circ. 1725.
Bibliography. — Will, op. cit., I, 165. — Kull, Repertorium, &c.
NtRNBERGER, PAUL GOTTLIEB (Germ.). Assistant Mint-master at
Nuremberg, 1 709-1 721 ; Mint-master, 172 1- 1746. His issues are
signed PGN or N without the adjunction of any other privy-mark.
In 1730 he went bankrupt, but still retained office until his death
which took place probably in January 1746. He was the fourth
and last Mint-master of the name of Niirnberger. His successor was
Carl Gottlieb Lauffer (q. v.).
P. G. Niirnberger issued amongst others two Proclamation
Ducats, several varieties of Thalers, some subsidiary currency, and
a few medals, as : Bohemian Coronation of the Empress Elizabeth
Christina, at Prague, 1723 (by Peter Paul Werner); — Peace of
Vienna, 173 1 Tby Vestner) ; — Victories over the French on the
Mosel, 1735 (by P. P. Werner); — Death of Prince Eugene of
Savoy, 1736 (bearing only P. G. Niirnberger's signature); —
Conclusion of Peace between Germany and France, 1737 ( 3 var.,
engraved by W. Hoffmann, and P. P. Werner); — Foundation and
Amelioration of the University of Altdorf, 1723 ; — Thaler ofHall-
on-Kocher, 1742 (obv. pgn; I^. il ce Oe.xlehi); — Thaler of
Nuremberg, 1781 (P. G. N.), etc.
Bibliography. — Gebert, op. cit. — Nagler, op. cit. — Katalog, &c. — Berliner
Munihlatter, 1903, p. 276.
NtRNBERGER JUNIOR Vide GEORG NtRNBERGER der Jungere.
Mint-master at Nuremberg, 165 5 -1677.
NUIS, ABRAHAM VON (Dan.). Medallist of the end of the sixteenth
century and beginning ot the seventeenth. He worked under
Christian IV,, and executed a series of Portrait-medals of the six
Danish kings of the House of Oldenburg.
Bibliography. — Bolzenthal, op. cit. — Nagler, op. cit.
NUME, J. (Germ.). Nagler mentions the name of this Medallist,
who is said by Nicolai to have engraved a medal on the Capture of
Bonn, i698(?).
NUMMERS, LEVIN (Rtiss.). Mint-master at Narva, 1670-1672. His
issues bear his initials.
NUSSBAUMER (Swiss). Publisher or Engraver of a commemora-
tive Jeton of the Federal Rifle Meeting at Chaux-de-Fonds, 1863.
N. V. Vide NICOLO VIARDO. Mint-master at Aosta, 15 53-15 59.
— 294 —
N. VIC... AM (Jtal.). Signature of a Medallist, which occurs on a
medal of the Florence Royal Museum, described by Prof. Supino;
obv, AMOR. ET.vsvs. OMNIA. viNcvNT. — N.VIC. Bearded bust tor.;
J^. MORiE . RATIENS . L.EDI . NEQVIT. ... AM. Bearded buSt tO 1.
Bibliography. — I. B. Supino, // Medagliere Mediceo, 1899.
NYMPHEROS. This signature, which has been added in modern
times, occurs on a sard, of the Florence Museum, representing a
Warrior standing, one hand resting on a tree, the other on his
helmet which is placed upon his shield.
NYECAMER, MARTINUS {Dutch). Joint Mint-master with Francis
van Papevelt, at Campen (Over Ysel), 22 . June 1 5 29 to 3 1 . May 1 5 3 1 ,
and 29. May 1532 to 7. September 1535.
NYEKAMER, MATTHAEUS {Dutch). Mint-master at Sneek (Fries-
land), 1 498- 1 500.
NYLL, MISS JANE {Amer.). Contemporary Modeller, born at
Providence (U. S. A.) ; pupil of R. CoUin, Injalbert, and Paul Bartlett.
At the Salon of 1897 she exhibited a fine Portrait-medallion, entitled
Helen.
NYRIS. This name is given by Nagler and Schlickeysen as that of
a French Medallist of the end of the seventeenth century. It is no
doubt in error for NILIS {q. v.).
NYS r/c?^ NICOLAS VAN SWINDEREN. Dutch Medallist, 1736-
1745-
NYS, CAREL ANDREAS {Belg.). Painter and Sculptor, born at
Antwerp, 29. September 1858. Pupil of the Royal Academy of
Antwerp, and the Ecole des Beaux-Arts of Paris. He has participated
in various Exhibitions.
I have noticed his signature : C. NYS on a medal commemorating
the Carnival at Breda, 1880, and he has engraved various Prize
Medals, &c.
— 295
O
0. Vide ODENDAHL. Mint-master at Hoxter and Miinster, 1689-
1696. Also I. 0.
0. Vide M. H. OMEIS. Medallist at Dresden, 7 1703 ; also M.H. 0.
0. VideT. OFFNER. Palatine Mint-master, 1737-1750; also P.O.
A. 0. Vide ANGELOORIO. Mint-inspector at Venice, 1785.
CO. F/V/^ GLAUS OPPERM ANN. Mint-master at Bayreuth, 1613-
1623.
C. 0. Vide CHRISTOPH ORBER. Mint-master at Hall in Tyrol, 161 6,
in the service of the Archduke Maximilian, Grand-Master of the
Teutonic Order.
D. 0. Vide DtRR and OMEIS. Medallists at Dresden, last quarter
of the seventeenth century. Also E. C. D. and M. H. 0.
DOB. Vide DOBICHT. Mint-engraver and Medallist at Neuwied,
1750-1756.
DOM. POGG. Vide DOMENICO POGGINI. Goldsmith and Medallist
at Florence, circ. 1560-1570.
F. 0. Vide FRANZ OFFNER. Mint-master at Heidelberg and Mann-
heim, 1732-1750.
F. d. FERAL. Vide 6 FERAL infra, and FERAL. Vol. II, pp. 86
and 87.
G. 0. Vide GIACOMO OZEGNI. Medallist at Turin, 1622-1625.
H. 0. Vide HANS ODENDAHL. Mint-master at Munster and Hoxter,
1689-1696.
H. 0. F/W^- HEINRICH OMEIS. Medallist at Dresden, 1680- 1703.
Also M. H. 0.
HOE. Vide CARL WILHELM HOECKNER. 1749- f 1820. Medallist
at Dresden. Also H(E.,HO. E. F., or HOECKNER.
L 0. Vide JOHANN OTTO. Mint-master at Zerbst, f 1663.
1. 0. Vide JOHANN ODENDAHL. Mint-master at Hoxter, 1 689-1 691,
and Munster, 1 692-1 696.
— 296 —
M. 0. Fide MARTIN OMEIS. Medallist at Dresden; died in 1703.
Also M. H. 0.
P. R. 0. Signature of a Brussels Die-sinker, 1848. Vide Schlickey-
sen-Pallmann, p. 355 ; Weyl, Henckel n°* 5047-50.
V. 0. Vide VINCENZO ORIO. Venetian Governor at Lesina in Dal-
matia, 1549, whose initials occur on currency.
Bibliography. — Schlickeysen-Pallmann, op. cit.
0. A. L. Vide JAN LUTMA Junior. Medallist of Amsterdam, bom
in 1605, died there in 1685. The signature O.^l €>.^ occurs on a
commemorative medal of the Peace ot Breda, 1667.
0. B. Vide OSCAR BERGMANN. Contemporary Medallist of Ham-
burg. A medal of Goethe, 1899, is thus signed.
OB. Abbreviation for OBLIN.
OBERLEITNER, ALBERT JOHANN PHILIP JAKOB (Germ.). Mint-
warden at Munich, 1675.
OBERMEIER, THOMAS (G^Tw.). Mint-master at Ratisbon, 1572,
1575-
OBERMOLLER, HANS MATTHAUS(G<'rw.). Mint-master at Meinin-
gen, 17 14-17 17. His initials H. M. 0. occur on the currency issued
by him.
OBERT. Vide BARTH£lEMI AUBERT (French). Mint-engraver at
Romans, 1460; later, Assayer and Engraver to all the mints of Dau-
phiny, 1461-1501. He signed Bartholome Alter. His name occurs
also as HOBERT, OBERT, ALBERT, or £BERT.
Bibliography. — N. Rondot 8f De La Tour, Les Medailleurs et Us Graveurs de
Moiinaies, &c., 1904.
OBIOLS, GUSTAVE (Spaju). Contemporary Sculptor, born at Bar-
celona; pupil of the Fine Arts Academy of that city. At the Salon
of 1 89 1 he exhibited a medallion in bronze, representing Leda.
OBLIN (French). The signature OBLIN F. occurs on a Masonic
medal of the Lodge of Benevolent Friends, Paris, described by Mar-
vin, p. 94, CCXXIII.
O'BRISSET, JOHN (Brit.). Artist of the first half of the eighteenth
century, who executed dies for Medallions in pressed horn. He
seems to have been working in England from about 1705 to 1727.
It is not clear whether he was a Frenchman by origin, or of Irish
descent. The name might have been anglicised from Aubrisset.
There would seem to be, says Mr. Read, a faint chance of O'Brisset
— 297 —
being Irish, as, when he signs by initials only, as in the portraits
of Charies I., Philip V., and Prince George of Denmark, he uses
the first two letters of his name, OB or I. OB. His portrait of Wil-
liam III. is signed with his name and the addition Londini.
O'Brisset's skill was chiefly devoted to portraiture.
^ %
King Charles I,
Among this Engraver's best known pfoductions are : Snuff-Box
with the arms of Sir Francis Drake; — Bust of Charles I. (Jlllus-
trated)y copied from Roettier's medal ; — James II. ; — William III. ;
— Queen Anne (boxes and medallions are found both in silver and
tortoiseshell from O'Brisset's moulds, copied from a medal by C.
Wermuth) ; — Prince George of Denmark (signed : I* OB* F 1708);
— Philip V. of Spain ; — Silenus accompanied by nymphs and
satyrs; — Duke of Marlborough (tortoiseshell, and also bronze);
— Conversion of Saul, etc.
Bibliography. — C. H. Read, English Work in impressed Horn, Portfolio, 1893.
0. C. Signature on a Proclamation-medal of the Pretender,
Henri V of France, 183 1 .
OCAMPO, C. {Mex.'). Mint-engraver and Medallist at Mexico,
1865-1867. He worked in conjunction with the Engraver A. Spiritu,
under the direction of Navalon. His signature : C. OCAMPO Grabador
— 298 —
is found on the following medals : Head of Maximilian; ^L Virgin
of Guadaloupe, 1865 ; — Maximilian and Carlotta; similar I^ by
A. Spiritu (obv. signed : OCAMPO G.); — Medal for Scientific and
Artistic Merit, with bust of Maximilian ; — School Medal (honor
A LA juvENTUD estudiosa); — Maximilian and Carlotta; ^L 12. de
JUNTO DE 1864. 19 DE JUNTO DE 1867, the date of the arrival of the
Emperor and Empress in the city of Mexico, and the execution of
Maximilian at Queretaro, etc.
Bibliography. — Betts, Mexican Imperial Coinage, 1899. — A. Rosa, Monetario
Americano, 1892.
OCH, OCII (G^rw. ).MoneyeratRatisbon_,aV^. ioi8(Dannenberg,I,
420).
OCHS, BERNHARD (Swiss). Goldsmith and Die-sinker at Berne in
the first half of the eighteenth century. The famous Gem-engraver
Lorenz Natter was apprenticed to him.
OCHS, JOHANN RUDOLF (5"ztm). Gem-, and Coin-engraver, born
at Berne in 1673, died in London in 1749 or 1750. He may have
been a relative of Bernard Ochs. Under George I., he obtained
employment as Assistant Mint-engraver at the Royal Mint, returning
later to Switzerland, and coming back again in 17 19.
By profession he was a Seal-cutter, but afterwards gained reputa-
tion as an Engraver of Gems.
Bibliography. — Fiissli, op. cit. — Seubert, Allgevieines KUnstler-Lexikon. —
Singer, op. cit. — Gent. Mag., 1749, p. 477. — Lee, Diet. Nat. Biog., xli, 355.
OCHS, JOHANN RUDOLF {Swiss). Son of the preceding, born in
T704. Also a Gem-, and Coin-engraver. He died in London in 1788.
Hawkins states that he was employed at the Royal Mint for seventy-
two years, but this is evidently an error, as this considerable lapse
of time covers the period of activity of both father and son.
Maundy Groat ot George 111., 1765.
His name, says Mr. Wroth, first appears in Ruding's list of
Engravers at the mint (Annals of the Coinage, I, 45) in 1 740-1 741,
and is subsequently mentioned together with the names of Yeo and
the Tanners. He engraved the dies of the Maundy Money of
— 299 —
George III. (first variety), 1763- 1786. He died at Battersea in 1788,
aged 84.
On English documents his name appears as JOHN RALPH OCKS.
BiBUOGRAPHY. — Ruding, op. cit. — Hawkins, Silver Coins, &c. — Redgrave,
Dictionary 0/ Artists. — Lee, Dictionary of National Biography.
OCKELER, DIETRICH (Germ.). Mint-master at Brunswick, 1572-
1583.
OCKS. Vide OCHS supra.
O'CONNELL, G. (Brit.). Issuer of a Memorial medal of Duke
Amadeus of Savoy, 1890. It bears his signature : G. O'CONNELL CONIO
and that of the Engraver, Adolfo di Nicola Farnesi, of Lucca, A. FAR-
NESI FECE (Rivistaital. dinumismatica, 1892, p. 220, n° 3).
OCTOBRE, klVLt {French). Contemporary Sculptor, born at Angles-
sur-l'Anglin (Vienne) ; pupil of CaveHer, Gauthier, and Coutan.
By him are various Portrait-medallions : 1890. M"*' A. P***; —
1892. M"'^ L***; — 1896. M-^ C***.
Bibliography. — Catalogues du Salon, 1890- 1897.
OCSOVAY, DANIEL LEOPOLD (/^«5/r.). Mint-engraver at Nagybany a,
1 692- 1 703 ; 7 1728. He was the son of a Hungarian Lutheran
minister, but adopted the Catholic faith in 1688, and settled at
Vienna as a Seal-engraver. In 1692 he was appointed Mint-engraver
at NagA'banya, but he had to leave under the Rakoczi's troubles,
fled to Poland, and returned to Vienna, where he died in 1728.
OCSOVAY, FRANZ PETER {Austr.). Son of the last, and Mint-
engraver at Nagybanya, from 1725 to 1745.
ODELLI (Ital.y Gem-engraver of the end of the eighteenth century
and early part of the nineteenth, who flourished at Rome, and is
best known for his copies of antique intaglios and cameos; amongst
others a cameo of Vespasian in blue quartz, of very fine work. He,
in partnership with Cades, Ginganelli, and Dies, produced, in the
first quarter of the nineteenth century, at the commission of Prince
Poniatowsky, of Florence, the enormous series of gems that have
made the latter's name notorious (King, op. cit., 1872, p. 444).
OD. {French). Engraver's signature on Masonic medals : Birth of
the King of Rome, Lodge of United Hearts (signed : OD. F.) ; —
Lodge of United Hearts, founded in 1766. These letters may be
an abbreviation for ODLIN or a misreading for OB which would stand
for the name ofOBLIN {a. v.), who, according to Marvin, engraved
a medal of the Lodge 01 Benevolent Friends, Paris.
— 300 —
ODDU {Germ.). Moneyer of the tenth century, some of whose
coins are inscribed : ODDV MEFIT.
ODENDAHL, HANS (Germ.). Mint-master at Hoxter, 1 689-1 691,
and Munster, circ. 1692- 1696. His initials H. 0. or I, 0. occur on
his issues. I have noticed the J. 0. on a Thaler, 1693, and Gulden,
1693 and 1695 of Frederick Christian von Plettenberg, bishop ot
Munster.
ODENDAHL, HEINRICH LAURENZ (Germ.). Mint-master at Munster,
1696-1700, and 1704-1706; Hoxter, 1698 and 1703; Dusseldorf,
1700; Muhlheim-on-Rhine, 1 700-1 70 1 ; Osnabriick, 1701 and
1703 ; and Paderborn, 1701-1702. 1 have noticed the initials H. L. D.
on a Thaler of Frederick Christian von Plettenberg, bishop of
Munster, 1697.
ODESCALCHI, DON LIVIO, Duke of Syrmia (Ansir.). An indenture
of 5. August 1702 of the Court Chamber, Vienna, authorised the
prince to strike coins at Gratz; another, of 27. December 17 10, to
issue Ducats and Thalers at the Mint of Hall " nach dem Reichs-
chrott und Korn an Halt 14 Loth 4 Gren, somit aus der Wr. Mark
10 I Stucke auszumunzen. "
Bibliography. — C. Oesterreicher, Regesien ^u J. Nnuald's Publicationen uber
osterreichisclx Mtiti:;Jyrdgtiiigen im enten Viertel des XVI I. Jahrhunderts, 1890.
ODET, JEAN (French). Assistant-engraver and workman at the
Mint of Avignon, «Vr. 1543-1545.
ODOARD, PIERRE (French). Mint-master at Cremieu, circ. 1408.
ODLIN. Vide OBLIN supra.
0. E. or (E. Vide OEXLEIN. Medallist at Nuremberg, circ. 1740-
1787.
(E. Signature of the so-called MASTER (E (Anstr.). Medallist of
the second quarter of the sixteenth century. He worked mostly for
the princely house ot SchUck. Fiala has suggested that the mono-
gram may represent the signature of DAVID ENDERLE (Vol. II, p. 18)
or DAVID ENGELHART, the father of the Mint-engraver of Prague
of the same name, who was Goldsmith to the Imperial Court at
Vienna, and might very well have been the author of these medals.
The Master (E worked in conjunction with Lud. Neufahrer, and
Michael Hohenauer.
Among the medals bearing this signature we find : John the
Constant of Saxony and John Frederick, 1530; — Charles V.
and Isabella, 1533; — Stephan and Lorenz Schlick, 1533; —
StefFan Schlick; Y^. Lorenz and Katharina Schlick, 1534; —
- 3oi —
t*hiiipp von Messen, 1535;' — John Huss; — Peter and t*aui; ^L.
Conversion of Saul of Tarsus, 1533 {illustrated) ; — Abraham's
offering of Isaac; ^Crucifixion of Christ, 1533;- — Matthias Zeller
von Puchberg, 1549.
"Den Namen des Monogrammisten sicherzustellen ", says Fiala,
The Apostles Peter and Paul, 1533.
"gelang mir nicht; dass er aber ein tiichtiger Kiinstler undfleissiger
Arbeiter sein musste, weisen seine vielen Arbeiten am besten
nach. Die sieben Schlick'schen Medaillen, welche seinem Grabsti-
chel entstammen, tragen, eine einzige ausgenommen, sammtlich
das Monogram (E."
Bibliography. — Erman, Deutsche Medailleure, 1884. — E. Fiala, Das Muniwe-
sen der Grafeii Schlick, Numismatische Zeitschrift, Wien, 1890. — D"" Merzbacher,
Kunsl-Medaillen-Katalcg, 1900. — Katalog der Miini- und Medaillen- Stevtpel
Samtnlmig in Wien, 1902.
OECHSLIN, D. (Swiss). Seventeenth century Engraver of Einsie-
deln, who signed : D. '^
OECKELER, DIETRICH {Germ.). Mint-master at Osterode, i$72-
1583.
OECKELER, HEINRICH (Germ.). Mint-master at Herzberg and
Osterode, circ. 1550 ; died at Brunswick in 1605. His counter bears
his arms on one side, and the sacrifice of Abraham on the other.
OECKELER, HEINRICH (G^rm.). Grandson of the last; Mint-master
at Osterode, 1585 ; appointed Mint-master at Zellerfeld, 26. January
1 60 1, and remained in office until his death, 1620.
Bibliography. — E. Fiala, Die Mim\meister der Hcr:^oolich Braunschweig-
— 302 —
Li'imburgischen Coinmunion-Mun:!;stdtte :(u Zellerjeld, Zeits. fur Numismatik, 1904,
p. 145. — Nagler, Monogrammisten, 1881.
OECKER, JOSEPH (Germ.). Mint-warden at Munich, 1761-1785.
OECKERMANN, RUDOLF ERNST (Germ.). Mint-master at Dantzig,
1 760- 1 766. His initials R. E. OE occur on coins of that mint issued
by him : Tympfe 1759, 1760, 1763; Half Thaler, 1760 (only in
trial pieces), etc.
Bibliography. — D"" Max Kirmis, Polnische Mun^kunde, Posen. 1892.
OEFFINGER, CASPAR(5o/;d//;.). Mint-engraveratPrague, 1636-1692.
His coins are usually signed : ^ >: . He died in 1692.
OEFFLEIN, KONRAD (Germ.). Mint-master at Augsburg, 1396.
OEHLER & JAECKLE (Swiss). Die-sinkers who worked in partner-
ship at Zurich, 1876-1883, in which year Jaeckle started business
on his own accoun;. They have engraved Seals, Armorial bearings,
Prize-Medals, &c. ; among the latter : Zurich " Krugerfest ", 1880;
- — Dog Show at Zurich, 1881 ; — Ignaz Heim; — Swiss Federal
Exhibition at Zurich, 1883 (many varieties), and others. Vide
JAECKLE-SCHNEIDER (Vol. Ill, p. 5 l).
OEHRING, KARL (Germ.). Engraver to the Bavarian Court, born
in 18 1 7, died in 1892. He was entrusted with the preparation of
Seals, Armorial bearings, and other similar works for the Court
and Government of Bavaria. In 1874 1^^ engraved a commemorative
medal of the Second German Choral Festival at Munich, 1874.
OEHRING, OSKAR (Germ.). Engraver to the Bavarian Court at
Munich, since 1890. He was born in 1853.
OELMAYR, JOSEPH (Austr.). Mint-engraver and workman at
the mint of Gratz, 1752.
OELSNER, JEREMIAS (G^rm.). Mint- master at Langenburg, 1622.
OiRBER, CHRISTOPH {Austr.). Mint-master at Hall in Tyrol,
from I. August 16 13, in the service of the Archduke Maximi-
lian, Grand Master of the Teutonic Order. His initials C. 0. occur
on coins issued by him. In 16 17 he received a gratification of
1000 Thalers for special services.
Bibliography. — C. Oesterreicher, /. c.
OERTEL, C. W. (Auslr.). Contemporary Engraver at Wiener-
Neustadt. By him are medals commemorating the Seventh centenary
of that town, 1892.
— 303 —
OERTEL, OTTO (Germ.). Founder (f 1892) of a Die-sinking
Establishment at Berlin^ now carried on under the style of BERLINER
MEDAILLEN-MtifNZE OTTO OERTEL. This firm has a good reputation
for the production of medals, and their works are organised with
the most up-to-date machinery.
Amongst the best productions of the Berlin MedaUic Mint are : The
Kaiser Wilhelm's Errinerungs Medaille (granted by the Emperor
William II. for the Army and Navy); — Prize Medals and Pla-
quettesofthe Diisseldorf Exhibition of Arts and Industries, 1902 ;
— Prize Medals for the International Exhibitions of Arts and Hor-
ticulture, 1904; — Numerous artistic Plaquettes (many of which
were acquired by the State for the Royal National Gallery at Berlin
and other Public Museums), &c., and I have come across the
following medals, signed OERTEL : 1887. Ninth German Federal
Rifle Meeting at Frankfort-on Main (by H. Weckwerth) ; — Visit
of the Shah of Persia to BerUn; — 1888. Death of William I. ; —
Accession and Death of Frederick III. ; — Accession of William II. ;
— Prince Bismarck; ^L. wir furchten gott &c. ; — 1899. The
German Imperial family; — Queen Victoria made Honorary Colo-
nel in the German Army; — Samoa Conference at Berlin; —
Naval Review and Visit of William II. to England ; — Major von
Wissmann, explorer; — Prize Medals of the German Insurance
Exhibition; — Steglitz Schiitzengilde ; — Visit of King Humbert
Heligoland ceded to Germany, 1890.
to Berlin , — Visit of William II. and his consort to Strassburg ; —
1890. D' Carl Peters, explorer; — Eniin Pascha, explorer; —
Tenth German Federal Rifle Meeting at Berlin ; — Heligoland ceded
to Germany (illustrated); — 75'^ Birthday of Prince Bismarck; —
Moltke's Jubilee; — Death of the Empress Augusta ; — Another,
Todtenwache ; by R. Otto, Court-medallist (only 38 struck); —
— 304 —
jubilee o^ the House of Wettin ; — Opening of the Volkstheatef
at Worms; — Tenth International Medical Congress at Berlin
(designed by Prof. Virchow) ; — 1891. International Electrical
Exhibition at Frankfort-on-M. ; — 1892, The Triple Alliance (busts
of Francis Joseph I., Humbert, and William II.) ; — 1894.
" Reconciliation " Thaler of William II. and Prince Bismarck; —
"Reconciliation" Thaler, 1894.
Marriage ot the Tsarewitch Nicholas and Princess Alix of Hesse ;
— Death of Alexander III ; — Accession of Nicholas II. ; — 1895.
80''' Birthday of Prince Bismarck ; — Opening of the Kiel Canal ; —
1896. Coronation of Nicholas II. and Alexandra; — D' Rob.
Koch; — D" Rud. Virchow; — 8r' Birthday of Bismarck; —
1898, William IF. s Journey to Palestine (sev. varieties); — Death
of Prince Bismarck; — 1899. Peace Conference at the Hague; —
Centenary of the Royal Technical College at BerUi>; — 1900. The
New Century ; — Relief ot the Legations at Peking ; — Tsii-Hi,
Empress of China; — Recovery of the Empress Frederick ; — 1901.
Second Centenary of the Kingdom of Prussia; — Riga Jubilee
Exhibition ; — Death ot Queen Victoria ; — Barnay, tragedian (by
R. Otto); — President Kruger; — 1902. Death of the Empress
Frederick ; — 1 904. Marriage of the Grand Duke of Saxe- Weimar ; —
Death of Pope Leo XIII. ; — Accession of Pius X ; — Visit of King
Victor Emmanuel III. to Berlin; — 1905. Marriage of the Crown
Prince of Germany with Princess Cecilia of Mecklenburg, &c.
0ESCH6ER, MESDACH & C-% and later ESCHGER, GHESQUltRE
& C° (Vol. II, p. 28). ride MESDACH, LOUIS, Vol. IV, p. 45, under
whose name I have given a fairly representative list of this firm's
productions.
OEVER, WILHELM (Germ.). Mint-master at Worms under
Charles V., and later.
- 305 —
OEXL. HEINRICH (Germ.). Gem-, and Seal-engraver, who was
flourishing at Munich, circ. 1590-1593.
OEXLEIN, CHRISTIAN DANIEL (Gm//.). Mint-engraver, and Medal-
list, who was working at Ratisbon, circa 17 12-1759. His signature
occurs on undated and dated Ducats, Double Thalers, Thalers,
Gulden, &c. of that city, and also on medals, in one or other of
the various forms : 0; — 0. F.; — C. D. 0. ; — C. D. (E.; — C. D.
OE.; — C. D. OEXL.; — C. D. OXLEIN, &c. Nagler and Miiller give
the date of his death as 1737, but this is no doubt an error as the
signature : C. D. OEXL. occurs at least as late as 1745.
By him are the following productions, described in Plato's
work : Third Centenary of the Invention of Printing, 1740; —
Second Centenary of the Reformation, 1742 (sev. var.); —
Jeton, on the same event; — The War of 1741-1743, and Relief
of Ratisbon from the siege by the French, 1744; — Double Thaler,
undated (sev. var.); — Ducat, undated (sev. var.); — Thaler,
undated (sev. var.); — Conventionsthaler, 1754' (2 var.); —
Conv. Thaler, 1756 (2 var.); — Conv. Thaler, 1759 (sev. var.);
— Thaler in gold (10 ducats), undated ; obv View of Ratisbon ;
T^. Bust of Charles VI. (signed : CDO); — Ducat, 1742 (on the
second Centenary of the Retormation at Ratisbon) ; — Transfer of
the seat of the Reichstag from Frankfort-on-M. to Ratisbon, 1745
(signed : C. D. (EXL. ; another bears the signature : I. L. (EXLEIN F.),
&c.
In the Collection of D"" Antoine-Feill of Hamburg, 11. Portion
(sold by Mr. Joseph Hamburger at Frankfort-on-Main, March 1908)
were the following medallic works by C. D. Oexlein : Peace of
Passarowitz, 1718 (in conjunction with B. Richter); — Election
of Charles VII, 1742; — Coronation Ducat of Charles VII and
Maria Amalia, 1742 (B^. by A. R. Werner); — Coronation Jeton,
1742; — Election of Francis I., 1745; — Memorial medal of
Maria Theresia, 1780; — Jubilee Medal of the Abbot of Fulda,
with portrait of Heinrich VIII, Freiherr von Bibra, 1779 ; — Sede
Vacante Medal of Passau, 176 1 ; — Sede Vacante Medal of Ratisbon,
1763; — Peace of Hubertsburg, 1763 (sev. var.); — Peace of
Teschen, 1779 ; — Saxony's Prosperity under the administration of
Xaver, 1764; — Marriage of Leopoldine of Oettingen-Spielberg
and Ernst Christoph von Kaunitz-Rietberg, 1761 : — Fifth Centen-
ary Jubilee of the Clothdealers of Bremen, 1763 ; — Golden
Wedding of Gerhard Edler von Meinertzhagen and Sara Elisab.
Schluiter of Cologne, 1761; — Peace of Dresden, 1745; —
I. The signatures of G. F. Loos and J. L. Oexlein occur also on Conventions-
thalers of 1745 and 1756.
L. FoRRER. — Biographital Nctieu of litdaUitU. — IV. 30
— }o6 —
Burgomaster " Pfenning " of Joh. Schliiter of Hamburg, 1778;
— Election of Joseph II, 1764; — Coronation of Joseph II, 1664;
— Introduction of the Reformation at Ratisbon, Bicentenary, 1742;
— Ratisbon Treble Thaler, and Thaler of Charles VI. ; — Ratisbon
Thalers of Charles VII, Francis I, ike; — Francis I at Ratisbon,
1771-2; — Johann Heumann von Teutschenbrunn, 1760, &c.
Bibliography. — Ammon, op. cit. — Ad. Hess Nachf, Reimmann Sale Cata-
logue, 1892. — Plato, (3/». cit.
OEXLEIN, JOHANN LEONHARD (Germ.). A celebrated Medallist,
and Gem-engraver, born in 171 5 at Nuremberg, died there in
1787. He first learned the principles of the art with a relative,
Christian Daniel Oexlein, to whom he was apprenticed as a boy.
He later perfected himself at Vienna, where he became acquainted
with Bengt Richter, the Swedish Engraver, who was then working
for the Imperial House, and with the Italian artist, Sennaro.
In 1737, says Nagler, he was appointed Mint-master at Ratisbon,
but soon after was employed by the King of Poland for whom he
fitted up a new mint, and about 1740, returned to his native city,
Nuremberg, where he definitely settled. In 1759 he went to Bayreuth
to engrave the Marriage Medal of the Markgrave of Brandenburg ;
in 1760, we find him at Wiirzburg, and three years later at Fulda, in
both places engaged in cutting coin-dies for the episcopal mints;
he also visited several times Bamberg, Dresden, and worked at
Frankfort-on-M., Mayence, and other cities. So great was his repu-
tation, both as a Medallist and Gem-engraver, that he was employ-
ed by many princely houses. Bolzenthal adds that he left behind
him the character of an upright man.
His signature on coins and medals occurs in various torms :
(E ; — OE ; — I. L. (E ; — (EXLEIN ; — (EXLEIN F. ; — (EXLEIN ; —
I. L. (EXLEIN f.; — I. L. (EXLEIN fee; — I. L. (EXLEIN; — I. L.
(EXLEIN F. ; — I. L. (EXLEIN fee; — L L. (EXLEIN F. ; — I. L.
OXLEIN, &C.
The following medals by Oexlein have come under my
notice : 1740. Silver Wedding of Johann George Leerse, ofFrank-
fort-on-Main ; — 1742. Election of the Emperor Charles VII.,
I^. only; — Coronation Coins and Medals of Frankfort-on-M. ; —
Thaler, and Half Thaler, of Hall-am-Kocher; — Preliminaries of
the Peace of Breslau ; — I745- Coronation of Francis I.; —
Christmas Medal, commemorating the Peace of Dresden ; — The
seat of the Diet transferred from Frankfort-on-M. to Ratisbon ; —
1746. Thaler of Bamberg, Sede Vacante ; — 1747. Third Pregnancy
of Maria Theresia; — ^754^ Thaler of Wiirzburg; — Carl
Philipp, baron of Greiffenklau, bishop of Wiirzburg; —
Medal of the Sede Vacante of Wiirzburg; — Thaler of Ratisbon
(signed : L L. (EXLEIN f.) ; — 1755- Thaler of Johann
— 307 —
Anton II. of Freiberg, bishop of Eichstatt ; — 1756. Thaler of
Ratisbon; — 1757- Conventionsthaler of Carl Albrecht zu Schil-
lingsfiirst, prince of Hohenlohe-Waldenburg; — 1759- Marriage ot
Princess Sophie of Brunswick-Wolfenbiittel, with Markgrave
Friedrich of Brandenburg; — 1760. Marriage of Joseph II. ; — Thaler
of Francis I., struck at Nuremberg from "contribution "money;
— Thaler, and Half Thaler of Wiirzburg; — 176 1. Medal of the
Sede Vac.mte of Passau ; — Marriage Medal of Count Ernst Kaunitz
and Princess Leopoldine of Oettingen ; — Conventionsthaler and
HaU Thaler of Adam Friedrich, Freiherr von Scinsheim, bishop of
Wiirzburg ; — Peace Thaler of Nuremberg ; — Golden Wedding of
Gerhard von Meinertzhagen and Sarah Elizabeth Schluiter; —
1762. Conventionsthaler of Francis I.; — 1763. Medals on the
Peace of Hub^rtsburg (several varieties struck for the cities ot
Frankfort-on-M., Hamburg, Nuremberg, Ratisbon, Ike.) ; — Sede
Vacante of Ratisbon ; obv. View of Cathedral ; ^L. Arms ; — Death
Ratisbon Thaler, 1754.
of Markgrave Friedrich of Brandenburg ; — Accession of Friedrich
Christian, Markgrave of Brandenburg; — Thaler, and other
currency of Fulda ; — Conventionsthaler of Nuremberg (commem-
orating the Peace of Hubertsburg) ; — 1764. Ducat, and Conven-
tionsthaler of Heinrich III. of Reuss-Greiz ; — Conventionsthaler and
Gulden of Raimund Anton, count of Strasoldo, bishop of Eichstatt;
— Election of Joseph II. as King of the Romans, at Mayence; —
Medal of Xaver, tutor of Friedrich August II., duke of Saxony, on
Saxony's prosperity and security; — 1765. Second Centenary of
the Gymnasium of Halle, with bust of bishop Sigismund ; — 1766.
Conventionsthaler of Joseph, Prince of Schwarzenberg ; — Paul
Praun, of Nuremberg; 45 mill.; — 1768. Tolerance Medal of
Stanislaus Augustus of Poland; — 1770. Victories over the Turks ;
— Conventionsthaler of Ludwig Friedrich Carl zuOehringen, Prince
— 3o8 —
of Hohenlohe ; — Conv. Thaler and Gulden of Karl Albrecht zu
Schillingsfiirst, Prince of Hohenlohe-Waldenburg; — 1771 .Attempt
on the life of the King of Poland ; — 1772. Conventionsthaler of
Frankfort-on-Main ; — 1773. Sede Vacante, Bamberg Tha'er with
figures of the Emperor Henry II. and Kunigunda; — Marriage
niedal of Prince Henry XXX ot Reuss-PIauen-Gera and Princess
Louise Christiane of Palatinate-Birkenfeld; — I777- Thaler, and
Half-Thaler of Hall-am-Kocher ; — i779- Medal of the Sede
Vacante of Bamberg; — Medal of Heinrich Vill., Freiherr von
Bibra, bishop of Fulda, on the Centenan.' of the death of the first
Abbot; — Peace of Teschen ; — 1781. Joseph II. grants religious
Coronation of Joseph II., 1764.
tolerance to Protestants and Jews ; — Conventionsthaler and Gulden
of Eichstatt, Sede Vacante; — 1785. Conventionsthaler and Half
Thaler of Ludwig Friedrich Carl zu Oehringen, Prince of Hohen-
lohe ; — 1787. Thaler of the Sede Vacante of Eichstatt; — Undated.
Religious Medals commemorating Birth, Christening, Marriage, and
other celebrations; — Portrait-medals of Charles VII. ; — Medallic
Thaler of Ratisbon, signed : I. L. (EXLEIN F.
Water famine in
Silesia ; — Sede Vacante Thaler, with bust of the Emperor Henry II. ;
— St. George's Thaler; — August III., King of Poland; — The
Emperor Charles VII., 1742; — Coronation of Charles VII.
(^L. only) ; — The Emperor Francis I., 1745 ; — Opening of the
Reichstag at Ratisbon, 1745 ; — Peace of Dresden, 1745 ; —
Election of Maria Theresia, 1747 (2 var.); — Birth of the Archduke
Leopold of Austria; — Peace of Aix-la-Chapelle, 1748; — The
Archduke Joseph of Austria elected King of the Romans-, 1764 ; —
Joseph II. crowned King of the Romans at Frankfort, 1764(2 var.);
— 309 —
— Jubilee of Frederick van der Leyen, 1776; — Joseph II. grants
freedom of worship to the Jews, 1781 ; — Peace of Paris, 1783;
— Silver Wedding of Johann van der Leyen and Catharina Goyen,
1785 ; — Paul Praun, 1766 ; 45 mill. (Domanig, n° 378), &c.
Bibliography. — Ammon, op. cit. — Bolzenthal, op. cit. — Nagler, op. cit.
— Muller and Singer, op. cit. — Paul Joseph u. Eduard Fellner, op. cit. —
Friedensburg, op. cit. — Various Sale Catalogues. — Jack's Pantheon, II, 75. —
Catahgus der Nederlaudsche en op Nederland betrekking hebbende Gedenkpenningen,
's Gravenhaag, 1906. — Domanig, Die Deutsche Medaille, 1907.
6. F. Fide. F. W. FERAL.
6 FERAL, PRIEDRICH WILHELM (Germ.). Vide Vol. II, p. 87.
Mint-master and Engraver to the Elector of Saxony and King of
Poland, Frederick Augustus, at Dresden, 173 4- 1764. His signature
6 F.; — F. W. 6 F., or 6 FERRAL occurs on Thalers, Gulden,
Groschen, &c., issued under him for Saxony and Poland; also on
Dresden Thaler of 1739.
coins of the successor of Frederick Augustus 11. , Frederick
Christian, who only reigned a few months.
^iPvf
Vicarlats Thaler of 174J
- 310 —
Almost the entire coinage of Frederick Augustus II., says
Mr. F. C. Higgins, was tiie signed work of the famous Mint-
Species Thaler of 1 760.
master, Frederick William 6 Feral, who produced however little ot
original conception, unless it be the beautiful Vicariats series of
1741, showing on the obv. an artistic equestrian figure of the
King in armour, laureated, and with drawn sword, surrounded by
his titles, and on ^L. the Electoral throne with the conjoined arms
Species Thaler of 1765.
upon the breast of the Imperial eagle, and upon the throne the
Polish crown, sceptre, orb, and mantle, with inscription : in
PROVINCIIS rVR. SAXON . PROVISOR . ET VICARIUS. 1 74 1.
OEFENER, FRANZ (Germ.). Mint-master at Heidelberg and
Mannheim, circ. 1737-1749. He was first in the service of Prince
Elector Karl Philipp of the Palatinate, and later, from about 1743,
in that of Prince Elector Karl Theodor. His issues are usually
signed 0. F. Schlickeysen spells his name OFFNERand places the date
of his activity between 1732 and 1750. At Mannheim, Wigand
— 311 —
Schaffer was Mint-warden in conjunction witii him as Mint-
master.
Bibliography. — Ammon, op. cit. — J. V. Kull, Aus hayerischen Archiven,
Mitth. der Bayer. Numismatischen Gesellschaft, 1896, p. 41. — Madai, op. cit. —
Flad, BeruktnU Medailleurs, p. 26.
OFNER, HANS (Austr.^. Moneyer at Vienna, 1420-1446.
0G£, PIERRE MARIE FRANQOIS (^French). Contemporary Sculptor,
and Medallist, born at Saint-Brieuc (Cotes-du-Nord) ; pupil of his
f;ither, Eude, and Carpeaux. By him are various Portrait-medallions,
some of which were exhibited at the Paris Salon : 1878. Andre and
Maurice; — G. Paulus; — 1880. Pierre and Jean; — 1881.
M"' Marie Oge; — 1888. M"« L. S*** ; — 1893. M-^ de X***; —
1897. Gyp (M"'^ la Comtesse de Martel), &c.
OGILVIE, J. H. D. (Brit.). Mint-master at Madras, from February
1809 to January 18 19.
OGILVY, ALEXANDER (Brit.). Mint-warden at Edinburgh, 1699.
0. H. Fide OTTO HAMERANI. Medallist at Rome, 1694-11768.
0. H. K. Vide OTTO HEINRICH KNORRE. Mint-master at Schwerin,
1751-1756, and conjointly at Stralsund until 1760; then at
Hamburg, 1761-1805.
OHLFSEN, DORA (Sived.). Contemporary Medallist, born at Ballarat
(Australia); pupil of Henri Dubois. At the Paris Salon, 1908, she
exhibited a number of Portrait-plaquettes and Medallions.
0. K. Fide OTTFRIED KONIG. Medallist and Mint-engraver at
Moscow, circ. 17 18-1724.
0. L. Fide OLAF LIDIN. Mint-master at Stockholm, 1774- 18 19.
0. K. FEC. Signature on a gold medal of the Millius Art Company,
1896. The signature occurs on both sides.
OLANIER, JACQUES (French). Medallist, born at St. Etienne,
22. April 1742, died at St. Romain-en-Jarez, 20. April 1798. He
was a pupil of his father, and of the Art School of Lyons. Olanier's
talent was characterised by the correctness of his drawing and good
taste. About 1766 he opened a School at St. Etienne for engraving
and sculpture, which was much frequented, and where the
medallists Dupre, Dumarest, and Andre Galle received their first
training. Descreux relates the following story : A wealthy English-
man inquired from Olanier whether he could engrave distinctly three
hundred personages on a medal of the size of a six Livre piece. The
artist, after a moment's thought, replied in the affirmative, and
— 3^2 —
asked for a month to do the work in. On the expiration of the time,
tlie Englishman came back, but expressed his dissatisfaction at not
finding the three hundred figures on the medal. — Draw the
curtain which you see, replied Olanier, you will find the others
behind. — The Englishman finding out that he had asked for an
impossibiUty, and appreciating the merit of the work, handsomely
rewarded the Engraver.
In July 1794, Olanier and twenty-five other notabiHties ot
St. Etienne were incarcerated, but again released in the following
September. From that date he retired into private life.
Bibliography. — Chavignerie et Auvray, op. ciL
OLESZCZYNSKI, WLADISLAUS (Pol.). Medallist and Sculptor of
the second quarter of the nineteenth century. He resided at Paris,
and later returned to Warsaw. By him is a Portrait-medal of the
Right Hon'''^ Robert Cutlar Fergusson, 1832, on his advocacy ot
the Polish cause (exhibited at the Paris Salon, 1836) ; also others of
Copernicus, 1830; — D"" N.N. Jaslikowski, 1844, &c.
Bibliography. — Weber, op. cit. — Cochran-Patrick, Medals oj Scotland, 1884,
PI. 26, fig. 3.
OLIER (French). Medallist of Dauphiny, who flourished circ.
1608-1630. His signature, OLIER or OLIER F., occurs on several
cast medals, size 50 mill. ; amongst them: Claude Frere, first
President of the Parhament of Grenoble, and his consort Madeleine
Plovier, 1624 (illustrated); — Claude Expilly, 1630; — Claude
Claude Frfere, and his Consort, 1624.
Frere, 1623; I^. frvor . dvm . foveo ; — Another, 1624;!^. As last;
— Claude Fr^re, uniface medallion ; — Madeleine Plovier, uniface
medallion ; — Claude Expilly, 1629; ^L. devs. nobis, h.ec. otia.
FECIT. View of the domain of La Poepe; — Claude Expilly, 1630;
^. nec.gemere.cessabit. Bird perched on tree, amidst scenery.
— 313 —
These medals are not of very good style.
MazeroUe suggests that Olier was probably residing at Grenoble.
Bibliography. — Bolzenthal, op. cit. — Mazerolle, o/». cit. — Rondot, op. cit.
Tre'sor de num., MedaiUes franfaises. — G. Vallier, Numisinatiqtu dti Parlemeiit de
Grevobh, in Bulletin de la Societe d'arch^ologie de la Dr6me, 1881,
OLIPHANT, HENRY (Brii.). Counterwarden at the Mint of Edin-
burgh, 1 627-1 63 5.
OLIPHANT, THOMAS (Brit.). Counterwarden at the Mint of Edin-
burgh, 1641-1646.
OLIVA, ALEXANDRE JOSEPH (French). Contemporary Sculptor,
born at Saillagrousse (Pyrenees-Orientales) in 1823 ; pupil of
J. B. Delestre; died in Paris, 1890. By him is a large uniface
Portrait-medallion representing Mr. de Behague(thefatherofM"'^la
Comtesse R.de Beam), signed: OLIVA 1877 (diam.about 200 mill.)
(communicated bv M. Florange), and various others.
Oliva was a Knight of the Legion of Honour, and obtained
awards several times between 1852 and 1863.
For 40 years he exhibited regularly every year at the Salon, and
produced chiefly busts and statues of official personages (Napo-
leon in., the Empress Eugenie, the Marshals, Admirals, &c., of
the Empire). He also collaborated in the decoration of the Opera.
Bibliography. — Information kindly supplied by M. Florange.
OLIVER, ISAAC (Brit.). Miniature Painter, probably of French
origin, who flourished in London, towards the end of Queen
Elizabeth's reign, and died in September 1617. He was a pupil of
Nicholas Hilliard, whom he excelled in the painting of the face and
hands. Like his master he also did line-engraving, and it is possible
that he may even have had some connection with the preparing
of the designs for the later coinage of Queen Elizabeth. Horace
Walpole, Catalogue of Royal and Noble Authors, i" ed., I, 126,
describing a fragment of one of the gold coins of this Queen, says :
" Vertue, the engraver, had a pocket-book of Isaac Oliver, in which
the latter had made a memorandum that the Queen would not let
him give any shade to her features, telling him, ' that shade was
an accident, and not naturally existing in the face'. Her portraits are
generally without shadow " (Fide MARTIN, Vol. III).
There are a large number of Oliver's miniatures in existence,
one of the finest being the group of the three sons of the second
Viscount Montagu, with their servant, which he painted in 1598,
and which belongs to the Marquis of Exeter.
Simon Passe executed a Portrait -plaque of Queen Elizabeth,
after a miniature by Isaac Oliver (Fide PASSE infra).
— 314 —
OLIVET, GEORG SATNY VON {Bohem.). Provisional Mint-master-
general for Bohemia, 1590-1596, in conjunction with Tobias
Schaffer, and Nikolaus Wodniansky.
OLIVIER, ALEXANDRE (French'). Son ot Aubin Olivier, born in
1527, died in Paris, 27. December 1607. He married the daughter
of Claude de Hery, with whom he probably learned engraving.
In 1568 he was appointed Die-cutter at the Monnaie des Etuves.
On his father's resignation of office in 1581, he became " Maitre
ouvrier, Garde et Conducteurdes enginsde la Monnaie du Moulin ".
In 1882 he applied for the post of Engraver-general of the French
coins.
The lawsuit which Alexandre Olivier fought with Philippe I
Danfrie in 1601 established the fact that the former was a talented
Engraver, and we learn from it that since 1550 he and his father
had produced most of the official medals commemorating the Corona-
tions, Accessions to the crown, Royal marriages. Births, and other
important events, for which they owned the exclusive privilege.
Alexandre Olivier was aided at the Mint by other engravers, and
one of his sons, and it is therefore impossible to know which of the
coins and jetons, issued between 1568 and 1607, are really by him.
MazeroUe describes the following medals and jetons by this artist :
1 57 1. Charles IX. 's arrival in Paris ;^.ADvENTVS lvt (Armand, III,
p. 286-287, L.); — 1572. Marriage of Henri III. of Navarre,
with Marguerite of Valois, a medalet (illustrated) ; — Another ;
Marriage Medalet of Henry III of Navarre, 1572.
^L. .ETERNA.QV.E.MVNDA. Female figure holding serpent, a medalet;
— Commemorative medal of the Massacre of St. Bartholomew
(illustrated) ; — Another, with bust of Charles IX. on obv. ; —
Another; obv. Bust of Charles IX. to r. ; ^L. ne . ferrvm . temnat .
siMVL . iGNiB* . OBSTO. Hercules and the Lernaean Hydra ; — Another ;
obv, similar;^, maior.erit.hercvle. Minerva. These medals
were struck by order of Nicolas Favier, general des Monnaies, and
they could be procured from Aubin Olivier's workshop ; — 1573.
Charles IX. and Henry, King of Poland (illustrated) ; — 1601.
Medal of the State Council; obv. nil, nisi. consilio. Arms;
— 315 —
I^. oppoRTVNivs. Hercules and Centauress at his feet, jetons.
Conseil prive (1569, 1570 (2), 1571, 1572, 1573, 1574 (2),
1575 (2), 1576 (2); — Cour des Monnaies, 1576; — Conseil
prive, 1577 (2); — Cour des Monnaies, 1577; — Conseil prive,
1578; — Cour des Monnaies, 1578; — Conseil prive, 1579; —
St. Bartholomew Massacre, 1572.
Cour des Monnaies, 1579; — Ville de Paris, 1579; — Conseil
prive, 1580, 1581, 1582; — Cour des Monnaies, 1580, 1581,
1583; — Ville de Rouen, 1581; — P. Brulon, second President
of the Parliament of Brittany, 1583; — Cour des Monnaies,
Charles IX. and Henry, King of Poland.
1583, 1587; — Conseil prive, 1583, 1584 (2), 1585, 1586,
1587, 1588 (2); — Conseil d'Ltat, 1589 (2), 1594, 1595,
1596, 1597 (2), 1598 (2), 1599, 1600, 1601 (3), 1603 (2), 1604,
1605, 1606, 1607 (2); — Jeton offered by the King to Sully,
1603 ; — Ville de Paris, 1603.
Alexandre Olivier was also entru.sted with the execution of
official and other Seals for the city of Paris and private individuals.
-3i6-
On i6. January 1588 the Cour des Monnaies forbade Olivier, as
well as any other engraver, to cut dies for the Batz, Half Batz,
Kreutzer, Half, Quarter, and Eight Kreutzer, which Marie de
Bourbon, duchess of Longueville, countess of Neuchatel, wished to
have struck at the Paris Mill, with the arms of her son, Henry ot
Orleans-Longueville, for the county of Neuchatel.
During the Ligm, Alexandre Olivier embraced the party of the
Guises, and issued a considerable quantity of Doubles and Deniers
for Charles X. in 1590. On the return of Henry IV. to Paris he
was confirmed in his office, in preference to Philippe I. Danfrie.
"Alexandre Olivier ", says Mazerolle, "est un medailleur esti-
mable, mais d'un talent ne sortant pas de I'ordinaire; il est surtout
habile comme graveur de jetons ; on peut meme dire que leur petit
module lui a permis d'exceller ".
Bibliography. — N. Rondot and H. de La Tour, o/>. cit. — Mazerolle, op. cit.
— A. Barre, Graveurs generaux, &c.
OLIVIER, AUBIN {French). Line-Engraver and Mechanician, born
at Roissy rile-de-France). He flourished between 1550 and 1581,
the year of his death.
About 1550, Charles de Marillac, French ambassador at Augsburg,
accredited to Charles V.'s court, described to his government the
invention made by a German goldsmith, known under the name
of" Knight of the Holy Sepulchre " (but really Marx Schwab of
Augsburg, who resided near the Chapel of the Holy Sepulchre,
hence his surname) of a new process for the striking of coins.
Henry II. sent to Augsburg his ambassador's brother, Guillaume
de Marillac, comptroller-general of finance, and Francois Guilhem,
Master of the Mint of Lyons to study on the spot the new machi-
nery, consisting in : i. Rolling mills ; 2. Draw plates; 3. Cutting-
out presses; and 4. Coining presses. Marillac then requested the
constable of Montmorency to send him a clever mechanician
capable of copying or constructing similar machines, and Aubin
Olivier was selected as " a good and excellent workman in iron ".
The experience acquired by Olivier during his stay in Germany
made him fit for the appointment which he received on 31. January
155 1 of " Maistre ouvrier, garde et conducteur des engins de la
monnaie du Moulin a Paris". Three years later, 11. February 1554
ri555) he was confirmed in the office of " Maistre et conducteur
des engins de la monnoye des Etuves ". The King conceded to him
the privilege of "graver, fabricquer et monnoyer toutes sortes de
pieces courantes, piedz fortz, m^dailles antiques et modernes,
jettons et autres pieces de plaisir"...
Aubin Olivier was entrusted with an order for jetons in 1559.
In 1572 he received 45 livres for fifteen specimens of the medal
— 317 —
struck in memory of the St. Bartholomew massacre, which were to
be distributed to the provost of merchants and municipal magis-
trates. MazeroUe suggests, with reason, that this medal was prob-
ably engraved by his son, Alexandre Olivier, There is nothing to
prove that Aubin Olivier ever cut dies himself for coins and
medals. We find, on the contrary, that he employed other
Engravers to do this work for him, and a document of 1568
says : ** II a jaict faire les portraictz, fers et tenailles pour les Jetons
du Conseil prive ".
Aubin Olivier improved the machinery he brought into use at
Paris by the invention of the virole hrisee (split collar), by means of
which the edges of coins could be milled or engraved. However,
under Henr}'^ III., in 1585, it was decided to return to the primitive
process of coining with the hammer, on account of the expenses
connected with Olivier's tools. Only special pieces, such as Jetons,
Medals, and Pieces de plaisir continued to be struck at the Montiaie
au moulin. In vain did Nicholas Briot, during the reign of
Henry IV., endeavour to rehabilitate the Mill for the coinage of
currency. His pleadings met with no answer, and, discouraged, he
came over to England where he was more successful.
Aubin Olivier was a clever Line-engraver. By him are the sixty
wood-engravings which adorn the Livre de perspective of his brother-
in-law, Jean Cousin.
In 1579, he was appointed a Moneyer, and he is sometimes
styled : "Moneieur du Roy nostre sire". He was buried at Paris,
10. April 1581.
There is a portrait of him, by Leonard Gaultier, dated 1581.
Bibliography. — N. Rondot & H. de la Tour, op. cit. — MazeroIIe,
Mi'dailleurs fratifais, &c. — Ibid., Note sur Vlnventeur des proce'des mecaniques de
fabrication monetaire sous Henri II designe sous le nom de chevalier du Saint-Se'pulcre.
— A. Barre, op. cit. — Chavig^nerie et Auvray, op. cit. — J. J. Guiffrey, La
Moniiaie des Me'dailles, Revue numismatique, 1884, p. 469.
OLIVIER, AUBIN II (FrencJj). Mint-engraver at Paris, and brother
of Gilbert Olivier, on the death of whom, in 1608, he was
appointed " Maitre ouvrier, garde et conducteur des engins " ot the
" Monnaie au moulin". He however never took up his office, to
which Pierre Regnier was committed.
Bibliography. — N. Rondot & H. de La Tour, op. cit.
OLIVIER, BAPTISTE (French). "Conducteur " and Warden of the
"Monnaie au moulin", in conjunction with his brother,
Alexandre Olivier, after 1581. Vide JEAN BAPTISTE OLIVIER.
OLIVIER, FRANQOIS (French). Mint-master at Angers, 2. January
1604 to 8. January 1605.
- 3i8 -
OLIVIER, GILBERT (French). Medallist ; son of Alexandre Olivier
and Marguerite de Hery. He died in 1608, after a few months'
tenure of office as "Maitre garde et conducteur des engins de la
monnaie du moulin de Paris". There is a record of a payment
made to him in 1608 of 27 livres for Piedforts, which are probably
the well-known Piedforts, dated 1607, and described in Hoffmann,
Monnaies royales de France, p. 144 sqq. PI. lxxix et sqq. : Henry IV.,
A/*. Piedfort Ecu d'or (2 var.); — Piedfort Half Ecu d'or (2 var.);
— iR. Piedfort Quarter Ecu ; — Piedfort Eighth of Ecu ; — Pied-
fort Franc; — Piedfort Half Franc; — Piedfort Quarter Ecu, &c.
By him are also jetons of 1608 for the Conseil d'Etat, and city
of Paris.
Bibliography. — Rondot, op. cit. — Mazerolle, op. cit.
OLIVIER D'ASSENOY, G. LAURENT (^French). Director of the Mint
at Nantes, from 1825 to 1837; privy mark, an olive-branch.
OLIVIER, JEAN {French). Mint-engraver at Valenciennes, circ.
1422.
OLIVIER, JEAN BAPTISTE (French). Son of Aubin Olivier;
Engraver at Paris; Warden and '' Conducteur des engins" of the
Monnaie des Etuves, 1568. F/V/e BAPTISTE OLIVIER.
OLIVIER, PETITJEAN {French). Contemporary Sculptor and Metal
worker, born and residing at Paris. At the Salon of 189 1 he exhib-
ited a silver Plaque, in repousse work, depicting a subject after
Boucher.
OLIVIER, PIERRE (French). Mint-master at Angers, 15 94-1 5 95.
OLIVIER, PIERRE II (French). Son of the preceding; Mint-
master at Angers, in conjunction with his brother Francois, in
1597; alone, until 17. November 1604.
OLIVIER, RENfi (French). Son of Alexandre Olivier and Mar-
guerite de Hery; Engraver at the "Monnaie des fituves", Paris,
circ. 1607 — -|- 1628. He was appointed " Maitre ouvrier, garde et
conducteur des engins de la monnaie du moulin", after the death
of his brother Gilbert. In conjunction with Pierre Regnier, he
signed in 1624 a petition to the State Council in opposition to
Nicholas Briot. He was assassinated in Paris, 18. November 1628.
Mazerolle suggests the attribution to this Engraver of the follow-
ing Medals and Jetons : Cardinal Richelieu, 1627; — Jean
Francois de Gondy, 1626, first Archbishop of Paris in 1622; —
Jeton of the Conseil d'Etat, 1 627 ; j^. terram . perlvstrat . et .
VNDAS. Lighthouse; — Jeton of the City of Paris, 1627.
Bibliography. — Rondot, op. cit. — Mazerolle, op. cit.
— 319 —
OLIVIER surname of ROBERT MOLINET (Frew^/;). Appointed Mint-
engraver at Montpellier, 2. December 1598 ; resigned in 1598.
OLIVIERI (Jtal.^. Contemporary Die-sinker of Naples, whose full
signature occurs on a Prize Medal of the Philanthropic Musical
Institute Giambattista Pergolesi of Naples, 1874.
OLIVIERO, METRO PAOLO (/^a/.). Sculptor and Architect of Rome,
born in 155 1; died in 1599. Perhaps the Magister Olivier, men-
tioned in the Papal Mint accounts, 1484-1486, as having supplied
Decorations (jnargaritis) and other articles of engraved work.
Bibliography. — E. Muntz, Les Arts a la Cour des Papes, &c.
OLNHAUSEN, JOHANN HEINRICH VON (Germ.). Mint-master at
Pfedelbach, 1623, in the service of the House of Hohenlohe.
OLRYET, FLORENTIN {French). Goldsmith, and Mint-engraver at
Nancy, from about 15 14 to 1561. He worked for three successive
Dukes of Lorraine; Anthony, Francis I., and Charles III. The first
mention ofhis name in Mint documents occurs under date 15 14/15,
where it is recorded that he cut the dies fot the first gold Florin of
Lorraine.
B. Fillon, in his Catalogue of the Rousseau Collection, i860,
ascribed the large Portrait-thaler of Anthony (Saulcy, pi. xvi, fig. 2),
Teston (Saulcy, pi. xvi, fig. 3), Half Teston, &c. to the engraver
Simon de Bar, who was in the Duke's service between 15 15 and
1526, but irom Mint records, Lepage has ascertained that these
coins, and other issues, were the work of Florentin Olryet, who
was the only official Mint-engraver after 1 5 1 5.
Half Teston of Anthony, Duke of Lorraine.
The currency of the short reign of Francis I. (i 544-1 545), and
in particular the two Testons of 1544 ^^^ ^54h ^^^ ^^^^^ of ^^^
first fifteen years of Charles III. (i 545-1 560) must in all probability
have been engraved by the same artist, who was pensioned off in
1560 with a yearly allowance of 100 francs. In the accounts of the
Treasurer-general for 1563-64, we find: A Florentin, ;W/5 tailleur
en la Monnoye, la somme de cent francs pour sa pension.
— 320 —
He also engraved official and private Seals.
Olryet's name is spelt in various ways : Fleurantin Eulriet,
Florent Olrj'et, Olriet, &c.
Bibliography. — N. Rondot & H. de la Tour, op. cil. — Lepage, Notes et
Documents stir les graveurs de Monnaies et Medailles des dues de Lorraine, Nancy,
1875.
OLYMPIOS {Greek). Gem-engraver of the second half of the fourth
century B.C. A carnelian intaglio, in the Berlin Museum, repre-
senting Eros bending his bow, bears this artist's full signature,
OAYMFIIOI. Furtwangler compares the remarkable type of this
gem with the archers on a cup of Duris, and the figure ot Ulysses
on a vase of the Berlin Museum, which apparently reproduces a
pictorial composition of Polygnotos. This intaglio came from
Athens.
Prof. Furtwangler remarks : " Obwohl dieser Kiinstler, wcnn
wir die warhrscheinliche Ideniitat des Miinzstempel-und des
Gemmenschneiders annehmen, nach der Neubegriindung des
Arkadischen Bundes in Arkadien arbeitete, so war er wohl, sowenig
wie die anderen damals fur Arkadien arbeitenden Kiinstler, von da
gebiirtig. Sein Stil ist dem des Praxiteles sehr verwandt ; also war
er ein mit dem Strome gehender Kiinstler, und zwar, wie seine
Werke lehren, kein ganz geringer".
Bibliography. — Babelon, op. cit. — Furtwangler, Beschreibung det geschnitteuen
Steine im Antiqiiarium, Berlin, 1896. — Ibid., AntikeGemmen, 1903.
OLTMPIOS (Greek'). Coin-engraver in Arcadia, during the first half
of the fourth centur\'B.C. The inscription OAY or OAYM occurs
on Arcadian Staters, bearing as ^. type a figure of Pan seated
on a rock.
MEGALOPOLIS (Arcadia).
J^. Stater {Circ. B. C. 370-350). Obv. Laureated head of Zeus,
to 1.
Arcadian Stater (Circ. B. C. 370-350).
V,L. M. (mon.)Figure of Pan, horned, to 1., head facing, seated
on a rock >yhich he covers with his chlamys, and inscribed OAY ; he
holds in his r. hand the lagobolon; beneath, on the rock, syrinx.
Weight: 11,75 grammes.
B.M.Cat., Peloponnesus, p. 173, n° 48; t*l. xKxii, i*.
Photiades Pacha Sale Catalogue, PI. vi, 11 54.
Montagu Sale Cat., PL vi, 418.
P. Gardner, Types of Greek Coins, PI. viii, 52.
D^ R. Weil, Zeits. fiir Num., 1882, PL II, n° 4.
Imhooi, Ze its. fur Num., Ill, 289.
Von Sallet, Zeits. fiir Num., II, 159.
Salinas, Sul tipo di tetradrammi di Segesta, PL 11, 9 var.
On another variety, the signature OAYM is read.
B.M.Cat., lac. cit., p. 173, n° 49.
Bibliotheque nationale, Paris.
Salinas, Sul tipo, &c., PL 11, 9.
Macdonald, Hunter Catalogue, PL xxxix, 17.
At first sight, the inscription OAY or OAYM appears to designate
the Olympian mount; but the presence^ on other specimens, of
the signature, XAPI, at the same place on the coin, raises all doubt
as to its certain attribution.
Furtwiingler (^Antih Gemmen, 1900) is of opinion that the gem
signed: OAYMFIIOl is by the same artist who engraved the coins.
" Aus der ersten Halfte des vierten Jahrhunderts haben wir im
Beispiel wahrscheinlicher Identitat eines Miinzstempel- und Stein-
schneiders in der Person des Olympics, vondem der herrliche Stein,
Tafel XIV, 8 herriihrt und dem sehr wahrscheinlich auch die mit
Oajij, oder 'Oaj signierten prachtvollenarkadischen Bundesmiinzen
mit dem sitzenden Pangehoren. Damals, nach 370, wurde Arkadien
fur die Attische Kunst erobert; auch Olympics war gewiss ein
Vertreter attischer Kunst in Arkadien" (Jahrb. d. Inst., iii, 1888,
p. 121).
OMEIS, MARTIN HEINRICH (Germ.). Medallist, Seal-, and Coin-
engraver, born at Nuremberg in 1650, died at Dresden in 1703.
He learned the art of die-sinking with Ernst Caspar Diirr, by
whom he was first employed at the Dresden mint. Previous to
22. June 1 67 1, he had been authorised to execute a Pattern coin
for the Mint authorities' approval, and on 31. July 1671, he was
duly appointed Assistant-engraver with a yearly income of
124 Gulden. A contemporary document states that Diirr's speciality
was engraving on copper, and Omeis was employed in engraving
coats-of-arms.
Omeis, whose name also occurs as OHMEISS, worked in conjunc-
tion with Durr until at least 1680, as we find their joint signatures:
D. 0. on the following medals : Large " Klippe Medal " (65
X 90 mill.) commemorating the Success of the Electress Magda-
lena Sibylla at the Bird Shooting Contest at Dresden, 1676 (AT and
JR.) ; — Completion of the Dresden Castle Tower, and Gift of a
L. FoKKBR. — Biographical Notices of Medallists. — IV, 21
— ^22 —
new peal of Bells, 1676 ; — Pacific dispositions of John Geoige II.
and Conclusion of a treaty between various Saxon States and the
Elector of Mayence, and the Bishops of Bamberg and Wiirzburg,
1677; — Oval medal of the hereditary Prince-elector, later John
George III., 1678 ; — Completion of Weissenfels Castle, with bust
of Duke Augustus, administrator of the Chapter of Magdeburg,
1679; — John George II. elected a Knight of the Garter, 1679, &c.
The medals engraved by Omeis alone are usually signed : 0; —
0./. ; — M.H.O.; — MHO in monogram ; — M. 0. — ,/6. ^ O &c.
Among them I may mention : Marriage Medal, 1676 (by Diirr and
Omeis), Dresden; — Oval Portrait-medal of John Georgell. of Saxony,
on the Treaty of Dresden, 1677; — John George III., oval Portrait-
medal, undated; — Another, Portrait-medal ; I^. vexillvm mevm, &c.
Altar; — Memorial Medal of the Electress Magdalena Sibylla (II), 1 687;
— Memorial Medal of Ludwig, fifth son of the Great Elector, 1687;
— Portrait-medal of John George III., on his and his sons' journey
to the Siege of Mayence, 1689 ; — John George III., 1690; Mining
works of Freiberg, *' St. Annastollen" ; — Memorial Medal of
John George III., 1691; — John George IV. elected a Knight of
the Garter, 1693 (signed : 0./.) ; — Birth of Frederick Augustus (I);
Obv. Bust of the Electress Christiane Eberhardine, 1696 (signed:
M. H. 0. on truncation) ; — Coronation of King Augustus II. of
Poland, 1 697(signed: , /^ p^i^ ); — Portrait-medal of Wittekind
(in glass and brass), 1699; — Recapture of the Fortress of
Kamieniec, 1699 ; — Augustus II. receives the Order of the Elephant,
1702, &c.
Bibliography. — Bolzenthal, op. cit. — Ammon, op. cit. — Erbstein, EngeUmrdl
Catalogue. — Schlickeysen-Pallmann, op. cit. — Ad. Hess Nachf., Reimmann Sale
Catalogue. — Kirmis, op. cit. — Menadier, op. cit. — Domanig, Die Deutsclx
Medaille, 1907.
OMERITZ {Germ.). Moneyer of Duke Bogislaus II. (967-969) at
Prague. His name occurs in various readings on Pennies of the
English type with the Hand of Providence.
Bibliography. — Zeitschrijt fur Numistnatik, 1887, 153.
ONATAS {Greek). Gem-engraver of the fourth century B. C. His
signature occurs on a Scaraboid in the British Museum, described
thus in Murray and Smith's Catalogue (n° 1161): Victor}-, stand-
ing to r., adjusting a trophy; drapery hangs loosely on lower
limbs; beside trophy, a spear, barbed at each end; attached to the
spear is a waving scroll, inscribed : ONATA, the name of the sculptor
Onatas? Chalcedony. It is reproduced in King, Antique Gems, 1872,
II, pi. 26, fig. 8. Ex. Castellani Collection.
Prof. Furtwangler describes this gem: " Ein Prachtstiick des
— 3^3 —
vierten Jahrhundert... Unverkennbar isteine grosse Verwandtschaft
der Gemme mit der des Olympios... Nach meiner Uberzeugung ist
Victory adjusting a trophy.
nicht der leiseste Zweifel berechtigt und ist das Stiick eine der
kostlichsten jener ganz wenigen Perlen, welche uns die Stein-
schneidekunst des vierten Jahrhunderts hinterlassen hat "
{Jahrbuch, 1888, p. 206).
OJULSkS (Greek). Gem-engraver of the fourth century B.C. His
signature occurs on two gems in the Florence Museum : Muse
leaning against cippus and tuning her lyre; yellow antique paste,
26 X 19 mill., already described by Agostini, 1657-1659. The
authenticity of this paste is beyond question; it was probably copied
from an original which is now lost. Furtwangler points out the
general resemblance of the type with the Venus Genetrix of
Alkamenes. A copy of this gem, signed Allion, is modern (B. M.
Muse, paste by Onesas.
(enlarged).
Cat., PI. G, 747), and there are numerous other imitations. "Die
anmutig schone und einfache Composition erinnert ebenso wie die
- 3M -
leichie duitige Behandlung an die Weise des vierten Jahrhunderts,
die Onesas sich, wie es manche andere Kiinstler der hellenistisciien
Zeit thaten, zum Vorbilde genommen zu haben scheint " (Jahrbuch,
&c. 1888, p. 213).
Bust of Hercules, Carnelian by Onesas
(enlarged reproduction).
The other gem is a carnelian, representing the laureated bust ot
Hercules; it is signed: ONHCAG. Size: 23X17 mill. Koehler and
Brunn have doubted its authenticity, which Furtwiingler defends
with reason. The work is admirable. A poor copy by Costanzi(?)
exists at The Hague museum. Prof. Furtwangler remarks: *'Die
Arbeit ist vorzuglich,scharf und doch lebendig und frisch. Besonders
schon sind der voile Mund, die Haare und das Fell gearbeitet. An
ihrer Aechtheit kann nach meiner Ansicht nicht gezweifelt werden.
— Dagegen hat der Kopf zahlreiche moderne Nachbildungen her-
vorgerufen".
This artist's signature occurs on other gems, which are all
doubtful : Athena standing to I., looking at helmet ; sard, fragment
(signed: ON6CAC CFIO. Payne Knight coll"., now Brit. Museum);
— Head of Apollo, sard; — Drunken Bacchus (Lippert); — Ulysses
carrying his helmet, sard (Thoms); — Head of Ariadne (Ponia-
towski); — Venus animating her statue made by Pygmalion
(Poniatowski).
Bibliography — Babelon, op. cit. — Reinach, Pierres gravees, Paris, 1895. —
Furtwangler, Gevitnen tnit Kunstlerinschriften, 1888. — Ibid., An tike Gemmen,
1903. — Brunn, op. cit. — King, op. cit. — Id., Handbook, &c. — Raspe, Tassie
Gems, 1 79 1. — Poniatou'sky Gents.
ONESIMUS. A fictitious signature on two modern gems, published
by MiUin; one representing Jupiter, carnelian (ONHCIMOC), and
the other, Minerva helmeted, carnelian (0NH2IM01). A certain
J.J. Dubois, assistant keeper at the Louvre, appears to havesupplied
— 325 —
to Millin the drawings of the two gems, Pietres gravies ine'dites,
11°^ 2 and 58, which really were of his own invention. King states
that the authenticity of the first is uncertain, but that the second is
undoubtedly modern.
At the Burlington Fine Arts Club Exhibition of Greek Art, 1903,
an intaglio in pale greyish-yellow translucent serpentine was exhib-
ited by Mr. E. P. Warren, representing a Bearded Satyr dancing
and playing the lyre, in profile to I., with an inscription almost
illegible, but reading perhaps : 0NEHM02.
Bibliography. — King, op. cit. — S. Reinach, Pierres gravies, p. 129. —
Brunn, Geschichte der Kilrisller, t. II, p. 572. — Raoul Rochette, Lettre a
M. Schorn, p. 146.
ONO (Bohem). Moneyer, or Mint-master at Prague, under Duke
Bogislaus III., 999-1004. His name occurs in various forms on
Pennies of that period.
Bibliography. — Zeitsclirijt fur Numismatik, 1887, p. 247.
ONGHENA, CHARLES {Belg.). Goldsmith, Sculptor, Line-and
Copper-plate Engraver, born at Ghent, 6. June 1806, died
16. December 1886. In 1822, he executed his first medallion, a
head of Ceres, after a drawing by F. Braemt ; two years later he
produced a fine bust of Napoleon I.
His work is very varied. He engraved over a thousand copper-plates,
especially reproductions of pictures, works of art, coins and medals.
By hi me arengraved medallic Portraits of : D"" P. J. van Baveghem,
Brussels; — D' J. B. van Helmont, Brussels; — D"" J. irectly from the die. They are evidently the
work of a practised hand, both as portraits and as examples of
medallic art, and they can fairly take rank with the many grand
portraits by Dutch artists of the same period. "
Bibliography. — C. H. Read, English work in impressed horn, Portfolio, 1895.
OSENBORG, JASPER VAN (Dw^t/;). Mint-master at Groningen, 1561.
OSION. Signature of a fictitious ancient Gem-engraver, which has
been added on modern gems : Head of Apollo crowned with ears
of corn ; behind it, lyre and star ; onyx ; — Head of Agrippina ;
nicolo (Raspe). In both cases the signature is : OZIflN. The
engraving is very fine.
Bibliography. — Nagler, op. cit. — King, Antiqiu gems, i860. — Raspe,
op. cit.
OSIUS. This signature COllflT has been added in modern times
on a beryl intaglio of the Devonshire Collection, representing a
head of Apollo, with long hair.
OSSAN. Vide URBAN OSAN supra.
OSSEVILLE, CHRISTIAN {French). Contemporary Sculptor, born at
Caen ; pupil of Charles Jacquier. By him are numerous Portrait-
medallions. At the Salon of 1882 he exhibited two with eflSgies ot
countesses.
0SSI6, ADAM {Germ.). Die-cutter at the Breslau Mint, 1627.
OSTEN, GEORG {Germ.). Mint-master at Creussen (Brandenburg),
1622.
OSTERMANN, LUDWIG {Germ.). Director and Proprietor of the
GOTTFRIED LOOS MEDALLIC MINT at Berlin, after the death of Loos
in 1843. This Die-sinking establishment still exists under the name
ot Berliner Medaillen-Miin:(e von L. Ostermann vorm. G. Loos. Oster-
mann died in 1879. He was succeeded as Director by Emil Kruger,
1 879-1 89 5 ; and the present owner is Herr Arthur Kruger.
For a list of some of the productions issued by L. Ostermann,
cfr. GOTTFRIED BERNARD LOOS {Vol. III). Vide also KRtGER, EMIL
and ARTHUR.
In 1905 this firm issued a Schiller medal, modelled by A. M.
Wolff; also a Marriage Medal of the Crown Prince of Prussia, 1 905 ;
' — 1906. Marriage of Prince Eitel of Prussia and Princess Sophia
Charlotte of Oldenburg ; — Silver Wedding of Kaiser Wilhelm II.,
1907, etc.
OSTERODE, HANS VON (Germ.). Mint-master at Kirchheim-Boland
(Nassau), appointed on i. March 1594.
OSTERTAG, ABRAHAM (Germ.). Die-cutter and Engraver of coats-
of-arms, at Breshu, circ. 1591- 7 i599-
OSWALD (Austr.). Moneyer at Vienna, 1376.
OSWALD, HANS (Austr.). Mint-warden at Salzburg, circ. 1542.
OSWALDT, KONRADT (Gf/w.). Mint-rtiaster at Kautbeuren, 1508.
0. T. Vide OTTO TRtJMMER. Mint-master at Frankfort on-Mein,
1762-1764.
OTELESS, FRIDLINUS DE (Bohem.). Mint-master at Prague, 1307.
OTH (French). This signature is said by Durand to exist on a
Pattern Five Franc piece of Charles X. (MS. List of Engravers).
OTHO, and FITZ OTHO. Vide OTTO.
OTT, CARL (Germ.). Medallist of the second half of the nineteenth
century. He resided at Augsburg, circ. 185 6-1 864, where he was
employed at the Neuss Medallic Works.
I have noted his signature on the following medals: Opening ot
the Crystal Palace at Munich, 1854 i — Swiss Federal Choral Fes-
tival at St. Gall, 185 1 ; — D"" Joseph Hoerger, of Augsburg, 1854, etc.
OTT, WILHELM (Germ.). Mint-engraver at Wiesbaden, 1847.
OTTACHERUS (Austr.). Moneyer at Graetz, 1245.
OTTE, HANS HEINRICH (Germ.). Mint-master at Gehren
(Schwarzburg), 1622-1623. His signature + HI +0 occurs on a
Thaler of 1623 of Gunther XLII. in conjunction with Anton
Heinrich, Johann Gunther II., and Christian Gunther I., Counts
of Schwarzburg-Sondershausen.
Bibliography. — E. Fischer, Die Mfmien da Houses Schu!ar(burg y Heidelberg,
1904.
OTTIN, ADGUSTE LOUIS MARIE (Ffdm:^). Sculptor of the nineteenth
century, born at Paris, 11. November 181 1; pupil of David
d'Angers. By him are numerous Portrait-medallions, in imitation
of his master's.
OTTLEY, JOHN (Brit.). Medallist, and Engraver of Tokens, of the
end of the eighteenth century, and first half of the nineteenth. He
is perhaps best known by his large series of Tokens, known as
"Ottley's Birmingham Buildings". Silver specimens were struck
specially tor Sir George Chetwynd. They were engraved early in
the ninetenth century ; Kempson engraved the obverses. Among
these are: Coventry Token, 1790 (Ashted Chapel, erected 1790);
— St. Bartholomew's Chapel ; — St. Martin's Church ; — St.
Mary's Chapel, erected 1774; — The Old Meeting, destroyed
1791 ; — The Old Meeting, as rebuilt in 1794 ; — New Meeting,
burned in 1791 ; — Meeting in Paradise Street, erected 1796; — New
Jerusalem Temple ; — St. Paul's Chapel ; — St. Phillip's Church ;
— Barracks erected, 1793 ; — General Hospital, erected 1779 ; —
Library, MDCCXCV; — Birmingham Workhouse, erected 1733,
enlarged 1794 ; — Old cross, erected 1702 ; — Welch Cross ; —
tut IIKSIUUKCL IT
Dr Henry Jephson.
Blue School, erected 1724; — Blue Coat Charity School, enlarged
1794 ; — Free School ; — The New Brass Works, 1796 ; — New
Brewery, erected 1792; — Hotel, erected MDCCLXXII; — Navi-
gation Office, MDCCXCVI; — Soho Manufactory, erected 1764;
— Birmingham Theatre, 1795, etc.
I have noted Ottley's signature on the following medals : D"" Henry
Jephson, Leamington, 1846. {iUustralcd), formerly in D-" F. Parkes
Weber's collection, now in the British Museum; — Brighthelmstone
Dispensary, 1850; — Watering Places of England (signed : J. OTTLEY,
MEDALLIST); — Sir Robert Peel, 1837; — Robert Otway Cave,
Leicester Election, 1826 (l. OTTLEY MEDALLIST) ; — Sir Robert
Gresley, Bart., Lichfield Election, 1826; — Rev. Walter Farquhar
L. FoRKEK. — Biographical Nolica of Medallists. — IV. 12
- 338 -
Hook, D. D. ; Rebuilding of St. Peter's Church, Leeds, 1841
(signed: OTTLEY); — Richard, First Earl Howe; Birmingham
General Hospital, 1826 ; — Coming of Age of Princess Victoria of
Great Britain, 1837 ; — Opening of the Railway from Manchester to
Liverpool, 1830; — Birmingham Agricultural Exhibition Society,
established 1840; — Badge, Free Pass of the South Staffordshire
Railway ; ^L. View of Lichfield Cathedral (signed : OTTLEY. BIRM :),
&c.
Bibliography. — W. J. Davis, Token Coinage of Waridckshire . — H. A. Grue-
ber, English Personal Medals, 1888-1892. — Cochran Patrick, Medals of Scotland.
OTTO, the Elder (Brit.). Goldsmith, appointed Mint-engraver
under William L and in ofiice until his death, in iioi. In 1087 he
was ordered to build the famous tomb of William the Conqueror
at Caen. He is mentioned several times in Domesday. Andrews
(Jsliimismatic History of the Reign of Henry /., 1901) ascribes to this
artist the coinages of William L and IL, and the earliest issue of
Henry L Presumably he cut the seal of that king (illustrated).
London Penny ot Henry 1., by Otlo the Elder.
The following notes are extracted from M' Andrew^ work, " That
Otto was the Engraver of the types is quite clear from various
Exchequer records, but that he was the designer of them can only
be inferred from his position, and the absence of any mention of a
Winchester Penny of William the Conqueror.
separate official for that purpose " (p. 25)... '' We have mateiial
evidence that the Norman coinages were designed and engraved by
Otto the Goldsmith and his descendants, and the only question now
remaining is as to who cut the working dies? From a numismatist's
point of view it would be more interesting to think that these were
made at the respective mints, and that when we hold a coin of
— 339
/
V
Seal of Henry I.
softie outlying mint in our iiands, we should see the local work of
that mint complete in miniature handicraft. But, unfortunately,
such was not the case in the reigns of the Norman kings, or at least
the presumptive evidence is against it. During the sieges and
counter-sieges of Stephen's reign, however, there were numerous
exceptions, and in this fact lies not the least of the attractions which
make the study of his coini> more interesting than that of the
coinage of any other reign.
*' The presumptive evidence that the working-dies were sunk
and issued by the workmen of Otto and his descendants at London
has to be gathered from numerous documents and then compared
as a whole. Domesday, when giving the returns of the mints in
which the king still retained an interest, frequently repeats the
expression : *' Quando moneta vertebatur quisquc maitetan'us dabat xx
solidos ad Londoniam pro cuneis monetx accipiendis " (Worcester). To
pay the money io London for receiving the dies is not quite the
same as to pay the money for receiving the dies from London, and
it might be argued that, in any case, when a fresh type was issued,
a pair of dies or devices must have been distributed to each mint
from which the working-dies could be copied. Henry L, in confirm-
ing the privileges of a mint to the Abbot of Bury St. Edmunds,
directed the writ to the Bishop of Norwich (as the spiritual Lord),
to his Justiciaries or Sheriffs, and to Otlo the Goldsmith of London
(Otto the younger). The inclusion of Otto in this writ could only
be for the purpose of a direction to him to supply the Abbot with
the necessary dies. The Pipe Roll of 1130 records the murder ot
one of William Fitz Otho's men in Devonshire, which suggests the
probability that he was there distributing the dies. It also mentions
the Aurifabri of London twice, as receivmg fees from the Exchequer
in the first instance, and, in the second, as receiving sixty shillings
and ten pence for coal or charcoal, which shows that they carried
on a considerable public undertaking, nor are any other Aurifabri
mentioned throughout the Roll. In the forty-ninth year of
Henr}-^ III., Thomas Fitz Otto, the then representative of the
family and hereditary cuneator, successfully petitioned the King in
the Court of Exchequer for the return of the old and broken dies as
his perquisite, alleging that they belonged to him of right and
inheritance, and that his ancestors had been accustomed to have
them... Various records not only suggest that the working-dies
were all issued from London, but that the *' old and broken
ones were called in and returned to the Ottos " (pp. 27-29).
*' Otto the Elder, Goldsmith to William I., is mentioned in
Domesday as holding lands in Essex and Suffolk, and it would
seem, from certain writs of the Exchequer, issued in the reigns of
Henry III. and Edward L, that he and his descendants held these
— 341 —
lands and others subsequently granted to them in petit serjeantry as
cutters and keepers of the king's dies. This shows that the office
was strictly hereditary, and it remained in the family, though not
always exercised by its members, until the reign of Richard II. "
(P- 25).
York Penny ot William I .
Otto's descendants who held office as Mint-engravers were :
his son, OTHO or OTTO the Younger (or OTHO FITZ OTTO), iioi-
1120; the latter's son, WILLIAM FITZ OTHO, 1120-1125, who from
1 126 to 1 1 30 probably worked under the direction of a freshly
appointed Engraver, perhaps the goldsmith WYZO FITZ LEOSTAN,
and remained in office at least until the end of Henry I.'s reign.
Anotjier, WILLIAM FITZ OTHO was Mint-engraver under King John,
and until after the 28''' year of Henry III., 1243.
EDWARD FITZ OTHO (Brit.). Mint-engraver, thirteenth century.
THOMAS FITZ 0TH0(5n7.). Mint-engraver, a//?/o 49 of Henry III.,
1265, and again under Edward I., 1290-1294.
HUGH FITZ OTHO (Brit.). Mint-engraver, 1280.
OTHO FITZ WILLIAM (Brit.). Mint-Engraver, 1294 (or WILLIAM
FITZ OTHO), &c.
Thus for two centuries the office of Mint-engraver remained in
the same family, from William the Conqueror to Edward I. The
last of the male line died, says Kelham, in 1282.
Bibliography. — Ruding, Annals of the Coinage of Great Britain and Ireland,
1840. — W. J. Andrews, A Numismatic History cf the Reign of Henry I., 1901. —
Chaffers, Gilda Aurijabrorun, 1883.
OTTO (or OTHO), EDWARD FITZ (Brit.). Goldsmith, who held the
office of Mint-engraver in London, some time in the thirteenth
century (Chaffers, op. cit., p. 25).
OTTO, A. E. (Germ.). Engraver of the first half of the nineteenth
century, who resided at Berlin. He was noted as an Engraver of
gems and coats-of-arms, &c.
Bibliography. — Nagler, AUgemeines Kunstler-Lexikon.
— 342 —
OTTO the Younger (or OTHO FITZ OTTO) (Brit.). Son of Otto the
Elder, and his successor, as Mint-engraver in London, from iioi
to 1 120, under Henr}-^ I. He was also a Goldsmith by trade. He
probably died about 1120.
Otho Fitz Otto introduced several changes in the coinage; the H
he altered into b, 3) into Tb ; G into C, &c. ; his designs are pro-
fuse with ornaments.
London Penny of Henry I., by Otto the Younger.
Bibliography. — Ruding, op. cit. — Andrews, op. cit.
OTTO FITZ WILLIAM (Brit.). Perhaps a son of William ¥m Otho,
and Mint-engraver in London, under Henry IIL He died about
1257.
OTTO, HANS (Germ.). Mint-contractor at Sagan, 1624.
OTTO (or otho), HUGH (Brit.). Goldsmith, mentioned as Mint-
engraver in London, in 1280. He then held the office for his
nephew Otho (Ruding, op. cit., p. 44),
OTTO, JOHANN (Germ.), Mint-master atZerbst; died in 1663.
OTTO (or OTHO), THOMAS FITZ (Brit.). Goldsmith, and Mint-
engraver in London, under Henry IIL, presumably from 1265 to
1268 or 1269, when he was replaced by Ralph Le Blound ; and
again, under Edward I., from 1290 to 1294. He is styled Die Graver
in Fee.
We read in Ruding : *' In the 49''' year of Henry IIL, Thomas
Fitz Otho claimed, in the Court of Exchequer, the broken dies, as
belonging to him of inheritance, and had his claim allowed ; and in
the 52"'' year he presented before the barons, Ralph Le Blund to
the office of cutter of the king's dies " (p. 41).
Bibliography. — Ruding, op. cit. — Chaffers, op. cit.
OTTO, R. (Germ.). Contemporary Medallist to the Imperial Court
at Berlin. Beside various official medals, he has modelled also the
following commemorative pieces : Prize Medal of the Health
Exhibition at Berlin, 1882 (with bust of the Empress Augusta;
signed on obv. r. otto fec. 1882. j. kope sc. 1874); — Marriage
of Crown Prince William with Princess Auguste Victoria of
Schleswig-Hostein, 1881 ; — Portrait-medal of the Empress
— 343 —
Auguste Victoria, undated (1^6. only); — Official Commemorative
Badge of the 25''' Anniversary of the German Empire, 1895
(illustrated) ; — Barnay, medal presented to the Court Actor by his
23«l> Anniversary ot the German Empire, 1895.
English admirers; — Nicholas II., Peace Conference at The Hague,
1899; — Portrait-medal of A. G. Puschkin, 1899, etc.
Bibliography. — J. Menadier, Schanmuuien des Hatises Hohen^olkrn, 1901.
OTTO (or OTHO), WILLIAM FITZ (Brit.). Goldsmith, and Mint-
engraver in London, under Henry I. He succeeded Otto the Younger,
who presumably died in 1120. Andrews supposes him to have been
very young when his father died. Between 1120 and 1125 we note
the hand of a very inferior designer, who produced work of sorudeand
uncertain a character that two dies are rarely alike ... In 1126 there
is a great improvement in the dies. William Fitz Otho is now
serving his apprenticeship under some one who, judging from his
work, must have been the best numismatic artist England had until
the time of Henry VII. (possibly WYZO FITZ LEOSTAN q. v.). In 1 1 30
the " Pipe Roll " tells us that William Fitz Otho paid certain fees
that he might no longer have a master over him. He, therefore,
has now completed his apprenticeship and succeeds to his hereditary
office " (p. 40). One of the principal characteristics of his work is
— 344 —
that he dispenses with all ornaments, and invariably uses the colons
of division.
Some of the coins of the latter end of Henr}- II'.s reign are very
rough, but, says Mr. Andrews, " it is not William Fitz Otho's
fault, for his design is good, but it is due to the moneyer's
wretched system of careless striking, or of first striking them in a
round collar and then roughly clipping them down in weight to the
bare margin of tender " (p- 99).
London Penny of Henry I., by William Fitz Otho.
The first attempt at a gold coinage in England was made under
Henry III. It followed very soon after the adoption of the first
gold " Florin" by the republic of Florence of 1252, the introduc-
tion of gold coins in France by Louis IX., and at Naples by the
Emperor Frederick 11. " On the 16''' August 1257, a writ dated at
Chester was issued commanding the Mayor of London to proclaim
in that city that "the Gold Money which the King had caused to
be made should be immediately current there and elsewhere
within the realm of England, in all transactions of buying and
seUing, at the rate of 20 pennies of sterlings for every gold penny "
(Kenyon, op. cit., p. 14).
The Mint-engraver was then RICHARD ABEL, goldsmith, who
had succeeded William Fitz Oiho II., in 1243, but who still
probably worked in conjunction with him, as we find that
Henry III. entrusted Otho with important goldsmith's work, after
that date, and he may possibly have been consulted for the design,
or designed himself, the new gold coin.
A specimen, in the Murdoch collection, was thus described in
the Sale Catalogue, 1903, lot 272. It realized £ 325.
. Penny, London, Obv. b •:• GNRIC RGK : IH', the king,
crowned and holding sceptre and orb, seated, facing, upon throne;
^. WILL I GM : b I N LVR I UGN •:•, double long cross, each
limb bottonne, dividing an inner beaded circle, in each angle an
expanded rose surrounded by three pellets, Wt. 45 | grs. (Rud.,
Suppl., pi. VI, 18. Kenyon J frontispiece), extremely Jim and of I he highest
rarity.
^,% This beautiful and earliest gold coin of the English Series
(cf. the Montagu Catalogue, 1896) was, according to Bergne's
— 345 -
memoranda, bought privately by Mr. Martin from Mr. Trattle. It
was sold at Martin's sale (1859, lot 74) to Capt. Murchison for
€ 130; and at his sale to the Rev. E. J. Shepherd (1864, lot 47)
for £ 140. At the Shepherd sale (1885, 'o^ 126) it was purchased
by Mr. Montagu for k 205, and at the dispersal of the latter's
cabinet in 1896 it was bought (lot 386) for the late Mr. J. G.
Murdoch for i 250. Only five other specimens are known (one of
which IS pierced), two are in the British Museum, two were
in the possession of the late Sir John Evans, and the fifth is in
Messrs Spink's collection.
Gold Penny of Henry III.
This gold coinage was not favourably received by the people,
and on the 4''' of November 1257, the City of London petitioned
against it; the King had to issue another proclamation "that no
one was obliged to take the coins, and that whoever did might
bring them to his Exchange, and receive there the value at which
they had been made current, deducting only a halfpenny for each
piece. The coins continued to be current; in 1265 their value was
raised by proclamation from 20 to 24 pence "(Kenyon, p. 15). Very
few specimens were probably struck, and mostof them melted down,
which accounts tor their extreme rarity.
Bibliography. — Ruding, op. cit. — Andrews, op. cit.
OTTO (or OTHO), WILLIAM FITZ II. {Brit.). Goldsmith, and Mint-
engraver in London, in office from about the 6*'' year of King John,
1205, when he is recorded to have made the dies for the Mint at
Chichester, until the 27''' year of Heny EL, 1243, when Richard
Abel, goldsmith, succeeded him. It however appears that William
Fitz Otho's death did not occur before about 1257, unless the
Engraver designated by OTTO FITZ WILLIAM was not the same
person, but his son.
William Fitz Otho was Goldsmith to Henry III., " and made
many rich ornaments for the use and adornment of the Lady Chapel
in Westminster Abbey. In the 28''' year (1243), the King directed
him to make " a dragon in manner of a standard or ensign, of red
samit, to be embroidered with gold, and his tongue to appear as
- 346 -
continually moving, his eyes of sapphires, to be placed in the church
against the King's coming thither ". Two years later he ordered the
Penny of John.
Keeper of the Exchequer to " buy as precious a mitre as could be
found in the city of London, for the Archbishop's use, and also one
great coronal of silver to set wax candles upon in the said church"
(Chaffers, £»^. n/., p. 24).
Bibliography. — Ruding, op. cit. — Chaffers, vp. cit. — Kenyon, op. cit. —
Sir Jolin Evans, The First Gold Coins oj England, Numismatic Chronicle, 1900.
OUDART, NICOLAS (Belg.). Issuer of a Jeton in the eighteenth
centur}' (J. Th. de Raadt, Quelques observations sur Nicolas Otidard
el son jeton, etude heraldo-historique, Bull. Cer. archeol. Malines, I,
1889, 34-44)-
OUDINfi, EUGfiNE ANDR£ {French). Sculptor, Medallist, and Coin-
engraver, born at Paris, i. January 1810, died there, 12. April
1889. He was a pupil of Galle, Petitot, and Ingres. In 1831, he
obtained the Prix de Rome for Medal-engraving, the subject being
Oedipus explaining the enigma ot the Sphinx; 1837, a Medal of
the 2"*^ class; 1839 and 1843, Medals of the i^' class; 1848 and
1855, Medals of the 2"*^ class; 16. August 1857, he was made a
Knight of the Legion of Honour.
He married a grand-daughter of Andre Galle, the medallist.
Oudine, says D"" Weber, was one of the first medallists to make
struck medals (by the help ot the reducing machine) in the modern
French style, having something ot the "soft" appearance of a cast
medal.
The following is a list ot the artist's productions in their order
of exhibit at the Paris Salons from 1837 to 1882, taken from Cha-
vignerie and Auvray's Dictionary : 1837. Statue of a man, plaster;
— Frame of medals; — 1839. Bust of M"'^ Oudin^, marble; —
Commemorative medal of the Amnesty, with bust of Louis-
Philippe I., and VfL. Royal Clemency arresting the course of Justice;
— Portrait-medal of Cambac^res (executed in commission for the
Mint); — 1841. Bust of Galle; — Bust of Thomas ; — 1842.
B. Virgin and Child, group in marble ; — General Espagne, marble
statue; — Portrait of M. P. L. B***, bust in plaster; — 1843.
— 347 —
Chnrit}', marble group; — Bust of Lacave-Laplagne, Finance
minister; — Bust of Raymond Lacave-Laplagne ; — Frame ot
Portrait-medallions and Medals, among which the portraits of
Andre Galle and Horace Vernet ; — 1845. ^- Virgin and Child;
— Marble bust of M. L. L***; — Bust of M. L. de P*** ;
— Frame of Medallions and Medals, including : Two Memorial
medals of H. R. H. the Duke of Orleans; — Commemorative
medal of the Column of Boulogne; — Memorial medal of Rear
Admiral Dumont-d'Urville; — Memorial medal of General Boinot;
— Lacave-Laplagne, Finance minister; — Andre Galle, medallist; —
Prize Medal with head of Ceres (ordered by the *'Comite des
Monnaies"); — Medallion representing Vulcan with his attributes,
&c. ; — 1848. Queen Bertha, mother of Charlemagne, marble
; t^
French Five Franc piece, i8si, by E. A. Oudin^'.
statue for the Luxembourg Gardens ; — Psyche, marble statue in
Perpignan Museum; — Frame of Medallions and Medals,
including : Medal of the Society of Architects ; — Portrait-medal
of Berthollet, 1822; — Horace Vernet; — Marshal Bugeaud, &c. ;
— - 1850. Two medallions : Law and Security; — Medallion
in plaster, representing " Justice", for an official paper stamp;
— Model and Medal in bronze, representing the French Republic
(in commission for the Mint); — Establishment of the French
I. A curious joke was made at the time over Oudine's 5 Franc piece by
describing the type thus :
I^. LIBERTE Point
EGALITE Point
FRATERNITE Point
Obv. LA RfiPUBLIQUE AVEC DES TRESSES (d^tresse)
OUDINE (oil diner) SOUS LA REPUBLIQUE
A LA BELLE ETOILE.
- 348 -
Republic in 1848 (obtained the First Prize at the competition
of 1848); — Bronze Medal of the Society of Architects; —
Five Franc piece, 1848 (a specimen, 185 1, illustrated) ; — Twenty
Franc piece, 1848 (head and reverse which won to the artist
the second Prize in the 1848 competition) ; — Ten Centime
piece, 1848; — Model in bronze, and current Five Franc piece; —
Two Francs; — One Franc; — Fifty Centimes; — Twenty
Centimes ; — 1852, Commemorative medal of the Inauguration of
the Tomb of the Emperor Napoleon I. (illustrated); — Bas-relief in
stone for the facade of the Church of Gennevilliers ; — 1853.
Napoleon I.'s Mausoleum at the Invaiides.
Marble bust of M. de B***; — Commemorative medal of the Coup
d'£tat of 2. December 185 1 ; obv. Bust of the President; ^L. Louis
Napoleon Bonaparte led by Wisdom crushing the hydra of Anarchy,
and grateful France presenting him with a civic crown; — 1855.
Sleeping Psyche, marble statue in Havre Museum ; — Marble bust
of Lacave-Laplagne ; — Marble bust of M. de Boissieux ; — Marble
bust of Andre Galle; — Apotheosis of Napoleon I., medal after
Ingres; — Various Medals and Coins; — 1857. Marble bust of
E. O***; — Marble bust of M"« J. O***; — Medals : Apotheosis
of Napoleon I. ; — Battle of Inkermann, with bust of Napoleon III.
— U9 -
on obv. ; — Apotheosis of Napoleon I. ; ^L. Justice and Abundance
supporting the arms of Paris ; — The Tomb of Napoleon I. at the
Invalides; ^. Portraits of Napoleon I. and III, — Inauguration
ot the Southern Railway from Paris to Spain ; — The
Seminary of Rennes ; — Medal of the Life Saving Society ; —
Central Company of Marine Insurance; — Medal of the Agricultur-
al Society of Cognac; — 1859. Virgin and Child group in
marble; — Bethzabee, marble statue for the Court of the Louvre;
— Ave Maria, bas-relief in marble ; — Marble bust of M"*" L. W*** ;
— Medals : Marseilles Cathedral ; — Medal of the Compagnie
universelle (xMarine Insurance); — Jeton de presence of the
Algerian Commission ; — Commemorative medal of the Accession
of Napoleon III. ; — Jeton of the Commission of Fine Arts of the
H6tel-de-ville ; — Portrait-medallions in bronze : M"^ M. Oudine;
— M. A. J***; — M. E. C***; - M. T. P. V***; — Jeton of the
Universal Marine Insurance Company; — 1861. Portrait-medallion
in marble of Napoleon III. ; — Portrait-medallion in marble of
M. Gatteaux, medallist ; — Portrait-medallion in plaster of
A. A. Eugene Jun""; — Medals: Commemorative medal of the
Emperor and Empress of the French's Visit to Rheims ; — Inaugur-
ation of Marseilles Stock Exchange; — Medal of the Municipal
Body of Paris ; — Medal of Honour of the Ministry of Agriculture
and Colonies; — H. I. H. Prince Napoleon; — N. Gatteaux; —
A. A. Eugene Oudin6, Jun"" ; — H. Delafontaine ; — 1863.
Medals : Commemorative medal of the Annexation of Savoy and
Nice to France; — Preliminaries of the Peace of Villafranca; —
H. I. H. Prince Napoleon ; — 1864. Suburban Railways of Strass-
burg; — 1865. Gladiator, marble statue; — Bust of M. G. L. L***;
— 1866. Marble bust of Hippolyte Flandrin, painter; — Bust of
Pillaut ; — 1869. Bust of D"" Fizeau ; — Medals : Portrait-medallion
of Napoleon III.; — Commemorative medal of the Restoration of
Notre Dame, Paris; — Apotheosis of Napoleon I.; — Commemor-
ative medal of the Discovery of Photography; — Napoleon HI.;
— Prince Napoleon ; — Prince Murat; — 1868. B. Virgin and Child,
group in marble for the Church of St. Ambroise; — True Happi-
ness, group in marble; — 1869. Portrait of a Child, bust; —
Medals : J. D. Ingres; — General Poncelet; — M. Mathieu,
member of the Institute; — Gatteaux, statuar}' ; — 1870. Commem-
orative medal of the Apotheosis of Napoleon I. ; — Medals : The
Amnesty of 15. August 1869; — Portrait of M. Ybry ; — Centen-
ar\' of Napoleon I.'s birth (in commission for the Mint); — 1872.
Portrait-medal of Mignet; — 1873. B- Virgin and Child, statue in
stone for the Churchof St. Eustace; — Benevolence (medal executed
in commission for the Mint); — 1874. D' J. A. Chaptal, dated 1832,
the year of his death ; — Temperance Society Medal ; — Thiers ; —
— 3)0 —
i875- Cherubini, silver medal ; — M"''M. Vauthier; — A, Thiers,
silver medal; — Marble bust ot Dupin aine; — Portrait-medallion
of M"^ M. Oudine ; — 1876. Young Lady at her toilet, marble statue ;
— Portrait-medallions : H. Flandrin ; — Ingres ; — Ambroise Thomas;
— Charles Lefebvre, painter; — Oudine, medallist; — P. Flandrin;
— Marie Vauthier; — E. Oudine, architect; — V. Froussard; —
Jeanne Vauthier ; — Medal on the Progress of Human knowledge ;
— Commemorative medal of the Passage of Venus on the Sun's
disc ; — Commerriorative medal of the Services rendered by
Aeronauts during the siege of Paris (^. (illustrated) ; — Andre
Vauthier ; — Georges Vauthier ; — Charles Lefebvre ; — Paul Brame ;
— 1877. Portrait-medalUons : M"^ Vauthier, nee Oudine; —
M"<= M. Bernier ; — M"^ L. Bernier; — M"*^ V. Rudet : — Henard,
architect; — J. B. Say; — Minerva distributing Prizes, medal; —
Siege of Paris, 1 870-1 871.
M"= Jenny G***; — 1878. Bust of Oudine, bronze; — Commemor-
ative medal of the Universal Exhibition of 1878; — Prize Medal,
with Minerva ; — A. Thiers (in commission for the Mint) ; —
The French Republic (for the Mint); — ■ Portrait-medallion of
M"^ Marie Oudin^; — ■ 1879. Commemorative medal of the Uni-
versal Exhibition of 1878; — 1882. Horace Vernet; — Bust of
M™'= E. Oudine; — Models and Proofs of Coins of Argentina
(A/". 5 Pesos; — JK. Peso ; — 50, 20, and 10 Centavos; — JE. 2 and
I Centavos; — Portrait-medallion ot Berthe Vauthier; — The
French Republic; — Medal of the Savings Bank of Montauban ; —
J. Victor Poncelet; — Agricultural Prize Medal with bust of
— 551 -
Olivier de Serres; — and others, undated: Medal of the Hopital
civil, Briancon, 1876; a specimen in the Boston collection is dated
1896; — Ambulance of the 3'''^ Arrondissement ; — Commissions
d'Hygiene publique ; — Count D"" C. L. BerthoUet, Arcueil ; —
D"B., A. L., and A. de Jussieu, Paris; — Twelve Portrait-medal-
lions at the Bibliotheque Nationale, Paris, representing illustrious
Poets of antiquity; — C. Pleyel, composer, 1861.
Half Peso of Argentina, 1883, by Oudine.
"^ Pour I'importance, il n'est pas d'action comparable a celle
qu'exerca Oudme durant quarante annees ", says M. Roger Marx.
*'Tous les essais de ses devanciers, il les reprend, les poursuit, les
resume. D'un art asservi a la reproduction, il a fait un art libre,
neuf par I'obligation imposee au graveur de ne jamais confier
a I'acier que la conception de son cerveau. D'autres, Depaulis,
J. E. Gatteaux, rivalisent a faire montre de talent; lui, bien avant
que s'ouvre I'atelier officiel ou professa Farochon, entreprend d'as-
surer I'avenir, de creer des eleves, et a son ecole se forment
Ponscarme, Chaplain, Tasset. Qu'Oudine ait ete influence tour
a tour par la tradition classique, par I'antiquite, le style neo-grec,
par Ingres, nul n'en voudra disconvenir; mais en toute occasion se
prouvent la culture d'un esprit ouvert porte a la synthese et le gout
de I'artiste attentif au choix des formes. Malgre les annees, I'intel-
ligence etait demeuree en eveil, et quand la mort arriva, elle trouva
Oudine en pleine Evolution, ayant accepte la donn^e moderne et
concourant a I'eclat de cette restauration qu'avaient preparee les
travaux de sa jeunesse et de son enseignement. "
BiBUOGRAPHY. — H. Flandrin, Notice stir Oudine, sculpteur en Medailles, Paris,
1888. — Chavignerie et Auvray, op. cit. — Grand Dictionnaire Larousse. —
Nouveau Larousse illustre. — fitienne Bricon, E. A. Oudine, Grande Encyclope-
dic. — R. Marx, Medailletirs franfais, 1887. — Ibid., Me'dailleurs modernes en
France eta Vdtranger. — D"" F. P. Weber, Medals & Medallions, &c. — Blatter fiir
Micn:^freunde, 1887, p. 1323. — De Saulcy, Souvenirs numismatiques de la Revolu-
tion de 1S48. — A. Rosa, Monetario Americano, 1892. — Dewamin, Cent ans de
Numisniatique franfaise, 1889. — D^ J. H. de Dompierre de Chaufepi^, op. cit.
OURAIOS (TPAini). Grecized form of signature of the British
Gem-engraver, WRAY (jj. v.), of Salisbury, who died in 1770.
ODRV, LODIS (French). Contemporary Sculptor, born at Montali-
ban ; pupil of Chapu, and Aube. At the Salon of 1897 he exhibited
a portrait-medallion of himself, and a commemorative medal of the
Cycle show, Paris, 1897.
OUTKINE (Rtiss.). Sculptor and Medallistof the second quarter of
the nineteenth centur}^ By him is a Portrait-medal ot John
Andrewitch Kryloff, Russian fabulist, dated 1838.
OUVET, ALBERT JULES {French). Contemporar}' Sculptor, born at
Chartres ; pupil of Morice. He has executed Portrait-medallions in
wax, one of which I saw at the Salon of 1890.
OUVRAT (French). Engraver, born at Gex, was apprenticed at
Geneva, and worked for Charles Philippe Quartier-dit-Maire,
Master-engraver at Le Locle (Switzerland). By him is a medal
{illustrated), commemorating the Visit of King Frederick
William IV. of Prussia to the Fall of the Doubs, near Les Brenets,
Presentation Medal to Frederick William IV., King of Prussia, 1842.
in 1842. This medal in gold of the weight of 24 Louis was
presented by the inhabitants oi Les Brenets to the King.
Ouvrat designed and engraved the scenery represented on the
medal. Little is known of this Engraver, who is supposed to have
returned to France.
Bibliography. — Information kindly supplied by M. Arnold Robert. — Relation
du se'jottr de LL MM. le Roi et la Reine de Prttsse dans leur principaute de Neuchdtel et
Valangin, 1882.
OXE. Vide OCHS supra.
OYE (Dutch). This signature occurs on a Silver Wedding medal
of Theodore Vosmaar and Maria Everswinkel, 1749.
— 353 —
OZAGNI, JACOPO (Ital.). Mint-engraver at Turin, 1625-1630.
OZANA, KARL (Justr.). Contemporary Medallist, of Vienna;
pupil of Prof. Stephan Schwartz and Claudius Marioton. At the
Salon of 1892 he exhibited a silver medal, in repoussi work, repre-
senting Flora and Zephyrus.
OZI (Germ.). Moneyer at Ratisbon, «Vt. 925-955.
L. FoRREii. — Biographical Notices 0} Utdallisls. — IV. 23
— 354
P. F/^g JOHANN PEUTINGER. Mint-master at Augsburg, 1420-
1429.
P. Vide DOMENICO POGGINI. Goldsmith, and Medallist at Florence,
circ. 1 5 60- 1 5 70.
P. Fide GIOVANNI POGGINI. Goldsmith, and Medallist, died
in 1580.
P. Fide FRANCESCO DE PRATO. Goldsmith, Painter, and Medallist
at Cremona; died in 1562.
P. Vide PADOVANO. Surname of Leone Leoni, Milanese Medallist,
1531-1606.
P. Vide PFEIFFER. Mint-master at Brenz(Wurttemberg), 1622-23.
P. Vide?. PFEIFER. Mint-master at Baden, 1623-1630.
P. Vide PERTINET. Mint-master at Chamb^ry, 1640.
P. Vide PIELER. Medallist at Dresden, 1 650-1 680.
P. Vide P.P. PECKSTEIN. Mint-master at Erbach, 1675.
P. Vide C.C. PRIBDS. MedaUist at Dresden, 1764-1787.
P. VideB. PERGER. Medallist and Coin-engraver at Naples, 1769-
1798.
P within a circle, above which double cross. Vide PAOLO LODO-
VICO SINIBALDI. Papal Mint-master at Ancona, 15 12.
P. Vide P. Engraver's signature on (?) coins of Terina (B.C. 440-
400).
P. Vide BARTHOLOMAUS PRUCKNER. Medallist at Munich, 1839-
1844.
P. Vide JAKOB PEUTIN6ER. Mint-master at Augsburg, 1425.
P. Vide PETER PAUL PECKSTEIN. Mint-master at Breuberg, 1675.
Bibliography. — Schlickeysen-Pallmann, Muti:{- Ahkiir^uiigen, Berlin, 1896.
P (GreeK). Possibly an Engraver's signature, which occurs on
coins of Terina, circ. B.C. 420-400. p may have been a pupil ot
the artist <t>, whose period of activity ranges between circ. B.C.
— 355 —
425-420. D*" Kurt Regling, the latest writer on the Terinaian coins,
distinguishes three manners in this engraver's style, and describes
no less than forty-two varieties of didrachms and drachms, including
the imitations of P's types, which bear the P.
The artist P represents the nymph without chiton, with the
upper part of the body perfectly bare, and in the representation of
the nude he shows himself a great master.
The following specimens are in the British Museum.
1. ^. Stater. Obv. TEPINAION. Female head to r., wearing
sphendone, hair in korymbos.
^L. Winged Nike, seated to 1. on square cippus, her knees covered
with peplon; she touches with her r. hand the top of a caduceus
which is placed in front of her; her 1. hand is resting on one of
the corners of the cippus; in the field, to r., P.
Weight : 123 grs. — B. M. Cat., Italy, p. 389, n° 19.
2. iR. Stater. Obv. Similar ; head to 1.; sphendone unadorned ;
border of dots.
I^. Similar; Nike holds caduceus by the middle, handle forwards.
Weight : 120.4 8^^- — B- M- Cat., op. cit., n° 21.
3. ifL. Stater. Obv. Similar; head to r.
^. Nike, winged to 1., wearing long chiton, over which peplon,
in stoopirg posture, her. r. foot upon a rock, and r. arm resting
on her knee ; she holds caduceus by the middle, handle downwards,
her 1. behind her back ; in field, to I. P.
Weight : 119. 4 g's. — B. M. Cat., op. cit., n° 22. Gar-
rucci, op. r//.,Pl. cxvii, n° 7.
4. JK. Stater. Obv. TEPINAION. Female head to 1., wearing
sphendone and necklace; behind, P.
^L. Nike, winged, wearing only peplon over knees, seated to I.
Stater of Terina (B.C. 440-400).
(in the artist's second manner, according to D"" Regling).
on square cippus, holding in r. staff, surmounted by poppy-head,
handle forwards ; in field, to 1. P.
Weight : 12 1.7 grs. — B. M. Cat., op. cit., n° 25.
5. JB^. Stater. Obv. Similar.
^L. Nike, winged, seated to I., on sauare cippus; she holds
wieaih in r. ; on the back of her hand a dove with spread wings;
left resting on cippus.
- 356 -
Weight : 116.7 grs. — B. M, Cat., op. cit., 11° 29.
Car. N. I. V. T. CLXXViii, 22 ^.
6. M^. I Stater. Obv. Female head to r., wearing sphendone ;
behind, P.
VjL. TEPI. Nike, winged, seated to 1., on square cippus, holding
in r. staff surmounted by poppy-head, handle forwards ; behind, P.
Weight : 17 grs. — B. M. Cat., op. cit., n" 35.
7. ifC. I Staler. Obv. Same type, to 1. '^. Similar, but Nike
holds wreath.
D"" Regling goes into all the minute characteristics of style in the
works known by this engraver.
Some of the coins ot Terina by P belong to the finest produc-
tions of Greek monetary art. It is however well j:o notice that the
Engraver P only copied the style and reproduced the types of his
contemporary, the artist <J>.
C^s^;
Didrachm of Terina, by P.
"A cote des oeuvres de Phrygillos ", writes D"" Sambon in Le
Musde, 1907, p. 334", on trouve une serie nombreuse de monnaies
I^. of Didrachm of Terina, by P.
signees de I'initiale P, dissimul^e souvent dans un coin du cippe
sur lequel est assise la nymphe ou sous un pli de son himation. Cet
artiste semble apporter, au milieu de la gracieuse maniere des
artistes italiotes, quelque chose de la pratique plus sculpturale des
graveurs de la Grece, et j'ai propose de comparer ses dessins a ceux
des monnaies contemporaines d'Elis. Nous lui devons deux admi-
jrables compositions : une figurine de nymphe penchee en avant,
— 357 —
le bras droit tenant un caducee et appuye sur le genou droit qui
repose sur un rocher, le bras gauche replie derriere {illustrated ;
Regling, pi. ii, 86); puis une figurine delicieuse debout, accoud^e
a une colonne, qui fait penser aux plus belles statuettes de Tanagra
{illustrated ; Regling, pi. ii, ii).
M"" J. R. Mc Clean in Num. Chron., 1907, contributed an article,
" On the true meaning of O on the Coinage of Magna Graecia",
suggesting that this letter, as also the letters Fl, A, and others, are
to be regarded as numerals connected with the relative values of
the gold and silver coins which were in circulation at that time
and in the same district.
Bibliography. — Regling, Terina, 1906. — L. Forrer, Les signatures degraveurs
sur les moniiaies grecqius. Bruxelles, 1906.
P {Greek). Possibly an Engraver's (?) signature on Tarentine
coins of the second half of the fifth century B. C. M. M. P. Vlasto
has been first to notice this signature P on a Tarentine stater of the
collection in the Naples Museum (Fiorelli's Catalogue, n° 1822).
J^. Stater, {Circ. B.C. 450-430). Obv. Horseman to r., his
body thrown backwards, and holding wreath with which he is
about to crown horse's head,
^. Taras seated on dolphin to 1., holding in extended r. hand,
acrostolium ; left arm resting on dolphin's back ; beneath, TAPAl ;
on dolphin's fin, a microscopic P {vide enlargement).
Fiorelli, op. cit., n° 1822 (Santangelo Collection) cfr, Obv,
Evans, Horsemen Sec, pi. iii, 3 which is of more archaic style.
The signature P occurs also on Tarentine Diobols. M. Vlasto
owns a specimen signed P in front of Athena's chin, which is a
- 358 -
real master-piece and worthy of comparison with the finest Thurian
tetradrachms of the best period.
Bibliography. — L. Forrer, op. cit.
P. (Germ.). Possibly a Medallist's signature, on two small Portrait-
medals, dated 1526, which in treatment bear great analogy to the
work of Hagenauer. The medals are those of Magdalena Roemer,
nee Welser, and Peter Gleichperger. The letter P appears incuse in
exergue.
Bibliography. — A. Erman, Deutsche Medailleure, Berlin, 1884.
P. (Sunss). Engraver's signature on a Quarter Thaler of Berne,
dated 1680.
P. Medallist's signature on a Portrait-medal of Bernardino Car-
vajal, Spanish cardinal, 1493-1522. This medal was probably
executed about 1 5 17.
Bibliography. — Armand, op. cit., I, 122.
A. P. Vide ANTON POTT. Mint-master at Miinster, Paderborn, and
Cleves ; died in 1742.
A. P. Vide ANTON PARTENSTEIN. Mint-master at Warsaw, 1772-
1774-
A. P. or A. PP. Vide ANDRONICO PERPENTI. Coin-engraver at
Fermo, 1797- 1 799-
AMP. Vide ANNA MARIA BRADN 7i6e PFRONDT. Modeller in wax,
born at Lyons in 1642, died at Frankfort-on-M. Doppelmayr
mentions amongst her numerous productions in wax, "all sorts of
medals" (allerhand Medaillen). Her works previous to her mar-
riage are said to be signed AMP, and after, AMB. D''B. Pick describes
a Portrait-medal of Duke Frederick I. ofSaxe-Gotha and Altenburg,
signed AMB, and he further attributes to this anist an oval medal
or Heinrich von Romhild, brother of Frederick, and ^. his consort
Marie Elizabeth.
Bibliography. — Erman, op. cit. — B. Pick, Die Schaumiinien Friedrichs I.
von Sachsftt-Gotlxi und Altenburg, 1904.
A. P. F. (Ital.). These initials occur on a Portrait-medal of Pietro
Vettori the Elder, dated 1489. According to Milanesi, they may
represent the signature of the Engraver, ANTONIO DEL POLLAIUOLO,
or of the Florentine goldsmith, ANDREA DI LIONARDO DI PAOLO
PIERI, surnamed IL RIGGIO, 1442-15 17.
Bibliography. — A. Heiss, Florence et les Florentins, I, p. 45. — Armand,
op. cit.
B. P. Vide BARTOLOMEO PROVAGLI. Mint-engraver and Medallist
at Bologna, 1655-^1674.
- 359 —
B. P. Fide ULRICH BRUPPACHER. Mint-master and Engraver at
Lucerne, 17 14-1746.
B. P. r/^^ BERNHARD PERGER. Mint-engraver at Naples, 1769-
1798.
B. P. Fide BENEDETTO PISTRUCGI. Gem and Coin-engraver, and
Medallist at London ; born at Rome, 29. May 1784, and died there,
16. September 1855.
BP. Fide BRENET. Medallist at Paris, early part of the nineteenth
century.
C. P. Fide CHRISTIAN PFAHLER. Mint-master at Schleswig, 1668-
i672and 1676; Emden, i673-i674and Jever, 1674-1675-^7^. 1691.
C. P. Fide CHRISTOPH PFLUG. Mint-master at Magdeburg, 1672-
1678 and 1682, and Zerbst, 1674- ^^^^- 1690; he died at Dessau
in 1693.
C. P. Fide CARL PFEUFFER. 1801-1861. Medallist at Berlin, from
about 1820.
C. P. C. M. = CUM PRIVILEGIO CAESAREAE MAIESTATIS.
C. P. S. Fide CHRISTIAN PHILIPP SPANGENBERG. Mint-warden at
Clausthal, 1716 ; Mint-master, 1725; Director of the Mint, 1729-
1751.
D. P. Fide DOMENICO DI POLO. Florentine Medallist, Gem- and
Coin-engraver, circ. 1480-1547.
D. P. Fide DOMENICO POGGINI. Florentine Goldsmith, Sculptor,
and Medallist, nV^. 1560-1589.
D.P.Z. Fide DIETRICH PHILIPP ZACHAU. Mint-master at Lubeck,
1758-1769.
E. P. H. Fide ERNST PETER HECHT. Mint-master at Leipzig, 1693-
17 [4, and Zellerfeld, 1723-173 1.
E.P.K. F. Fide E. POMPONIUS KOHLER. Hessian Medallist and
Coin-engraver, 1711-1714.
F. P. Fide FRANCESCO PISANI. Rector at Cattaro, 1 548-1 549.
F. P. Fide FEDERIGO PARMENSI. Medallist at Rome, circ. 1549-
1589.
F. p. Fide FRANCESCO DAL PRATO. MedaHist at Rome; f 1562.
F. P. FiJt- FRANCESCO PRIULI. Rector at Cattaro, 1562-1563.
— 3^0 —
F. P. Fide FRANCESCO PASQUALIGO. Mint-inspector at Venice,
1741.
F. P. Fide FRANCESCO PUTINATI. Milanese Medallist, born in
1775-
F. POM. Fide POMPEO LEONI. Milanese Medallist of the second
half of the sixteenth century.
G. P. r/^^ GIANPIETRO GASTALDI. Mint-master at Turin, 15 17-
1519.
G. P. Fide GEORG PFRONDT. 1603 -166 3. Nuremberg Medallist.
^ G. P. Fide GIOVANNI POZZO. Medallist at Rome, first half of the
eighteenth century.
G. P. Fide GAETANO PIGNONI. Mint-engraver at Bologna, 1786-
1795-
G. P. Fide G. PALADINO. Italian Medallist ofthe end of the sixteenth
century.
H. P. Fide HEINRICH PECHSTEIN. Mint-master at Andreasberg,
1623-1629.
H. P. Fide HANS PERNDORFFER. Mint-master at Cassel, 1539-
1583.
H. P. Fide PETER HEMA. Mint-master at Danzig, 1620; Glatz,
1623- 1629 ; Breslau, 1630; and Glatz again, 1631-1634.
H. P. Fide HANS VAN DER PITH or pOTT. Mint-engraver at
Brunswick, then at Nuremberg ; died at Cassel in 1653.
I. P. Fide JACOPO PAFFI. Venetian Governor at Spalatro, 1500.
I. P. Fide JACOB PANCKAERT. Mint-master at Berlin, 1625-1627.
1. P. FideJLAH PARISE. Medallist who worked at Rome, 1630,
and died in Sweden, 1655.
LP. Fide ISkAC PARKES. Medallist at Dublin, 1814-1870. His
son, J. C. Parkes, from about i860.
LP. Fide JEAN PATRY. Mint-engraver at Neuchatel, 1712-1713.
I. P. Fide JOACHIM POPPE. Mint-warden and Engraver at Bremen,
1731-1772.
LP. Fide JERZEGO PUSCH. Mint-master at Warsaw, 1830-1834.
- 36i -
I. P. D. Fide JEAN PIERRE DROZ. Medallist, born in 1746, died
in 1823; worked at Paris, then Birmingham, and again in Paris.
I. P. E. Signature of an Engraver of coins at Krossen, 1667.
I. P. A. F/W^JOHANN PHILIP? HOLZHAUSSER. Medallist at Warsaw,
1764- t 1792.
I. P. H. V. N. F. = JOHANN PAUL HOFFMANN VON NtJRNBERG FECIT.
On a coin of 1647.
L P. L. N. = lERONIMUS PISAURO LOCUMTENENS NICOSIAE. Vene-
tian Governor of Cyprus, 1491-1493.
I. P. M. Fide JEAN PIERRE MONTAGNY. 1789-1862. Medallist, and
Coin-engraver at Paris.
L P. M. Fide JAN PHILIPP MENGER. 18 18-1895. Medallist, and
Coin-engraver at Utrecht.
I. P. N. Fide JOHANN PETER NAUHEIM. Mint-engraver, and
Medallist at Schwerin, 1732- -J- 1761.
I. P. 0. Fide JOACHIM POPPE. Mint-warden and Engraver at
Bremen, 1731-1772.
I. P. R. Fide JOHANN PETER RAST. Mint-master at Stuttgart,
1746-1762.
I. P. S. Fide JOHANN PETER SCHOUBERG. Medallist and Com-
engraver at Utrecht, second quarter of the nineteenth centur)'.
I. P. T. Fide JOHAS PIERRE THifiBAUD. 1727-1786. Mint-engraver
at Augsburg, 1750 ; Neuchatel, 1755 ; Solothurn, 1758-1761 ; and
again at Neuchatel, 1762-1786.
I. P. W. Fide JEREMIAS PAUL WERNER. Mint-engraver, and
Medallist at Nuremberg, 1761-1790.
L. P. Fide LORENZO PARMENSIS. Medallist at Rome, f after 16 18.
Also LAV. P. or L. PAR.
L. P. Fide LEONARDO PISANI. Mint-inspector at Venice, 1686.
L. P. F. Fide LEWIS PINGO. Medallist, and Coin-engraver at Lon-
don, 1768-1783
L. P. H. F/W^LEONHARD P. HALLER. Mint-master at Neisse, 1678-
1701.
L. P.L. r/^ LUDWIG PERSSON LUNDGREN. Mint-engraver, and
Medallist at Stockholm, 18 18-1843.
— :;62 -
L. P. Fdie LUDWIG PICHLER. 1773-1854. Gem-engraver and
Medallist at Vienna and Rome.
L. P. These initials occur on a Portrait-medal of Otto Truchsess
von Waldburg, bishop of Augsburg, 1 543-1 572, who died at Rome
in 1583. Were it not that the work differs ver}- much from that
of the medallist Lorenzo Parmensis, one could attribute this medal
to him.
M. P. Vide MARTIN PUSCH. Mint-master at Buchholz, 15 30-1 540.
M. P. Vide LODOVICO MARMITTA PARMENSIS. MedaUist, Coin-
and Gem-engraver at Rome, in the middle years of the sixteenth
century.
M. P. Vide MATTHIAS PULS. Mint- master in the service of Holstein
and Liibeck, 1 596-161 1.
M. P. Vide MARKDS PHILIPSSOHN. Mint-master at Elbing, 1628-
1632.
M. P. Vide MARTINENGO (Mint-master) and PRANGE (Mint-
warden) at Wiirzburg, 1762- 1790.
M. PB. Vide PETER BUSSENHOVEN. Mint-master at Thorn, 1569-
1575.
Bibliography. — Schlickeysen-Pallmann, op. cit.
/^^.(Germ.). Signature of a Nuremberg Medallist, on a Portrait-
medallion in box- wood of Andreas Diirer (brother of Albert),
dated 1534, and described by Erman as formerly in the Felix
Collection.
N. P. Vide NICOLAUS PROCK. Mint-master at Diisseldorf, 17 10-
1738.
R. P. W. Vide RUDOLPH PHILIPP WAHL. Mint-engraver at Zeller-
feld, 1729-1763.
S. P. Vide SILVLSTKO PESCI. Mint-master at Parma, 1658-1660.
S. P. Vide SAMUEL PFAHLER. Mint-master at Oels, 167 3-1678.
S. P. Vide SIMONE PALLANTE. Italian Medallist, 1560.
SI. P.P. {Ital.y Medallist's signature on a Portrait-medal of
Charles VIII. of France; j^. Equestrian statue. A specimen in the
Goethe Collection at Weimar has a ^L. by Coradini.
- 363 -
S. P. {Germ.y Signature of a Nuremberg Medallist, on a Portrait-
medal of the Nuremberg Seal-engraver, Arnold Lanng, 1555
Arnold Lanng, 1555.
(illustrated). He is represented in full bust, and wearing a cap.
Bibliography. — Erman, op. cit.
T. P. Fide GIOVANNI FRANCESCO TRAVANI. Medallist at Rome,
circ. 165 5-1674.
T. P. Fide THOMAS PINGO. Medallist, and Coin-engraver at
London, circ. 1744-1770.
T. P. P. Fide TORINO (Mint) PIETRO PAOLO PORRO (Mint-master),
1507-1509.
W. P. Fide WILHELM PITTNER. Contemporary Medallist at
Vienna.
P. A. Fide PETER ARNNSBERG (or ARNSPERGER). Mint-master at
Goslar, 1598, and Frankfort-on-M., 1660.
P. A. Fide PIETER VAN ABEELE. Medallist at Amsterdam, circ.
1 640- 1 677.
P. A. Fide PHILIPP AARON. Mint-engraver at Schwerin, 1750-
1787.
P. A. B. Fide PIETRO ANTONIO BEMBO. Mint-inspector at Venice,
1792.
P. A. K. Fide A. KLEPIKOFF. Russian Medallist of the first half of
the nineteenth century.
P. A.M. Fide PIERRE ANTOINE MONTAGNY. Coin-engraver at
Paris, circ. 1790.
Bibliography. — Schlickeysen-Pallmann, op. cit.
- 3^4 —
PAAR, FRANZ ERNST, GRAF VON (Bohem.). Mint-master-general
for Bohemia, 1666, and 1672-1675.
PABIE, FRANCOIS (^French). Goldsmith, mentioned in 1600 as
havino; received a payment for the engraving of some stamps,
intended to mark cloth of Oloron.
Bibliography. — J. A. Blanchet, Les graveurs en Beam, Dax, 1888.
PABST, JOHANN (Germ.). Mint master at Leutenberg (Schwarz-
burg), in conjunction with Wolff Albrecht, 1621.
Bibliography. — Ernst Fischer, Die Mfm-^en des Hauses Schwar:(burg, Heidel-
berg, 1904.
PACHTA VON RAIHOFEN, FRANZ JOSEPH, GRAF (Bohem). Mint-
master-general for Bohemia, 175 5-1774.
PACIFIC COMPANY of California (Ainer.). Issuers of private
currency, consisting of 10, 5, and r Dollar pieces, 1849, showing
on obv. an Eagle, and on ^. cap of Liberty.
PACKHENREITER, JOHANN CHRISTOPH VON (Germ.). Adminis-
trator of the Mint at Munich, circ. 1687-1718.
Bibliography. — J. V. Kull, Repertorium -{xir Munikunde Bayerns, 1903.
PADDESLET, JOHN (Brit.). Goldsmith of London and Master of the
Mints of London, Calais, Bristol, and York, anni 13-24 of Henry VL,
1434-1446. Under Henry V., we find his name, JOHN PATESLEY,
mentioned in 1422 as Warden of the Mint of London, and on a
document of 1438 (Henry VI.), JOHN PADDESLE is styled " Warden
of the Exchange in England and at Calais".
John Paddesley or Pattesley was a son of Samuel Pattesley of
Bury St. Edmunds. He was a Sheriff in 1432, and Mayor in 1440.
Chaffers states that he was Master of the Mint from 1434 to I483(?).
He was buried in St. Michael's Church, Crooked Lane, London.
Bibliography. — Ruding, Annals of the Coinage of Great Britain and Ireland,
1840. — Chaffers, Gilda Aurijabrorum, p. 34.
PADOVANO IL, surname of GIOVAN MARIA MOSCA (^. v.). Archi-
tect, Sculptor, and Medallist, born at Padua, who worked prin-
cipally for Sigismund I., King of Poland, and died about 1573.
PADOVANO, or PADOVANINO, IL, surname of LODOVICO LEONI
(q. v.). Painter, Modeller in wax. Medallist, and Coin-engraver,
born at Padua in 153 1, died at Rome in 1606 or 16 12.
PADOVANINO, IL, surname of OTTAVIO LEONI (q. v.).
PADRO (Span.). Designer of various medals, engraved oy Sala. I
have noticea his signature on a commemorative medal of the Inau-
- 365 -
guration of the Railway line from Villanueva to Barcelona, 29.
December 1881.
PADUANS, THE (Ital.). Fide CAYINO and BASSIANO. Medallists of
the first halt of the sixteenth century, who produced a number of
imitations of Roman large-brass coins and medallions, which are
known as " Paduans".
PAES, GASPAR {Portug.). Son of Alvaro Paes, Goldsmith;
appointed Mint-engraver at Lisbon, 16. February 155 1, on the
death of Diego Alvares. On 22. October 1557, he became Mint-
assayer, and died in July 1558.
BiBLiooRAPHY. — A. C. Teixeira de Aragao, Descripgao geral t historica das
Moedas cunhadas em nome dos Rets, Regentes e Governadores de Portugal, Lisboa, 1874.
PAESINGER, HANS {Germ.). Mint-master at Landshut, circ. 1442.
PAETZOLD, DANIEL (G^rw.). Mint-official at Ohlan (Silesia), 1 623.
PAETZOLD, KASPAR (G^rm.). Mint-official at Ohlan, 1623.
PAETZOLD, MICHAEL P. (Germ.). Master of the Forge (Schmiede-
meister) at the Mint of Ohlan, 1621.
PAETZOLD, ZACHARIAS (Germ.). Mint-official at Ohlan, 1623.
His initials Z P are said to occur on " Klippe " coins of that mint.
Bibliography. — Friedensburg, Schlesiens neiure Mun^eschichte.
PAGANI, L.{Ital.). Contemporary Sculptor of Milan, by whom is
a Portrait-medallion of Volta, dated 1899.
PAGANO, GIOVANNI GIACOMO (Ital.). Mint-master at Milan,
appointed on 20. December 1602 and in office till 1605.
PAGANO, LEONARDO (Ital.). Goldsmith of Rome, end ot the
fifteenth century and early part of the sixteenth. In 1508 he is
mentioned as a member of the College of goldsmiths of Rome.
Milanesi suggests the attribution to him, or to lautizio perugino,
a contemporaneous Seal-engraver, of the medals, signed L. P., of
Giovanni Lodovico Toscani, Milanese lawyer, f 1475 (Armand,
II, p. 28, n°^ 14 and 15). Friedlander has given them to lysippus,
in which the initials L. P. would represent Lysippus Pictor.
Bibliography. — J. A. Blanche:, Numismatique du woven age et modeme, II,
374.
PAGE, HENRY W. (Brit.). Contemporar}' Sculptor and Medallist,
who exhibited at the Royal Academy, 1904, a case of medals, and
a design for a Medal to commemorate the Durbar.
PAGE, MICHEL. Vide PAIGE.
— 366 —
PAGOT {French). Die-sinker of Angers, whose signature, PAGOT
SO. occurs on the Ticket or Jeton, actually in use, of the Notaries
of Angers (^Fide A. Planchenault, Les Jetons angevins, Gaz. num.
frang., 1901, p. 13, n° 161).
PAIGE, MICHEL {French). Also MICHEL LE PAGE or Michel le
Graveur, Goldsmith, and Mint-engraver at Lyons, aV^. 15 15-155 1.
PAIGN£, octave LOUIS {French). Contemporary Sculptor, born
at Paris; pupil of Jouffroy and Delatrez. At the Salon of 1892 he
exhibited a Portrait-medalHon of M"^ E. Dorenlot.
PAIN, HENRI (Fre«c/;). Contemporar}^ Sculptor, born at Paris;
pupil of Fugere. At the salon of 1885 he exhibited a Portrait-
medaillon of M'"^ Veuve Fugere.
PAIX, JEAN DE {French). Moneyer at the Mint of Paris and at the
Mill, circ. 1 560-1 570.
PALADINO G. {ItaL). Medallist of the latter end of the sixteenth
century, known especially for his numerous reproductions of Papal
medals after originals from the fifteenth century. Many are signed
6. P. ; — G. P. P., — or G. PALADINO.
To this series belong : Martin F. (1417-1431) 4 varieties : i.The
Colonna arms; 2, Two cardinals placing tiara on Pope's head;
The Porta Santa; 4. Facade of a Church (Basilica Vaticana); —
Eugenius IF.{i.{}i-i44j) 6 var. : i. TheCondulmeri arms; 2. Two
cardinals crowning Pope under dais; 3. St. Peter's keys and
Tiara; 4. The Pope pronouncing the beatification of St. Nicholas
Tolentino ; 5 . Hand issuing from a cloud holding a measure and
a pair of scales; 6. The Condulmeri arms, keys and tiara; —
Nicholas F. (1447-14 5 5) 5 var. i. The Porta Santa; 2. The
Sarzana arms, 1446 ; 3. The Porta Santa closed; 4. The Pope
surrounded by cardinals closing the Jubilee Gate; — 5. Papal arms
surmounted by tiara; — Calixtus III. (1455-1458) 2 var. i. A
fleet in full sail (referring to a vow Calixtus is said to have made
before his election to make war against the Turks); 2. View of
Rome strongly fortified; — Pius II. (1458-1464) 6 var. i. The
Piccolomini arms; 2. Table, on which books; 3. Same V/L. with
diflferent obv. legend; 4. The Barbo arms, 1464; 5. Hilaritas
pubhca; 6. Boar hunt (signed: G. P. P.); — Paul II (1464-1471).
Pope in the attitude of blessing (signed : G. P. P.). — Sixtus IF. {i^ji -
1484) 5 var. I. The Delle Rovere arms; 2. The Pope breaking open
the Porta Santa (signed : G. PALADINO) ; — 3. The Porta Santa
closed, 1475; 4. Another, undated, with different ^. legend:
CONSTiTViT.EVM.DOMiNVM.DOMVs.sv.t.ROMA. ; — ). Arms of the
- 367 -
Delle Rovere surmounted by tiara and keys ; — Innocent Fill.
(1484- 1 492). 3 var. I. The Cibo arms under keys and tiara (2);
3. The Pope seated blessing Zozimus, son of Mohammed II.; —
Alexander VI. 3 var. i. The Borgia arms with tiara and keys,
1492; 2. The Pope and cardinals standing in front of the Porta
Santa, 1500; 3. The Pope breaking open the Porta Santa (signed:
G. PALADINO); — Pins III. (1503). 3 var. i. The Piccolomini
arms; 2. The Pope blessing a man kneehng at his feet (G. P.);
3. Boar hunt (G.P.F.); — Julius II. (1503-1513). Arms of the
Delle Rovere under keys and tiara; — Leo X. (1513-1521)3 var.
I. The Medici arms under keys and tiara; 2. Two cardinals
crowning the Pope; 3. Liberalitas pontificia; — Adrian VI. (1522-
1523). 2 var. I . Two cardinals crowning the Pope; 2. Books, on
which tiara, &c. spiritvs.sapihntiae.roma; — Clement VII. (1523-
1534) 4 var. I. The Medici arms; 2. The Pope closing the Porta
Santa, 1300; 3. The Pope breaking open the Porta Santa
(G. PALADINO); — Paul III. (1534-1549) The Farnesearms, 1549;
— Pius V. (i 566-1 572) The Pope enthroned rebuking a demoniac.
— According to Pownall ten of the medals by Paladino bear his
signature.
These medals vary in size from 42 to 46 mill.
No particulars of the life of Paladino are given by any of the
writers on Italian medals of the si.xteenth century.
Pownall states that the feature which, according to him, charac-
terizes Paladino's work " is a staring want of proportion, whenever
he essays to delineate the human form, or the forms of animals.
It amounts to the grotesque, and stamps him as the inferior artist he
is called by D' Friedlander ".
Bibliography. — Armand, MeJailleurs italUns, 1883- 1887. — I. B. Supino,
// Medac;liere Mediceo. — Assheton Pownall, Papal Medals oj the fiftunth century.
Num. Chron., 1885, 1884, p. 186.
PALHES, LOUIS (Frmr/;). Mint-engraver at Romans, 1503-1507.
His name occurs also as PALLIES.
PALLANTE, SIMonE (Jtal.). Medallist, who was working circ.
1560. Armand ascribes three medals to him, which are all three
signed : Portrait-medals of Ippolito Bracciolini. I^. Bee on bush in
flower (signed : S. P.); — Alfonso II. d'Este, fifth duke of Ferrara,
15 59-1597. ^. EXCELSAE. FiRMiTVDiNi. Caryatide (obv. signed :
S. PALL.); — Pope Pius IV., 15 59-1 565. ^. pietati . pontificie.
Pietas (signed on obv. : SIM. PALLANTE).
Bibliography. — Armand, op. cit. — Blanchet, op. cit.
PALLEZ, LUCIEN (Fretuh). Contemporary Sculptor, born at Paris ;
pupil of A. Millet, and Guillaume. He obtained a Medal of the
— 368 —
third class in 1875. By him are various Portrait-medallions : 1877.
i\Ime ^viarie B***; — 1901. M"^ Martinez de Iruga, countess of
Montarco ; — M'"*' Jeanne Deroutsch; — M"^ E. Jacques, &c.
Bibliography. — Chavignerie et Auvray, op. cit.
TALLIES, LOUIS. Vide PALHES supra.
PALLIER, ALFRED OLIVIER {French). Contemporary Sculptor,
born at Versailles; pupil of Cavelier. He is the author of numerous
Portrait-medallions, one of which, in terra-cotta, of M"^ L*** was
exhibited at the Salon of 1875.
PALLOU (or PALOU), ANDRfi {French). Mint-worKer at Paris, 1624.
PALLOY, PIERRE FRANCOIS {French), surnamed LE PATRIOTE
PALLOY. Master-builder, born at Paris, 23. January 1755, died
19 January 1835 atSceaux, was entrusted with the demolition of the
Bastille in 1789, and issued a series of medals in lead, iron, and
copper obtained from the celebrated State prisons. Among these
are : 1789. Siege of the Bastille; dedicated to the Electors of 1789,
by Palloy ; with obv. legend : ce plomb scellait les akxeaux qui
ENCHAINOIENT LES VICTIMES DU DESPOTISME . RETRACE L'EPOaUE DE LA
liberte conquise l'an premier ; — To the Glory of the French Nation,
LEGISLATEURS CE METAL PROVIENT DES CHAINES DE NOTRE SERVITUDE,
&c. ; medal in iron, struck in 1792; — Liberty has destroyed
Despotism, ce metal provient des verroux de la bastille (2 var. ;
the ]^. occurs sometimes attached to a lead bullet flattened) ;
— Huissier d'honneur of the Assemblee nationale (engraved by
Malgrin) ; — Octagonal Jetons, or Tickets, intended for the
workmen employed in the demolition of the Bastille : i. ex
UNITATE LIBERTAS; 2. destruction DU DESPOTISME; 3. vivre ou
mourir; — 1790. Medal on the Discovery of human bones in the
vaults of the Bastille and their burial in the Church cemetery of
St. Paul; — 1 79 1. Louis XVL, Election of six ministers (2 var.);
— 1792. The Rise of Liberty from the ashes of Despotism.
^. LEGISLATEURS n'oubliez JAMAIS, &c. ; — Liberty or Death,
Motto of the apostles ot the patriot Palloy. "^L. ce feu vient des
CHAINES DU PONT LEVI DE LA BASTILLE, &c. ; — Liberty has broken
my fetters; medal distributed to the soldiers of Chateauvieux
(3 var.) ; — Monument dedicated to the Nation ; — Medal offered
to the municipality of Paris by Palloy for the ushers ; — The
Convention Nationale ; — 1793 • Death of Louis XVL ; louis xvi.,
dern'^ roi d'un peuple LIBRE, &c. ; — No Liberty without respect
for the Laws; — I795- Homage to the Representatives of the
people by P. F. Palloy (this medal relates to the fall of Robespierre
and the events of April and May 1795 ; 2 var.) ; — A.C. Letellier;
IL SE DONNA LA MORT POUR tPARGNER UN CRIME (2 var.); —
— 369 —
1797- The 4. September 1797 (18 Fructidor an 5); — and others,
not mentioned by Hennin ; Louis XVI. rehnquishes all his
privileges, 1789; — Liberty conquered (3 var., two withtheKing's
bust); — Louis XVL ; ^L. je veille pour la patrie, Cock; —
Louis XVL; ^L. p. f. palloy, &c.; his bust facing; — Louis XVL;
1^. La Commune de Paris aux braves du XIV. juill* 1789; —
Louis XVL; I^. Le Patriotisme affermit la liberty sur I'airain ; —
Louis XVL, Constitutional King; — Monument de Vanite;
^. Metal de la cloche Georges d'Amboise faite en 1501 d^truite en
1793 a Rouen (2 var. JE. 46 mill.); — Charlotte Corday, 1793
(JE. 43 mill.).
Most of these medals are rough and of poor work ; some are very
rare.
Charlotte Corday.
Palloy had an eventful life, and after having been a leader of the
Revolution in its early phase, was himself imprisoned in 1794,
liberated again, and after some years he retired into private life at
Sceaux.
Bibliography. — Hennin, Histoire mimismatiqtu de la Revolution fraufaise,
Paris, 1826. — Blanchet, Nouveau Manuel de Numismatique, II, 371. — Singer,
Allgemeines Kilnstler-Lexikon.
PALM, FRANZ ADAM (Germ.). Mint-warden at Mannheim, 1736.
PALM, J. WOLF (Germ.). Goldsmith of Mayence, appointed
Warden of the Mint there, 15. March 1662.
PALMER, ANDREW (Brit.). Comptroller ot the Mint under
Elizabeth, James L, and Charles I. In 1626, he was appointed, with
others, to issue a new coinage (Vide Ruding, I, p. 382).
PALLUE, BERNARD DE LA (^French). Medallist at Paris, 1617-1621
(Nouv. Archives Art frarifais, 1872, 194). Neither Rondot nor
Mazerolle mention his name.
L. FoRKER. — Biographical Noticts of Medallists. — IV, 24
— 370 —
PALTRAM {Austr.). Moneyer at Vienna, 1294, 1304; died in
1327.
PAMELLIO. Fictitious Engraver's name on Poniatowski gems :
Silenus, the nurse, preceptor, and attendant of Bacchus, drunk, and
seated on an ass, supported by fauns; oriental carnelian ; —
Aeneas wounding Turnus, sardonyx.
Bibliography. — Prendeville, Jn Account oj the Collection of Gems oj the late
. Prince Poniatowski, 1 84 1 .
PAMPHILOS (Greek). Gem-engraver of the fourth century before
Christ, whose full signature occurs on a fine intaglio in amethyst in
the Paris Cabinet des Medailles.
^S
Achilles Citharedes, by Pamphilos.
The figure represented is Achilles playing the lyre. It measures
18 X 15 mill. This admirable gem was given to Louis XIV. in
1680 by Prof. Fesch of Basle. Both Chabouillet and Furtwangler
Enlargement.
express the opinion that the original from which the artist inspired
himself was a painting; the subject recalls the Ares Ludovisi. There
is an ancient reproduction of this intaglio in paste in the
Berlin Museum, but without the signature, and a modern copy in
the British Museum (Cat., n° 2305, with lAfi on ^.)-
— 371 —
"Diese ganz vorziigliche gemme ", says Prof Furtwangler, " ist
in der Arbeit nach mehr als einer Hinsicht der des Apollonios nahe
verwandt. Auch das Material, ein wieder etwas convex geschlitfener
Amethyst ist dasselbe, und bei der Umgebung der Figur sind die-
selben Vortheile der Steinform ausgenutzt wie dort. Die Wiedergabe
des Nackten und der Ausdruck in der Haltung sind hier besonders
bewundernswerth; doch ist das Nebensachliche nicht minder
vorzuglich. Das vorauszusetzende Original war wohl ein Gemalde.
Die Korperbildung und Proportion des Achill erinnert sehr an den
Ares Ludovisi. An der Aeciuiieit, auch der Inschrift, kann nicht der
geringste Zweifel aufkommen ".
The Devonshire Carnelian (Stosch, Taf. 48; Lippert 2, 141) is
a poor copy with some modifications. Another amethyst of the
Head of Medusa, by Soson.
Paris Cabinet, with head of Medusa, copied from Soson's Gem, is
signed ^QY » ^^^ Furtwangler declares it modern (illustrated).
King mentions the signature of Pamphilos on other modern
gems : Theseus killing the Minotaur; — Head of Junius Brutus ; —
— Youthful Herakles, sard ; — Cupid coming to the rescue of
Psyche caught by the foot in a trap, sard (British Museum); —
Metrodoros (Cades); — Bust of Diana (Poniatowski) ; — Theseus
chained while Cerberus is tearing Pirithous, carnelian (Poniatowski).
Bibliography. — Furtwangler, Getnmen mit Kunstlerinschriften, Jahrbuch des
Kais. deutsch. Archaol. Inst., 1888, p. 321. — Ibid., Antikc Gemnien, 1903. —
King, op. cit. — Babtlon, Piei res grave'es. — Mariette, Traite, &c., I, 92. —
J. Reinach, Pienes gravees. — Daremberg and Saglio, Dictionn. desant.,{\g. 3524.
— Brunn, op. cit., t. II, p. 522. — Prendeville, op. cil.
PANAEUS. King mentions this Engraver's signature as occurring
on a sard of the Caylus collection, representing Pan assaulting
Venus as she is leaving the bath. The inscription, PANAIOY
AOPOAITH, probably implies that is was a copy of a picture by
that painter.
Bibliography. — King, op. cil., p. 222.
PANCETTA, GIUSEPPE (Ital.). Contemporary Sculptor, born at
Carrara ; pupil of Theo Tholenaer.and Giovanni Balloni. He is the
— 372 —
author of various Portrait-medallions, one of which he exhibited at
the Salon of 1895.
PANCKAERT, JACOB (Germ.). Mint-master at Berlin, 1625-1627.
PANINI (Jtal.). Gem-engraver of the first half of the nineteenth
century. Billing {The Science of Gems^ Jewels, Coins and Medals ^
Ceres.
1875) reproduces on PI. v, n° 47, a carnelian cameo by him,
representing Ceres, imitated from a Sicilian coin.
PANISSET (French). Die-sinker and Engraver at Lyons, who has
produced a few medals and jetons, amongst which I have noted :
Baths on the Seine, 1824; — Salubrite publique, 1824 : — Cen-
tennial Anniversary of the Masonic Lodges at Besangon, &:c.
Bibliography. — Marvin, Masonic Medals, Boston, 1880.
PANDER. PIET (Dutch.). Contemporary Sculptor, and Medallist,
born at Drachten (Friesland), in 1872, where he first studied.
Pattern 2 \ Gulden piece, i
In Paris he worked under the great sculptor Falguiere. The last
few years he has been residing at Rome.
This artist is the modeller of the Dutch gold and silver coinage
373 —
Marriage Medal ot Queen Wilhelmina, 1901.
Plaquette, by Piet Pander.
— 374 —
of Queen Wilhelmina. His bust of the Queen of the Netherlands
is very attractive and graceful.
His principal works of sculpture are : Statuette of a young Girl
" Famke " (Museum of Leeu warden) ; — Youth; — Poverty; —
Baby; — Bas-relief with busts ot the Children of M. Teixeira de
Mathos, at The Hague ; — Bas-relief with busts of the artist's
Mother and Child,
Parents ; — Bas-relief with busts of two Children Qllusfrafed) ; —
Mother and Child (illustrated) ; &c.
Among Pander's medallic works are : Marriage Medal of Queen
Wilhelmina and Prince Henry of Mecklenburg, 1901 {illustrated);
— Plaquette representing Busts of two Boys, 1904 (illustrated).
Bibliography. — Information kindly jurnishedhy M. A. van Kerkwijk, Assistant-
keeper at the Medal Cabinet of The Hague. — D^ J. H. de Dompierre de Chaufepi^,
— 375 —
Medailles el Flaquettes viodernes. — Moderne Gedenhpenningen en Penning Plaaten^
The Hague, 1904.
PANTALfiON, CHARLES AUGUSTS (French). Mint-engraver at Metz,
circ. 1749-1792.
PANTAL£0N, PIERRE (French). Mint-engraver at Metz, circ.
1720.
PANTLEON (Germ.). Goldsmith, and Warden ot the Mint at
Braunau (Bavaria), circ. 1455.
PAOLO DF FABRI, ANTONIO DI (Ital.). Goldsmith and Engraver
in Papal service, during the first half of the sixteenth century. He
was a great expert in working gold and silver, and Cellini calls him
" il primo eccellente orefice di Roma ". He was a native of San
Marino, and is said to have done die-sinker's work for the Roman
Zecca.
PAOLO, GIOVANNI (ltd.). Modeller in wax, and Medallist, of the
latter end of the sixteenth century and earlv part of the seventeenth.
His name occurs also as JEHAN or JOHAN PAULE or POL, and also
PAVLVS. Some of his works are only signed : P. F. M. de la Tour
has identified Giovanni Paolo with the " Johan Pol, ystallien ",
who received a payment of 300 ecus, from Catherine of Bourbon,
sister of Henry IV., for various portraits in coloured wax (1598).
The artist was in the service of the King ofFrance, at least between
1604 and 1607, during which period he executed a Portrait-
medallion of the Dauphin (Louis XIII.). In a document of 1610,
he is styled " Sculpteur en bas-relief ", and in the Compte dei
L'fipargne of 161 1, " Sculpteur en cire. " Armand has suggested
his identification with Paolo Selvatico, of Modena, or Paolo San-
quirico (Journal, edit. Soulie et Barthdemy, t. I, p. 81, 158 and
267).
Giovanni Paolo has signed several cast Portrait-medals ; Anne,
Due dejoyeuse, 1 561-1587 (signed: PAVLVS F. ; illustrated). This
medal, which is not dated, was not modelled before the early part
of the seventeenth century (Mazerolle, p. cxli) ; — Jean Louis de
Nogaret de la Valette, due d'npernon, 15 84-1 642 (signed : POL.
1606. F. 55 mill.; 2 var.); — Alphonse d'Ornano, 1548-1610,
marshal of France in 1596 (dated 1612; signed : POL.F.); —
Francois Miron, State councillor, provost of Paris merchants,
1604-1606 (dated 1605 ; signed : P. F. ; 2 var., 49, and 56 mill.);
— Another, dated 1606 (2 var.); — Another, undated; 1^. Miron
rising from chair and presenting looking glass to the City of Paris
seated on curule chair (50 mill. ; not signed), &c.
M. de la Tour (Giovanni Paolo, Rev. Num., 1893, pp. 259-278)
376
Anne, due de Joyeuse, French admiral, f 1587.
has suggested the attribution to this artist of a medal of Catherine
— 377 —
de' Medici, of several others of Saint Charles Borromaeus, as well
as of the fine portraits of Jeanne d'Alhret, and Catherine de Bour-
bon, but Mazerolle rejects his views on account of the dissimilarity
of work between these medals and the authenticated ones of Giovanni
Paolo.
I reproduce here the Portrait-medal of Catherine de' Medici,
which is very interesting, although it is unlikely that it was modell-
ed by Giovanni Paolo. M. de la Tour makes the following com-
ment on it : " Cette medaille prouverait a elle seule, en d^pit de
toutes les flatteries, que Catherine de Medicis nonseulement ne fut
jamais jolie, mais qu'elle avait fini par etre franchement laide.
Encore, notre medailleur I'a-t-il peut-etre moins maltraitee que le
delicat Primavera. Les grosses levres, la lourde machoire sont
Portrait-medal of Catherine de' Medici.
copi^es d'apres nature ; mais ce buste est fierement camp6, la drape-
rie du voile est souple et belle, la facture est originale et energique ;
c'est d'un naturalisme intelligent et plein d'ampleur. "
Michel Paulus, a Parisian goldsmith, 1579^ may have been a
relative af this artist.
Bibliography. — Mazerolle, Me'dailleurs frattfais, 1902. — Rondot, Graveurs
et Midailleurs, 1904. — H. de la Tour, Giovanni Paolo, 1893. — Armand,
op. cit.
PAOLO DA RAGUSA. Vide RAGUSA. Italian Medallist of the middle
years of the fifteenth century. The two medals known by him are
signed : OPVS.PAVLI.DE.RAGVSIO, and represent Federigo del Mon-
teteltro, first duke of Urbino, and Alfonso V. of Aragon, King of
Naples.
- 378-
PAPALEO PIETRO (Ital.). Sicilian Sculptor, who flourished
towards the end of the seventeenth century and beginning of the
Portrait-medal of Flavio Orsini.
eighteenth. He was born at Palermo, but settled at Rome, where in
1695 he became a member of the Academy of San Luca.
By him is the Chapel with San Giovanni della Croce in the
church of Santa Maria della Scala. The statue of San Fabiano in the
All^ni Chapel in St. Sebastian's church outside the walls was his
last work.
— 379 -
Papaleo's signature occurs also on a Portrait-medal (jUustrated) of
Flavio Orsini, in Messrs P. and P. Santamaria's Collection at
Rome.
The medal of the same personage, described by Armand III, 301,
X, representing on VjL. Susan and the elders, although unsigned,
is probably by him.
Bibliography. — Information kindly communicated by Signor Pio Santamaria.
PAPE, SIMON {French). Engraver of the beginning of the sixteenth
century, by whom is a silver Portrait-medallion of Henri IV. and
Marie de' Medici, on which M. Blanchet read a communication to
the French Numismatic Society on May 7, 1905.
PAPET (French). Director of the Mint at Lyons, under the First
Republic, from an IV to an VIII. His privy mark is a greyhound.
PAPEVELT, FRANZ VAN (Dutch). Mint-master at Leeuwaerden
(Friesland), circ. 1527-15 3 5.
PAPILLON, d£SIR£ GUSTAVE (French). Gem-engraver of the third
quarter of the nineteenth century, born at Versailles ; pupil of Lan-
glois, Se;^anne and Laloudre. The following works were exhibited
by him between 1859 and i^?^ ^^ the annual Paris Salons : 1859.
Head of Ceres; a study in oriental agate; — 1861. Arethusa, the
companion of Diana; intaglio in oriental agate; — Portrait-cameos
of M""' veuve R***, and M. G. P***; — 1863. Emmanuel, actor ;
shell cameo; — 1864. Laferriere, actor; shell cameo; — 1865.
^me Papjllon ; shell cameo ; — Poupin, actor ; shell cameo ; —
1866. Felix Gilbert ; shell cameo ; — 1867. One of the daughters ot
Niobe; intaglio in agate-onyx; — 1868. M"^ Favard, of the Come-
die-Francaise, after Mathieu-Meusnier, shell cameo; — 1870. E. F.
Gilbert, shell cameo; — 1872. M""*" la comtesse F. de Gayffier,
cameo on agate-onyx; — Comte de Gayffier, cameo in agate-
onyx, &c.
Bibliography. — Chavignerie et Auvray, Dictionnaire geniral des artistes de
Ticolefran^aise, Paris, 1885.
PAPILLON (French). Medallist of the first half of the seventeenth
century. Mazerolle places the date of his activity between 1600 and
1632. Nothing is known about him. His signature : PAPILLON
occurs on two Portrait-medals of Henry II. of Bourbon, prince of
Cond^, one of which is dated 1632 (illustrated). These medals are
not of striking merit. To the same artist, Mazerolle suggests the
attribution of Portrait-medals of ntienne Pasquier, 1605 ; ^. hercv-
LES GALLicvs (49 and 50 mill.), and Gaston de Bourbon, Duke of
Orleans; ^. Justice standing to 1.(58 mill.; Trdsor, II, PI. vii, 4).
— 38o —
This artist may have been related to one of the numerous Line-
engravers of that name who flourished in France in the seventeenth
century.
Henry II, of Bourbon, prince of Cond6, 1600 (Obv.).
Bibliography. — Mazerolle, op. cit. — Rondot, op. cit. — Tre'sor de numisma-
tique et de glyptiqiie.
PAPILLON, JEAN (French). Goldsmith of Tours, whose name
occurs also as CHAPILLON, or CHAPPILLON. He engraved in 1499
Medal of Louis XII., by Michel Colombe
and Jean Papillon, 1500.
or 1500, after a model by Michel Colombe, the medal which was
presented by the city of Tours to Louis XIL on his visit there,
24. November 1500.
- 38i -
Papillon made sixty specimens in gold, one of which is still pre-
served in the Cabinet des Medailles, Paris {Fide COLOMB, Vol. I).
The work of this medal is very elegant, and belongs to the finest
specimens of early French Renaissance medallic art.
Bibliography. — MazeroUe, op. cit. — Rondoi, op. cit. — E. Babelon, Les en-
gines de la Medaille en Fratiu, Revue de I'Art, 1905.
PAQUET, ANTHONY C. (Amer.). Medallist, born at Hamburg in
1814 ; emigrated to the United States of America in 1848; served as
Assistant Mint-engraver at Philadelphia, from 1857 to 1864, and
died in 1882 at the age of sixty-eight.
Amongst his medals are : George Washington (Washington Cabinet
of Medals, inaugurated 22. February i860); — James Ross Snow-
den, director of the U. S. A. mint, 1869; — Andrew Johnson,
1865 ; — General U. S. Grant; — James Buchanan ; — Alexander
Hill Everett; — Col. Freeman; — Mariato Donato Munoz, 1867;
— Frederick Henry Rose, assistant surgeon, 1 83 2- 187 3 ; — Various
Life-saving medals; — American Medical Association, 1847; —
N. W. Sanitary Fair, 1865; — Capt. Creighton, and others,
medal awarded to them for assistance rendered to the crew of the
U. S. A. steamship San Francisco, wrecked in December 1853.
A. C. Paquet was probably the son of Toussaint Francois
Paquet, a worker in bronze at Hamburg.
Bibliography. — George G. Evans, U. S. Mint Centennial, 1892. — D^ F. P.
Weber, English Medals by foreign Artists, 1894. — Marvin, Masonic Medals, 1880.
— Snowden, Tiie Washington and National Medals , 1861.
PAR... {Greek). According to Lenormant {La Mmnaie ddn's I'anti-
qtiite, III, p. 259) the obols of Massilia of the fourth century B.C.
present various Engravers' signatures; thus, ATPI...; MA...; PAP...
and perhaps also, HPAKA... Of all these inscriptions, the least
P
doubtful one, as to its probable attribution, is that of A.
P
I. JB^. Obol (B.C. 400-300). Obv. Head of Apollo, to 1.; on
P
the cheek, the letters A thus disposed as to simulate a beard.
P
^. MA within spokes of wheel.
Weight: 0,5 2 gramme.
Lenormant, op. cit., p. 259. — Laugier, Les Monnaies
massaliotes du Cabinet des Medailles de Marseille ^ 1887, p. 17,
n° 76. — Paris Medal Cabinet. — Von Sallet, Kiinstlerin-
schrijten, &c., pp. 42, 54. — J. A. Blanchet, Vinfluence de
la Sicile stir Massilia^ Paris, 1904. — La Saussaye, Niimis-
niatiqite de la Gatile narhotinaise,P\. i, n"" 31-33. — La Tour,
Atlas de Mofinaies gauloises, PI. 11, n° 687.
- 382 -
n
2. ^.Obol. Obv. Similar head, with the letters A (sic).
1^. Same type as last.
Weight: 0,53 gramme.
Laugier, op. cit., p. 17, 11° 77. La Tour, op. cit., n° 685.
A tliird variety, from a recent find near Valence (Drome), is
descnhed'm Revue numismatique, 1903, p. 87 (Weight : 0,68 gramme).
gH
Obol of Massilia.
n
The inscription is A.
I
By comparing the weights of the Massilian obols of the type
above-described, D"" Poncet has come to the conclusion that the
issue of these coins is anterior to 217 B.C., at which date the
Roman Victoriatus was reduced in weight to 2.92 gr. and served as
prototype to the coinage of Massilia. La Saussaye ascribed these
obols to the period corresponding to the end of the age of Pericles
and that of Alexander the Great.
Most numismatists are agreed upon the attribution of the
inscription HAP... to an Engraver, and if the signatures HPAKA...
and MA.-, remind us of South Italian artists, Herakleidas, and Mai...,
that of riAP... equally recalls the name of flAPME... who signed
some Syracusan coins. The style of the Massilian obols, which is
so purely hellenic, makes one suppose that Sicilian and South
Italian Coin-engravers have been employed in cutting dies for
them, and M. J. A. Blanchet has further shown that various coin-
types of Massilia have been borrowed from Sicilian prototypes.
Bibliography. — L. Forrer, Les signatures de graveurs, etc. — Revue num.
190^, p. 87.
PARAGA, ISIDORE (Span.). Medallist of the early part of the
eighteenth century. His best known production is no doubt the
Coronation Medal ol PhiHp V., 1707, which exists in gold and
silver.
PARAGON, HIPPOLYTE (French). Contemporary Sculptor, born at
Dijon; pupil ot Dameron. He is author of various Portrait-
medallions, some of which he has exhibited at the Paris Salon :
1883. M-= L. B***; — 1884. M'"^ H. L***; — 1885. M-= de L***;
— 1897. J- ^' Piidiolleau, ike.
- 383 -
PARANT, JEAN LfiOBON (Fwzc/;). Director of the Mint at Limoges,
from 1823 to 1837; privy mark, two hands clasped. He was a son
of Martial Parant.The Mint of Limoges was closed on 16. November
1837.
PARANT, MARTIAL (French). Director of the Mint at Limoges,
from an XI of the First French Republic to 1822; privy mark, two
hands clasped.
PARCHWITZ, MATTHES (G^rw.). Coiner at the Mint of Oels, 1 62 1.
PARDO (Span.). Medallist of the latter end of the eighteenth
century. I have noticed his signature on a Portrait-medal of
Charles IV. of Spain, dated 1796.
PARENT, CLAUDE (French). First President of the Cour des
Monnaies, 1582.
PARFAIT, JACQUES (French). President of the Cour des Monnaies,
1624.
PARIGOT, £milE (French). Contemporary Gem-engraver, born
at Sens (Yonne) ; pupil of Gaulard, and Lequien. By him are :
1878. Calliope; engraving in agate; — 1879. Alexander; engraving
in onyx ; — 1 880. Mars and Venus ; intaglio in onyx ; — Catherine
the Great, of Russia; intaglio in onyx.
Bibliography. — Chavignerie et Auvray, op. cit.
PARIS, ANTONIN VON (Germ.). Mint-engraver at Zellerfeld
(Brunswick), who was also appointed on 28. December 1601, to
cut dies for the Mints of Goslar, and Andreasberg, with yearly
emoluments of 200 Thalers. He however did not long remain in
office. His successor was Jobst Braun.
PARIS. AUGUSTE (French). Contemporary Sculptor, and Medallist,
born at Paris in 1850; pupil of Doublemard, Falguiere, Hiolle,
and Jouffroy. In 1876 he obtained a medal of the Third Class, and
in 1880 that of the First Class.
His works of sculpture are numerous. His Dying Adonis is in
the Musee of Oran ; Group representing Orpheus and Eurydice,
Musee of Belfort ; Marble statue of Cardinal Dailly, Compiegne
Hotel de Ville ; Marble statue of Bachelier, Paris Hotel de Ville ;
Collection of Portrait-medallions in stone of Presidents of the
Argentine Republic; Monument to Danton, on the Boulevard Saint-
Germain, inaugurated in 1892, and many other fine works of
statuary, mostly executed in commission for public bodies and
private individuals.
Amongst the artist's medallic productions are : Commemorative
medal of the Inauguration of the Danton Monument; — Prize
- 384-
Medal of the Universal Exposition of 1900 ; — Le Chant; — La
Musique ; — Inspiration ; — Le Travail ; — Agriculture ; — L'Etude ;
— Patria; — Clephise ; — La Creche ; — Science; — La France
prevoyante ; — Virgin and Child ; — Commemorative medals of
the Reunion of Mentone to France ; — Spring ; — Summer ; —
Autumn ; — Winter; — The Four Seasons; — Horticulture; —
Fame; — Cycling; — The Motor Car, &c.
At the Salon of 1906 1 noticed his exhibit of a frame of medallions
and medals in silver, bronze and plaster, and in 1907 he showed a
commemorative Plaquette of the Maison de Retraite de la Societe
des Artistes francais (Fondation Armand Hayem).
Bibliography. — Information kindly supplied by the artist. — Chavignerie et
Auvray, op. cit.
PARIS, GABRIEL PAULIN (French). Contemporary Sculptor, born
at Rethel (Ardennes); pupil of Barrias, and Peter. At the Salon of
1905 he exhibited four Portrait-medals: H. E. Cardinal Langenieux;
— E. B.***; — M"«= C. S.***; — M''-^ H. S.***; in 1906: Autumn
leaves; — M-^ L. S*** ; — M''-^ M. T***; — M. L. T***; —
M. L. L***; — M>- L. P. P***; — Salome; — Portrait-plaquette
ofM"^J. L***;and in 1907: M. A. L***; — M''^. L*** ; —Abbe
A. J***; — M-'^^S. B***; —General Dubois, &c.
PARISE, JEAN (French). Medallist of the first half of the seven-
teenth century, who was working at Rome, circ. 1630, when he
was called to Stockholm, in the reign of Christina, and died in
Coronation Medal of Queen Christina, 1650.
Sweden, 1655, on the estate of Lecka, which belonged to Count
Magnus Gabriel de la Gardie, to whose memory he executed a
Portrait-medal.
Some of the medallic productions of Parise relate to Queen
Christina, and others to her successor, Charles Gustavus. Hilde-
brand describes the following: Christina, Coronation at Stockholm,
1650 (sev. varieties, one illustrated); — Another, a variety, with
- 385 -
the Queen and Dea Roma on ^L.; — Charles Gustavus, Coro-
nation Medal, 1654 (sev. var., signed PARISE); — Count Magnus
Gabriel de La Gardie,&c.
Nagler states that Parise was employed as Engraver at the
Stockholm mint, and that he cut dies tor the coinage as well as
for commemorative medals.
Bibliography. — Bolzenthal, op. cit. — Hildebrand, Sveriges och Svenska
Koiiungahusets Minuespeuniugar, &c., Stockholm, 1874. — Ammon, op. cit. —
Nagler, op. cit.
PARK J. {Brit.). A Liverpocri Die-sinker, whose signature,, as
Maker,occurs on various advertisement tickets and tokens, two of
which have been brought to my notice by D"" H. R. Storer vi^.
S. R. Wilde, dental token; — D"" Woodhead token, both of which
were described in Amer. Jonrn. Num. 1229 and 1237.
PARKER, S. (Brit.). Publisher of a Memorial Medal of John
Flaxman. 1826, engraved by A. J. Stothard.
PARKER (Brit.). This Medallist's name occurs on the obv, of a
Peace Medal, 18 14, with head of George, Prince Regent, laureate,
to r. The ^. is by T. Wyon and represents Britannia ; ex. :
ENGLAND GIVES PEACE TO THE WORLD, 1814.
PARKES, ISAAC (Brit.). A native of Birmingham, who went to
Ireland in 1807, and was apprenticed to his brother, a button
manufacturer of Dublin. He received instruction in modelling from
Sherwin, the pupil of Smyth. From about 1814 to 1865, he
executed numerous medals, tokens, &c., some of which deserve
special commendation. He was buried in Mount Jerome Cemetery,
Dublin, December 3rd, 1870, his age being stated as 78 years.
The following are his best known productions : Centenary of
the House ofHanover on the throne of England, i8i4(with busts
of George I., II., and III.) ; — Another, with an additional
I^. inscription commemorating the death of George III., 1820; —
The House of Hanover; obv. Similar; ^. nova spes lmperii.
Warrior in Roman armour, and Peace; ex : ubiciue pax mdcccxv;
signed : I.P.S. ; — Duke of Wellington, 1814 (signed on both
sides : I. PARKES F.) ; — Another ; uniface medallion ; — George IV. 's
Visit to Ireland, 1821 (6 varieties; some unsigned); — George IV.;
Installation of Knights of St. Patrick, 182 1; — Duke of York;
medal issued by the Williamite Club; king and constitution no
surrender; — Duke of York ; York Club, 1825 (2 var.; signed on
obv. : PARKES F.) ; — Memorial Medal of the Duke ofYork, 1822;
size : 75 mill. ; signed : I- PARKES T.;olrv. illustrated. (This was Parkes'
greatest work as a medallist. Dean Dawson, his contemporary, said :
" His large medallion of the late Duke of York is an evidence of his
L. FoRRBR. — Biographical Notices of MedalUtts. — . IV, »J
— 386 —
boldness and power in the art of die-sinking, for amongst all those
of the Middle Ages I have scarcely seen one that exceeds it in
relief, and it has this superiority over them, that while they were
invariably cast this was raised out ot the solid metal by the power
of the screw "); — Regimental Medal of the 42"'' Highlanders; —
Frederick, Duke of York and Albany.
Regimental Medal Scotch Brigade, 94*'' Foot (signed: I.P.F.); —
Visit of Oueen Victoria and Prince Albert to Ireland, 1849 (two
var. ; one signed : PARKES, DUBLIN) ; — Daniel O' Connell (3 types,
dated 1828, 1832, and without date, variously signed); — Memor-
ial Medal of Daniel O' Connell, 1847; —The Order of Liber-
ators (2 var.); — Sir Edward Stanley, 1844; — Benjamin Lee
Guinness, LL.D., 1865 (struck in commemoration of his munificent
restoration of St. Patrick's Cathedral at Dublin) ; — St. Patrick's
Cathedral restored, 1865 ; — Rev. R. Kenrick, P. P., 1827; —
Friendly Brothers' Medal (a replica of Mossop's medal) ; — Ouzel
Galley Society (signed on I^. parkes); — Another, signed : I- P- ;
— Royal Dublin Society Prize Medal ; — Royal Dublin Society
Pass for Exhibition; — Dublin Liternational Exhibition, 1865 (two
varieties); — College Historical Society; — Mooney and Sons,
Dublin, Trade Ticket; — King William IIL ;the glorious memory.
- 38? -
&c. ; signed : PARKES ; — Another; ^. engraved : On the j"^ April,
1 8)6, the statiieof Kiug William III. in College Green was blown up,
ike. ; — Another ; ^L. q.uee\ and constitution ; — Williamite
Temperance Medal ; — Medalet of William III.; I^. The Boyne
Obelisk; — Fermanagh Farming Society, Prize Medal; — Gowran
Farming Society, Prize Medal ; — Imokilly and Barrymore Farming
Society, Prize Medal; — Kells Union Farming Society, Prize
Medal (two varieties) ; — Moat Agricultural Society, Prize Medal;
— Wicklow Farming Society, Prize Medal (2 var.); — Tuam
Farming Society, Prize Medal; — Enniscorthy Union Agricultural
Society, Prize Medal ; — School Medal ; Premium medal for the
Centenary of the House of Hanover.
Art School of the Royal Dublin Society ; — Everton School Medals
(two varieties); — School Medal, Reward of Merit; — Temper-
ance Society Medal; — Irish Total Abstinence Pledge, 1840
(signed : I ' PARKES DUBLIN) ; - Temperance Medal ; ^L. St.
Michael chaining Satan (signed : I. P. F.) ; — Metropolitan Total
Abstinence Society (two varieties); — Dublin, St. James and
S. Joseph's Total Abstinence Society, Rev^ P. Mooney, President ;
— St. Nicholas of Myra's Total Abstinence Society, Rev"*
M'' Flanagan P. P., President (two varieties); — St. Paul's Tem-
perance Society, Very Rev^ D"" Yore, President, 1839; — Baldoyle
Howth and Kinsealy Tee-total Temperance Society, Rev* J.White,
President, 1840; — National Total Abstinence Association, 1838
(3 var.); — Total Abstinence Declaration (2 var.); — St. Augus-
tine Total Abstinence Society, Very Rev** C. Stuart, President,
— 3«8 —
1840; — St. Catherine's Christian Temperance Society ; — Total
Abstinence Society, Diocese of Meath, 1840 ; — Clones Total
Abstinence Society, Francis Fitzgerald, President; — Drogheda
Total Abstinence Society, Rev* Thomas V, Burke O. S. D. Presi-
dent, 1840 (2 var.); — Lisburn Total Abstinence Society, founded
by Mr. Robert M'Curdy, 1837; — St. Mary's Temperance Society
installed at Kilkenny All Saints, 1839 (two var., both signed:
I. PARKES F.) ; — Western Scottish Temperance Union, instituted
1838; — Religious Medal; obv. Bust of Christ; ^i. Bust of the
Virgin (signed: PARKES); — Edw. Bewley, Dublin, Penny Token,
1816 ; Bust of Wellington (l. PARKES on obv.; I. P. F. on ^.) ;
— Edw. Stephens, Dublin, Penny Token, 1816 (8 varieties); —
St. Patrick's Penny, dated 1806 (struck over J. Hilles' Penny of
1813); — St. Patrick's Penn}-, 1815; — Halfpenny Token, 1813
(Bust of WeUington ; ^L. commerce) ; — Dean Swift (medallic por-
trait cast in iron, signed on I^. I. P. F.), &c.
Bibliography. — William Frazer, The Medallists of Ireland and their fVork. —
Dean Dawson, The Medals and Medallists connected with Ireland, 1856. — W. J.
Davis, Token Coinage of tlie Nineteenth Century, 1904. — Franks and Grueber,
Medallic Illustrations &c.
PARKHURST, SIR WILLIAM (Brit.). Warden of the Mint under
Portrait-medallion of Sir William Parkhurst, 1644 ; by T. Rawlins.
- 389 -
James I. and Charles I., and again under Charles II. He died prob-
ably in the year 1671.
Under his and Thomas Busheirs direction a mint was set up in
New Inn Hall; Oxford, 3. January 1642 (O.S.) and was in opera-
tion till 1646. This mint had originally been established for coining
silver at Aberystwith, and was brought from that place to Shrewsbury
at the beginning of the Civil War, to be removed in 1642 to
Oxford.
Bibliography. — Franks and Grueber, op. cit. — Ruding, Amials of the
Coinaqe of Great Britain and Ireland, 1840. — Kenyon, Gold Coins of England,
1884.
PARKES, I. C. (Brit.y Son of Isaac Parkes, and his successor after
his retirement from active work. He found it more profitable, says
D"" Frazer, to develop an extensive trade in other departments.
Several medals bear his signature : I. C. PARKES F. Amongst these :
Visit of Queen Victoria and Prince Albert to Ireland, 1861 ; —
H. R. H. the Prince of Wales; Visit to Ireland, 1861 (signed:
I. C. P.); — Orange Medal; obv. Bust of William III.; ^. Three
varieties ; — Royal Dublin Society Prize Medal ; — St. Patrick's
College, Carlow; — Wesleyan Connexional School, Dublin; —
School Medal; Owl ; temple, and books (l. C. PARKES DUBLIN); —
Daniel O' Connell, 1847 (medalet in brass); — Ballymena, Bally-
money, Coleraine and Portrush Junction Railway, 1855 ; Pass; —
The St. Brides, St. Werburghs Band of Hope Temperance Union,
Swift's Alley; — Louth Farming Society Prize Medal, 1868; —
Cashel Union Agricultural Society, Prize Medal ; — Cashel Art and
Industrial Exhibition, 1864.
Bibliography. — W. Frazer, op. cit.
PARME(«/(w) {Greek). Coin-engraver at Syracuse, towards the
end of the fifth century B.C. There is only one Tetradrachm type
by this artist, but several varieties occur.
iR. Tetradrachm (Circ. B.C. 430-400). Obv. ZYPAKOZinN.
Head of Kore, to 1., wearing earrings, necklace, and sphendone,
tied above and ornamented at the back with stars of eight rays;
around, four dolphins; beneath, FIAPME : plain border.
^. Quadriga to 1., driven by charioteer with r. raised, and
holding goad and reins in 1.; above, Nike flying to r., crowning
charioteer; horses prancing, the rein of the farthest broken and
trailing ; in ex., ear of barley to 1.
Weight : 17.25 gr.
Du Chastel, Syracuse, PI. viii, 85. — D' B. V. Head, Coins
of Syracuse, PI. v, i. — B.M. Cat., Sicily, p. 178 n°' 212,
213. — D-^R. Weil, Kilns tlerinschriff en, ike, p. 20; PI. 111,
II. — Holm, Geschichte Siciliens, \\\, PI. v, 15. — Raoul
— 390 —
Rochette, Lettre, &c., PI. ii, 17. — A. von Sallet,
Kunstkrinschrijten &c., p. 43 . — Torremuzza Auctar, II, PI. vi,
5. — Combe, Mus. Hunter, 52, 16. — Bunbury Sale
Catalogue, 1896, lot 467. — Hill, Ancient Coins of Sicily,
PI. VII, 2. — Evans, Syracusan Medallions, PI. ix, 6. —
Hirsch Sale (No. XL), Munich, May 1904, PL iii, 123.
The head of Kore is treated in a similar manner to that of the
engravers Eukleidas and Euainetos. The dolphins are arranged as
on the decadrachms. On the reverse, the charioteer raises his hand
to receive the wreath which is offered to him by Nike.
D*" Arthur Evans has described a variety of this Tetradrachm,
which is in his collection.
2. M^. Tetradrachm. Obv. Similar head, but the letters flAP...
in front of neck immediately beneath the necklace (see the enlarge-
ment).
^L. As last.
Signature of Parme...
D*" A. Evans' collection. —
PL xviii_, fig. 5.
Num. Chronicle, 1890,
Syracusan Tetradrachm.
A similar way of signing is found also on Didrachms of Camarina,
by Euainetos, with the head of the river-god Hipparis on obv.
3. iR. Tetradrachm. Obv. 2YPAK02I HN. Type as last, but
without signature.
— 391 —
^L. Quadriga to 1., driven by male charioteer, holding goad in r.
hand, reins in both ; above, Nike flying to r. about to crown him;
in ex.. dolphin to I. : border of dots.
B.M.Cat., Sicily, n° 210.
4. iR. Tetradrachm. Similar; but on ^., beneath hind legs of
horses, a broken chariot-wheel.
B.M.Cat., Sicily, n° 211. — G. Philipsen Collection.
5. iR. Tetradrachm. Obv. lYPAKOIl HN. Head of Kore to 1.,
wearing earring, necklace, and sphendone, tied above and ornament-
ed behind with three stars of eight rays ; beneath, head of bearded
satyr to r. ; around, four dolphins : plain border.
^. Quadriga to I., driven by charioteer, holding goad in r.
hand, reins in both, the rein of the near horse attached to front of
chariot; above, Nike flying to r., about to crown charioteer ; horses
prancing, the rein of the farthest broken and trailing; beneath their
hind legs a broken chariot-wheel; in ex., ear of barley : border of
dots.
Evans, Syracusan Medallions, PI. ix, 7. — B.M.Cat.,
Sicily, p. 179. n° 219. — Head, Coins of Syracuse, PI. v, 2.
6. iR. Tetradrachm. Obv. (YPAKO^in N. Head of Kore to 1.,
wearing earring, necklace, and sphendone, tied above; around, four
dolphins; plain border.
B6. As last.
B.M.Cat., Sicily, n° 220.
The two last coins, although not described under the works ot
HAPME... in the British Museum Catalogue, seem nevertheless to
belong to him {Vide Evans, Num. Chron., 1890, p. 305). The
reverses of both pieces show us the horses, the rein of one of which
is broken and trailing, trampling upon broken chariot-wheel.
Other varieties no doubt exist of Parmenion's type, as the
following :
Syracusan Tetradrachm.
7. iR. Tetradrachm. Obv. By Kimon (?) Female head to 1.,
hair in plain sphendone ; broad diadem, over which her hair is
drawn back; necklet with pendant pearls ; large earring; two dol-
phins before and two behind ; above, at back, lYPAKOilflN ; the
— 392 —
sphendone is tied above and ornamented with three stars of eight
rays.
^L. B)^ Parme(nion). (Fide Evans, Syr. Med., PI, x, 5). Quad-
riga to r., driven b}^ charioteer crov^'ned by Nike; the rein of the
farthest off-horse hangs loose; under the nearest horse's feet, a
broken chariot-wheel ; in ex., ear of barley.
Weight : 266 grs. — Bunbury Sale Catalogue, 1896,
lot 492. — Du Chastel, op. cit., PI. 7, n° 77.
and perhaps others, described under n°^ 214 to 225 of the British
Museum Catalogue.
A specimen in the Hunter Collection at Glasgow, described by
Macdonald, p. 229, and reproduced on PI. xvii, 2 of the Catalogue
is signed : Fl HAPME.
The work of Parmenion is inferior to that of the great Masters
of the coining art which preceded him at Syracuse.
Bibliography. — L. Forrer, Les signatures de graveurs, &c.
PARME(«/o«) or PARME(«7W«5). This inscription occurs on a
Didrachm of Neapolis, B.M.Ca.t., Italy, n°73, and on copper coins
of Thurium, of various periods. Raoul Rochette took it as an
Engraver's signature, but subsequent writers, and in recent times,
A. von Sallet, D' Rudolf Weil, and D"^ Arthur Sambon have shown
the error of this attribution, as the name represents a magistrate.
PARMEGGIANI, ANTONIO MARIA (Ital.). Goldsmith, and Mint-
engraver at Bologna, 1704-1709. His successor was Antonio Lazari.
PARMENSIS, LAURENTIUS (Ital.). Also called LORENZO PARMI-
GIANO. Medallist of the sixteenth centurj', who died at Rome after
1618. His real name was LORENZO FRAGNY (VideYol. II, pp. 133-
135). This artist signed his productions variously : L. P.; L. PAR.;
L. PARM.; LAV. P.; LAV. PARM., &c.
The medal of cardinal Otto Truchsess von Waldburg, signed L. P.,
reproduced on p. 135, Vol. II, is not by Lorenzo Parmigiano.
PARMENSIS or PARMIGIANO, FEDERIGO (Ital.). Surname of 6IAN
FEDERIGO BONZAGNA (Vol.1, 104, N. E. 214). His signature occurs
as : F. P. ; F. FARM.; FE. DE FARM.; FED. PARM. or A. Medallist of the
sixteenth century, who was still living in 1586.
Beside the medals enumerated under Gian Federigo Bonzagna, I
may add : Cardinal Federigo Cesi, 1 544-1 563 [two Reverses;
(a.) Facade of St. Caterine's Church at Rome; — (b.) Justice and
Clemency embracing each other]; — Giambattista II., Count of
Collalto, 1560; ^. Shield of arms; — Cardinal Ippolito II. d'Este,
1538-1572 [Two Rvs; (a.) Abraham prostrate before the three
Angels ; — (b.) Four balls, &c.] ; — Pier Luigi Farnese, first Duke of
— 593 —
Parma, 1545-1547 [Four Rvs. ; (a.) View ot the Citadel of Parma
1 2 var.]; — (b.) Unicorn [2 var.] ; — Cardinal Alessandro Farnese,
1 534-1 589. I^. Facade of the Church ofGesu at Rome; — Ottavio
Farnese, second Duke of Parma, 1 547-1 586 [Two Rvs. (a.) Apollo
and Marsyas; — (b.) parma Pallas Nikephoros] ; — Pope Paul III.,
1534-1549 [Six var. (a.) Facade of the Farnese Palace at Rome,
1588 ; — (b.)Rome ; — (c.) The Citadel of Parma; — (d.) Unicorn ;
— (e.)NECPRiMVS TERTio,&c.; — (f.)The Jubilee Gate]; — Ottavio,
and Pier Luigi Farnese; — Pope Paul IV., 15 55-1 5 59 [Four Rvs.; (a.)
Jesus driving the dealers out of the temple; — (b.) Bust of Christ
(2 var.); — (c.) Pallas standing]; — Pope Pius IV., 1559-1565 [Ten
var. ; (a.) Jesus in the Temple amidst the doctors ; — (b.) Security
seated (reproduced in Vol. I, p. 104, N. E. p. 214); — (c.) Jesus
driving the dealers out of the Temple (2 var.); — (d.) Fagade of
St. Catherine's Church at Rome; — (e.) Jesus blessing the Poor;
— (f.) Harbour and Fortifications of Civita Vecchia; — (g.) via
piA ROMA; — (h.) Virgin and Child; — (i.) The Porta Pia] — Pope
Pius V. , 1 5 66- 1 5 72 [Fourteen var. ; (a.) Peace (sev. var.) ; — (b.) Jesus
giving the keys to St. Peter; — (c.) Christ driving the dealers out of
the Temple (2 var.) ; — (d.) Rustic scenery ; leg. : e. tenebris. dies.
E. Lvco. Lvx. LvcET (i var.); — (e). Inscription in the field : pi vs. v.
GHisLERivs. BoscHEN., &c. ; — (f.) Victory of Lepanto over the Turks,
1 571 ;(g.) Facade of Church; — (h.) Christ addressing the multitude;
— (i.) Adoration of the Magi] ; — Pope Gregory XIII., 1 572-1 585
[Four Rvs. ; (a.) Massacre of St. Bartholomew (reproduced in Vol. I,
p. 104, N.E. p. 214); — (b.) The Miraculous Draught of Fishes; —
(c.) The Pope opening the Jubilee Gate, 1575 (2 var.)].
PARMIGIANO, GIANFRANCESCO. Surname of ENZ0LA(^. v. Vol. II,
p. 22). Medallist of the second half of the fifteenth century, who
was still living in 15 13.
In the Victoria and Albert Museum, London, there is a circular
bronze Plaque, representing a combat between a mounted knight
and two on foot, one of whom stabs the horse from beneath; signed :
MCCCCCLXVIIIIHOANNISFRANCISIPARMESIOPVS; diam, 2 ^ in.
Enzola executed a Portrait-medal of Costanza Sforza in 1475.
PAROCHON. Vide FAROCHON. This signature occurs on a medal of
the Paris Ecole de Pharmacie.
PAROLETTI {Ital.y Director of the Mint at Turin, from an XI of
the First French Republic to 1813. His privy mark is a Heart.
PAROY (French). Sculptor and Medallist of the early part of the
nineteenth century. His signature occurs on the following medals :
The Royal Family of Spain at Bayonne, 1808; uniface medallion ;
— Napoleon and Josephine, 1809; uniface medallion; — Joachim
— 394 —
Napoleon, King of Naples and Sicily, 1809 ; uniface medallion ; —
Invasion of 18 14, &c.
Bibliography. — Edwards, The Napoleon Medals, 1837. — L. Bramsen,
Me'dailUer Napoleon le Grand, I, II. Paris, 1904, 1907.
PARRAGH, 6REG0R (Austr.). Comptroller at the Mint of Vienna,
1573-
PARRHASIUS (Greek). A Painter of ancient Greece, born at
Ephesus; came to Athens and became the rival of Zeuxis; he was
the contemporary of Socrates and a man of arrogant temper. His
works were characterised by the pains bestowed on them.
The design of Parrhasius representing the combats of Centaurs
and Lapithae was reproduced in rilievos by the sculptor MYSon the
shield of the bronze statue of Minerva, the anterior production of
Pheidias.
Bibliography. — C. Drury E. Fortnum, Bronzes of European origin in the South
Kensington Museum, London, 1876.
PARSONS & CO, JOHN (Amer.). Bankers of Oro City, Colorado,
who about 1850 issued private currency consisting of 2 | and 5
Dollar pieces, undated, showing an Eagle on obv. and a Stamping
Machine on 1^.
PART, HANS {Germ.). Mint-master at Munich, circ. 1458, 1460.
PARTENSTEIN, ANTON (Austr.). Mint-master at Warsaw, 1772-
1774. His initials A. P. occur on the coinage.
PARTFELDER, THADEUS {Austr.). Mint-master at Linz, 1526.
PASCAL, ERNEST EMILE {French). Contemporary Sculptor, born
at Paris; pupilofBarye.Heis the author of some Portrait-medallions,
amongst which I have noticed : 1881. M. Barye, bronze silvered;
— 1882. Michelet; — M. Fribourg. medallion in silvered metal.
PASCAL, FRANQOIS MICHEL {French). Contemporary' Sculptor,
born at Paris, 29. September 1810, died there in Januar}^ 1882;
pupil of David d'Angers; entered the Ecole des Beaux Arts on i.
October 1828. He obtained a medal of the Third Class in 1847,
and another of the Second Class in 1848.
Besides numerous works of sculpture, this artist has akso produ-
ced some Portrait-medallions: 1833. ^- Courtin, architect; —
M. Ed. S***; — M. K***; — Colonel Storn ; — M. A. G***; -
Daubigny, painter; — Morin ; — Robert Lovett, &c. These are
all cast in bronze.
Bibliography. — Chavignerie et Auvray, op. cit.
— 395 -"
PASINATI, GIUSEPPE {Ital.). Sculptor and Medallist of the end of
eighteenth century and early part of the nineteenth. He was Chief-
engraver at the Mint of Rome, circ. 1814, in which year he
engraved the Annual medal of Pope Pius VII., commemorating the
Loyalty of the Papal Volunteers of Cesena and Imola ; and by the
same Engraver are the Medals of 18 1 5 ; ^. Constancy and Religion,
and Dedication of the Madonna of Savona, as well as a Portrait-
medal of Alessandro Volta. Another of his medals commemorates
the Return of Pope Pius VII to Rome, 1814, &c.
PASINATI, LUIGI {Ital.). Medallist of the second and third
quarters of the nineteenth century. I have noticed his signature :
L. PASINATI on the obv. of a medal commemorating the Plague at
Tivoli, 1856, as well as on a series of commemorative medals of
the Sede Vacante of 1823.
PASINATI, PAOLO {Ital.). Contemporary Sculptor and Medallist,
residing at Rome. By him is a Portrait-medal of Volta, 1884.
PASINGER, HANS (Austr.). Mint-master at Landshut, circ. 1442.
Several other members of the same family were employed at the
mint about that time in various capacities.
PASQUALIGO, FRANCESCO (Ital.). Mint-inspector at Venice, 1741.
His initials occur on the coinage.
PASQUIER, ADAM (French). Engraver, who was working circ.
1548-155 1. He is mentioned in 1551 as assisting Marc Bechot,
Engraver general, in the confrontation of the current Deniers of
the Mint of B.iyonne.
PASSAGLIA (Ital.). Gem-engraver of the eighteenth century, who
flourished at Rome, and produced many works after the antique.
King says : " A lieutenant in the Papal guard, he has surpassed
every modern, except perhaps Rega, in attaining to not merely the
antique .spirit in design, but even the peculiar all but inimitable
antique touch in the execution. Of the former, hi§ Centaur
vanquished by a Bacchante is a conspicuous proof; of the latter,
his Cupid crossing the waves on his own quiver, masted with an
arrow, and steered with his bow. The sinking of the intaglio and the
finishing of the details with the diamond point, is entirely after the
Greek technique. Though plainly signed with the artist's name
(disguised in Greek letters, flAZAAIAl), these works have been
received and published as indisputable antiques ''. (* Spilsbur}'
Gems).
Bibliography. — King, Antique Gems and Rings, 1872, p. 438.
— 396 —
PASSAMONTI, S.(//fl/.)- Sculptor,Medallist,Gem-,and Coin-engrav-
er at Rome, during the second and third quarters of the nineteenth
century. He was a pupil of Canova, and for some time occupied
the post of Chief-engraver at the Mint of Rome. One of his finest
productions is a cameo in onyx, representing Jupiter defeating the
Titans, which he exhibited at the Great Exhibition, London, 185 1.
I have also noticed his signature on the Annual medal of 185 1 of
Pope Pius VII., commemorating the Ratification of the new Code
of Laws, and on two Portrait-medals of Antonio Canova, 18 16.
PASSE, SIMON ; also VAN DE PAS or PASS, PASSAEUS {Dutch). A
famous Engraver, born at Utrecht circ. 1574, came to England
about 1613, and worked there for ten years; then entered the
service of the King of Denmark at Copenhagen where he remained
until his death (about 1644, certainly not later than 15. July 1647).
He was the youngest son of Crispin (or Crispiaen) van de Pas
(or Passe), a clever Line-engraver, and a brother of Crispin who
worked both at Paris and Amsterdam, and of William, who also
found employment in England.
In London Simon Passe vorked for Nicholas Hilliard from whom
he received a licence to engrave counters of the Royal Family.
Amongst his earliest works, mentioned by Lionel Cust, are Portraits
of Henry, Prince of Wales, dated 161 2; Sir Thomas Overbury,
1613 ; and a few other engravings, including a portrait of Goltzius,
1614. In 1616 he executed an equestrian portrait of Anne of
Denmark, with portraits of various courtiers. In 16 18 he
contributed to the ' Bazilicologia ' and ' Herwologia' in 1622.
Simon Passe's work was continued by his pupils, John Payne,
and David Loggan.
Of his numerous prints, his Portraits are the best ; but he
engraved also several sacred subjects, frontispieces, and other plates
for books, some of which are signed ^. Williamson's ed. of
Bryan's Dictionary of Painters, 1905, gives the following as his most
esteemed prints: Queen Elizabeth; full length; — James I.,
crowned, sitting in a chair; — Similar, wearing hat; — Charles I.,
when Priftce Charles; — Anne, Queen of James I., on horseback,
with view of Windsor; — Prince Henry with a lance; — Philip III.,
King of Spain; — Maria of Austria, his daughter (two varieties);
— General Edward Cecil, son of the Earl of Exeter ; — George
Villiers, Duke of Buckingham ; — Launcelot Andrews, Bishop ot
Ely, 1618; — William Burton, physician, 1620; — Robert Carre,
Earl of Somerset ; — Frances Howard, Countess of Somerset ; —
Francis Manners, Earl of Rutland ; — James Hay, Lord Saley,
afterwards Earl of Carlisle ; — Thomas, Earl of Arundel ; after
Mierwelt ; — Sir Walter Raleigh; — John King, Bishop of London ;
— Sir Thomas Smith, ambassador to Russia ; — William, Earl of
— 397 —
Pembroke; after Van Somer; — Richard, Earl of Dorset; —
Archbishop Abbot_, with a View of Lambeth ; — Robert Sidney,
Viscount Lisle; — Charles, Earl of Nottingham ; — Mary Sidney,
Countess of Pembroke; — Henry Wriothesly, Earl of Southampton;
— Edward Somerset, Earl of Worcester ; — Count Gondomar,
Spanish ambassador to the English Court ; — Frederick Henry,
Prince of Orange, inscribed Liberum Belgium ; — Large Head of
Christian IV. of Denmark ; — Sir Thomas Overbury ; — Captain
John Smith ; — Four whole-length Portraits of Dukes of Burgundy;
John the Intrepid, Philip the Bold, PhiHp the Good, and Charles
the Rash ; — Christ with the disciples at Emmaiis, &c.
Walpole adds a number of others, some about the Engraver of
which he was not quite certain.
Most of the Counters issued during the reign of James I. were
produced by Simon Passe, who had received a licence from Nicholas
Hilliard {ij. i'.) "These Counters", says Mr. H. A. Grueber, **are
stamped in imitation of engraving. They were used as Markers or
Counters "for reckoning and for play". They appear to have been
issued in sets of thirty-six, composed either of^ pieces of different
types or of repetitions of the same type. The period over which the
issue of these pieces ranges is from 1616 to 1638, the earlier date
corresponding with that when Simon Passe commenced his por-
traits of various mem.bers of the Royal Family and others (J4ed.
///.,!, 375).
These Counters comprise the following Portrait-pieces : James I.
and Prince Charles (several varieties) ; — Charles I. and Henrietta
Maria (sev. var.) ; — Gustavus Adolphus of Sweden, and his Queen
Maria Eleonora ; — Set of thirty-six Portraits of Sovereigns of
England, from Edward the Confessor to Charles I., and others of
Henry, Earl of Darnley; Mar}% Queen of Scots; Anne of Denmark;
Henry, Prince of Wales ; Henrietta Maria, Queen of Charles I. ;
Charles (II), as Prince of Wales ; Frederick and Elizabeth of Bohemia,
and their son, Charles Louis; — Set of thirty-six Portraits of English
Sovereigns, and others of Philip II. of Spain; Henry IV. of France;
Marie de Medicis; James (II) as Duke of York; Frederick and Eliz-
abeth of Bohemia as Count and Countess Palatine; Bernhard,
Duke of Saxe- Weimar, &c. Some of these Counters bear dates
posterior to Simon Passe's sojourn in England, and are probably not
by him, but by his pupils. Many were executed at a later date, after
his originals. The earliest seem to have been engraved by hand,
and are of great beaut}^ and value.
Of greater merit still are Passe's Medallic Portraits, engraved, or
stamped in imitation of engraving, on oval silver plates, many of
which bear the artist's signature : Si. Pas. fc. ; — S. P. fc. ; — Sitnon
Passaeus sculp. ; — Si: Pa : fee. ; — S. P. sc. ; — S. P. ; — Simon
- 398 -
Passaeus fecit ; — Sim : Passaeus sctdpsit ; — Simon Passaeiis sculpsit
Lo^^=, etc.
Qpeen Elizabeth ; Engraved Plaque by Simou Passe.
Among these are : Portrait-plaque oi Queen Elizabeth, copied
from a mininture by Isaac Oliver; the Queen is in the dress that she
James I., Anne, and Prince Charles, 1616.
wore when she went in state to St. Paul's after the defeat of the
Spanish Armada. The inscription is said to have been the impromptu
— 399 —
production of a Westminster scholar, Elizabeth herself having pro-
posed her armorial bearings as the subject of an epigram. Another
scholar deserved much credit for his prompt translation :
" May Juda's lyon and the root of Jesse.
Protect thy Lyons and thy flowers, Sweet Bess. "
There are varieties; — James I. ; obv. Bust, three-quarters to r.;
^L. Shield ofarms (Two varieties; one signed : SP (in mon.)fe., and
the other, Simon Passaeus sculp.); — Another; King wears hat; —
Queen Anne; obv. Bust, three quarters to 1. ; ^L. Armorial shield of
Anne( Varieties exist made after this at a later date); — Charles, Prince
of Wales, 1616(2 var.); — Jamesl., Anne, and Prince Charles, r6i6
Prince Charles of Great Britain, .
(^il I US I rated); — Frederick, Count Palatine, Elizabeth, and son, 1 6 1 6 (a
specimen in the Erbstein Sale, May 1908, was purchased by Messrs
Spink for 500 Marks; — Marin, Infanta of Spain, 16 16 (signed ;
Simon Pass: fecit Lond.); — George Villiers, Marquis of Buckingham,
1 6 18; — Richard Sackville, Earl of Dorset; — Uncertain Portrait:
]^. Motto on scroll : vincenti dabitvr {Med. III., I, 232.94) ; —
Henry IV. and Marie de Medicis; signed on both sides (from Baron
Pichon's collection, 1899; published by M. Ad. Blanchet, Proces-
verbaux dc la Socieli fran(aise de Numisniatiqtie, 1905, pp. xxix-xxxii);
— Charles I. ;obv. Bust, three quarters tol.; nc ^L.; — Charles I., as
Prince Charles, 16 16 {illustrated); — Maurice, Prince of Orange,
1 616; — James I. and Prince Charles, couniers (sev. van); —
Phoenix Medalet of Elizabeth, circ. 1590 (by Passe or Billiard);
— Charles I. (as Prince of Wales), 1626 (a specimen in the Berlin
Museum, signed : Si. Pa. fee. anno 1 6 26. Nagler, Man. V, 17.100).
— 400 —
There exists a large number of imitations of these Plaques by
Simon, some even in gold. His style was copied by other artists of
the seventeenth century and later. A medaletin the British Museum,
with the portrait of Gubtavus Adolphus of Sweden, ot the same
style and work, bears W S in monogram, which may represent the
initials of the artist Walter Schultz. A Portrait-plaque of the same
King, unsigned, and also after Passe, was formerly in the Schultze,
and Wunderli von Muralt collections, and is now in that of
Messrs Spink and Son L'^
Giistavus Adolphus, Plaque after Passe.
It has been suggested that Simon Passe's Plaques were originally
intended for printing plates. Some appear to have been engraved by
hand, and others were struck in imitation of engraving. Excepting
the counters, his works are very rare, and obtain high prices.
Bibliography. — L. Cust, Simon Vande Pass, in Lee's Dict.Nat. Biog., XLIII,
p. 443. — Franken, Uceuvre grave des Van de Passe. — Walpole, Anecdotes of
Painting, ed. Wornum. — Dodd, Manuscript History of English Engravers (Brit.
Mus. Add. MS. 33403). — Bryan's Dictionary of Painters, ed. Williamson, V,
p. 233. — Cochran Patrick, Medals of Scotland, 1884. — Nagler, Monogram-
niisten, 1881. — Catalogus der Nederlandsche en op Nederland hetrekking hebhende
Gedenkpenningen, I, 1903. — Rondot and De La Tour, op.cit. — Christian Kraram,
De Levens en Werken der HoUaudsche en Vlaamsche Kunstschilders, Beeldhouwers ,
Graveurs en Bouwmeesters, Amsterdam, i860.
PASSE, WILLIAM {Dutch.). Son of Crispin de Passe, and brother
of Simon; born at Utrecht in 1590; resiaed the greater part of his
life in England, and lived until about 1660. Amongst his copper-
plates are : James I. and his family; — James I. with Henry, Prince
of Wales; — Robert Dudley, Earl of Leicester (oval); — George
— 401 —
VilUers, Duke of Buckingham ; — Robert Devereux, Earl of Essex,
on horseback ; — Frances, Duchess of Richmond and Lenox ; —
Christian IV. of Denmark, and Frederick of Holstein ; — George
Chapman; — Sir John Haywood (signed: W. Pass/.); — Sir
Henry Rich; — Darcy Wentworth, 1629 ; — The King and Queen
of Bohemia^ and four of their children (signed : Will. Pass fecit, ad
vivtim figuralor, 162 1) ; — The count Palatine's family.
These Copper-plates have a medallic character.
Bibliography. — As above.
PASSENI, JAKOB (5t^/j.). Mint-master at Prague, 1621, and Neisse,
1622. In contemporary documents he is styled: " Eltisten der
Prager Juden ". To these Jews of Prague have been assigned a
number of large thin gold medals, with more or less faithful por-
traits of Constantine the Great, Charlemagne, Louis XII. of France
and Queen Anne of Brittany, Queen Eleonora of Portugal,
Henry VII. of England and Elizabeth Woodville, Charles V., &c.
PASSEBI (//rt/.). Antiquary, born in 1694, ^i^*^ ^^ 1780^ who is
known for his forgeries of Italic bronze bars of the latter epoch of
the heavy copper coinage. Some of his imitations and concoctions
are described in Num.Zeitschrift, 1905 (H. Willers, Italische Broni^e-
barren aus der let:(ten Zeit des Robkupfergeldes).
PASSERO, BERNARDINO (Ifal.). Sculptor and Medallist, who was
working at Rome in the last quarter of the sixteenth century. In
conjunction with Bartolommeo Argenterio, of Turin, he executed
about 1582 Portrait-medals of Pope Gregory XIII., which were
intended to be placed in the foundations of the College of Jesuits.
Bertolotti, Artisti subalpini in Roma, intorms us that Passero made
three of these medals and Argenterio two. These are no doubt,
says Armand, the medals described by Bonanni (n°* 47-57): i. Bust
of Gregory XIII.; j^. Abraham counting his 300 soldiers; —
2. ^. Inscription in nine Hues: sacerdos.magnvs., &c. ; —
3. VjL. Religion enthroned and surrounded by allegorical figures
representing Theology, Mathematics, Philosophy, and Poetry ; —
4. ^. Gregory XIII. enthroned, blessing Jesuits; — 5.^- gregorio
PASTORi OPTIMO, &c. God appearing to the kneeling Pope; in front,
a flock of sheep, and tiara.
Bibliography. — Armand, Medailleurs ilaliens, III, 1887. — I. B. Supino, //
Medagliere Mediceo, Firenze, 1899. — Blanchet, op. cit.
PASSY, PAPIN DE (French). Mint-master at Beaucaire, in conjunc-
tion with Simon Chastellain, 1418-1423. They struck there
Florettes, with the distinguishing mark of a small Gothic b between
L. FoRRER. — Biographical Noliees of Medallists. — IV. 26
— 402 —
the crosslet and word KAROLVS. The Beaucaire mint was opened
b^ the Regent in 141 8 and closed, 4. November 1423.
Bibliography. — E. Faivre, Etat actuel des Ateliers numetaires frangais etdeleurs
Difiennts, Paris, 1894.
PASTA, PIETRO (Ital.), Mint-master at Venice, 1759.
PASTELES (Span.). Contemporary Sculptor and Medallist of
Madrid, by whom is the War Medal, with bust of Alfonso XIII. ,
granted by the Spanish government for the " Campaign of Luzon ",
1896/97.
PASTI, MATTEO DE' (Ital.). Medallist, Sculptor, Painter, and
Architect of the fifteenth century. He was born at Verona, circa
1420, and died about 1490. His father was the Magister Andrea da
Verona. He appears to have received a careful education, and was
not only a distinguished humanist but also a clever orator. The first
mention of his name occurs in 1441, in w^hich year he was residing
at Venice and wrote to Pietro de' Medici, son ot Cosmo the elder,
and father of Lorenzo the Magnificent. In 14^4 we meet him at
Guarino ot Verona (reduced).
Ferrara with his teacher, Pisano. There he executed " the portrait
— so characteristic in its ugliness — of the tutor of princes, the
renowned Greek scholar Guarino, then in his seventy-fifth year,
and like himself a native of Verona ". In the following year, the
artist accompanied Pisano to the Court of Sigismondo Malatesta at
Rimini, ana remained there until 1483, when he returned to his
native city. His reputation spread as far as Constantinople, whither
he was summoned by the Sultan Mohammed II. ad se pingendum
effingendumque but he did not get further than Candia. At Rimini
403 —
Sigismondo Pandollb Malaiesta.
— 404 —
he superintended the building of the Temple of Fame of Malatesta,
designed by Leone Battista Alberti, of San Francesco.
Matteo de' Fasti's medals are variously signed : MATHEVS
PASTVS; — MATTHEVS DE PASTIS; — MATHEI DE FASTIS OPVS; —
MATTHAEI PASTII OPVS, &c.
These medals are : Leo Baptista Alberti, Florentine architect,
1404- 1472; 93 mill, signed : MATTHAEI • PASTII ■ VERONENSIS
OPVS); — Guarino of Verona, writer, 1370-1460; 92 mill.
(MATTHEVS • DE • PASTIS • F.); — Jesus Christ; 93 mill. (OPVS •
MATTHAEI -FASTI • VERONENSIS); — Timoteo Maftei, archbishop
ofRagusa, -J' 1470; two types: 92 and 29 mill.; — Benedetto de'
Pasti, brother oi Matteo; 90 mill. ; — Sigismondo Pandolfo
Malatesta, lord of Rimini, 1417-1432 •]- 1468; 12 varieties : i,
Uniface Medallion, 115 mill.; — 2. ^L. The Castle of Rimini,
CASTELLVM SISMVNDVM • ARIMINENSE • MATHEVS • PASTVS • V • FECIT ;
83 mill. ; — 3. The Castle of Rimini; diam. 83 mill, (illustrated);
— 4. The Castle of Rimini, castellvm • sismondvm • ariminense-
M • cccc • XLVi; 83 mill.; — 5. Strength seated facing on throne
between two elephants' heads, and holding broken column; ex. :
M. cccc. XLVI ; 83 mill. ; — 6. Similar to n° 4, but with obv. legend :
SIGISMUND • PANDVLFVS • MALATESTA • PAN • F • PONTIFICII ■ EX • IMP* ;
83 mm. — 7. Similar to n° 5 ; obv. legend : sigismondvs • p • d • mala-
TESTis • s • R • ECL • c • GENERALis ; — 8. Obv. aslast; ^ O-M-D-P-V-
M- cccc -XLVI. Shield, helmet and crest of Sigismondo; 43 mill. ; —
9. Similar, without the artist's signature : 0- M- D- P- V- ; — 10.
Obv. SIGISMVNDVS- PANDVLFVS -MALATESTA. BuSt tO 1.; I^. PONTIFICII-
EXERCiTvs - IMP - M - CCCC - Lvii. Hand holding palms ; — ii .
^L. Facade of St. Francis Church at Rimini; dated m-cccc-l;
diam. 40 mill.; — 12. Portrait- medaUion, uniface, with obv.
legend : sigismvndvs • pandvlfvs - malatesta - pan - f - poliorcites •
ET- IMP- SEMPER -INVICT. ; 90 mill.; — Isotta de' Rimini, concubine,
and fourth wife of Sigismondo Pandolfo Malatesta, 1417-1456
•{• 1470; 8 varieties : i. Bust to r. ; ^ Elephant to r. ; diam.
84 mill. ; illustrated; — 2. Similar, with rising sun instead of
artist's name; 84 mill. ; — 3. isottae ariminensi. Bust to r.,
without veil; ]^. m-cccc-xlvi. Elephant to r. ; 83 mill.; —
4. Obv. as n° i.;^ opvs-mathei-de-pastis-v-m-cccc-xlvi-
Angel holding a wreath; 41 mill. ; — 5. Similar, without the
legend on ^L but date ; — 6. j^. elegiae. Closed book; 41 mill. ;
— 7. Similar, but with date on obv. m-cccc-xlvi and different
legend; — 8. isote- ariminensi - forma - et • virtvte-italiae-
decori. 1447. Bust to r., with veil behind head; 1^ The Malatesta
Rose, and monogram of Matteo de' Pasti; diam. 85 mill.
C. Von Fabriczy's appreciation of Matteo de' Fasti's work
deserves quotation here : " Some of the artist's early Veronese
405 —
Isotta de' Rimini.
— ^o6 —
works, as the medals of Maffei and Benedetto Pasti, in their
vigorous realism, approach much more nearly to Pisano than do
his later productions. On the whole, we cannot agree with
Friedlander and Heiss who among all the masters of the Quattro-
cento rank him second only to Pisano. Goethe forms a more just
estimate, when he finds him distinguished by tenderness, repose,
simplicity, naivete, as well as great carefulness, almost amounting to
timidit)'^, in the presentation of his details. His portraits in general
have not the vivid life and the grand ideal cast of those of his
master : rather do they show for the most part a certain limitation
in conception and a dryness of modelling . But it is especially in
the reverses that he proves himself far inferior to Pisanello in
inventive genius and overflowing wealth of composition, as also
in technical finish in the treatment of the relief; indeed, in these
respects he becomes sometimes flat and insignificant. When he
attempts an entirely ideal subject he degenerates into feebleness and
prettiness, as we see by his medal of Christ. Nevertheless in
moments of inspiration he produced one or two such masterpieces
as the finely finished head of Sigismondo as " PoHorcetes semper
invictus ", a valuable and unique specimen in the Berlin Cabinet,
and the best of all the medals which Pasti made of the tyrant
of Rimini ' ". For, as was proper, our artist was obliged to place
his highest talent at the service of his lord and his house; and thus,
as products of his Renaissance period, we possess besides the medal
of Alberti, only medals of Malatesta (and there are a dozen) and of
the lady who was first his mistress and afterwards his wite, Isotta
degli Atti (of whom there are eight different portraits). Divinised by
Sigismondo in a monument erected to her during her lifetime with
the inscription, " Divae Isottae Sacrum ", celebrated by him and
by the swarm of dependent poets in the elegies of the " Isottaei "
on account of her intellectual excellences no less than of her
personal charms, Isotta nevertheless on Pasti's medal appears to us
in by no means so extraordinary a light. In her features we can
trace kindHness and enjoyment of life, and can perceive the expres-
sion of an intelligent mind; but we search in vain for greatness or
the stamp of princely nobility, and are still more unwilling to
allow her the charm of intoxicating beauty. The elephant, however,
which appears so frequently on the reverse of her medals,
symbolises her ruler ana husband ; he had chosen it with the motto,
" Elephas Indus Culices Non Timet ", for his device, or ** impresa",
I . And yet how much of the essential character of the despot has been sacrificed
in Pasti's conception, when compared to Pisano's medal ! Notice the outline of the
skull altered to adjust it to the circular form of the medal, the elegant crimping of
the hair, the foppish laurel-wreath, which almost transform the fierce tyrant into
a petit-maUre of the Quattrocento ! (Note by G. F. Hill on p. 44 of Mrs. Hamilton's
translation of Fabriczy's Italian Medals.)
— 407 —
as it was called in the Quattrocento. Here also the Weimar
dilettanti have allowed themselves to be carried away in their
enthusiasm, when they call the medal of Isotta, " as we may say,
unique in feeling, sincerity^ and attractive antique simpHcity of
representation.
Mr. Hill in his review of Von Fabriczy's work in the Numismatic
Chronicle, 1903, p. 191, remarks : " The medallist who generally
ranks next to Pisanello, Matteo de' Pasti, fares rather ill at Herr
von Fabriczy's hands. True, he is a bad second to Pisanello, but
the man who could produce the medals of Guarino and of Isotta
da Rimini, and the view of the Castle of Rimini on the reverse of
the medal of Sigismondo Malatesta, is a genius of high order. The
Castle of Rimini is without doubt the finest representation of any
architectural subject — no easy task — in the whole range of
medallic art. Matteo de' Pasti is however the only important
artist in whose case we feel that the writer's appreciation is anything
but iust.
^^fe.;^^3r^
Leo Baptista Alberti, by Matteo de' Pasti.
(I ofthe actual size).
Supine gives some further interesting information on Matteo de'
Pasti's life, and states that the artist and his brother Antonio were
both in the employment of Sigismondo Pandolfo Malatesta. In 1441,
Matteo was residing at Venice, wherefrom he wrote to Piero de
Medici, father of Lorenzo the Magnificent, *' intorno a certa sua
scoperta per applicar I'oro ai dipinti e alle pitture dei Trionfi del
Petrarca " (II Medagliere Mediceo, p. 23).
" Pasti's most successful medallic productions were made in the
service of Sigismondo. The portrait medal with the Rocca Malates-
— 4o8 —
tiana on the reverse is indeed his masterpiece. For it stands quite
alone among his medals m combining with a fine obverse a really
successful and original reverse composition. The medal bears a fine
profile bust of Sigismondo. Still, to the eye fresh from Pisanello's
portrait of the same man, Matteo's is a comparatively tame produc-
tion. It lacks the fire and spontaneity of the great medallist's work;
its effect is more formal ; one doubts whether it can be as good a
portrait, seeing the way in which the contour of the head is
accommodated to the circular field. A little more, and we should
say that the style was petty. On the reverse, however, is a design
the merit of which has hardly been adequately appreciated. This is
the Rocca Malatestiana, in commemoration of the completion of
which in 1446 the medal was cast. No representation of a piece of
architecture on any other Italian medal can compare with this
splendid mass. Doubtless Fasti's practical experience as architect and
painter helped him to obtain this surprising effect of solidity and
depth " (G.F. Hill, Pisanello, 1905, p. 229).
Bibliography. — C. von Fabriczy, Italian Medals (transl. by Mrs. G. W.
Hamilton), London, 1904. — Bolzenthal, op. cit. — Heiss, Les Medailleurs de la
Renaissance. — Armand, Medailleurs ttaliens, I, 17, II, 285, III, 4. — C. F. Keary,
A Guide to the Exhibition of Italian Medals at the British Museum, 1893. — Numis-
matic Chronicle, N. S. XIX, 203; y^S., II, 197; 4«'>S., Ill, 191. — Friedlander,
Dieitalienischen Schaumunien, 1430-1530, Berlin, 1882. — I.B. Supino, op. cit. —
D"" Julius Cahn, Medaillen-Sammlung Met\ler. — Museum Ma:(iuchell. —
D"" E. Merzbacher, Kunst-Medaillen-Katalog , 1900. — Revue beige de numismatique,
1884, p. 14. — Nagler, op. cit. — Singer, Allgemeines Kunstler-Lexikon .
PASTORINO (PASTORINO DE' PASTORINI) {Ital.). Painter, Coin-
engraver, and Medallist, son of Giovanni Michele de' Pastorini, a
shoemaker of the neighbourhood of Siena, was born about 1508.
He died at Florence, 6. December 1592, and was buried there in
Santa Maria Maggiore. In his early years he was a pupil of Guillaume
Marcillat, a celebrated French painter on glass, who ended his life
in that town. Between 153 1 and 1548 he was often employed in
that art both at Siena and Rome. Among his works of this kind is
the great window over the door of the cathedral of Siena.
"Not until much later", says Von Fabriczy, "did it occur to him
to model portraits in wax, which he afterwards painted, and to try
his hand also in casting medals and engraving dies. From 1552
onwards we find him at the mints of Parma, Reggio d'Emilia,
Ferrara (where he was Master of the Mint, 15 54-1 5 59, under
Ercole II.) and Novellara (1574), until in 1576, after a short stay
at Bologna, he entered the service of the Grand-Duke Francesco
of Tuscany as " maestro di stucchi " (stucco-worker), with a yearly
income of 120 ducats. He never again left Florence during his life-
time, and died on 6. December 1592, about 84 years old. In the
number of his medals, the dates of which lie between 1548 and
— 409 —
1578 (which does not, however, exclude the possibility that other
undated medals may have been produced both earlier and later), he
surpasses all other companions in his craft ; we are acquainted
with 190 pieces (of which about two dozen are merely attributed to
him), and the number is constantly increased by others coming to
light. The greater portion of them are signed with his initial, and
almost all are devoid of reverses. He herein gives expression to a
Hieronima Sac rata.
change, which had been introduced into the character and object of
medals. The custom was abandoned of associating the portrait with
Ariosto.
the attributes or achievements in which the person depicted had
outshone his contemporaries, or with any act of his life that would
— 410 —
have assured him the remembrance of after generations. Even
without such qualifications men considered themselves worthy ot
being immortalized in bronze, and demanded from the medal
nothing more than a portrait. The medal, in fulfilling this demand,
now sacrificed the more dignified and monumental stylistic treat-
ment, which we so often encounter in the masterpieces of the
Titian.
Quattrocento, to a more intimate portraiture of the individual.
Not only does it reproduce the portrait in a version as close as
possible to life, but it seeks by the most accurate fidelity in the
details of dress and ornament to apprehend and bring out its
connection with the world around. This character, besides a highly
developed feeling for grace, attractiveness, and sensuous charm in
Atalanta Donati.
the presentation of the likeness, as well as ot taste in arrangement,
impresses itself on the works of Pastorino and explains their popu-
larity both in former and in present times. On the other hand,
they almost entirely lack the depth of conception, the force, the
feeling of throbbing vitality, which so thrill us in his predecessors.
" What a portrait! but, alas ! a portrait only, " are we tempted to
— 411 —
exclaim in the presence of his highest creations, which — and this
is equally characteristic both of the period and of the artist — for
the most part celebrate female beauty in named and unnamed,
known and unknown models. The few examples which we have
chosen from the works of the master may ser\'e to elucidate and
justify what we have said.
Girolama Orsini.
"The busts of the two great celebrities Ariosto and Titian belong
to his best works, thanks to their unassuming simplicity and the
absence of that affected pose which detracts from the impression
conveyed by so many of Pastorino's male portraits. The softly
defined head of Atalanta Donati, a Sienese poetess of the middle
Beatrice ot Siena.
of the sixteenth century, shows how the artist occasionally allowed
himself to be influenced by the example of antique gems. On the
other hand the matronly head of Girolama Orsini, wife ot Pierluigi
Farnese, the dissolute son of Paul III., and first Duke of Parma
and Piacenza, with the picturesquely draped widow's veil over
her head, has the appearance of an impression from the life; and
that ot the otherwise unknown Beatrice da Siena is entirely modern
— 412 —
both in conception and costume. The last named medal has,
moreover, a reverse, utterly banal, it is true. In the gentle, innocent
Battista Guarini.
countenance of the youth Battista Guarini, we can scarcely foresee
the man who was to become the refined author of the formerly
much admired Pastor Fido...." (Italian Medals , English edition,
pp. 145-149)-
Cardinal Michele Bonelli, 1570.
Vasari says of Pastorino that ** he has copied all the world and
persons of all kinds, great nobles, distinguished artists, and persons
unknown or of low degree..." {Mrs Foster s transL, III, p. 484).
"Pastorino", remarks Mr. Keary, "confined himself almost
exclusively to portraiture and very nearly perfected this branch ot
the art. A very large number of his works are known, chiefly lead
— 413 —
proofs without reverses, cast, but so finely that they seem at first
sight as if they had been struck. Delicacy rather than vigour is the
artist's /ar/e; he succeeds well with portraits of women and boys. "
{Guide, p. XVI.)
The best known medals of Pastorino are : Antilia of Siena ; —
Lodovico Ariosto (illustrated); — George of Armagnac, 1554,
archbishop of Toulouse, 1562, and Avignon, 1577; — Francesco
Baiardi, of Parma, 1556; — Julia Barattieri, wife of Francesco
Baiardi, 1556; — Evangelista Baroni, 1557 ; — Baldassare Basta;
— Beatrice of Siena {illustrated); — Cornelio Bentivoglio, I5$7-
This medal exists with five varieties of reverses, which are not by
Pastorino; — Annibale Bentivoglio, 1559; — Laura Sessi de
Boiardi; — Michele Bonelli, 1570, cardinal {illustrated); —
^^
Gianfrancesco Boniperti ; — Alessandro Bonzagna, and his second
wife Cicilia, 1553 ; — Caterina, and her son, Flaminio Bonzagni;
— Charles of Bourbon-Vendome, cardinal, 1555 ; — Paolo Emilio
Brenieri, 1559; — Costanza Buti ; — Leonora CalcaCTnini (1524-
1*1595)5 — Antonio Caraffa, 1556; — Carlo Caraffa, 1557; —
Camillo Castiglione, 1561 ; — Virginia Mazzatosta de Castro; —
Flaminia Cocceia; — Girolama Colonna; ^. Pudicitia; — Cornelia
Colonna Savelli ; — Contessa of Siena ; — Cornelia Siciliana ;
^L. Truth unveiling herself; — Tiberio Crispi ; I^. O 20O02
riANTA AOYAOI— P- Time in chariot drawn by a bull and horse;
— Francesco Cruciano ; — ■ Ataiante Donati {obv. illustrated) ; —
Ercole IL d'Este, fourth Duke of Ferrara, Quarter Scudo, 1559,
— 414 —
signed P.; I^ svperanda omnis fortvna. Patience standing; —
Eighth Scudo, 1559; ^L. tva dextera'dne. St. George and the
Dragon; signed P; — Eighth Scudo, 1554; 1^. Standing figure of
Patron Saint; signed P; — Eighth Scudo, undated; I^.exaltavit'
Annibaled'Este, 1556.
(f of actual size).
ME "DEXTER A 'DNE. Shield of arms ; signed P. To these coins, which
all bear Pastorino's signature, should probably be added many
Buonaventura Giuamonti.
others, unsigned, which the artist engraved during his mint-
mastership at Ferrara, from 1554 to 1559; — Ippolito II. d'Este,
cardinal of Ferrara,, 1554; — Another, undated, and without
signature; — Alfonso II. d'Este, fifth Duke of Ferrara, 1556; —
Another, undated, and without signature; — Half Scudo, 1564.
— 4^5 —
^L. ANiMi SVPER OMNIA; — Quarter Scudo, 1565. Both coins are
signed : P; — Francesco d'Este, Marquis of Massa, 1554; —
Niccolo d'Hste, 1559 ; — Alfonso d'Este, Marquis of Montecchio,
1575 ; — Giulia della Rovere d'Este, consort of Alfonso d'Este ; —
Cesare d'Este, first Duke of Modena, 1575; Alfonso d'Este,
Marquis of Este, 1573 ; — Luigi d'Este, cardinal of Ferrara, 1561 ;
— Another, undated and unsigned; — Eleonora and Lucrezia
d'Este (medal probably executed in 1552); — Lucrezia de' Medici,
first consort of Alfonso II., 1558; — Barbara of Austria d'Este,
iS^Sl'y — ;Annibale d'Este, 1556 (illustrated); — Isabella Rammi
Leonora, Duchess of Mantua.
d'Este, 1556 ; — Girolama Orsini, Duchess of Parma and Piacenza,
and her third son. Cardinal Ranuzio Farnese (ohv. illustrated) ; —
Alessandro Farnese, 1556; — Ottavio Farnese, and his consort
Margaret of Austria, 1552 ; — Margaret of Austria; signed P ; —
Another, dated 1557 ; — Alessandro Farnese, third Duke of Parma,
and his consort, Mary of Portugal, 1566; — Felice of Siena; —
Alessandro Fiaschi, of Ferrara ; — Girolamo Florati, of Ferrara ;
— Fausta Forteguerri; — Pietro Fortini ; — Raimond de Four-
quevaulx, 1556 ; — Henry II., King of France, 1554; — Sigismondo
Fregose ; — Vitale Gemelichio, 1559 ; — Genca; — Giulio Gior-
dani, 1555 ; — Giulia of Bologna, 1555; — Contessina Goletti,
1555; — Margarita Paleologo Gonzaga, consort of Duke Federigo II.
of Mantua, 1561 ; — Guglielmo Gonzaga, third Duke of Gonzaga,
1561 ; — Eleonora of Austria, consort of Guglielmo I. of Gonzaga,
— ^i6 —
1 56 1 (jllustrated') ; — Camillo Gonzaga, Count of Novellara ; —
Alfonso Gonzaga, Count of Novellara; — Lodovico Gonzaga, Duke
of Nevers, 1559 ; — Aurelio Grimaldi, of Reggio, 1555 ; — Giulio
Cesare Grossi ; — Buenaventura Gruamonti, i^'^'j (illustrated) \ —
Alessandro Battista Guarini, 1556; — Battista Guarini, 1555; —
Balthasar Guttierez, 1559; — Leonard de Harrach, 1558; — Isabella
— 417 —
of Padua ; — Livia Landucci ; — Alberto Lollio, poet of Florence,
1562; ^L. Caduceus; — Another;]^, obviis vlnis. Fortune escaping
(illustrated); — Ursula Lopez, 1555 ; — Francis of Lorraine, Duke
ot Guise, 1557 ; — Charles of Lorraine, cardinal, 1555 ; — Louis
of Lorraine, cardinal of Guise, 1560; — Lucrezia ; — Ippolito
Malaguzzi, 1554; — Livia Marzi ; — Camilla Martelli de' Medici;
— Francesco de' Medici, second Grand Duke of Tuscany ; — Bianca
Isabella Manfro de' Pepoli, 1571.
Capello de' Medici, Grand Duchess of Tuscany, 1578; — Gian-
galeazzo Roscio de Monte, of Lucca, 1571 ; — Francis of Montmo-
rency, 1556; — Garcia Nasi, 1555 (legend in Hebrew) ; — Angelo
Niccolini, cardinal, 1555; — Girolamo Novario, 1557; — Gio-
vanni Antonio Novello, 1560; — Abramo Emmanuele Nurcia,
1557; — Lucrezia Salviati Orsini, 1571; — Vicino Orsini; —
Egidio Pamfili; — Pompeo Pendalia; — Bartolommeo Pehdalia,
1564; — Isabella Manfro de' Pepoli, 1571 (illustrated); — Camilla
Petrucci ; — Philena, of Perugia ; — Elena Sforza Piccolomini ; —
Virginia Piccolomini ; — Renea d'Este, consort of Pico della Miran-
dola, 1555; — Bona Sforza, Queen of Sigismund L of Poland,
1556; — Another; ^L. fortis " bona ' prvdens • a • d • mdxl ; ^ — Lodo-
vica Felicina Rossi, 1557 ; — Giulio Feltrio della Rovere, cardinal
of Urbino, 1559; — Vittoria Farnese della Rovere, Duchess of
Urbino ; — Isabella Ruggieri ; — Girolama Sacrata, of Ferrara,
four varieties, two of which are dated 1560 (one illustrated); —
Barbara Sacrata; — Gianmaria Salizin ; — Giuaita Santi, of Siena;
---Girolamo Farnese of Sanvitale, 1 ^^6 (illustrated). This medal exists
L. FoRRER. — B'ogrnphical Notices of Medallists. — IV.
»7
- 4i8 -
with various reverses which are not by Pastorino ; — Battista Saraceo,
1556; — Gasparo Scaruffi, 1554 ; — Fulvia Spannocchi Sergardi,
1552; — Sforza Sforza, Count of Santa Fiora, 1555; — Mariano
Sozzini, 1555; — Isabella Spagiari (ilhisl rated); — Girolamo
Spannocchi, of Siena, 1548; — Maria Martelli of Suares ; —
Galeazzo Tassoni d'Este. This medal occurs with two reverses
which are not by Pastorino; — Tiziano Vecelli; — Aurelia Tolomei,
Girolama Farnese, 1556.
of Siena ; — Battista Tolomei ; — Girolamo Tolomei ; — Tullia
Tolomei; — Giovanna Torelli; — Lelio Torelli, 1555 ; — Ercole
Trotti, knight of Malta; — Ginevra Trotti, 1556; — Isabella
Negrisoli Trotti, 1556; — Nicolosa Bacci de Vasari, 1555 ; —
Gianbattista Vecchi, 1555, of Siena ; — Virginia Vecchi, of Siena;
— Baldassare Vigarani, 1544; — Francesco Visdomini, 1564; —
Ercole Vitozzi ; — Federigo Zucchero, 1578; — Sixteen Female
Portraits (described in Heiss under n°^ 143-159); — Mad. Artemitia,
of Siena (in Uffizi Gallery) ; — Alfonso 11. d'Este, fifth Duke of
Ferrara ; — Margaret of^ Austria (a variety at Florence in the
Uffizi Gallery); — Francesco de' Medici, 1572; — Francesco de'
Medici and Joan of Austria; — Augus. Rig. Ord. Mi. E. D., 1557;
— Antonio Pucci; — Archduke Charles of Styria; — Rene, Count
of Challant, and Sovereign Lord ot Valangin (Neuchatel) (? Fide
Revue Suisse de num., XIII; art. by M. Georges Gallet") ; — Mario
Ruffini (t 1548); — Claudius de Valle and his wife (34 mill.) ;
— 419 —
— Lelio Tolomei (35 mill.); — Marcantonio Borghesi, father of
Paul V. ; — Jean d'Avanson, ambassador to the court of Paul III.
(signed : P.); — Cassan Ciaussi (.1556 .P.); — Bernardino Boiardi
(a companion medal to that of Laura Sessi de' Boiardi) ; — Giro-
lamo, count of Corbiara ; — Francesco I., second Grand Duke of
Tuscany (.P. 1579); — Antonio Cortesi of San Grimignano,
1552 {^L. Fable of Phaeton); — Francisco Parolaro (.P. 1553).
The last eleven medals, some of which are unsigned, were published
recently by M' G. F. Hill.
Isabella Spagiari, of Reggio.
Beside these the following unsigned medals are ascribed to Pasto-
rino, from similarity of style and treatment : Annibale Bornati ; —
Marc Antonio Caverzago, 1555; — Camilla Sforza Ferrero ; —
Giovanni Franckaert, 1563 ; — Giovanni Ronchegalli — Lucrezia
Romana (2 var.) ; — Isabella di Luna; — Giulio de' Medici.
Some medals offering uncommon analogy with this artist's work
are signed -fg which Heiss interprets in P.S.T.R. He suggests these
to be earlier productions of the medallist, who after 1548 usually
signed P. : Pietro Bembo ; — Vincenzo Caraffa ; — Ottavio Far-
nese and Margaret of Austria ; — Maria de Rojas ; — Unknown
Portrait of a Lady, &c.
Miintz states that beside the coins of Ferrara, above mentioned,
Pastorino prepared the dies for the Ducal coins of Ottavio Farnese
from 1552 to 1554. These are described in Zanetti's work on the
Coins of Parma. A Half Testoon of 1552 has on obv. octavivs.
FAR.PAR.E.PLAC.DVx. Bust of Ottavio to T. ; beneath: a.. 1552;
R6. -PAAIA-AEnEITA-XAAEnHnEP-EOYZA. Hercules to 1. in
front of a mountain. Duke Ottavio Farnese had projected to
establish a Mint at Parma under the direction of Angelo Fraschini
of Siena and appointed Pastorino, who was then residing at Reggio
d'Emilia, Mint-engraver.
At the Borghesi Sale, Paris (May 1908) a medal of Ercole 11.
d'Este (1546), obv. Bust to r. ; ^L. mihi vindictam et f.go
— 4^0 —
RETRiBVAM. The Dukc, as Hercules, following a warrior, fetched
340 frs. In the same sale were a rare Biancone of Ercole II., and a
Colombina, by the same artist, struck both for Ferrara.
To Pastorino is due the invention of a particular paste for the
reproduction of hair and skin in wax medallions.
His name occurs in the Accounts of the Papal Mint at Rome,
1 541, 43, 45-48, for various paintings on glass. Paul III. entrusted
him with the execution of several stained glass windows for the
Vatican. At Florence he painted the Triumph of Petrarca on a
circular piece of furniture for Piero de' Medici (now in the Uffizi
Gallery).
Colombina ot Ercole II.
Plon describes a Portrait-medallion in coloured wax of Francesco
de' Medici, by Pastorino (^Benvenuto Cellini, p. 4). Amongst similar
productions by this artist I could only find a record of the following :
Duke Ottavio Farnese; — Paolo Vitelli ; — Ercole II., Duke ot
Ferrara; — Alfonso II., Duke of Ferrara; — Barbara, Archduchess
of Austria ; — Lucrezia d'Este, Duchess of Urbino ; — Giovanni
de Mendoza, etc.
In a recent article by Mr. G. F. Hill (Burlington Magazine, IX,
408-412) on some ' Medals by Pastorino da Siena' the writer says:
"Where an artist of finer qualities would have suffered under the
strain of over-production^ Pastorino, with his extraordinary talent
for direct and obvious yet withal delicate portraiture, was easily
able to satisfy the steady demand for his medals. Their superficial
grace won them an extraordinary popularity, and he wasted little or
no time in devising the allegorical reverses for which he seems to
have had no aptitude.. . Pastorino's medals, with a few exceptions,
fall, roughly speaking, into two classes. The larger consists of
medals with a pearled border placed on a raised beading which
encloses the field. They are somewhat more ambitious than the
rest, are on the average of considerably greater diameter, and are
more frequently signed and dated. They go down as late as 1578
or 1579 and in no case, so far as I know, bear dates earlier than
— 421 —
1552. One of them, however, with the portrait of TuUioTolomei,
itself undated, is proved to be not later than 155 1... The medals
of the other class have no border other than a plain line, but
common characteristics are found in their generally small diameter,
and in a line (sometimes two lines) incised with compasses,
guiding or enclosing the lettering of the circular inscription. These
lines have all the appearance of having been incised before the bust
was modelled; indeed it would be difficult if the bust were already
modelled to use the compasses without spoiling it, and it is quite
possible that the bust was modelled separately from the field of the
medal and then applied to it. The existence of several medals of
the same period (some perhaps by Pastorino himself) with the
incised lines, but without any lettering, suggests that the lettering
was sometimes added in the mould... These medals with the incised
lines, and others of the same style, are very seldom signed, and
still more seldom dated. The portrait of Girolamo Spannochi is
signed and dated 1540... A small group of medals has neither the
pearled border nor the incised lines. To this group belong the
portraits of Alessandro Bonzagni (1553), Gasparo Scaruffa (1554)
and Baldassaro Vigarani (1554). — The medals of the less pretending
class are the earlier... Those of the latter period of the artist's career
are wonderfully clever pieces of portraiture, but they lack, in many
cases, the subtlety and refinement of his earlier work. "
" Master Micheli, called Pastorino of Siena," writes Bolzenthal,
"is chiefly known by the invention of a durable gypsum, with
which he modelled coloured Portrait-medallions direct from nature
to the number of some thousands ; he also carved in wood and cast
in bronze. He worked a great deal from designs of Pierino del
Vaga, and Vasari gives him great credit for his medals. "
E. Miintz says : "Si les medailles de Cellini et de Leoni ne
I'emportent en rien sur celles de leurs contemporains, celles de
Pastorino sont aussi fermees que penetrantes, d'une facture tout
ensemble etoffe et souple, precise et pleine de distinction ; c'est le
Bronzino de I'art du medailleur. " (^Histoire de VAri).
** Le nombre des medailles connues de Pastorino s'eleve deja a
pres de deux cents, et nous sommes loin certainement de les
connaitre routes. Elles sont remarquables par la purete de leur
dessin, la richesse de leur composition et I'habilete savante de leur
modele. Aussi fut-il le medailleur pr^fere de la societe elegante ita-
lienne du troisieme quart du xvi^ siecle. " (Heiss, op. cit., p. -98).
Bibliography. — A. Heiss, Les MedaiUeurs de la Retiaissatice, 1892. — C. F.
Keary, Italian Medals, 1879. — Ibid., A Guide to the Exhibition of Italian Medals
in the British Museum, 1893. — Blanchet, op. cit. — D"" Eug. Merzbacher, Kunst-
Medaillen-Katalog, 1900. — Bolzenthal, op. cit. — Corn, von Fabriczy, Italian
Medals y Eng. transl., 1904. — Armand, MedaiUeurs italiens, 1883-87. — I. B.
Supine, 11 Medagliere Mediceo, Firenze, 1899. — Vasari, V, 390. — Ibid., Com-
— 422 —
tnentario alia Vita di Guglielmo MarciUac, IV, 43?. — Eug. Muntz, U Atelier mone-
taire de Rome, 1884. — Konchini, II Pastorino da Siena, Atti et Memorie delle RR.
deputazioni di storia patria per le provincie modenesi e parmensi, vol. V, I, 39-44.
— E. Munxz, Histoire de VArt pendant la Renaissance. — Kenner, Ann. dii Miise'e de
Vienne, t. XII, 1891. — Domanig, op. cit. — Grande Encyclopedie. — G. F. Hill,
he. cit.
PATAVINUS. Vide GIOVAN MARIA MOSCA 5//^m. Italian Medallist of
the first half of the sixteenth century, who worked at Padua and
Venice, and after 1530 in Poland.
PATEY, HENRI AUGUSTE JULES {French). Contemporary Sculptor
and Medallist, born at Paris on the 9''' of September 1855. He first
studied sculpture under H. Chapu, and later medal-engraving under
J. C. Chaplain. In 1873 he entered the Ecoie des Beaux-Arts in
the workshop of Jouifroy. Two years later, he obtained the first
Second Prix de Rome for medal-engraving, and in 1881 the first
prize. The artist first began to exhibit at the Salon in 1877, and has
since shown there medals and works of sculpture every year, gaining
in 1886 a third class medal, in 1887 a second class, and in 1894
a first class. At the Universal Exhibition of 1889 the Jury rewarded
him with a bronze medal, and he was created a Knight of the
Legion of Honour, 15. June 1898.
— 423 —
Patey was appointed Chief-engraver at the Paris Mint, in place
of Jean Lagrange, 22. April 1896, a post which he is still filling;
his privy-mark on coins is a torch.
The Paris Mint.
^i. of Portrait- medal of A. L. Barye.
— 424 —
\
The Inhabitants of Chantilly lo the Due d'Aumale.
The best-known sculptures by him are : Bust of Henri Dubois,
1877; — Henri Patey; — Portrait-medallion of D"^ Glaize; —
— 425 —
Portrait-medallion in marble of M""^ Chapu, 1894; — Reclining
statue ot M"^ Roty, in Montparnasse cemetery, 1895 ; — Portrait-
medallion of Pasteur, at the Ecole Normale, 1896, &c.
"i;; \ ■■-»-! -\,
«M«
— *
M. & M^e J. J. Patey.
His principal medallic works are :
Struck Medals. — 1888. Les Ballons dirigeables (illustrated) ;
— 1889. National Society of French architects ; — 1893. Ren^e-
Sabran Hospital at Glens (Var); — European Commission of the
Danube; — 1894. ^- L. Barye, sculptor; ^L. Barye's Lion at the
Tuileries Gardens (illustrated); — Universal Exhibition at Lyons;
— 1896. The young Mother; — 1897. High School of Commerce
of L3'ons; — Rifle Club of Lyons; — Visit ofH.M. Chulalongkorn,
King of Siam, to Europe; — Savings Bank of the Rhone; — 1899.
Jeton of the Savings Bank of Angers, etc.
Cast Medals. 1883. A, Decrais, French ambassador at Rome;
— 1885. J. Patey; — 1889. L. Pasteur; ^. Hercules crushing the
Hydra; — 1890. The Inhabitantsof Chantilly to theDucd'Aumale;
— 1891, Painting; — 1893. H. Chapu, sculptor; — 1894. The
artist's Parents, M. et M'"' J. J. Patey ; — M"= Henriette Patey ; —
D"^ A. Gleize; — A. L. Barye; — 1898. Ulysse Pila, director of
- 426 -
the Colonial Exhibition of Lyons; — M. C***; — 1900. Centenary
of the Foundation of the Compagnie des Avoues pres le Tribunal de
Ballons uiriucables.
premiere instance de la Seine ; — Academy of Lyons ; — The
Foundry (View of the Paris Mint Works Building) ; — Mouzaffer-
— 427 -
ed-Din, Shah of Persia; — Centenary of the Conservatoire national
des Arts et Metiers ; ^L. View of the Priory of St. Martin-des-Champs
Centenary of the Conservatoire national des Arts et Metiers (Obv,).
Anniversary of the Foundation of Marseilles.
— 428 —
{obv. illustrated); — 1901. Exhibition at Hnnoi" (Indo-China); - —
1902. Anniversary of the Foundation of Marseilles (^.illustrated);
— 1904. Silver Wedding of M. O. Roty; — Portrait-plaquette of
M. O. Roty; — 1905. Prof. Leon Labb^, member of the Institute;
— 1907. D"^ Leon Labbe, etc.
M. Patey designed the nickel 25 Centimes which was put
into circulation in France in 1903. This piece did not meet with
popular approval at first. A second issue was made in 190/1 with
polygonal edge, which prevents confusion with the One franc
piece.
The authorities have also entrusted him with the preparation of
the dies for the nickel Bons of i Franc and 50 Centimes for Gua-
deloupe, 1904.
25 Centime piece, 1905.
L. Benedite writes in Art et Decoration, 1899, II, 50 : "L'art de
Patey est originaire de Chaplain et de Roty, associant la plenitude
de I'un a la finesse de I'autre, " and M. Saulnier in VArt decoratif,
1901, p. 30, expresses unrestrained admiration for several of the
artist's productions. " Quoi de plus simple, de plus emouvant, par
exemple", says he, "que les deux figures qui decorent a I'avers et
au revers la m^daille offerte au due d'Aumale par les habitants de
Chantilly? Une attitude, un geste suffisent pour rappeler la patrie
absente, la gratitude d'une foule fidele au bienfaiteur magnanime. "
Bibliography. — F. Mazerolle, Augusle Patey, 1898. — Ga:(ette niimismatique
friififaise, 1897- 1905. — Rei'ue numismaliqtie, 1902, 1903, 1904. — Chavignerie et
Auvray, op. cit., II. — Art et Decoration, 1899, II. — Art decoratif, 1901. —
D"" J. H. de DompieTe de Chaufepi^, op. cit., I, II. — The Studio, 1898. — R.
Marx, Les Medailleiirs fratifais, 1887. — Catalogues dti Salon, 1886-1905.
PATON, SIR NOEL {Brit.). Contemporary Painter (1820-1905),
Queen Victoria's limner for Scotland, who designed several medals,
amongst others McPhail's Scottish Volunteers medal.
PATOU, IJiQMkKD (French). Contemporary Sculptor, born at Paris;
pupil of Emile Hubert. By him are various Portrait-medallions. One
in bronze of M"'= M. N*** was exhibited at the Paris Salon as far
back as 1867.
— 429 —
PATOUL, D. DE {Dutch). Designer or Engraver of a Prize Medal
of the Provincial Art Exhibition of North Brabant at Breda,
July 1878.
PATRIARCHE, LOUIS (French). Contemporary Sculptor and
Medallist born at Bastia (Corsica); pupil of Barrias, and Vernon.
At the Salon of 1901, he exhibited a Portrait-medallion of
Abbe J***; — 1902. Silver Portrait-medallion; — 1903. Three
Plaquettes ; — 1906. Medals and Plaquettes in silver and bronze;
— 1907. Portrait-medallion of M'"^ V***; — 1908. Vin Mariani,
plaquette; — Colonial and Oceanography Exhibition of Marseilles ;
— M""^ S***; — M. Camille Piccioni ; — M™<= V***; — Colomba;
— Agricultural Prize Medal, &c.
PATRICK, BENJAMIN (5n7.). Die-sinker and Engraver of Birming-
ham, by whom are various Trade Tokens of the latter part of
the eighteenth century and first two decades of the nineteenth. Pye
describes the following : North Wales, Halfpenny, 1794 ; and Davis :
Hampshire County, Shilling, 181 1 (2 varieties, issued by H. Morgan,
manufacturer, 12 Rathbone Place, London) ; — Birmingham Half-
penny, with bust of General Elliott, 1792; — Birmingham Half-
penny Token, with bust of D"^ Johnson 1792; — Romsey, Shilling,
1 81 2; — Staffordshire, Halfpenny, with bust of D' Johnson,
undated; — Varieties of last, and Mules with dies of Halliday; —
Perry Barr, Penny Token, 181 1 (issuer, William Booth, "who
struck this Token as a cover for his forgeries of banknotes, for
which he was found guiltv and executed at Stafford on August 15,
1812 ".
Bibliography. — Pye, op. cil. — W. J. Davis, NineUenth Century Token Coinage,
1904.
PATRITTO, ANTONIO (Ital.). Mint-master at Pont-d'Ain, 1342-43,
in conjunction with Bino Guchi.
PATROUILLART, DENIS {French). Moneyer at the Paris Mint,
1549-
PATRY, JEAN (Swiss.). Mint-contractor and Engraver of Geneva,
who in conjunction with JEAN FRANQOIS PATRY, his son, issued
coins both for Neuchatel and Geneva.
On the 30''' of November 1712 a contract was passed between
the Prussian government and Josue Gaudot, King's councillor, for
the working of the Mint of Neuch.^tel. Under Gaudot worked
Jean Patry, as Mint-master and Engraver, his son, as assistant, and
Pierre Chevrier, as Warden of the Mint. Most of the coins
of Neuchatel, issued in 17 12 and 171 3, bear the Mint-master's
initials I. P., but the dies were executed at Berlin, except perhaps for
— 430 —
the subsidiary coinage which may be partially the work of the
Swiss engraver.
Neuchatel Thaler of Frederick I. of Prussia, 171 3.
The following denominations occur with the initials I. P. :
Pistole (in gold and silver), 171 3; — 17 13. Thaler; — Half Thaler;
— 20 Kreutzer (3 var.); — 10 Kreutzer, &c.
Beside these, Patry struck for collectors gold impressions of the
Half Batz which were worth a Louis d'or in metal, also Double
Pistoles, from the dies of the Quarter Thaler, and it is supposed
also Quadruple Pistoles and Eight Pistoles, from the dies of the Half
Thaler and Thaler. Hitherto only the Double Pistole has turned up.
There are also jetons by Patry, with the motto : je rends a
CHAQ.VVN LE SIEN.
On 8. July 1726 a contract was passed between the Genevese
government and the engraver Jean Patry and his son Jean
Francois, forthe working of their mint. Their issues between 1726
and 1728 bear the initials I. P. In the renewal of the contract,
I. February 1729, Jean Francois Patry alone is mentioned, whose
coins are not distinguished by any special mark.
BiBiOGRAPHY. — Von Schroetter, Die Miinzprdgun^r in Neuenburg in den Jahren
1713, 14 und /J, Zeits. fur Num., 1900. — E. Demole, Les Maitres, les Graveurs et
les Essayeurs de la Monnaie de Geneve (i^3f-ij^2). — Do., Geneve et les projels
monetaires du Goiivernernent de Neuchatel, IJ22, Mus^e neuchatelois, 1885. —
W. Wavre, La " Grande Lacune " dans le monnayaqe de Neiichdtel de 1714 a
178^, Mus. neuch., 1893.
PATRY, JEAN FRANgOIS (Swiss). Joint Mint-master at Neuchitel,
1712-13, and Geneva, 1726-1729. A second contract was passed
with him and the Geneva government, i. February 1729. On
II. March 1730, Pierre Antoine Collavin succeeded him.
PATTEK, CARL (Bobem.). Contemporary Engraver and Die-sinker,
residing at Prague. His signature occurs on a Portrait-medal of
Johann Komensky, 1893.
— 431 —
PATTERSON, ROBERT {Anier.). Fourth Director ot the United
States Mint at Philadelphia, appointed January 17, 1806, by Presi-
dent Jefferson. He was born in Ireland, and held office until 1824, in
which year he died (22'"* July)-
Bibliography. — Snowden, Washington Medals, Philadelphia, 1861.
PATTERSON, ROBERT MASKELL (Atner.). Sixth Director of the
United States Mint at Philadelphia, appointed May 26, 1835, ^Y
President Andrew Jackson. "His term of office ", says Evans,
"was marked by an entire revolution in the coinage, and the ready
acceptance of those improvements which followed so rapidly upon
the introduction of steam ". He resigned office in July 185 1, and
died, September 5, 1854, in his sixty-eighth year.
There is a Portrait-medal of him, by C. C. Wright, which was
struck on his retirement as a testimonial of the respect entertained
for him by the officers of the Mint.
Bibliography. Evans, History oj the U.S. Mint and Coinage, 1892. — Snowden,
op. cit.
PATZ, MELCHIOR (Austr.). Mint-engraver at Salzburg, appointed
in 1599.
PAUCHARD, CONSTANT DfiM^TRIUS (i^r^n^/;). Contemporary Gem-
engraver, born at Chateau-Chinon; pupil ot Vallee, and Labarthe.
The following cameos were exhibited by him at the Paris Salon :
1882. Fantaisie; — 1883. Genius of Arts, onyx; — Portraits of
M. & M"^ C***; — 1884. Vercingetorix at Alesia, chalcedony ; —
Albert Duvivier, oriental carnelian; — 1890. M™'= Paul Labarthe;
— Mon ami Edouard Achard; — 1891. La Tramontane, onyx of
three strata; — Camille Pelletan, deputy; — A Duvivier, &c.
PAUER, GEORG THOMAS (Germ.). Mint-master at Kallmiinz
(Palatine-Neuburg), 1624-1636. He issued a medal of Duke John
George L of Saxony on his taking part against the Emperor.
PAUER, HEINRICH (Germ.). Mint-assayer at Nuremberg; died in
1505.
PAUGOY, EUGfiNE (French). Sculptor of the second half of the
nineteenth century. He was born at Marseilles, and studied under
Loubon. At the Salon of 1877 he exhibited a Portrait-medallion of
M. Paugoy, and in 1878, one of M"^ C. Jouven.
PAUL (French). An Engraver of that name executed in 171 5 a
medal representing the Churches built for the new Catholics. He
was employed by Mauger.
Bibliography. — J. J. Guiffrev, La Monnaie des Medailles, Rev. num., 1889,
p. 446.
— 432 —
PAUL, AUGUST (Germ.). Contemporary Medallist and Die-sinker,
residing at Frankfort-on-M. I have seen by him a Portrait-medal of
Fricdrich Stoltze( 1886) on his seventieth Birthday, and a Commem-
orative piece, signed : A. PAUL, of the IX. German Jubilee Rifle
Meeting at Frankfort-on-M., 1887.
PAUL, PHILIPP (Germ.). Mint-administrator at Munich, circ.
1635-1665.
PAULIER, FRANQOIS (French). Mint-engraver at Villefranche-en-
Rouergue, 15 30-1 5 31.
PAULIN, PAUL (French). Contemporary Sculptor, born at
Chamalieres (Puy-de-D6me), by whom is a Portrait-medallion of
M. Husson, exhibited at the Paris Salon in 1883, and other
medallic works.
PAULIS. Vide DEPAULIS.
PAULMIER, JEHAN (French). Mint-master at Villeneuve-Saint-
Andre, 141 1.
PAULUS. Vide GIOVANNI PAOLO supra.
PAULUS DE RAGUSIO. Vide RkGUSlO infra.
PAULUS. Vide PAULUS MOCK supra. Mint-master at Hechingen,
circ. 1606, also at Hagenau, under John George of Hohenzollern,
1605-1623.
PAUMGARTNER, MATHAEUS (Germ.). Mint-warden at Salzburg,
1620-1632.
PAUR, 6E0RG THOMAS (Germ.). Mint-master at Kallmiinz, 1624-
1636.
PAUST.JOHANN CHRISTOPH (Germ.). Die-sinker and Engraver of
coats-of-arms, died at Breslau in 1695 at the age of 53.
Bibliography. — Friedensburg, op. cit.
PAUTARD, MARC (French). Sculptor of the first half of the nine-
teenth century, born at LaBessiere (Cantal), died in 1855 ; pupil of
Rude. He is the author of various Portrait-medallions.
PAUTRE, l£ON (French). Contemporary Sculptor, born and
residing at Paris; pupil of HioUn. At the Salon of 1886 he exhibited
a Portrait-medallion of M. Mathieu, and has produced many other
similar works.
PAWELS, ADELAIDE (Dutch). Widow of Pieter Zinck, on whose
death she was appointed Mint-master, and filled the post in the
name of her son Gerard, from the2"'^ April 1598 to the 31'' January
1600.
— 433 —
PAUWELS & ZOON {Dutch). A firm of Amsterdam Die-sinkers and
Engravers, who issued medals at various times, some of which are
described in Tijdschrift van bet Nederlandsch Genootschap iwr Munt-
enPenninghmde: 1863. 25^^ Anniversary of Holland's Independence;
— 1864. Jubilee of H. W. Roelants, of Schiedam; — Silver
Wedding of Willem III. and Sophia (2 var.) ; — 1865. War Medal
for Veterans of the War, 1813-1815 ; — 1867. Medal of the Con-
gregation of the Relief of Leyden ; — 1869. Commemorative
medal of the Monument to Prince Frederick of the Netherlands,
1863-1869, signed F. PAUWELS; — Royal Acclimatization Society,
The Hague, etc.
PAWLIK, FRANZ XAVER (Aiistr.). Contemporary Medallist, born
at Vienna on 2. August 1865, died there from consumption on
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The artist in his workshop at the Vienna Mint
(from A. R. v. Loehr, Wiener Medailleure, 1S95).
L. FoRRBK. — Biographical Noliea of Medal Hits. — IV.
— 434 --
23- August 1906. He studied at the Academy of Decorative Arts
under Professors Tautenhayn and Weyr, and later under Sciiarff.
In 1867, he obtained agrantfrom the government to visit Germany,
Holland, Belgium and Italy, and on his return he was appointed
Assistant-medallist to the Vienna Mint. In 1906 he obtained the
title of Medallist and Engraver to the Mint. He was the recipient
of many Austrian and foreign Prize-medals and Awards.
Pawlik was rewarded at the Jubilee Art Exhibition of 1898 with
the Prize of Honour instituted by K. A. Bachofen von Echt, and
since that date he obtained many distinctions both at home and
abroad.
LIST OF PAWLIK's MEDALLIC WORKS.
1885. Apollo, after a medal by Alphee Dubois; signed : F. X.
PAWLIK. COP. WIEN. 1885, 58 mill. ; struckin 1906; — Ferdinandl.,
Portrait cut in steel, 53 mill. ; — Madelaine Holzel, cast medallion,
80 mill. ; — 1 886. Franz X. Fuchs, Portrait of the artist's grandfather,
life-size; — Karl Bernhard Briihl, professor of anatomy, 60 mill. ;
— Jenny Tomanek, 85 mill.; — 1887. Armorial bearings, after
Diirer, 131 X 108 mill.; — Another, after Martin Schongauer;
female figure, 131 X 108 mill.; — Portrait-study of an old Man;
signed F. P., 42 mill.; — Portrait-study of an old Woman, cast
medallion, 180 mill.; — Portrait of the Empress Elizabeth Chris-
tine, copy after Richter; signed : FR. PAWELEK COP., 50 mill. ; —
1888. Friedrich von Amerling, painter, 61 mill.; — Another, cast
medallion, 152 mill. ; — Franz Tomanek, cast medallion, 162 mill.;
— Prof Rudolf Weyr, sculptor, cast medallion, 150 mill.; — 1889.
Silenus and Nymph, 239 mill. ; — Josef Becker, cast medallion,
168 mill.; — Karl Grill and his wife, cast medallion, 210 mill. ;
— 1890. Orpheus in the Lower World, oval, 439 X 350 mill.;
— Portrait-study; signed: PAWELEK, 58 mill.; — Reunion ot
Vienna and suburbs, cast medallion, 266 mill.; — 1891. Pieta,
575 X 330 mill-; — D' Karl Lind, 58 mill.; — Another, cast
medallion, 185 mill. ; — Franziska Blaha, cast medallion, 1 16 mill. ;
— 1892. Prize Medal of the Theater and Music Exhibition at
Vienna, 55 mill.; — Karl Bachmann, 32 mill.; — Another, cast
medallion, 105 mill.; — Franz X. Fuchs, 131 mill.; — Anna
Pawlik, mother of the artist, cast medallion, 118 mill. ; — Edmund
Matasek, cast medaUion, 140 mill.; — Birth of Venus, oval, cast,
920 X 430 mill.; — Portrait of a gentleman, competitive work,
cast, 166 mill. ; — 1893. M. R. Edler von Mises, 40 mill. ; — Drs.
Hans Adler and Josef Heim, 57 mill.; — D"" Josef Heim, cast
medallion, 188 mill,; — Edward Forchheimer, numismatist,
33 mill. ; — Karl Andorfer, 32 mill.; — Another, cast medallion.
— 435 —
131 mill.; — Franciscus Ursin, study after Wirt, 41 mill.; —
D"" Albert Ilg, 42 mill.; — Prof. Fritz Luckhardt, 52 mill., and
cast medallion, 160 mill.; — Amalie Pittner, 40 X 28 mill.; —
Theodor Rohde, numismatist, 31 mill.; — Anton Scharff, K. K.
Young Girl with her Doll.
Kammermedailleur, 32 mill, (illiislrated) ; — Another; cast
medallion, 145 mill.; — Ornithological Club, 37 mill.; — Franz
Trau and his wife, 43 X 35 mill.; — Jenny Tomanek, cast
medallion, 133 mill.; — D"" Adolf Fischhof, 57 mill., and cast
medallion, 148 mill. ; — Rudoliine Dietz, cast medallion, 133 mill.;
— 436 —
— Fr. Ritter von Schmitt, 66 mill.; — Club der Miinz-und
Medaillenfreunde, 99 mill.; — 1894. Archduke Franz Ferdinand
d'Este, 52 mill. ; — Cast medallions, 127, and 169 mill. ; — Study
after Wirt's medal on the Marriage of Francis II. to Elizabeth of
Wiirttemberg, 40 mill.; — Georg Weifert, 57 mill.; — Silver
Wedding of King Carol and Queen ot Roumania, 65 mill. ; — Visit
to St. Florian of the Numismatic Club of Vienna ; — Otto Voetter,
k. k. Oberstleutnant and numismatist, 31 mill., and cast medallion,
148 mill. ; — 1895. Eduard Foest, New Year's plaquette, 59X37
mill. ; — Confraternitat, commercial hospital and boarding-house,
55 mill.; — Eduard Foest (2 var. 39 mill., cast medallion, 100
X 142 mill.); — Siegmund Hasenfeld, 37 mill.; — Alexander
Karl (2 var. 53 mill.; cast medallion, 162 mill.); — Ave Maria,
181 X 81 mill. ; — Drunken Faun, 115 X 90 mill. ; — Maid with
geese, 136 X 103 mill. ; — Richard Wagner, plaquette, 127 X 92
mill. ; — 1896. Viennese Choral Society, jeton, 21 mill. ; — Alois
Richter, numismatist (2 var., 33 mill. ; cast medallion, 126 mill.) ;
— Karl N. Bachofen von Echt, and his wife Wilhelmine, 36 mill.;
— Wilhelmine Bachofen von Echt, oval medallion, 120 X 85 mill. ;
— August Ritter von Loehr, plaquette, 38 X 27 mill. ; — Eduard
Foest, 25 mill. ; —Medal of the Rifle Meeting at Miihrisch-Ostrau,
36 mill.; — " Collegentag " of the Prague technicians, 39 mill.;
— Visit of the "Numismatic Club" to Klosterneuburg ; — D""
Anton Bruckner, 50 mill. ; — 1897. Eduard Foest, New Year's
plaquettes(4 var.) ; — Joseph Fischhof, musician and numismatist
(2 var.), 24 X 92 mill.; and 54 X 41 mill. ; — Young Girl with
her doll (illustrated') ; — D"^ Adolf Trost, plaquette, 63 mill. ; —
Badge of the Vienna Numismatic Club.
" Franzl", Boy playing with a boat ; 91 X8i mill. ; — Head of a
Girl, 191 X 81 mill. ; — Karl Bachmann, 80''' Birthday, 129 mill. ;
— 1898. Bachofen von Echt, New Year's plaquette, 59X37 mill. ;
— Alexander Karl, abbot of Melk, 127 X 180 mill. ; — Franz and
Leopoldine Stockert, 23 mill. ; — Camera Club, 81 X 63 mill.;
— Johannes Honteras, 50 mill. ; — Johann Horsky, engineer, and
— 437 —
Ludmilla, silver wedding, plaquette, 43 X 29 mill. ; — Johann
Horsky, cast medallion, 106 X 71 mill. ; — Ludmilla Horsky, cast
medallion, 106 X 71 mill. ; — Vienna Rifle Club, 50 X 36 mill. ;
— Club of the Miinz-und Medaillentreunde at Vienna, 28X 21
mill, (^illustrated);— D"" Karl Schon and consort, 60 X 43 mill. ;
cast, 1 90 X 139 mill.; — Josef Nentwich, oval medal, 31X25 mill. ;
— Count Gustav Siegmund Kalnoky von Korospatak, minister of
foreign affairs, plaquette, 165 X 165 mill.; — 1899. Bachofen von
Echt, New year's^ Plaquette, 59X 37 m'lW. (illustrated) ; — Eduard
New Years Plaquette, 1899, by F. X. Pawlik.
Foest, plaquette on the Christening of his grandson Karl Springer,
40X35 mill.; — Heinrich Cubasch Jun% coin-dealer (2 var.),
30 mill.; 131 X 112 mill.; — Prize Medal of the Baden Rifle
Meeting, 37 mill.; — Anton Richter, 148X90 mill.; — Christ
on the Cross, 46 X 58 mill. ; — Madonna and Virgin (3 var.) ; —
Baptism of Christ (2 var.); — Marriage ot Joseph Fischhof,
36 mill.; — Josef Fischhof, plaquette, 105 X 142 mill. ; — Marianne
Fischhof, plaquette, 105X142 mill.; — Nikolaus Morosini, 50
X38 mill. ; — 5'*' Centenary of the' Doctoren Collegium ',6 5 mill. ;
— 1900. New year's Plaquette of Ad. Bachhofen von Echt (2 var.);
— Golden Wedding of Moritz and Anna Fischhof (2 var.) ; —
Archduke Rainer ; — Silver Wedding of H. Heim, 30 mill. ; —
Emil Grohmann, 50 mill.; — Inauguration of the Francis Joseph
Jubilee Kindergarten (2 var.) ; — Baroness Amelie Liptay, of
Budapest, 95x42 mill.; — Ferdinand Slaby, 162X 114 mill. ; —
10''' Anniversary of the "Club der Miinz- und Medaillenfreunde",
64 mill. ; — Military Medal of King Carol I. of Roumania, 30 mill. ;
— Emperor Francis Joseph I., 80X63 mill.; — Josef Karl
Puntschert, 200X140 mill.; — The new Century, medal edited
by the "Numismatic Club" (2 var.), 100 and 300 mill. ; — H. E.
Elise Ditrich, 100x145 mill.; — Caroline Fischhof, 260 mill.;
— Rosa Fischer, 90 mill. ; — Robert Fischhof, 86 X 66 mill. ; —
- 438 -
Moritz Fischhof, 97 X 74 mill. ; — Fritz Fischhot, 86X66 mill. ;
— Alexander Karl, 30 mill.; — Eugen Sassi, 1 16 X 135 mill. ; —
1 90 1. Bachofen von Echt, New year's Plaquette (2 var.) ; — Wilhelm
Zierer, 60''' Birthday, 50 mill., and 152 mill.; — D"^ Albert Ilg,
40 mill., and cast medallion, 180 mill.; — Isidor Weinberger,
/jOX 32 mill. ; — " Pragerei ", cast in bronze, 457 X 140 mill. ;
— ** Giesserei ", cast medal in bronze, 457 X 133 mill.
"Konkurrenz", competitive work tor the Paris Universal Exhibition,
250X160 mill.; — Archduke Rainer and Archduchess Marie,
cast plaquette, 200 X 200 mill. ; — Rifle Meeting at Baden,
30 mill. ; — 1902. Bachofen von Echt, New Year's plaquette (2 var.);
— Golden Wedding of Archduke and Archduchess Rainer, 25 mill. ;
— Aesopus, 450 X 190 mill. ; — Albertine Ilg, 580 mill. ; — Agri-
cultural society of Oberhollabrunn, 60 mill. ; — Franz and Leopold-
ine von Stockert, 370 mill. ; — Presentation plaquette of the town
ofRetzto Alois Richter, 170 X 115 mill.; — Richard Mead
Atwater, 260X180 mill.; — Austrian Museum for Arts and
Industries, 160X200 mill.; — Another, a variety; — 1903.
Bachofen von Echt, New Year's plaquette (illustrated); — Eduard
Foest, New Year's plaquette, 59X37 mill. ; — Hans Dettelbach, cast
plaquette, 185X130 mill.; — Another, 44x60 mill.; — Franz
1905 New Year Plaquette.
Richter, of Retz, 175x125 mill.; — Faun and Nymph, cast
medallion, 245 X 100 mill. ; — Pastor Josef Schnabel, 115 X220
mill. ; — Georg and Ignaz Weifert, cast medallion, 140 mill. ; —
Another, 25 mill.; — Silver Wedding of the Duke and Duchess
of Cumberland, 60 X 25x22 mill.; and 180 mill.; — Josef
Wiinsch, 52 X 39 mill.; — Finance Ministry of the Empire,
55X41 mill.; — 1904. Bachoten v. Echt, New year's plaquette ;
— Austrian Society for the Promotion of Medallic and Decorative
art, plaquette with portrait of Anton ScharfF, 70 X 50 mill., and
— 439 —
2 10 X 150 mill. ; — Club of Northern Games, 29 mill.; — Vien-
nese Rifle Club, 32x54 mill., and 166 X 242 mill.; — Julius
and Emil Muhr ; — Melk Institute, 180 X 130 mill,; — Peter
Ritter von Tuerner, 40 mill.; cast medallion, 120 mill.; —
Charles I. of Roumania, oval medal, 27 x 35 mill. : — 1905.
Bachofen von Echt, New year's plaquette (2 var.); — Agricultural
Club of Mistelbach, 60 mill. ; — Finance Minister Eugen v. Bohm-
Bawerk, 60 X 42 mill. ; and cast plaquette, 150 X 122 mill. ; —
Artists' Association of Vienna, 22 mill. ; — Edgar von Spiegl,
Schlaraffia, 135 X 210 mill, ; — Children's Day, Vienna, 30X40
mill. ; — Viennese Bankverein, 240 X 180 mill, ; — K, K. Ministry
of Military Defence, 60 mill. ; and 180 mill. ; — Viennese Rifle
Club, 48 X 27 mill. ; — Reinhart Bachofen von Echt, 185 X 130
mill.; — Alice Bachofen von Echt, 185 X 130 mill, ; — Adolf
Bachofen von Echt, 35 X 45 mill, ; — Arnold Skutetzky, 194 X 207
mill. ; — 1906. Bachofen v. Echt, New year's plaquette (2 var.) ; —
Hungarian National Gallery at Ofenpest, 135 X 100 mill. ; — Medals
and Plaquettes of the City of Vienna (3 var.); — K. K. Ministry
of Finance (2 var.); — The Mint, Vienna, 95 mill. ; — Ministry
of Interior, 32 mill. ; — Portois and Fix, 29 mill. ; — Anton Fix,
cast medallion, 142 mill. ; — Robert Fix, 142 mill. ; — Moritz
Faber, 150 X 200 mill.; — Richard Mead At water, 260 X 180
mill. ; — Arnold Skutelzky, 180 X 200 mill. ; — Bachofen v. Echt,
45 mill. ; — Adalbert Stifter, 160 mill. ; — Langer & C" ; — Stadt
Retz and Drosendorf, 130x200 mill.
In 1903, PawUk was appointed, on the death of Prof. Anton
Scharff", to succeed him as First Medallist to the Vienna Mint.
He was entrusted in that year to cut dies for the Abyssinian
Government, from the models by Jean Lagrange and Jules C.
Chaplain : Reverses of 20 and 10 Franc pieces in gold, 5 Franc
pieces, Thalers, Half, Quarter, Eight, and Twentieth Thalers in
silver. Scharff" engraved the obverse dies.
An exhibition of this artist's work was held at the Vienna
Kiinstlerhaus, in November 1903, in memory of the lamented
medallist.
Bibliography. — August R. von Loehr, Wiener Medailleure & Nachtrag. —
Ad. Resch, SieUnhurgisclK Mun:^en und Medaillm, Herraannstadt, 1901. —
Mittheilungen des Clubs der Mun:^- und Medaillenjreunde in Wien, 1892-1904. —
Die Moderue Medaille, 1900. — R. Marx, Les Medailleurs modernes en Frame et a
I'Etranger, Paris, 1901. — D^ H. J. de Dompierre de Chaufepi^, Les Medailles et
Plaquettes moderttes. — Katalog der Miin:{en- und Medaillen- Stempel-Sammlung des
K. K. HauptmUniamtes in Wien, III, 1904. — Studio, XXII, 251. — Monatsblatt
der Num. Geselhchaft in Wien, 1906, p. loi. — Josef Fischhof, Fran^^ X. Pawlik,
Zeitschrift fur Munz- und Medaillenkunde, Wien, 1907.
PAYEN, GUILLAUME {French). Goldsmith at Paris, circ. 1585. His
name is mentioned in Mint documents, in connection with trans-
— 440 —
actions between him and the engraver Alexandre Olivier, whom
he supplied with bullion.
PAYNE, NICOLAS (French) ^zVdeBar or Langlois (the Englishman).
Goldsmith at Troves, circ, 1513-1527, and Mint-engraver there
in 1527.
Bibliography. — N. Rondot, Les Graveurs de Troyes, 1892.
PAYNE (Brit.). This signature occurs on a Channel Islands
Medal, undated.
PAYR or PAYRS, ULRICH (Bohem.). Mint-master at Erlangen
(fourteenth centur}').
PAZALIAS. Vide PAZZAGLIA.
PAZZAGLIA, ANTONIO (lial.). Gem-engraver and Medallist of the
second half of the eighteenth century. " He was a lieutenant in the
Papal Guard ", says King, *' and has surpassed every modern,
except perhaps Rega, in attaining to not merely the antique spirit
in design, but even the peculiar, all but inimitable, antique touch in
the execution. Of the former, his Centaur vanquished by a
Bacchante is a conspicuous proof; of the latter, his Cupid crossing
the waves on his own quiver, masted with an arrow, and steered
with his bow. The sinking of the intaglio and the finishing of the
details with the diamond point, is entirely after the Greek technique.
Though plainly signed with the artist's name (disguised in Greek
letters, PIAZAAIAl), these works have been received and published
as indisputable antiques " (' Spilsbury Gems').
Amongst Pazzaglia's other best known works are : Helmeted head
of Pallas, carnelian ; — Apollo, beside a tree, and with quiver at his
feet; — Bacchante riding on Centaur, copied from a picture found
in Herculaneum, black agate; — Hercules in fury destroying
himself by fire on Mount Oeta, sardonyx ; — Cupid crossing the
waves, carnelian (signed : AN- riAZAAIAl); — Head of Julius Caesar,
cameo in agate-onyx (signed : HAZAAIA), &c-
A Portrait-medal of Abondio Rezzonico, Roman senator, 1766,
bears this artist's signature, and in the Mercandetti collection of
puncheons, &c., was one by Pazzaglia, with a female bust, turreted,
accompanied by the legend : genua.
Bibliography. — C. W. King, Antique Gems and Rings, London, 1872. —
Raspe, lassie Gems, 1791. — R. Ratto, Catalogues of Italian Medals, &c.
P. B. Vide P. P. BORNER. Medallist and Coin-engraver at Rome,
circ. 1 692-1727.
P. B. Vide PETER BERG. Medallist at Copenhagen, circ. 1699-1730.
P. B. Vide P. BALZAR. Die-sinker at Naples, circ. 1770.
— 441 —
P. B. Vide JOHANN PHILIPP BISCHOF. Mint-master at Wiirzburg,
1754-1761, and Mint-warden at Darmstadt, 1765-66.
P. B. F/^i? PHILIPP BUNSEN. Mint-master at Frankfort-on-M., 1764-
1790.
P. B. Vide PETER BRUCKMANN. Medallist at Heilbronn, circ. 1810-
1824.
P. B. Vide PHILIPP CHRISTIAN BATZ. Medallist, born at Copen-
hagen in 1820, and who was working there in the fifties.
P. B. F. Vide PETER PAUL BORNER. Medallist and Coin-engraver at
Rome, in the first three decades of the eighteenth century.
P. B. F. Vide PETER BRASHABER. Mint-master at Ratzeburg, 1678-
1679.
P. C. B. Vide PHILIPP CHRISTOPH BECKER. 167 5- 1743. Medallist at
Vienna.
P. C. B. Vide PHILIPP CHRISTIAN BUNSEN. Mint-master at Arolsen,
I7;)2-I764, and Frankfort-on-M., 1764-1790.
P. C. W. Vide PETER CHRISTIAN WINSLOW. Medallist at Copen-
hagen, 1745-1752.
Bibliography. — Schlickeysen-Pallmann, op. cit.
P. D. Vide PAOLO DONATO. Mint-master at Cattaro, 15 52-1 5 5 3.
P. E. Vide PAUL EGGERS. Mint-master at Rostock, 1670-1672.
P. E. (Brit.^. Initials of an Engraver, whose name has not been
ascertained, on a variety of medals commemorating the Taking of
Porto Bello by Admiral Vernon, 1740. Obv. admiral vernon.
Ship firing a broadside; ex. : 1740; ^. porto bello. Ships
attacking a harbour; ex. : P. E.; all within a laurel- wreath. This
medal was struck at a somew^hat later period.
Bibliography. — Franks and Grueber, op. cit. — Betts, o/». cit., p. 97, n" 174.
PEALE, FRANKLYN (Amer.). Chief Coiner at theU. S. A. Mint of
Philadelphia, from 1839 to 1854. He introduced the first steam
coining press, the milling machine, and other improvements. He
died on the s'*" of May, 1870, at the age of seventy-five.
Bibliography. — Evans, History of the U. S. Mint, 1892. — Snowden, op. cit.
PEART or PEARL, CHARLES (5rz7.). Modeller and Gem-engraver of
the second half of the eighteenth century. By him is a Portrait-
cameo of Princess Amalia (Raspe, Tassie Gems, n° 14090). He also
— -142 —
produced works of a monumental character, and won a gold medal
at the Royal Academy, 1782. His last exhibition took place in 1798.
Bibliography. — Dictionary of National Biography.
PECH, GABRIEL £D0UARD BAPTISTE (^French). Contemporary
Sculptor and Medallist, born at Albi (Tarn); pupil of Jouffroy,
Mercie,andFalguiere. Among his Portrait-medallions, the follow-
ing were exhibited at the Paris Salons : 1891. M. Bl***, senator;
— 1895. Jules ColHn ; — 1897. M''-^ M. J***.
Bibliography. — Catalogues du Salon.
p£CHIN£, ANTIDE marie (French). Contemporary Sculptor and
Medallist, born at Langres (Haute-Marne) ; pupil of A. Dumont and
G. Thomas. Many of his medallic productions have been exhibited
at the Paris Salon: 1878. Portrait of M***; — 1882. M"^ Jeanne
Ghoraigue; — 1883. Abbe Imbert; — D"" Pillonet; — i^94-
M"" J. & A. Latron; — 1896. M™* Lachamps, &c.
Bibliography. — Chavignerie et Auvray, up. cit. — Catalogues du Salon.
PECKH, WOLFGANG (Aiistr.). Also WOLFGANG DER STEMPELGRA-
BER; Mint-engraver at Meran, then at Hall in Tyrol, 1478-1489.
PECKHAM, SIR EDMUND (Brit.). High Treasurer of the London
Mint from the reign of Henry VIII. to that of Elizabeth. The coins
Edward VI., Double Sovereign (Third Coinage, 1550).
he is said to have issued bear his crest, an ostrich's head, as mint-
mark. His appointment as Master of the Mint dates from 1546 ; in
1554 he was a Member of Parliament for Buckinghamshire; later,
he was made a privy councillor, and knighted in 1555. He retained
his post till his death, although during 1552-54 his place was filled
temporarily by Martin Pirri, master of the Dublin Mint. In 1549,
during the reign of Edward VI., he was directed with others to
— 44^ —
restore the old standard of gold. In 1551 he coined the pound
weight of silver — three quarters alloy and one fine — into
seventy-two shillings' worth twelve pence apiece. Under Queen
Elizabeth he helped to carry into effect measures for the restoration
of the coinage.
Sir Edmund Peckham was buried in Denham Church,
18. September 1564.
Bibliography. — S. Lee, Dictionary of National Biography. — Ruding, op. cit.
— Hawkins, op. cit. — Kenvon, op. cit.
PECKSTEIN, HEINRICH (Germ.). Mint-master at Hanover, 1622,
then, under the protection of Duke Christian of Celle, at
St. Andreasberg, 1623-1629.
PECKSTEIN, PETER PAUL (Germ.). Mint-master at Breuberg
(Erbach), 1675. His initials P. P. P. occur on the coins. He also
officiated at Hildesheim, 1673-1674.
PECKSTEIN, STEPHAN (Germ.). Mint-master, in the service of
Brandenburg, at Neustadt a. Culm, and Baiersdorf, 1622.
Bibliography. — Kull, op. cit. — Gebert, op. cit.
PECORA, R.(Ital.). This Engraver's signature occurs on Memorial
Medals of Garibaldi (1859), struck in tin or white metal. Obv.
Bust; ^L. Fac-simile or Garibaldi's signature. He was a
native of Varallo, province of Novara. A brother of his died at
La-Chaux-de-Fonds (Switzerland) in 1870. They were sons of
Gabriele Pecora and his wife Theresia Guliarmina.
PfiCOU, JEAN WILLIAM HENRI (French). Contemporary Sculptor
and Medallist, born at Bordeaux, in 1854. He learned drawing and
modelling at the municipal schools of his native city, and in 1874,
entered the Ecole des Beaux-Arts, Paris, where he studied under
Jouffroy. Later he became a pupil of Delaplanche and Falguiere. At
the Salon of 1884 and 1885 he obtained Mentions, and he was
rewarded with a medal at the Universal Exhibition of 1900.
Beside many busts, stone medallions and large works of sculpture,
this artist has produced a number of Portrait-medallions, several of
which were exhibited at the Salon between 1881 and 1889.
Amongst these : 1876. M"* ***; ~ 1879. M™' Cecile B***; —
Emile Boeswillwald, architect; — 1882. 5 Portrait-medallions; —
1883. E. Boeswillwald; — AUouard; — Capt. Lambin ; —
P. Pecore; — Marin; — 1884. M. Pousadoux; — M'"*^ Pousadoux ;
— Emile Bayard; — Gaston Redon; — K. Kaeppelin; — 1887.
G. M6lin ; — M*"' Agnes Coussins ; — M'"= Laure Wilt^ ; —
M™^ Elvire Thomas; — M"^ Charlotte Mahu ; — 1890. Schoene-
werk, sCulptor; — Ende, sculptor; — D' O. Pouchy ; — Toinon
— 444 —
et Loulou (M"*^ Bouvard) ; — 1891. 5 Portrait-medallions; — 1892.
7 Portrait-medallions; — 1894. Several Medals; — 1895. Portraits
of Children; — 1898. Jeannetie; — Joan of Arc, as a child; —
1901. Portrait-medallions and Medals; — 1902. Portrait-medallions;
— Badge for Municipal Councillors; — 1903. Portrait-medallions;
— 1904. S*^ Barbe ; — S" Genevieve; — 1905. Portrait-medallions;
— 1906. 1789 (medal edited by Arthus Bertrand etBeranger); —
Devillers and Besnus ; — Children ; — Jehanette ; — S'* Genevieve ;
— Pater Noster ; — 1907. Portrait-medallion in bronze of
M. G. Chaussard ; — St. Christopher medal, in the style of the
third century ; — T. Le Play, after Chapu ; — II Bambino, after
C. Dolci; — Medal of the Colonial Exhibition in Paris; — 1908.
Plaquette, &c.
Bibliography. — Chavignerie et Auvray, op. cit. — hiformation supplied hy the
arttst.
PEDEMONTE, GIOVANNI BATTISTA {ltd.'). Mint-master at Milan,
appointed 23. April 165 5, and in office until 1668. He had previously
held the same post from 30. April 1649 to 14. October 1654.
Artemis.
PEETERS, ULRIG {Dutch). Mint-engraver at Maestricht, appointed
on 6. August 1 502, and in office until his death, 9''' February 1523.
In 1 5 21 he engraved the dies for a new coinage of gold Reals and
Half Reals, silver Florin Carolus (2 var.), and Double Carolus.
Bibliography. — A. Pinchart, Biog. dcs Graveurs beiges.
PEGRAM, A. BERTRAM (Brit.). Contemporary Sculptor and
Medallist, residing in London. At the Royal Academy Exhibition,
1904, he showed a Walford Memorial Medal, in bronze, which is
one of his most important contributions to the medallic art.
PEIOU (Greek). This inscription on a gem in the British Museum
has been erroneously read as an Engraver's signature. Murray,
Catalogue of Engraved Gems, describes it thus : —
"Artemis standing tol., holding with herr. hand the antler of a
deer, standing at her further side; a bow in I. hand; 1. shoulder
bare ; drapery clinging to figure as in archaistic style. Inscribed
HEIOY; cable border. Paste. Blacas Coll.
"This paste, first published by Siosch, has long been celebrated,
— 445 —
but the design, the signature, and the character of the glass are all
suspicious. The paste is accepted by Winckelmann and bv King,
who considers it an Oscan copy of an archaic group in bronze. It is
condemned by Kohler and Brunn. [Stosch, Gemmae Ant. Gael.,
pi. 36; Winckelmann, Pierres gravees de Stosch, II., No. 287;
Brunn, Griech. Kiinstler, II., p. 614; King, Arch. Journ. XXIV.,
p. 210; Kohler, III., p. 152 ; Raspe, 2127.]
'* It may be suggested that the paste is copied from a medal ot
Antoninus Pius [Froehner, Medaillons romains, p. 50], and that
HEIOY is an error for HEIOY. Pius is usually translated Ej^i^ir,;,
but compare the inscription on an Ephesian coin of Antoninus in
the Br. Mus., HEIflN EOEIIflN, and on Samian coins of Caracalla
M-AYP-ANTHNEINOC REIOC [Occo, ed. 1601, p. 384; Hardouin,
Num. Antiq. Illustr., p. 434; Mionnet, vol. III., p. 237, Nos. 191-
194- 1"
?LLt, GDILLAUME LE {French). Mint-master at Angers, from
21. February 1520 to 31. May 1522.
PELEGUER {Span.). Medallist of Valencia, of the latter part of the
eighteenth centur)% and first three decades of the nineteenth,
whose signature occurs in full on Proclamation Medals of King
Charles IV. (1789) for Murcia, Orihuela, Valencia (dated
X MDCGLVXXXIX «), &c. and also on the following medals:
1784. Prosperity of the Royal House of Spain; obv. Busts of
Charles III. and his children Charles and Marie-Louise ; }^. a .
PAsavAL . G . PASTOR, &c. Arms of Valencia; ex.: PELEGVER. ; —
Religious Medal, with figure of the Virgin (PELEGVER P.); — 1802.
Charles IV. and Marie-Louise; ]^. regvm.prixcipvm.prolis, &c.;
— 1807. Prince Emmanuel de Godoy ; ^. Neptune; — 1826.
Medal for Patriotic Merit, granted by the Royal "Sociedad Econo-
mica" of Valencia, &c.
Bibliography. — Manuel Vidal Quadras y Ramon, Catalcgo de la Coleccion de
MoiuJas y Medullas, Barcelona, 1892.
PfiLISSON, JEAN {French). Mint-engraver at Rennes, 1552.
PELIZER, ANDREAS (y^Mi/r.). Mint-master in Styria, circ. 1574-
1576.
PELLEGRINO, ANDREA {Ital.). Mint-master at Milan, appointed
on 14. January 161 5 and in office until 1624.
PELLET VON HUNDT, JOHANN {Bohem.). Mint-master at Plan,
1655-1665, in the service of the Counts of Schlick.
PELLETY, WOLF {Bohem.). Mint-master at Prague, in conjunction
with Ferdinand Kaplan, 1694.
— 44^ —
PELZER, ZAGHARIAS (Germ.^. Seal-engraver at Munich, 1585-
1594.
PEMALLIO. Fictitious signature on various Poniatowski gems :
Psyche contemplating the murder of Cupid, oriental carnelian; —
Mars put in chains by the Aloides, oriental carnelian ; — Achilles
over the body of Patroclus vowing to avenge his death, sardonyx.
PEMBERTON, MISS H. M. (Brit.). Contemporary Modeller,
residing in London; a member of the London Society of Medallists.
I have seen by her a Portrait-medallion of Miss Kathleen Mc
Cleery.
PEMBERTON, SIR JAMES (Brit.). Goldsmith of London, in the
early part of the seventeenth century ; he was Mayor of London,
1611-12. He was entrusted with the execution of seals, and other
works for the government.
PEMSEL, MAX (Germ.). Engraver of Bamberg, who in 1599 pre-
pared various Patterns for the coinage of the Bishopric.
PENDER, JAKOB (Germ.). Mint-master at Nordlingen, 1566-1569.
PENDL (Austr.). Contemporary Sculptor, residing at Vienna. By
him is a Portrait plaquette, cast, of the public singer Karl Kampf,
which was executed in commission for the Vienna Albrecht Diirer
Society.
PENIN, LUDOVIC {French). Medallist, born at Lyons, 8. January
1830, son of Marius Penin. He entered the School of Fine Arts at
Lyons in 1847, and studied under J. Fabisch. In i860 he took the
direction of his father's die-sinking establishment. In 1864 he was
appointed Engraver to H. H. Pius IX. He died on 16. March 1868,
at the early age of 38.
His best known medals are: Commemorative medal of N.-D.
de France at Puy ; — Agricultural, Musical, Religious, &c. Prize
medals; — Societes de secours du departement du Rhone, 1863;
— Festival of St.-Just-lez-Lyon, 1866; — The new sanctuary at
Fourviere, 1872 (2var.), &c.
PENIN, MARIUS PONS JEAN BAPTISTE (French). Medallist, born
at Barjols (Var.), 15. August 1807, died there, 9. November 1883.
Son of a goldsmith, he developed at an early age artistic taste and
ability. He settled in 1828 at Lyons, where he produced a large
number of medals and jetons, among which I may mention: Por-
trait-medal of Ludovic Penin, 1868; — Scientific Congress of
Nismes, 1844 ; — Series of Jetons for Industrial Societies ; — The
Metric system exclusively adopted in France, 1840 ; — Virgin and
child, Fourviere Cathedral, 1843 ; — The French RepubHc, 1848 ;
- 447 —
— Paris and Lyons, 1848; — Louis Napoleon Bonaparte; —
Inauguration ot the statue of Our Lady of Fourviere, 1852 (2 var.) ;
— Foundation oi the Rue Imperiale at Lyons, 1855 ; — Palais du
Commerce at Lyons, 1856; — Revolution of February 1848; —
Masonic medal of the Lodge of Sincere Friendship of Lyons (1849) ;
— Reconstruction of the Church of Fourviere, 1874. ^^^^ Charvet,
Medailles et Jctons de la ville de Lyon^ Gazette nutnismatique fran-
caise, 1907.
PENNA, GIROLAMO BELLA {ItaL). xMint-masterat Reggio d'Emilia,
in conjunction with Pandolfo Cervi, 153 2- 1537. A Biancone of
Ercole IL for Ferrara is ascribed to him by D"" Sambon (Borghesi
Sale Catalogue, n° 618).
PENNDTER, JACOB {Austr.'). Mint-master at Stolberg, previous to
1576, then at Kaschau; he died at Pressburg in June 1579.
PENNEL, CHARLES (^French). Contemporary Sculptor, Gem-
engraver, born and residing at Paris ; pupil of Levasseur and
Lurquin.
At the Salon of 1885 he exhibited a sardonyx cameo representing
Dejaneira.
PENNEY, NICOLAS DE {French). Goldsmith, and Mint-engraver at
Troyes, 1515-1521.
PENTIN, JOHANN {Dutch). Goldsmith and Engraver of Bruges,
circ. 1 424- 1 43 6. He is recorded to have cut " images d'or ei
d'argent ".
Bibliography. — Kraram, op. cit., p. 1268.
PEPIN, EDOUARD {French). Contemporary Sculptor, born at Paris.
By him are various Portrait-medallions.
PER {Germ.). Moneyers oi this name have been in office at
Augsburg, Cham, Nabburg, Ratisbon, and Salzburg, «>^. 930-976.
PERADA, AGOSTINHO DE ABREU {Port.). Engraver-general of the
Portuguese coins at Lisbon, from 1774 to 1829. He was born in
1750, and became apprentice-engraver at the Mint in 1764. He
died on 23. April 1829.
Bibliography. — Aragao, Moedas cunhadasem nomedos Reis, RegenUs e Gcbenia-
dores de Portugal, Lisboa, 1874.
PERCHEVAL DU PORCHE {Belg.). Mint-master at Ghent,
14. September 1334 — 26. April 1337; i. April 1342 — 17. October
1343; 20. January 1345 — 20. November 1346; 20. February
1355 — 2. November 1357 ; 21. August 1357—14. March 1360;
14. March 1360 — 16. September 1361 and 24. June 1369 —
— 44S -
28. September 1370, sometimes in conjunction with others; also
at Bruges, 6. May 1349 — 6. August 1349; 7. August 1350 —
I. January 1352.
PERCHEVAL, JEAN dit OPS (Belg.). Mint-master at Ghent,
24. November 1346 — 8. August 1350, and at Bruges, 5. September
1349 — I.August I350,and 15. January 1352 — 5. September 1353.
PERCHTOLD {Austr.). Moneyer at Vienna, in conjunction with
Eckhard, in 1398.
PERGIER, CHARLES (French). Architect, born at Paris, 22. August
1764, died there, 5. September 1838. The Louvre Museum preserves
a number of drawings by this artist, who also designed some of
the medals of the Napoleonic series. Marx, in Medailleurs modernes
en France et a I'itranger, 1900, PI. iv, reproduces two of his designs
for the medal commemorating the Capitulation of Spandau,
Stettin, Magdeburg, and Custrin, one of which was adopted by
Jeuffroy.
Bibliography. — Chavignerie et Auvray, op. cit.
PERCIVAL DE PORCHE. Vide PORCHE infra.
PERCY (Brit."). Modeller in wax of the early part of the nineteenth
century. His small high-reliefs in multi-coloured wax comprise
several portraits of the family of George III., in which the colouring
is harmonious and the modelling bold and accurate.
PERDOLFFEN, JACOB (Germ.). Mint-master at Hall in Tyrol, 1594.
PERDOnx, EUGfiNE (French). Son of Joseph P., Engraver at
Versailles, and collaborator with Duplessis-Berteaux. E. P.
was pupil of Leon Cogniat and David d'Angers. Many times
medallist at Ecole des Beaux-Arts, author ol many canvases admitted
to the Salon, and of a Traite de dessin et de perspective. Removed to
Limoges in 1844, and was Professor of design at the Lycee in that
city. Produced a number of medallions (Gazette du centre, 26 Aug.
1894). One of these, an unsigned, uniface, 164 X 191 mm. is of
D"" B. A. Bardinat of Limoges, figured by Fournie, who says that
Perdoux died in 1904.
PERDRIER, FRANQOIS (French). Mint-master at Paris, 1522-1529.
In 1550 he was Assayer at the Mint of the Hotel de Nesle, under
Jacques Pinatel.
PEREGO(//^/.). Die-sinker of the second quarter of the nineteenth
century. I have noticed his signature on a Portrait-medal of Stephen
Malchionio, 1832.
— 449 —
PEREGRINI DA CESENA (//fl/.). Engraver of the fifteenth centur)'.
Duchesne enumerates sixty-six plates by his hand, which he calls
fiielli. More recent critics, however, says Williamson (Bryans
Dictionary of Painters and Engravers, 1904, iv, 93), see in these, not
proofs of goldsmith's work, but impressions from plates expressly
engraved for printing. The facts in favour of this view are, in the
first place, the number of these so-called nielli, and, secondly, the
occurrence of the artist's signature upon the prints with the letters
the right way. Peregrini's most important plate is a * Resurrection ',
which is signed De Opus Peregrini Ce. The rest of the plates ascribed
to him are signed either P. or O.P. D. C.
Bibliography. — Duchesne, Traite snr les Nielles. — Bolzenthal, op. cit. —
Migne, Dictioiiuaire d'orjevrerie religieuse. — Ris Paquot, op. cit. — Bryan, op. cit.
PEREIRA, FRANCISCO FIRMO GONZAGA {Port.). Mint-master's
assistant at Lisbon, employed from about 1846, but only appointed
on 24. March 185 1. He executed designs for the coinage, and also
cut coin-dies.
PEREIRA, LUIZ GONZAGA (Port.). Mint-engraver's assistant at
Lisbon in 1826; appointed third Engraver on 21. August 1833;
second Engraver, 24. December 1853; ^^^ Chief-engraver on
7. December 1864. He was born in 1796, and died on 8. September
1868. Pupil of Simao Francisco dos Santos. In conjunction with
Caetano Alberto, he was commissioned in 1822 to prepare models
for a new " Moeda constitucional". By him are also Patterns for a
Decimal coinage.
Bibliography. — Aragao, Moedas cunhadas em notiie dos Reis, Regentes e Gover-
nadores de Portugal, Lisboa, 1874. — Rac/.inski, Dictionnaire historico-artistique dti
Portugal.
PERELLI, M"'' PAULE (French). Contemporary Modeller, born at
St. Germain-en-Laye; pupil of Ceribelli. By him are various Por-
trait-medallions, one of which was exhibited at the Paris Salon in
1886.
PERELLI (Jtal.). Contemporary' Modeller and Engraver, born, and
now residing, at Rome. He worked for some years at Paris, where
he exhibited at the Salon various articles of repoussi. work ; later he
was employed by Spink and Son L**, London, for whom he modelled
a number of Prize Medals for Agriculture, Music, History, Sports, &c.
PERGAMOS (Greek). Gem-engraver of ancient times. The inscrip-
tion, nEPTAMOY (not very clear) occurs on a paste, red and trans-
parent, in the Florence Museum ; subject. Dancing Faun with
thyrsus. Furtwangler admits the style of the gem to be antique, but
otherwise condemns the piece as modern. Reinach does not agree
L. FoBRER. — Biographical Notices of MtdalUsts. — IV, 29
— 4)0 —
with this opinion. Babelon thinks the paste is a copy of a gem
now lost. A repHca in the Berlin Museum is certainly modern.
Gem, signed Pergatnos.
The same inscription, but incomplete, is found on a Scarab
showing a beardless Head wearing a Phrygian bonnet, and on a nicolo
in the Paris Cabinet des Medailles, with helmeted Head.
The signature of Pergamos has been added in the sixteenth and
seventeenth centuries to contemporary gems, in order to pass them
as antique.
Bibliography. — Furtwangler, Antihe Getnmen, 1903. — Babelon, Pierres
gravies. — King, op. cit. — Reinach, op. cit.
PERGER, BERNHARD {Germ.). Medallist, and Mint-engraver at
Naples, from circ. i'j6^ to 1798. The engraver, Antonio de
Gennaro, was his predecessor at the Mint. His initials B. P. or P.
and sometimes the full name PERGER occur on the currency issued
by him. The coinage of Ferdinand IV. of that period is very
Rare Doppia 01 diaries III. 1723, for Sicily.
extensive, and comprises many interesting coins, either in gold,
silver, or copper. Among these the Zecchino on the King's
Marriage, .1768, with the Queen's bust ; Piastre on the Birth of
Princess Maria Theresia, mdcclxxii ; ^. fecvnditas; Piastres of
1791, with jugate busts of the King and Queen, and Reverses,
Abundance, and the Zodiac, &c. Beside these the regular series of
gold, silver, and copper currency. Among the latter are many
varieties of the Tornesi, Cavalli, and Grani denominations.
A copper 25 Grani piece, 1796, signed P, of extreme rarity, fetched
445 Marks at the Gnecchi Sale (1903, lot 3722).
— 451 —
Among this artist's medals I have noticed : Marriage of
Ferdinand IV., 1768; — D. J. Benedetto Mittarelli, 1765; —
X
/
Marriage of Princess Li._ -. ..uria Carapha.
Medal of the Academ}- of Painting of Rome ; — Ferdinand IV, and
Maria Clementina, 1797 (signed : D. PERGER G.) ; — Reestablish-
ment of Ferdinand on the Throne, 1799; — Marriage of Princess
Livia ab Auria Carapha (illustrated) ; — Frederick, obv. mvnificen-
TIA FRIDERICI D. NEAPOLI P. RESVT, ARCHIPAS. BuSt; ^L. Allcgorical
representation.
Bibliography. — Domanig, Portrdtmedaillen des Er:(hauses OesUrreich, Wien.
PERGER, HANS (Germ.). Goldsmith, and Mint-engraver at
Braunau, 1455.
PERGSTELLER, MICHAEL (Austr.). Engraver at Kremnitz, 1562.
P£RIER (French). A Paris Engraver of the middle years of the
nineteenth century, who produced a number of poor commemora-
tive pieces of the 1848 Revolution. One of these, which is cast,
refers to the Revolutions of 1789, 1830 and 1848; others were
executed in honour of Lamartine, A Marrast, mayor of Paris, and
other contemporary notabilities.
Bibliography. — De Saulcy, Souvenirs numismatiques de la Revolution de 184S.
PERINI, MATTHIAS (Austr.). Chief-engraver at the Mint ot
Venice, circ. 1827-1844. He was born in 1778 at Santa Eufemia di
Borgoico (province of Padua).
p£riSSOUD, M""'^ d£SIR£e (French). Contemporary Sculptor, born
at Paris; pupil of Ponscarme. At the Salon of 1893 she exhibited
Portrait-medallions, cast in bronze, and again in 1894.
PERKINS, JACOB (Amer.). Engraver of Newburyport (U. S. A.),
circ. 1800, and author of a Portrait-medal of Washington. It is
described in Amer Journ. of Numismatics, XXIV, 21. On one side is
an excellent likeness of the general, and on the reverse, memo-
randa of the most remarkable periods of his life.
Bibliography. — Jacob Perkins, Am. Journ. of Numismatics, April 1896, p. 118.
PERLAN, HENRI (French). Sculptor, and Founder, born at Paris,
4. April 1597 ; died there in 1672. He worked under Jean Warin,
and is presumed to have collaborated in medallic work also.
PERMOSER, BALTHASAR (G^rw.). Ivory-carver, 1650-1732.
PERNDORFFER, HANS (Germ.). Mint-master at Cassel, 15 39-1 583.
His initials H. P., or IP, and also H. B. (Perndorffer) occur on the
coinage. P. Weinmeister says however that Perndorffer was Assayer
in 1539, and Mint-master from 1564 to 1575. His successor was
Hans Bauer, 1 572-1610.
Bibliography. — Schlickeysen-Pallmann, op. cit. — P. Weinmeister,
Hessische Munimeister am Ende des 16. Jahrhunderts, Numismatischer Anzeiger,
1899, 34.
— 453 —
PERNEGGER, HANS (Germ.). Mint-warden at Munich, circ. 1620-
1623 .
p£R0N, ERNEST (French). Contemporary Sculptor, residing at
Boulogne-sur-Mer. At the Salon of 1905 I noticed a Portrait-
medallion by him.
PERPENTI, ANDRONICO (Ital.). Mint-engraver at the Papal Mint
of Fermo, 1797-1799- His initials A. P. or A. PP. occur on Two
Baiocchi pieces of the Republica Romana, and other copper currency
of that period and mint.
Bibliography. — Cinagli, Le Monetedei Papi, 1848.
PERRAULT EDMOND (French). Contemporary Sculptor, born at
Paris; pupil of Maillet. At the Salon of 1885 he exhibited a
Portrait-medallion of M""^ T. de C***.
PERRE, JAN VANDEN (Belg.). Goldsmith of Brussels, and Mint-
master-general, under the Emperor Charles V., 10. October 1545
to 13 51. He engraved several official Seals, which are described by
Pinchart, Revue beige de numismatique, 1857, p. 412 sqq. His name
occurs in contemporary documents, as early as 15 15, as a
Goldsmith and Seal-engraver.
PERREAL, JEHAN or JEHAN DE PARIS (French). Architect, Sculptor,
Painter, Designer, and Engraver, born at Lyons in 1460 or 1463,
and died in 1529. He enjoyed the patronage of Charles VIII. and
Louis XII., whom he accompanied in their Italian expeditions, and
also worked for Anne ot Brittany, Margaret of Savoy, and other
princely personages. The Louvre preserves a fine painting by him,
representing the Betrothal of Charles VIII. and Anne of Brittany; ano-
ther commemorates the Triumphal Entry of Louis XII. into Genoa.
His portraits of Louis XII., Anne of Brittany, Philibert ot Savoy,
Margaret of Austria, Mary of England, &c. were masterpieces for
this early period. He is also the author or designer of the Mauso-
leums of Francis II. of Brittany and Marguerite de Foix at Nantes,
Philibert the Fair of Savoy at the Church of Brou, Louis XII. and
Anne of Brittany at Saint-Denis. The glass Paintings, and
Miniatures, depicting scenes from the Italian campaign of Louis XII. ,
attributed to Perr^al, are further proofs of this artist's versatile
genius and talent.
In connection with medallic work, Perreal is known to have
designed the commemorative medal of Charles VIII. and his
consort's \'isit to Lyons in 1494. The execution was entrusted to
Jehan and Nicolas Lepere ** d'apres la pourtraicture de la main de
fehan Perreal".
On the occasion of the Marriage of Louis XH. with Anne of
— 454 —
Brittanv, the Consulate of Lyons presented the Queen with a, medal,
bearing her portrait and that of the King, 1499. Perreal also
Charles VIII. and Anne of Brittany, 1494.
designed this medal, which was modelled by Nicolas Leclerc, and
Jehan de Saint-Priest, sculptors, and Jehan Lepere, goldsmith.
Louis XII. and Anne of Brittany
(reduced size).
This medal is one of the finest early French Renaissance medallic
works. Specimens in bronze not unfrequently turn up.
Bibliography. — E. M. Bancei, Jelnn Perreal, Paris, 1885. — Rondot,
Medailleurs lyotmais. — Supino, op. cit. — Gazette des Beaux- Arts, 1895, II, 265.
PERREAU, CHARLES (Fr^m:/?). Mint-engraver at Bordeaux, 155 1-
1562.
— 455 —
PERREAU, FRANQOIS (French). Mint-warden at La Rochelle,
appointed Engraver there in 1 527-1528.
PERREAU, YVES (French'). Goldsmith of La Rochelle, appointed
Mint-engraver there, 18. May 1602. Barre places the date of his
activity. between 1594 and 1602.
PERRET, ALEXIS EUGfiNE (French). Contemporary Medallist and
Engraver, born at Rouen in 1825. He was first apprenticed to a
Chaser, then entered the Paris Mint in 1848, as Assistant-engraver
to J. J. Barre, Engraver-general of the coins, and remained at the
Mint until 1861. Later he was still employed as Engraver to the
French Ministere des Finances. He is also the inventor of a
Reducing Machine for coins and medals. In 1858 he won a bronze
medal ; gold and silver medals at the Universal Exhibition of
Vienna, 1873 ; two bronze medals at the Paris Universal Exposition
of 1867 and 1878; a silver medal in 1891, and a silver-gilt one
in 1898.
He exhibited sixteen times at the Paris Salon, and produced
many Portrait-medallions, and various works of engraving.
Bibliography. — Infonnaiion kindly supplied by tlx artist {Letter dated 24. June
1901).
PERRET-GENTIL, JEAN JACQUES (Swiss). Engraver of the third
quarter of the eighteenth century, who in 1788 was residing at
Le Locle, but who is supposed to have spent most of his life at
Chaux-de-Fonds. He was probably employed as a Watch-engraver,
but very little is known of him, beyond that he executed five
commemorative medals : Accession of Frederick William IL of
Prussia, 1786 (signed : J. J. P. G.); obv. Bust of Frederick the Great;
1^. Eagle ; — Another ; Proclamation medal of the Principality of
Neuchatel, November 1786; obv. Bust of Frederick William IL ;
^L. SERMENTS R^ciPRoauES, &c. ; — Satirical Medal of Samuel
Monvert, Chastelain of Val-de-Travers; — Necker, 1789; obv.
Bust facing; ^L. triomphe complet du tiers-^tat, &c. (signed:
J. J. P. G. ; diam. : 76 mill.). M. P. C. Stroehlin, late President of the
Swiss Numismatic Society, owned a mould of this curious medal ; —
Louis XVI., 1790 ; obv. Laur. bust to r. ; ^L. Minerva seated to 1.
(diam. : 76 mill.).
The medals were cast in tin ; some specimens bear traces of
plating or gilding, while others are coated with black varnish.
Bibliography. — A. Michaud, Les Medailles de Jean-Jacques Perret-Gentil,
Musee Neuchatelois, 1903.
PERREY, AIMfi NAPOLlfeON (French). Contemporary Sculptor, born
at Damblin (Doubs). By him are various Portrait-medallions, some
of which were exhibited at the Paris Salon : 1870. M"'^ A. B*
}***
— 456 —
1872. M-^ S. L***; — 1874. M"« A. J***; — 1880. Feu Perrin,&c.
Bibliography. — Chavignerie et Auvray, op.cit.
PERREY, l£ON AUGUSTE (French). Contemporary Sculptor, born
at Paris, 24. August 1841 ; pupil of his father A. N. Perrey, and
JoufFroy ; entered the Ecole des Beaux-Arts, 9. October 1868; won
medals in 1866 and 1867. Among his medallic works are : 1867.
Portrait-medallion of M"-^ E. P***; — 1870. M"^ B. L*** ; — 1882.
Aim^ Perrey; — 1883. M. L***; — 1884. Baron T*** ; — 1890.
Three Portrait-medallions in bronze; — 1893. ^- ^ ^™^ Aristide
Boucicaut; — 1897. G. Perrey, &c.
PERRICIUOLI (ItaL). Gem-engraver of the seventeenth century,
who resided at Sienna, and is said to have produced many fine
works.
PERRIER (French). A jeton issued for a Musical Competition,
undated, and with a head of Orpheus, is signed PERRIER.
PERRIN, FRANQOIS (French). Mint-master at Marseilles, 1532-
1538 and 1540-1541.
PERRIER, JEAN (French). Mint-master at Tours, 1720-1738, in
succession to Martin Petit.
PERRIN, JEAN I (French). Mint-engraver at Montpellier, 1396-
1419.
PERRIN, JEAN II (French). Mint-engraver at Tours, 1733.
PERRINET, PIERRE (Fr^w^:/;). Mint-engraver at Lyons, 163 8- 1640.
He signed P^r;w/. After 1640, we find him filling the post of Mint-
master at Chambery, until 1642.
Bibliography. — Rondot, Les Graveurs de Lyon. — Perrin, Le Monnayage en
Savoie, 1872.
PERRON, CHARLES THEODORE (French). Contemporary Sculptor,
born at Paris, 16. October 1862; pupil of Falguiere and Roty. He
has won the following distinctions at the Paris Salon : 1896,
Mention honorable; 1897, Medal of the Third Class; 1899, Medal
of the second Class ; and since 1894 he is an Ofiicier d'Academie.
As a Medallist, this artist has produced numerous Portrait-
medallions, also Studies for medals, a Plaquette representing the
Duke of Reichstadt on his deathbed ; — Moses rescued from the
Nile ; — Walkyrie, &c.
Bibliography. — Injormation kindly supplied by tlje artist.
PERROT, NOEL (French). Mint-master at Angers, 1640.
PERROTTE, PHILIPPE EUGfiNE (French). Contemporary Sculptor,
— 457 —
born at Brain-sur-l'Authion (Maine-et-Loire); pupil of Cavelier.
By him are some Portrait-medallions, 1891. M. Lelouvetelle ; —
1893. M""^ B P***; — M"'^ Perrotte, the artist's grandmother.
PERRY, SPENCER (Brit.). Birmingham Die-sinker and Engraver
of the end of the eighteenth century. Pye attributes to him the
dies of Willi m Hallan's Halfpenny of Birmingham, 1793
(illustrated), and of which a variety dated 1795 is described as
Birmingham Halfpenny, 1793, by Perry.
unique by Davis. The signature PERRY ENG. is said to occur on
another variety. The Chetwynd Coll" included one of 1792
ot a different type.
Bibliography. — Pye, Provincial Coins and Tokens. — W. J. Davis, Token
Coinage of Warwickshire.
PERRYN, JOHN (5n7.). Goldsmith of London, 1637-1656. "He
resided at East Acton, and was appointed one of the jury of
Goldsmiths by the Commonwealth, in 1649, to superintend the
making of standard trial pieces for the coinage. In 1657 he was
imprisoned and fined with others, on the information of Thomas
Violet, for melting the heaviest coins into ingots, and exporting the
same to foreign countries ".
Bibliography. — Chafit:rs, Giliia Aurifabroruni.
PERSCHL, HANS JAKOB (GtT/;/.). Mint-engraver at Munich, 163 1.
PERSIL (French). Director of the Paris Mint. 1842 (?), who is
said to have issued a Portrait-mtdal of himself, of unusual large
size. I cannot however trace his name in the list of Paris Mint-
directors.
Bibliography. — Revue de la Numimatique beige, I, p. 541.
PERTINET. Fiile PERRINET. Mint-master at Chamber)-, 1640.
PERUGINO, surname of the Painter VANNUCCI (Iial.). A celebrated
- 458 -
Artist, born at Perugia, whence his name. He flourished between
1446 and 1524, and chiefly resided at Florence, where lie first
studied with Leonardo da Vinci. Raphael became one of his pupils.
His " Christ giving the keys to Peter " is the best extant of
Perugino's paintings.
This artist is described as having designed studies for medallions
executed by contemporary medallists.
PERUGINO, LAUTIZIO (ltd.'). Seal-engraver, and Medallist of the
early part of the sixteenth century, mentioned by Cellini in his
autobiography.
Milanesi ascribed to him two Portrait-medals, signed L. P., of
Giovan Lodovico Toscani ; and by him may be also a medal of
D. Adr. de Ladeuse, Venice, 1522, and a Plaque, representing the
Adoration of the Magi, in the Victoria and Albert Museum,
South Kensington . F/We LAUTIZIO.
Bibliography. — Armand, op. cit., Ill, 161. — Blanchet, Manuel, II, 373.
PERUZZI, BENEDETTO {Ital.). Gem-engraver of Florence (singoJ are
intagliatore di pietre), best known for his counterfeit of the seal of
Carlo di Durazzo, in 1379. This is all that is known of him.
"II est le premier", says Babelon, " de cette pl^iade d'artistes, qui,
en Italic, durant un siecle et demi, vont mettre a la mode les
produits de laglyptique et s'effbrceront dans leurs oeuvres d'atteindre
la purete de dessin et I'habilete technique si justement admirees
dans les plus belles gemmes de I'antiquite ".
Bibliography. — Cicognara, Sloria delta scuttiira, t. II, p. 391. — King,
Antique Gems, 1872, p. 412. — Eug. MiJntz, Histoire de VArt pendant la
Renaissance, I, 695. — Babelon, Pierres gravees, 1894. — Ibid., Histoire de la
Gravure sur Gemmes en France, p. 126.
PERUZZI, VINCENZO (Ital.). Gem-engraver of the Venetian school,
who flourished towards the end of the seventeenth century. He
discovered the double facetting of diamonds which renders the play
of light so wonderful in brilliants.
PERZINKA, LEON (French). Contemporary Sculptor, born at Paris ;
pupil of Valton, and Marioton. At the Salon of 1888 he exhibited a
Portrait-medallion of M"* L. Perzinka, and in 1889, another of
M. A. E***.
PESCADOR, EDUARDO FERNANDEZ (Span.). Contemporary
Sculptor and Medallist, born in 1836, died at Madrid in 1872. He
was a pupil of the Madrid Academy of Fine Arts, and of his uncle,
Sancho Pescador; also of Oudine of Paris. In 1866 he was appoint-
ed Professor of the Madrid School of Art.
Amongst his best known medals are : DukeofRivas; — Olozaga,
1864 ; — Academy of San Fernando ; — Treaty of Vergara, &c.
- 459 —
The artist was a member of the Academy of San Fernando.
PESCHKA, C. (Bohem.). Medallist of the eighteenth century,
mentioned by Fiala, Beschreibung der Sammlung bohmischer Mun\en
iind Medaillen, Prag. 1888, p. 693.
PESCI, SILVESTRO (Ital.). Mint-master at Parma, 1658-1660.
PESCIA, PIER MARIA SERBALDI DA (Ital.). Gem-, and Coin-
engraver, surnamed // Tagliacarne, born at Pescia in Tuscany, c'trc.
1455, died about 1522. In the early years of the fifteenth century
he had a shop at Florence, but his name occurs in the accounts of
the Pontifical Court, in 1499 and earlier. In 1499, he was appointed
Engraver at the Mint of Rome on the death of Lorenzo Corbolini
and again in 15 15, in conjunction with Vittore Camelio, remaining
in office until 1522. Pope Leo X. honoured him with his patronage.
He also was a contemporary of Raphael and Michel Angelo. For
the latter, as the tradition goes, he executed the celebrated signet,
called "Michael Angelo's Seal", representing the Birth of Bacchus,
now one of the most interesting gems of the French Collection.
Vasari states that, by his talent, the artist brought the art of gem-
engraving nearer to perfection.
Birth of Bacchus, intaglio by Pier Maria da Pescia.
{Michael AngeWs Seal.)
Babelon thus describes the celebrated gem of the Bibliotheque
Nationale , " Cette comaline, de dimensions exigues, est la plus
remarquable peut-ctre de toutes les intailles qu'a produites le
seizieme siecle. Le sujet en est une Bacchanale, composee d'une
quinzaine de satyres, de m^nades et autres personnages bachiques
qui celebrent la fete des vendanges. Le tableau n'a pas plus de
— 4^0 —
quinze millimetres sur onze de large. L'artiste a fait un veritable
prodige d'habilete technique en groupant tout ce monde dans un
cadre aussi restreint ; c'est merveille de contempler a la loupe ce
petit chef-d'oeuvre de dessin et de gravure, ou les details miscros-
copiques sont si ddicatement traites, ou tout est proportionne avec
tant a harmonie et de souplesse. A I'exergue, un pecheur a la ligne
est I'embleme parlant du nom de Pier Maria da Peseta " (La gravure
en pierres fines, p. 254).
Among the other glyptic works known of this artist the following
are generally ascribed to him: Sacrifice to Venus; — Eros fishing,
seated on rock, and holding a basket (exhibited at the Burlington
Fine Arts Clubs Exhibition, 1904, and described as after P. M. da
Pescia) .
In all probability a large number of the coins issued by Pope
Leo X. at the Roman Zecca were engraved by Pier Maria da Pescia.
Among the most interesting types are the 2 1 Zecchini piece, with
Leo's portrait, and the Magi on ^L. (illustrated), and Testoni, also
Doppia of Leo X. (2 | Zecchini).
with the bust of the Pontiff and ^. Christ blessing the Apostles.
Armand ascribes the coins of Pope Alexander VI. to Lorenzo
Corbohni.
Mtintz records payments made to the Engraver in 1499 and 1505
for dies intended for Papal Bulls.
Bibliography. — Mariette, Traite, &c. — Nagler, Allgetmin. Kunsthr-Lexikon.
— Babelon, Pierres grave'es, &c. — Ibid., Catalogue des Cainees de la Bibliotheque
Rationale. — King, Antique Gems, 1872. — Eug. Miintz, U Atelier monetaire de
Rome, 1884. — Ibid., Les Arts a la Cour des Popes, &c. — Raspe, Tassie Gems. —
Rollin and Feuardent, Catalogue de pierres gravees, 8 mai 1905, lot 128.
PESEZ (French). Medallist of the eighteenth century, about
whom nothing is known, beyond that he produced a number of
very fine Portrait-medals, usually signed : PESEZ; — PESEZ. P. ; — V'
or P. The following specimens are in the BerUn Museurft; they all
measure 67 mill, in diameter, and exhibit remarkable work:Lulli,
creator of the Paris opera (163 3-1 687); — Marshal Catinat; —
— 4^1 —
Comtesse de Grignan; — Marquise de Pompadour; — M""' du
Barry. His signature occurs also on a unitace medallion of Homer
(6 1 mill.), and in the Pichon Collection there was a fine specimen
of the Portrait-medallion of M™^ de Pompadour, by him.
Bibliography. — Rondot and De La Tour, op. cit.
PESSAUX, M""" BLANCHE {French). Contemporar\' Sculptor, born
at Paris; pupil ofChapu and Bouguereau. At the Salon of 1897 she
exhibited a Portrait-medallion entitled "Petite Jeanne".
PESTBINI (lial.). Medallist, and Gem-engraver, of the first half of
the nineteenth century. He resided at Rome, and in 1823 applied
for the post of Mint-engraver. His medal with portrait of Pope
Pius VII. is one of the best in the Papal Medallic series, says Nagler.
Other portrait-pieces of Pius VII., Leo XII., and Pius VIII. bear
this artist's signature, and exhibit unusual skill and careful treatment.
Bibliography. — Nagler, op. cit. — Bolzenthal, op. cit.
PESUTELLI, FRANCESCO (ItaL). A Florentine Medallist of the first
half of the seventeenth century. He contributed with many others,
amongst whom we find Antonio Alberghetti, Paolo Laurentini,
Antonio Tarchiani (Pesutelli's father), and Fra Giovan Antonio
Bartolino, surnamed Teatino, to the large series of Florentine Por-
trait-medallions of Roman Emperors and Empresses, and celebrated
Personages,
PETER (Germ.). Goldsmith, and Mint-engraver at Neuotting-
Landshut, 1458-1459.
PETER (Genu.). Medallist of the second half of the sixteenth
century, whose signature occurs on a Portrait-medal of Archduke
Mathias, reproduced in Kohler, III, 377.
PETER (Germ.). Medallist of the second half of the nineteenth
centur}-. He was employed between circ. 1870- 1880 at the Die-
sinking establishment of Gottfried Drentwett, at Augsburg, for whom
he cut many dies.
PETER VON METZ (Germ.). Mint-engraver at Landshut, 1458.
PETER, ANDREAS (Germ.). A native of Augsburg, who was Mint-
warden at Kallmiinz in 1629. Perhaps the same person was Mint-
engraver at Glatz in 1627.
PETER, VICTOR (French). Contemporar}' Sculptor, and Medallist,
residing at Paris; pupil of Devaulx, andSebastien Cornu. He studied
art against his parents' wish, and was obliged to earn his living, when
still quite young, by doing work for Falguiere, Paul Dubois, and
-462 -
Antonin Mercie. He began to exhibit at the Paris Salon in 1868, and
won his first medal in 1879. At the Universal Exhibition of 1900,
he was awarded a gold medal, and decorated with the Legion of
Honour. He is now Professor of practical sculpture at the Paris
" Ecole Nationale des Beaux-Arts ".
This artist's works in sculpture are numerous and comprise
Equestrian statues of William II. of Holland, at Luxemburg ;
General Lee, at Richmond (U. S. A.); General Paz, at Buenos-
Ayres (all executed' in collaboration with Antonin Merely), &c.
Among his medals and medallions, I may note: 1874. C. Orso-
Araed(Je Bertauh,
lini; — 1876. M. Goguet; — M"«= Goguet; — 1877. Idyl, bronze
medal; — E. Fremy ; — 1878. Ivresse; — Idyl ; — Bull Dog; —
1879. Happy Age; — 1880. P. Folias; — F. B***; — Miss
E. Deakin; — M""" M***, des scx^urs de Saint-Joseph; — Miss
Blanche Deakin; — M''-^ E. B***;— M. Escoula; — M. S.***; —
Study of a Bull; — 188 1. A. Allard; — P. P. David d' Angers; —
Rene Paul Huet ; — A. Bertault (illustrated); — M"' Jeanne and
her doll; — A. d'Ech^rac ; — C. Bourgonnier; — Study for a
Provincial Prize Medal; — Studies of Animals; — 1883. Rene
Paul Huet ; — Andre Galland ; — A. Leonard ; — Fauvette (a dog);
— Andr6 Peter; — 1886. L'Age heureux (plaque in D"^ F. P.
— 463 -
Weber's collection); — 1887. Santaire; — PaulHuet; — Thoquet;
— M""" David d'Angers ; — 1900. Caisse d'tpargne of Nantes; —
Marchon ; — Henner; — Paul David d'Angers; — Rodin; —
Agathon ; — Pegase ; — Falguiere ; — Puvis de Chavannes ; —
Leon Lhermitte ; — Jules Dalou; — Bourgonnier ; — Jouenne; —
Bidel ; — E. Fremy; — 1901. Alphonse Daudet, after Falguiere's
statue; — Gaston Bonnier; — M"'"' C***; — 1902. M""' Victor
\
\
\
Jules Dalou.
Peter; — M"* Claire Paul Huet; — 1904. M"'^ Rene Huet ; —
Marceau ; — Pigeon on a bust of Minerva ; — Hare ; — Jose
Clara, statuary; — Sans Peur (a dog); — M. Amy, statuary; —
Various Plaques: Hare and Tortoise ; — Fox and Raven; — Dog
defending its young against viper; — Rat and Oyster; — The
Knife of Damocles ; — Calf; — 1905. Medals: Lion and Bull; —
Panther and its young (for the Soci^te des Amis de la M^daille); —
Cyparis ; — E. Fremy ; — Baron Alphonse de Rothschild; — Happy
Age; — Goat and Kid ; — Medals for the Society of Orientalists;
— Plaquettes : Swallow and small birds ; — Hedgehog ; — The two
Goats; — Crane; — The Sculptor and statue of Jupiter ; — The
Dog dropping his prey for the shadow ; — Dove and Art ; — Satyr
and Kid; — Hare and Frogs ; — The Bear's pavement ; — Wolf and
Lamb; — Death and the Woodcutter; — 1906. Louis Pasteur
(1822- 1 89 5), memorial medal. Obv. Bust to right; Rev. Patera
entwined by serpent, before the globe illumined by the sun^ veri-
— 4^4 —
TATEM VMBRis INVOLVTAM EvoLviT. Broiizc. 68 mill. Upoii obversc,
V.PETER. Upon reverse, the same, incused. In the Boston Collection.
— Hercules and the Hydra; — Pegasus (Prize medal for Poetry) ;
— The Peacock complaining to Juno ; — The Jay adorned with
the Peacock's feathers; — Norman Bull; — "Farmwife and Calf;"
— Hercules; — Dog with its ears clipped, &:c. ; — 1907. St. Hubert;
— Prize Medal for Racing ; — The Swallow and the Spider ; —
Prize Medal for Aviculture ; — Prize Medal for Horse breeding ; —
Pasteur Institute Medal ; — Plaquettes illustratmg some of Lafontaine's
fables : Le renard et le bouc; — Lerat de ville et le rat des champs;
— La grenouille et le boeuf; — Le renard ayant la queue coupee ;
— Le chene et le roseau; — Le gland et la citrouille; — L'aigle et
I'escarbot; — Le bucheron et Mercure; — 1908. Seven Plaquettes
illustrating Lafontaine's fables, andother studies of animals.
" Vous me demandez", writes theartist, "quelle est la specialite que
je prefere. Trouvant tout interessant en art, j'admets peu qu'on se
specialise d'une facon etroite, comme le font malheureusement
beaucoup d'artistes, et j'estime qu'un beau cheval a le droit a notre
admiration autant qu'une figure humaine, qu'on peut mettre autant
de talent dans une medaille que dans un buste ou une statue
(^Lettre dn 2J jiiillet 190 1).
" La large technique du bas-relief est appliquee a la medaille par
Victor Peter, animalier et portraitiste " (R. Marx, Med. franc..
The following medallic works by Victor Peter are on exhibit
at the Luxembourg Museum : Medals : The Happy Age; — Idyl;
— Antonin Mercie, painter and sculptor; — Ldouard Pre my ; —
Pierre-Paul David d' Angers; — Portrait of a Religieuse; —
Plaquettes (studies of animals) ; — Horse ; — Gazelle ; — Spaniel ;
— Dog ; — Cock; — Duck and Ducklings ; — Duck and Snail, &c.
The Jules Dalou medal is reproduced in Studio, XXVI, 62.
Bibliography. — lujormation kindly supplied hy the artist. — Chavignerie et
Auvray, op. cit. — Catalogue du Salon, 1874- 190 5. — Roger Marx, Les Medailleurs
jranfais. — Ibid., Les Medailleurs contemporains . — D"" H. J. de Dompierre de
Chaufepie, Les Me'dailles et Plaquettes modernes. — Ga:(ette Numisniatique fratifaise,
1898-1905. — Art et Decoration, 1901.
PETERS, MATHIAS {Danish). Goldsmith, and Engraver, of the
second half of the seventeenth century. Very little is known of this
artist and his works. His signature, PETERS F. occurs on a medal
of 1691, with bust of William III. of England, commemorating the
Surrender of Limerick, on the ^^ October of that year. A specimen
exists in The Hague Medal Cabinet.
Bibliography. — Franks and Grueber, op. cit. — Oranje Penningen, 476. —
Catalogus, &c., n" 161 1.
— 465 —
PETERSDORF, STEPHAN BENIG VON (Bohem.). Interim Mint-
master-general for Bohemia, 1629-30.
PETERSEN, ANDREAS (Dan.). Mint-master at Copenliagen, 1628-
1643.
PETERSEN, CARL (Germ.). Goldsmitli and Engraver^ born 26.
July 1815 at Brunswick, apprenticed to the silversmith Jacobi;
went in 1835 to Munich, where he was employed tor some time
by the Court Goldsmith Opiiz; settled at Trieste in 1837 as Engraver
of Seals, Dies, &.C.; and appointed 22. August 1842 Engraver at
the Brunswick mint, and Court-engraver, 25. April 1853. He died
on 5. September 1892. Fide Lange, Sammlung schleswig-holstein-
ischer Miin:(en und Medaillen, Berlin, 1908, p. 238.
PETERSEN, PETER (Dan.). Medallist, born in 1810 ; Mint-
engraver at Copenhagen, circ. 1850-1864. His signature PP occurs
on coins of 1857 and also on medals. Among his best known
medallic works are : War Medal presented by Denmark to Swedish
and Norwegian volunteers during the Campaign of 1848- 1849 (AT. 3 ;
JK. 369; audit. 812); — Jubilee Medal of Anders Sandoe Orsted,
jurist (1778-1860); — Hans Christian Orsted, 185 1 (Obv. by
Harald Conradsen) ; — War Medal with bust of Christian IX. for
the War of 1863; — Medal of Merit (AZ".), with bust of Christian IX.,
presented to Nansen, the Arctic explorer. The medals" are usually
signed: P. PETERSEN.
Bibliography. -Schlickeysen-Pallmann, op. cit. — ]org*tnsQn,BeskriveUe, &c.
— Thorn sen Catalogue.
PETIT (French). Mint-engraver at Tours, 1730.
PETIT, JACQUES I (French). Mint-engraver at Bordeaux, 1720.
PETIT, JACQUES U (French). Mint-engraver at Tours, 1767-1768.
PETIT, JEAN CLAUDE (French). Sculptor of the nineteenth cen-
tury, born at Besancon, 9 February 181 9. Pupil of David d' Angers
and the ficole des Beaux-Arts. His signature occurs on Portrait-
medallions, such as those of: Marshal Moncey, duke of Conegliano;
— Jouffroy; — M. Weiss; — M. Perron ; — E. Viancin; — Alfred
Bourgon; — Marquis de Faletans ; — M™^ deLatour; — M"'^ Andre
Pavel, &c.
Bibliography. — Chavignerie et Auvray, op. cit.
PETIT, JULES tMlLE (French). Contemporary Sculptor and
Medallist; pupil of Chaplain. By him are numerous Portrait-
medallions, some of which were exhibited at the Paris Salon in the
seventies of the nineteenth century.
L. FoRRKR. — Biographical Notices of Medallisls. — IV. 30
— 466 —
PETIT, LOUIS MICHEL (French). Sculptor, and Medallist, born at
Paris on August 29, 179 1 ; pupil of Simon and Cartellier. His activ-
ity is comprised between circ. 18 15 and 1844. He died on July 19,
1844. The numerous medals which this Engraver produced are
usually signed L.M.PETIT.F., or PETIT.F. Among them are : Com-
pletion of the Paris Bourse and Tribunal de Commerce; — Prince
de Conde; — Joseph Vernet, 1818; — Copernicus, 1818; —
Christopher Columbus, 1819 ; — Isaac Newton, 1819; — Bour-
daloue; — Gerard Audran, 1822; — J. F. de Laharpe, 1822; —
Marmontel, 1820; — Due d'Enghien, 1821; — Lamoignon de
Malesherbes, 1821 ; — P. D. Ecouchard Lebrun, 1821 ; — Forbin-
Janson ; — Inauguration of the Expiatory Chapel in honour of
Louis XVI. and Marie-Antoinette ; — Reestablishmentof the statue
of Louis XIV. at Caen; — Reestablishment of the Garde Nationale;
— Visit of the Queen of France to the Paris Mint, 1832; — Inau-
guration of the Museum ot Coins and Medals; — Foundation of the
Historical Museum of Versailles; — Capture of Constantine; —
Marriage Medal of Princess Marie of Orleans with the Duke of
Wiirttemberg; — Christening of the Comte de Paris, 1841 ; —
Death of Princess Marie of Orleans ; — Attempt on the Life of
King Louis-Philippe by Darmes; — Death of the Duke of Orleans,
1842; — Badge of Members of the Chambre des Deputes; —
Wilhem, founder of popular schools for the teaching of singing,
1842 ; — Barron Larrey, surgeon-in-chief of Napoleon I'.s armies;
— Marriage Medals ; — Francois Lefort, 1819 (one of the medals
contributed by Petit to Durand's "Numismatic Series"); — Acces-
sion of Bonaparte to the Consulate in An VIII (struck about 1830);
— WeUington, on the Lines of Torres Vedras, 181 1 (Mudie's
NationalSeries, n° 17, obv.); — Queen Elizabeth of England, memo-
rial medal struck in 1820; — Jacques Delille, 182 1 ; — A. B. C.
Gaultier; — J. B. Cant. Hanet-Clery, 1821; — Jean de La
Bruyere, 1819; — A. E. G. Gaultier, 181 5 ; — Baron D' J. D. de
Larrey, Paris (after P. J. David) ; — Louis Napoleon, 18 10, etc.
There is also a series of Portrait-medalets of the Kings and
Queens of France by Petit.
As a sculptor, this artist produced some fine works, amongst
which his' Faith and Hope', 1824, and a bronze group representing
'Jupiter asleep in the arms of Juno' are the best known.
Michel Petit was a member of the Committee of the Mint. "He
executed a number of Collegiate pieces and largely contributed to
the Durand series", says Mr. Grueber, and he also worked for
Mudie's "National Series".
Bibliography. — Rondot and De La Tour, op. cit. — Chavignerie et Auvray,
op. cit. — Bramsen, op. cit. — D"" F. P. Weber, op. cit. — Franks and Grueber,
op. cit. — Bolzcnthal, op. cit.
- 467 -
PETIT, MARTIN (French). Mint-engraver at Tours, 1720-71733.
PETIT, V. (French). Medallist of the second quarter of the seven-
teenth century, by whom are Portrait-medals of PhiHp, Prince and
Count of Aremberg, Duke of Aerschot, 1633. Two varieties are
described in Catalogus der Nederlandsche en op Nederland beirekking
hebbende Gedenkpenningen, I, 1902.
PETITJEAN, EUGtlNE AUGUSTE (^French). Contemporary Sculptor,
born at Fremont; pupil of Joutfroy. At the Salon of 1886 he
exhibited two Portrait-medallions, one of which represents
M"'^ A. Baudon.
PETITOT, JEAN (Su-'iss). Enameller and Miniature-painter, born at
Geneva, 12. July 1607, died at Vevey, 3 April 1691. He was first
apprenticed to a goldsmith, Pierre Bordier, under whom he attain-
ed great skill in the art of enamelling, and with whom he, at a
later date, visited Italy, France, and England. In London, the artist
had the good fortune to iorm the acquaintance of Sir Theodore
Turquet de Mayerne, physician to Charles I., who had discovered
the purple colour, so necessary in enamel-painting, to render the
delicate flesh tints. "Mayerne introduced Petitot to the King,
who retained him in his service, and gave him apartments at
Whitehall. He painted the portraits of that monarch and of his
family, several times. He copied several pictures after Van Dyck,
who assisted him with his advice. King Charles often went to see
him at work, as he took great pleasure both in painting and chem-
ical experiments " (Bryan's, Diet, of Painters, IV, 104).
Charles I. entrusted Petitot with the execution of a George for the
Order of the Garter, which is one of the only medallic productions
of the artist. After 1649 the artist followed the English royal family
to France, where Prince Charles (II) introduced him to Louis XIV.
In Paris, he met Jacques Bordier, cousin of Pierre, and also a gold-
smith and enameller, with whom he entered into a partnership,
lasting 35 years. Petitot painted the face, hands and flesh, whilst
Bordier did the hair, dress, jewels, and accessories. The subjects
were frequently reproduced from the works of Le Brun, Mignard,
Regaud, Nanteuil, Ph. de Champagne, Largilliere, &c. Petitot's
finest enamels date of this period, and comprise the whole court
and notabilities of France : Louis XIV., Anne of Austria, Maria
Theresia, Sully, La Valliere, Vendome, Louvois, Olympia and
Hortense Mancini, Richelieu, Mazarin, Bussy-Rabutin, M'"^ de
Sevigne, M""-' de Maintenon, Moliere, la " Grande Mademoiselle",
Mme jg Montespan, the Duke of Orleans, Armand de Meilleraye,
Turenne, Fouquet, Nmon de Lenclos, M""' de Longueville, &c.
Stroehlin, the latest biographer of Petitot, gives a list of 302 authen-
ticated and 1 5 doubtful enamels by this artist.
— 4^8 —
After the Revocation of the Edict of Nantes, in 1685, Louis XIV.,
unwilhngly, and after having endeavoured to obtain his abjuration
of the Protestant faith, allowed Petitot to return to Switzerland,
where he continued to exercise his art, first at Geneva, then at
Vevey, until 1691.
Bibliography. — Ernest Stroehlin, Jean Petitot et Jacques Bordier, deiix artistes
huguenots du XV 11^ siecle, Geneva, 1905. — Bryan ed Williamson, op. cit., IV,
104. — Walpole, Anecdotes of Painting, II, 150. — Chavignerie et Auvray, op.
cit., II, 254.
PETRECINI {hah). A Florentine Medallist, who was working
circ. 1460 at Ferrara. Hitherto only four medals and a plaque have
been ascribed to him with certainty : Borso d'Este I., Duke of
Ferrara (141 3-1450 f 1471); ^- Compass; signed : OPVS. PETRE-
CINI . DE . FLORETIA . MCCCC . LX . (diam. : 95 mill.; illustrated); k
fine specimen, in the Lobbecke collection, was sold in November 1908
for 4500 Marks — Octagonal Plaque with similar bust, uniface ;
legend : bor'est'dvx'ferr. (90x58 mill.); — Giovan Francesco 11.
Pico delia Mirandola; same date, mccclx (diam. : 53 mill.; Berlin
Museum); — Antonio Salvalaglio; Bust similar to that in the
469 —
Borso d'Este I., Duke of Ferrara, 1460.
preceding; ^L. a.celo.fortvna.datvr. Dragon to r. ; unsigned
(diam. : 49 mill.; Berlin' Museum); — Lorenzo Strozzi, Ferrarese
lawyer; obv. lavrentivs . strozza . comes . etc. Bust; I^.. opvs.
petrecini.de. FLORENTiA.MCCCCLx. Strozzi arms.
Milanesi suggested the identification of Petrecini with PIETRO
DI NERI RAZZANTI, a Florentine Gem-engraver, born in 1425, and
who was still living in 1480.
Bibliography. — Bolzenthal, op. cit. — Heiss, Me'dailleurs de la Renaissance. —
Armand, op. cit., I, 35 ; 11, 286 ; III, 5. — I. B. Supino, 11 Medagliere Mediae,
1899. — Friedlander, Schaumun-^en, &c. p. 58. — C. von Fabriczy, Italian Medals,
pp. 38, 99.
PETREIN {Austr.y Moneyer at Vienna, 1399.
PfiTREMANT, ANDR£ PIERRE (^French). Gem-engraver, born at
Paris; pupil of Vimont, and Levasseur. At the Salon of 1902, he
exhibited a crystal cup, with bottom representing female figure
reclining, " Paresse ", and in 1903, * La source '.
— 470 -
p£tremant, £dOUARD {French). Contemporary Sculptor, born
at Maubeuge (Nord); pupil of Gutton. Amongst his Portrait-
medallions I have noticed : 1868. A. M***; — C D***; - 1870.
L.J***; — M. R***.
PETRITSCHEK, CARL (Ausir.). Chief-engraver at the Mint of
Kremnitz, 1 871- 1872.
PETROS. This inscription occurs on an ancient gem, with head
of Caracalla. It has probably been added in mediaeval times by the
owner, who thought the portrait represented the Apostle Peter.
PETROVITS, DEMETER (Austr.). Director-general of the Vienna
Mint, since 1901, in succession to Joseph Muller. He was born in
1853 at Pancsova, and studied at the Mining Academy of Lesben.
In 1890 he entered the Mint as Engineer, and from that date had the
direction of the machinery for the striking of the coinage In 1877,
he became Vice-Director of the Mint.
PETRY or PETRI, H. (Germ.). A portrait-medallion (diam. :
153 mill.) ofEhas Apollonius EmilUmpfenbach, painter, bears the
signature H P, ot the sculptor H. PETRI of Frankfort-on-Main.
Electrotype reproductions in bronze of this medallion were
executed by the sculptor Gustav von Kress, about 1880.
PETTER, ANDRA (Austr.). Mint-engraver at Vienna, who
resigned his office in 1630.
PETTIT, THOMAS M. (^;«^r.). Eighth Director of the Philadelphia
Mint, appointed by President Pierce, April 4, 1853. He died a few
weeks after his appointment, 20. May.
PETZOLDT, ANDREAS (Germ.). Mint-engraver (Mnn:(drucker) at
Dresden, 1658.
PETZOLD, ZACHARIAS (Bohem.). Moneyer at Glogau in Silesia,
1 62 1. His monogram ^,
PETZOLDT, HANS (Germ.). Fide BETZOLDT Vol. I. Goldsmith and
Medallist, of Nuremberg, died in 1633, at the age of 82, having
been born in 1 5 5 1 . Rosenberg, Der Goldschmiede Merk^eichen enu-
merates a number of this artist's works in plate.
The only medal that may be ascribed to him without doubt is
the well-known one of Albrecht Diirer (illustrated).
— 471 —
A medal, representing the Baptism of Christ, described b}'
D"" Merzbacher, Kunst-Medaillen Katalog, Mai 1900, p. 81, n°443,
is described as in the manner of Petzoldt.
Portrait Medal of Durer
PEUTINGER, JAKOB (Germ.'). Mint-master at Augsburg, 1420-
1429. His mitials I. P. occur on the coinage issued by him.
PEUTMtLLER, 6E0RG {Germ.). Goldsmith, and Mint-master at
Nuremberg, 1622, 1626, and Mergentheim, 1624-1628.
PEUVRIER {French). Medallist of the first half of the nineteenth
century. He resided at the Rue des Marais, 4, Faubourg Saint-
Germain, Paris. His name occurs as Exhibitor at the Paris Salon in
1827, 183 1 and 1833. Amongst his numerous productions we find :
Medal of Charles X. ; — Revolution of the 27., 28. and 29. July
1830; — Henri Montan Berton, composer, 1824; — Johann
Nepomuk Hummel, composer, 1825; — Rudolf Kreutzer, violon-
ist, 1823 ; — Jean Francois Le Sueur, composer, 1826 ; 7- Gio-
vanni Battista Viotti, violonist, 1824; — Bernard Germain Etienne,
comte de La Ville sur lUon-Lac^pede, composer, 1829 (2 var.) ;
— Claude Antoine Gabriel, Duke of Choiseul, 1828 ; — Masonic
medal of the ' Friends of Order,', Paris; — Eynard, the Great
' Philhellene, 183 i; — Bossuet, 1823; — J. L. Henriette Cam-
— 472 —
pan, 1825; — Dominico Cassini, astronomer, 1823; — King
Christian VI., of Denmark, 1823; — M. A. Desaugiers, poet,
1817; — C. N. Fabvier, general, 1829; — Comtesse de Genlis,
827; — Stanislas Girardin, 1827; — King Louis Philippe I.;
i^voiLA LE PRINCE, &c. ; — Suclict, Duke" of Albufera, 1826;
— Horace Vernet, 1826; — D"^ P. A. Beciard (2 var.); — Marie
Louise La Chapelle, 1825; — D' Ulysse Aldrovandi, of Bologna
v^var. of 1818 and 1722 (Durand series); — Cardinal J. Dominic
assini, 1823 (Durand), &c.
Peuvrier was one of the artists who contributed to Durand's
' Medallic Series '.
Bibliography. — Bolzenthal, op. cit. — Various Sale Catalogues.
PEVERELLI, GABRIEL (Aitstr.). Mint-inspector in Vienna, appoint-
ed on 18. August 1644.
PEYEL, CHRISTOPH (Germ.). Mint-warden at Zweibriicken,
1613.
PEYNOT, £MILE EDMOND (French). Contemporary Sculptor, born
at Villeneuve-sur-Yonne (Yonne); pupil of Jouffroy and Robinet.
Bv him are several Portrait-medaUions : 1870. M""" E. C***; —
1878. M^^L***; — 1881. Suzanne B***, &c.
PETRAULD, SIMON (French). Mint-engraver at Grenoble, 1576.
PEYRE, JULES CONSTANT (French). Sculptor ot the nineteenth
century, born at Sedan (Ardennes), in August 181 1; pupil of
Barye. He was still living in 1870, which is the date of his last
exhibit at the Paris Salon. He worked for the State Manufactory
of Sevres.
By him are numerous Portrait-medallions: 1840. C. G***; —
1 84 1. L. L***; — 1842, L. Bisson ; — 1852. Louis Napoleon
Bonaparte, Prince President of the Republic; — M"^ L. B***; —
1855. Napoleon III.; — Empress Eugenie; — M""^ A. P***; —
Baron Edouard de Verdiere; — 1857. General Fleury; — 1863.
Portrait ot the Prince Imperial; — 1870. M"^ J. B***, &c.
Bibliography. — Chavignerie et Auvray, op. cit.
PEYRONNET, £MILE fOOUARD (French). Contemporary Sculptor,
born at Paris ; pupil of A. Millet. By him are various Portrait-
medallions. One of his father, and another of M. Bidaut, he
exhibited at the Paris Salon in 1897.
PfZIEUX, JULES ALEXANDRE (French). Contemporary Sculptor,
born at Lyons, 17. June 1850; pupil of Jouffroy, and the Ecole
des Beaux Arts. Among his medallic productions are Portraits :
1877. S. Delorme; — 1892. Francois d'A. C***.
— 473 —
P. F. Vide GIOVANNI PAOLO. Italian Medallist of the latter end
of the sixteenth century.
P. F. Fide PETER FLOTNER. Nuremberg Medallist of the first half
of the sixtheenth century.
P. F. Vide POITEVIN. Engraver at Wiirzburg, 1763-1776.
P. F. Vide PETER FETZER. iMint-en graver at Neisse, circ. 1678-9.
P. F. Vide PIERRE FERRIER. Medallist at Geneva, 1790-1798.
P.P. Vide p£RIER. Paris Die-sinker ot the 1848 Revolution
period.
P. F. B. Vide PHILIPP BUNSEN. Mint-master at Frankfort-on-M.,
1764-1790.
P. F. C. Vide PAUL FRIEDRICH CRUM. Mint-master at Coburg,
1685-1714.
PFFR. F. Vide C. PFEUFFER. Berlin Medallist, circ. 1825-185 1.
Bibliography. — Schlickeysen-Pallmann, op. cit.
PFAFF, HANS (Gerni.). Mint-master at Straubing, 1460.
PFAFFENHOFER, HANS {Germ.'). Probably a native of Schesslitz,
who worked as a Die-sinker at Nuremberg, circ. 1429.
PFAHLER, ALEXANDER (Germ.). Mint-warden at Berlin, appoint-
ed in 1625.
PFAHLER, CHRISTIAN (Germ.). Mint-master at Schleswig, 1668-
1672, and 1676; Emden, 1673-1674; and Jever (Anhalt) from
about 1674 ^^ 1 69 1. His issues bear his initials C. P.
PFAHLER, CHRISTOPH (G^rm.). Mint-master at Liegnitz, 1650;
Brieg, 165 1. Father of Samuel Pfahler.
PFAHLER, ERNST (Germ.). Son of Jakob P. ; Mint-warden at
Halle and Quedlinburg.
PFAHLER, JAKOB. Vide PFALER. A brother of Johann Pfahler.
PFAHLER, JOHANN (Germ.). Moneyer at Saalfeld, 1580-1616.
PFAHLER, SAMUEL (Germ.). Mint-master at Oels (Wiirttemberg),
1 674- 1 679. He signed S. P. Nagler calls him Simon P. I have
noticed the initials S. P. on a Thaler of Sylvius Frederick, Duke
of Wiirttemberg-Tcck, 1674, ^^^ on a medal or badge ot the same
prince, engraved by J. Neidhardt. He was born at Breslau, 8. March
1647.
Bibliography. — Friedensburg. op. cit.
— 474 —
PFALER, JAKOB {Germ.^. Mint-master at Marsberg, 1606-1609;
Paderborn, 1611-1615; Saalfeld, 1614; Detmold, 1618-1619; and
Corvey, 16 19- 1620. He was a son of Georg Pfaler, and brother of
JOANNES PFALER, who was Moneyer at Saalfeld, 1 580-1616. A
son of Johannes P. was Mint-warden at Halle and Quedlinburg.
Bibliography. — Muller, Die Miin:^e ;^m SaalJeJd und Hire Meister, Blatter fur
Mun^freunde, 1884, pp. 942, 1054.
PFEFFENHADSER, JEREMIAS (Germ.). Also PEPFENHAUSER. Dis-
trict Mint-warden at Augsburg, i66')-i69^ (Lori, III, 8, 28).
PFEFFENHAUSER, JOHANN CHRISTOPH (Germ.). District Mint-
warden at Augsburg, 169 3 -1709.
PFEFFER, JOHANN ANTON (Germ.). Mint-master at Zellerfeld
(Brunswick), 1763-1773. His initials I. A. P. occur on currency of
George III. of England tor Brunswick-Liineburg.
PFEIFER, FELIX (Germ.). Contemporary Sculptor of Leipzig,
who modelled a Plaquette commemorating the Tercentenan,' of
the Discovery of the Salzbrunn mineral Springs in Silesia, 1901.
He is a pupil of the Academy of Fine Arts, and also studied at
Paris. At the Dresden Fine Art Exhibition in 1900 he exhibited
seventeen Portrait-plaquettes &c., of very creditable work.
Bibliography. — H. B., Felix Pfeijers Modell einer Salibrunn-Plaketle, Blatter
fur Munzfreunde, 1901, p. 222.
PFEIFER, PETER (Germ.). Mint-master at Baden, 1 623-1630.
I have noticed his initials P. P. or P on currency (Hirschgulden, &c).
of Julius Frederick, Duke of Wurttemberg and Teck (Julianische-
Weillingische Linie).
PFEIFFER, JOHANN (Austr.). Mint-engraver at Vienna, 1866-
1882. Before 1866 he had already been employed for some years as
Assistant-engraver. One of the earliest dies he cut was that for the
obv. of the Four Ducat piece of 1859. By him are also : Mezzo
Soldo of 1862 for Lombardy and Venice; — 20 Kreutzer of 1868
for Hungary (in conjunction with J. Tautenhayn); — 4 Kreutzer
for Hungary, 1868 (obv. by F. Gaul) ; — 20 Kreutzer for Hungary
(Carlsburg), 1870 (in conjunction with Tautenhayn); — Commem-
orative Gulden of 1875 ; ^. zur erinnerung an die erreichte
SAiGERTEUFE VON 1000 METER | PRIBRAM 1875 ; — Military Medal ou
the 25''' Anniversary of Francis Joseph I'. s reign, 1873 (obv. by Tau-
tenhayn); — Coinage of Liechtenstein, 1862 (Reverses only of
Thalers).
He died at Vienna, 8. February 1882.
Bibliography. — Heinr. Cubasch, Die Munien unter der Regierunn des Kaisers
Frani Joseph [., 1875. — Katalogder Mfinien und MedaiUen-Stempel-Siimmlung des
K. K. Hauptvniniamtes in IVien, 1904, III.
— 47) —
PFEIL, PAUL (Germ.). Goldsmith of Hain, who was condemned
in 1564 tor counterfeiting coins.
PFEUFFER, CHRISTOPH KARL(G^rm.). Medallist and Coin-engraver,
of the nineteenth century, born at Suhl, 29. October, died at Ber-
lin 1 86 1, 24. December. Pupil of Doll at Suhl. In 1821, he entered
the Loos Die-sinking establishment as Engraver, where he remain-
ed about twenty years. On 9. September 1840 he received an
appointment at the Berlin Mint, in succession to the medallist
Held, and on the death of Brandt, in 1845, he was promoted to the
rank of first Medallist to the Mint. Bolzenthal states that he was well
endowed by nature, modelled quickly and carefully, and took good
likenesses, but was perhaps too hasty and prolific. The medal of the
Third Centenary of the Reformation at Berlin, 1839, is possibly
one of his most successful productions, amongst which I will only
mention : Gottfried B. Loos (illustrated); — Blumenbach, Stro-
Gottfried Berahard Loos.
meyer, and Eichhorn, Gottingen ; — D"^ D. E. Guenther, Duisburg,
1822; — Hamburg Hospital, 1823 ; — D"" C. J. Carstanjen, Duis-
burg, 1835 ; — D' C. F. von Graefe Berlin, 1829; — D' C. G.
Hagen, Konigsberg, 1828; — D'^H. W. M. Olbers, Bremen, 1830;
— D' J. K.J. Lobmeyer, Berlin, 1850; — D''E. Rueppell, Frankfort-
on-M., 1828; — D-^ F. W. J. von Schelling, Jena ; — D^ J. T. von
Sommering, Frankfort-on-M. (2 var.); — D*^ J. Wendt, Breslau ;
— Convention of German Naturalists and Physicians, at Breslau,
1833 ; — Accession of Frederick William IV. of Prussia, 15 Octo-
ber 1840; — Prize Medal of 1844 with bust of King (* Adler
Medaille'); — Prize Medals, several varieties, with Rs Fortune,
Helios in quadriga, &. ; — Coronation of William I. of Prussia at
Konigsberg, 1861 (sev. var.); — Marriage of William (I.) with
Princess Augusta of Saxe- Weimar, 11. June 1829; — Marriage of
Prince Albert of Prussia, with Princess Marianne of Nassau,
— 476 —
14- September 1830; — Musical Festival at Cologne under the direc-
tion of Felix Mendelssohn-Bartholdy, 1835; — Spontini, Italian
composer, 1829; — Third Choral Festival of the Jubilee Associa-
tion, 1857; — Mendelssohn-Bartholdy, 1841 ; — Third Centenary
of the Augsburg Profession of Faith, 1830; — Jubilee of Caspar
Maximilian, bishop of Miinster, 1845; — Coinage of Paul Frede-
rick Emil Leopold, Prince of Lippe, i860, and subsequent years; —
Memorial Medal of W. Amsinck, burgomaster of Hamburg, 183 1;
— Carl F. Fred, von Nagler, Postmaster-general at Berlin, 1835;
— Bliicherand Schwarzenberg's Entry in Paris, 1814; — Johann v.
Diebiisch, Russian general, 1785 ; — Cholera Epidemics at Breslau,
1822; — Centennial Festival of theCrand Lodge ofthe threeGlobes,
1838 ; — Masonic Semi-centennial ofthe Grand Master of the Grand
Land Lodge of Germa-iy, 1840; — Frederick IL, Founder of Free-
Masonry at Berlin, Centennial Medal, 1840; — Alexander von
Humboldt; — Proclamation of Fred. Will. IV. at HohenzoUern,
185 1, &c.
Pfeuffer worked for the Loos die-sinking establishment at Berlin.
His medals and coins are usually signed : C. P.; — C. PFEUFFER FEC. ;
— PFEUFFER.; — PFFR. F.
Bibliography. — Bolzenthal, op. cit. — Menadier, SclMiimunien des Hauses
Hohen:(ollern . — Friedeniburg u. Seger, Schlesiens Miinien und Medaillen der
neueren Zeit, Breslau, 1901.
PFISTER, JOHANN (Germ.). Mint-engraver at Hechingen, 1622.
PFISTER, KASPAR (Germ.). Mint-official to the States ot Silesia,
1621-22.
PFLUG, CHRISTOPH (Germ.). Mint-master at Magdeburg, 1672-
1678 and 1682; Zerbst, 1674-1690 or later. He died at Dessau in
1693. His initials C. P. occur on the coins.
PFREUNDTER (or PFRUmbDER) (Germ.). Mint-master at Fiirth,
1621-1622.
PFROGNER, MICHAEL (Austr.). Provisional Mint-master at Prague,
1710-1711.
PFRUMBDER (or PFREUNDTER). Mint-master at Fiirth, 1621-
1622.
PFRUNDT, ANNA MARIA. Vide ANNA MARIA BRAUN. Vol. I. N.E.
Modeller in wax, and MedaUist, the daughter of Georg Pfriindt,
and wife of Bartholomaus Braun, was born at Lyons in 1643, and
died at Frankfort-on-M., in 173 1. Doppeimayr (p. 266) states that
in wax-modelling she was unsurpassed, and that she made all kinds of
medals. These are said to be signed AMP before her marriage, and
AMB after.
— 477 —
Anna Maria Pfriindt studied and imitated the works of
Abbondio.
Bibliography. — Doppelmayr, Historische Nachricht von den Nurnbergischeti
Mathematicis und Kiinstlern, Nurnberg, 1730. — Erman, op. cit.
PFRtJNDT, GEORG (Germ.). Sculptor, Modeller in wax. Medallist,
and Gem-engraver at Ratisbon ; born in Bavaria, 1603; pupil of
L. Kern and Vest; died at Durlach, 1663, He appears to have
resided for some time at Lyons, where his daughter Anna Maria P.
was born in 1642, and is said to have worked ar Paris under Varin
until 1 646, and later at various South German minor Courts, staying
in turn at Durlach, Heidelberg, Mergentheim, Salzburg (1650-
1654), Stuttgart, &c.
Charles-Louis, Count Palatine; ^L. Heidelberg Castle.
Amongst this artist's signed medals are : 1650. Duke Octavio
Piccolomini (Bergmann, PI. 21, 11 1). Another, oi 1648, in the
Berlin Museum, is without the monogram GP. ; — 1656, Joachim
von Sandrart (Berhn); — 1659. Eberhard III. of Wiirttemberg
(appears to be struck. Binder, p. 143, 67), etc.
By Pfriindt are no doubt also, according to Erman : Undated. Karl
Gustav Wrangel, Swedish field marshal (Berlin); — 1655. Christian
Ernest of Brandenburg-Baireuth(2 var., inBerl. Mus.); — Undated.
The Great Elector (Henkel Cat., PI. 2, 710); - Andreas Georg
Paumgartner (Berlin) ; — Emperor Ferdinand III. ; — 1661. Adolf
Saubert (Berlin); — (1648?). Charles Louis, Count Palatine-
Simmern; ^L. Lion sejant (Berlin); — 1650. Max Henry of Bava-
ria, Archbishop of Cologne (in two sizes, Berl. Mus.); — Undated.
Charles Louis, Count Palatine ; ^L. Heidelberg Castle (BerUn.
Illustrated) ; — Another ; ^L. Oak tree (Berlin) ; — Maximilian Henry,
Archbishop of Cologne; oval, 29X 35 mill.; — 1660. Louis,
- 478 -
Baron von Seltz, natural son of Count Palatine Charles Louis
(Berlin. Obv. illustrated); — Before 1669. Ferdinand Maximilian
of Baden (Berlin); — Undated. Louis William of Baden (Berlin);
— 1639. Religious Medal, with bust of Ferdinand IIL; ^L. firma-
Ludwig Freiherr von Sehz.
MENTA REGNORVM Eagle (signed : G. P., and possibly the work of
Pfriindt); — 1637. Coronation of Emperor Ferdinand IIL ; —
Another, undated ; Obv. Bust of Ferdinand III. ; ^L Symbol and
Motto; signed : G. P. ; — 1654. Guidobaldus, Archbishop of Salz-
burg (2 varieties); a third medal, unsigned, presenting on I^.a fagade
of the cathedral, is also attributed to Pfriindt, on account of
similarity of style with the preceding); — Undated, Kail Gustav
Wrangel; oval 43X34 mill,; — F. Egon, Prince Fiirstenberg;
oval 43 X 3S mill.
"Dafiir", says Erman, p. 82, '*dass Pfriindt der Verfertiger
dieser trefflichen Medaillen war und nicht Braun, woran man auch
denken konnte, spricht zunachst der Rand aus klcinen Punkten,
den jener auch sonst anwendet, wahrend dieser eine glatte Linie
vorzieht. Sodann aber folgendes. Wir wissen durch Binder, dass
Pfriindt auch die Stempel zu den schonen Thalern Eberhards IIL
von Wiirtemberg von 1659 geschnitten hat; diese abersind augen-
scheinlich von derselben Hand, die die Thaler Karl Ludwigs von
der Pfalz von 1657 und 1659 geschnitten hat. Also hat Pfriindt
auch fiir den pfalzischen Hof gearbeitet und man wird ihm um so
eher auch dessen Medaillen zuschreiben, als diese den fraglichen
Thalern in der Eleganz des Stiles gleichen. Ubrigens nennt auch
Doppelmayr Heidelberg ausdriicklich als einen der Hofe, wo
Pfrundt arbeitete ".
According to Bolzenthal, Pfriindt learned drawing and sculpture
at Nuremberg, under L. Kern, and Vest, was engaged as Engineer
at the court of Duke Bernhard of Saxe-Weimar,and after a residence
of some years in France, returned to Nuremberg, practising there the
— 479 —
art of the sculptor and medallist, and occasionally visiting the
Princely courts of South Germany in his professional capacity.
Bibliography. — Bolzenthal, op. cit. — Erman, Deutsche Medailleure, 1884,
p. 81. — Domanig, op. cit. — Nagler, op. cit. — Singer, Allgeni. KUnstler Lexikou.
— Gustav Zeller, Mfin^eisenschneider, Graveure utid Medailleure inSal-^lmrg, Num.
Zeitsch., XX, 396. — B. Pick, Mittheilungen der Vereinigung fur Gothaische Ge-
schichte imd Alter turns forschmg, 1904, p. 128.
PFRtJNDT, GEORG (Germ.). Mint-master at Reval, 1648-1652. He
signed G. P.
PEYFFER, KASPAR {Siuiss). Mint-master at Lucerne, 1588-
1592.
PFYFFER, COL. RUDOLPH (Swiss). Mint-master at Lucerne, 1589,
in conjunction with Kaspar PfyfFer. They were really Inspectors or
Superintendents of the Mint.
P. G. Fide PETER GRtJNER. Mint- master at Copenhagen, 1629-
1643, and Christiania, 1643-1652.
P. G. Fide PETER GRUNER. Mint-master at Christiania, 1675-
1685.
P. G. Fide PIETRO BERNARDO GIANELLI. 1761-1806. Medallist at
Copenhagen, circ. 1786.
P. 6. N. Fide?kTJL GOTTLIEB NURNBERGER. Mint-masterat Nurem-
berg, 1721-f 1743. Also N.
Bibliography. — Schlickeysen-Pallmann, op. cit.
P. G. A. Initials of a South American Medallist, which occur
amongst others on a Proclamation Medal of Charles IV. ot Spain, at
Guatemala, 1789.
P. H. Fide PETER HEMA. Imperial Mint-master at Glatz, circ.
1628-1631.
H P p^. Monogram of a German Artist of the second half ol the
sixteenth century. It occurs on two Portrait-medals of Jacob Muffel,
undated, and Georg Roggenbach, 1575. As Roggenbach was
** Consulent der Republik Niirnberg ", the medal was surely
executed at Nuremberg. Erman does not think the work corres-
ponds to that of Hans Petzoldt.
■0-F- T/W^ JOHANNES Fecit? The first letter of this signature is
not a <X> but the monogram 10. The medal thus signed bears a por-
trait of Andrea Gritti, doge of Venice (f 1538); I^. opt.de
PATRIA MERiTo; cx. : GRATi CIV. The Doge on horseback; diam. :
— 4^0 —
6$ mill. Milanesi has suggested Giovanni Zacchi as the author of
this medal.
0. Signature of one or more Coin-engravers of Magna Graecia,
of the fourth century B.C. The coins thus signed will be found
described under PHILISTION and PHRYGILLOS (q. v. infra).
PH. BAL. Fide FILIPPO BALUGANI. 1734- 1780. Medallist at
Bologna.
P. H. G. Vide PAUL HEINRICH GODECKE. Medallist at Hamburg,
1730-1764.
P. H. M. Fide PHILIPP HEINRICH MULLER. 1 650- 17 18. Goldsmith,
and Medallist, at Nuremberg and Augsburg.
PHA (Greek). Possibly PHANIAS. The signature OA occurs on a fine
Tetradrachm of Eretria(Euboea), in the Cabinet des Medailles, Paris.
It is described in M. Babelon's, Melanges niimismatiqueSy I, p. 67.
Tetradrachm. ot Eretria.
The letters <t>A are inscribed on the bandeau of the headdress, and
leave no doubt as to their being an Engraver's signature.
The period of this Engraver's activity would be comprised in
the first half of the second century B.C.
PHARNAKOS (Greek). Gem-engraver ot Graeco-Roman times. The
signature ct>APNAKHC €n(:u'.) occurs on a carneiian intaglio
representing a Marine Horse, now in the Naples Museum. This gem
is already mentioned in sixteenth century literature, and modern
critics are in favour of its authenticity, notwithstanding Kohler's
adverse opinion.
This Engraver's signature has however been added in modern
times to a number of gems : Capricorn, carneiian (Hague Museum) ;
— Nemesis standing holding bridle; — Boar crouching amidst
reeds; — Head of Mercury, red jasper; — Lion passant, etc.
Bibliography. — Reinach, Pier res gravies, p. 175. — Brunn, op. cit., II. 574.
889, 6)-. -
Koehler, op. cit., Ill, 178. — King,
— Furtwangler, /a/w^Mc/;, &c., i
op. cit.
PHIDIAS or PHEIDIAS (Greek). The greatest Sculptor and Statuary
of ancient Greece, born at Athens, where he died in 432 B.C. He
flourished in the time of Pericles, under whom he was appointed
to direct the works of art projected to the beautifying of the city,
and commissioned to execute certain of these works himself. He
Head of the Athene Parthenos, by Phidias,
on a late Teiradrachm of Athens.
superintended the erection of the Parthenon, much of which he
himself adorned. The most famous of his statues were one of
Athene, of ivory and gold, for the Parthenon, and his master-piece,
a colossal one of Zeus, also ot ivory and gold, for Olympia.
Accused ot having appropriated some of the gold intended tor the
statue of Athene he was acquitted, but was afterwards charged with
impiety for carving his own likeness and that of Pericles on the
shield of the goddess, and was thrown into prison, where he
died.
"Pheidias' statues show that he was the first sculptor to pro-
duce ideal embodiments of the highest moral qualities of which a
Greek could conceive, such as majesty, wisdom, or beauty, and to
give a new meaning to the religious aspect of each type of divinity.
Secondly he was the first sculptor who combined this idealism
with a perfect mastery over his material, thus producing a completer
harmony than was attained by any before or since " (Walters,
Greek Art, p. 59).
The great sculptor's influence in art was very marked on the
coinage of ancient Greece. Towards the middle of the fifth century
a great change took place. Severe simplicity, and a largeness and
freedom of treatment became the characteristics of the coin-dies,
says Mr. Walters. Yet we do not find this advance on the coins of
Athens itself, for the reason that their religious associations
necessitated a rigid adherence to the older style, and that as they
were an international currency, and represented an important
L. FoRRER. — Biographical Notices of Medallists. — IV. jt
- 482 -
commerce, it was feared to make any change in the type. The best
examples of fifth century coins are perhaps those of Thurium and
Syracuse.
Early Teiradrachm of Thurium.
Prof. Furtwangler {Meisterwerke, &c.) dedicates a special chapter to
Pheidian Influences in Sicily and Magna Graecia on Coins and Vases,
in which he says : " The close relation of the coins of Thurii to the
art of Pheidias is quite evident. The earlier type of Thurii most
definitely recalls the Lemnia of Pheidias. The undulating front
hair of the Lemnia, the line of her profile, with the low forehead
and the nose at a slight angle to it, the restful beauty of the full
closed mouth, and the finely wrought transitions in modelling — all
this has no such close parallel on coins as the earlier type of Thurii.
Somewhat later there appears in the same city a type corresponding
to the later style of Pheidias and his circle; the hair above the
forehead flows back over the edge of the helmet nearly as it does in
the Parthenos, and the expression is more animated and restless
than in the other coins.
"The remarkable fact that the Pheidian style in its different
phases was carried straight from Athens to Lower Italy comes to
light nowhere more clearly than on the Thurian coins. But the
influence w^hich transplanted art exercised on native work, princi-
pally through the agency of the colonists of Thurii, is to be traced
in a number of circumstances.
"The types of the Athene heads of Thurii, especially the one
with the regularly waved hair, were rapidly and widely adopted in
Lower Italy, and more particularly in the Greek towns of the Cam-
panian coast, Cumae and Neapolis" (^Masterpieces of Greek Sculpture,
p. 8i). Vide PHILISTION infra.
PHIDIAS or PHEIDIAS {Greek). Gem-engraver of ancient Greek
times (11?*^ century B.C.). The inscription OEIAIAZ EflOEl
occurs on a jacinth in the British Museum, representing a youthful
male figure, stooping to r. and fastening sandal on left foot, which
is raised on rock, — reminding one of the Munich statue known
under the name of Jason or Alexander (cf. Raspe, pi. 52,
n» 9277).
- 483 -
This gem has been doubled, but modern critics, including the late
Prof. Furtwiingler, are absolutely convinced of its authenticity.
(^
Intaglio, by Plieidias.
The great Pheidias, it has been suggested, — perhaps on account
of this work, which is however of a later date, — may have also
practised the art of gem-engraving.
Bibliography. — Babelon, op. cil. — Furtwiingler, Jahrbtuh, &c., 1888, 209.
— Murray and Smith, op. cit., 0° 1 568.
PHILEMON (Greek). Gem-engraver of Graeco-Roman times (I"
century B.C.) The signature 0IAHMONOC : occurs in the field of an
intaglio in the Vienna Museum collection, representing Theseus
in front of the gate of the Labyrinth where he has slain the Mino-
taur (illustrated). M. Babelon calls this "one of the most remarkable
Theseus.
productions in the glyptic art of the first century before Christ ", and
Prof. Furtwangler remarks : " Das Bild gehort iiberhaupt zu den
besten dersignierten Arbeiten dieser Periode. " John Pichler made
good copies of this fine gem.
AStrozzi Paste (Stosch, PI. 52; Brunn, p. 577) with the inscrip-
tion 0IAHMON€rOI is modern (Head of a Faun), and so is also the
S' Petersburg amethyst (Herakles binding Cerberus, Brunn, p. 577),
which really is a copy of the cameo by Dioscorides. A Herakles
strangling the Nemean lion is by Ant. Pichler, and another
intaglio, with head of Berenice, and also signed OlAHMONOC is
known to be modern.
The composition of the Vienna intaglio is no doubt borrowed
trom a picture, although the representation of Theseus is more
sculptural.
BiBUOGRAPHY. — Babelon, op. cit. — H. Brunn, op. cit., II, 576. — Furtwan-
- 484 -
gler, op. ctt., p. 324. — Eckhel, Choix de pierres gravies, p. 64. — Stosch, op. at.
— Raspe, Tassie Gems. — King, op. cit. — Reinach, op. cit.
PHILIPP {Austr.y Moneyer at Vienna, 1417.
PHILIPPE, JACQUES {Swiss). Mint-master at Cornavin (Geneva),
under Amadeo IX., Duke of Savoy, 1465-1469.
Bibliography. — Df A. Lade, Contribution a la Numismatique des Dues de
Savoie, 1896.
PHILIPPS {Brit.). Medallist and Engraver, who was in the employ
of Matthew Boulton at the Soho Mint, in the latter part of the eigh-
teenth century. His signature occurs in full, PHILIPPS F. on a Prize
Medal, awarded by the Wit's Magazine.
Prize Medal, by Philipps.
PHILIPPO {Ifal.'). Gem-engraver of the sixteenth century, known
as PIPPO SANTA CROCE, " originally a shepherd boy", says King,
"began by engraving groups upon plum and cherry stones. Count
Filippino Doria brought him to Genoa, had him instructed in
drawing, and thus he became a distinguished engraver in gems. He
was the father of a numerous family, the PIPPI, all of whom
followed his profession" (King, Antique Gems and Rings, 1872,
p. 427).
PHILIPPON, GUSTAVE (French). Contemporary' Sculptor, born at
Paris. He is the author of various Portrait-medallions, one of which
entitled " The two Sisters " I saw at the Paris Salon in 1897.
PHILIPPONA, JACQUES (Swiss). Mint-master at Freiburg, from
December 165 i to 1699. He was probably a Goldsmith by pro-
fession.
PHILIPPVS. The inscription OlAinnOY occurs on a carnclian
intaglio, with laureated head of Herakles, but if genuine, it probably
only denotes the owner of the gem. (Brace, Memorie, 11, p. 283 ;
Raspe, n° 5659; Reinach, Pierres gravees, p. 52, 11, 12).
- 485 —
PHILIPSSOHN (PHILIPS;, MARKUS (G<'rw.). Mint-master at Elbing,
1628-1632. His initials M. P. occur on his issues.
PHILIS (Greek). Signature of a Coin-engraver (?) of Terina, circ.
B.C. 440-400; possibly PHILISTION q. v.
PHILISTION (Greek). Engravers,if not Magistrates, of that name,
or presumably of that name, have signed coins of various Mints
of Magna Graecia, at different periods, during the fifth and fourth
centuries B.C. It is impossible to determine the work of each one
individually, although some writers have been successful in so far
tracing the same treatment and style of work on coin-dies of a
same epoch and of different mints, and thus shown that one and
the same engraver may have been employed at more than one
locality at the same time.
Under the name of Philistion I shall however content myself in
describing some of the principal coin-types bearing the signatures
<J>, 01, 0IAI2, OWMITIflN, etc., which are now supposed to
represent artists of the name of Philistion, without attempting to
discriminate between the various Engravers.
Amongst the monetar}' productions of Magna-Graecian mints,
there is a group of coins, which all bear the signature 0,and the
style of which is closely connected with the art of the Athenian
school of Pheidias (q. v. supra).
Prof. Reginald Stuart-Poole has been the first to draw attention
to the close connection of the earliest type of coins of Thurii with
its Athenian prototype (Athenian Coin-engravers in Italy, Num.
Chron., 1883).
The Thurian issues signed <t> are of particularly fine style, and
comprize Staters, on which Athene's helmet is simply adorned with
an olive-wreath, and Distaters showing the Monster Skylla on the
side of the helmet.
These coin-types are now ascribed by EK A. Sambon, with every
evidence of reason, to the artist PHRYGILLOS (q. v infra).
Prof. Stuart Poole suggested the identification of the artist 0,
who is supposed to have engraved the series of coins mentioned
above, with the Engraver who signs <t>l, <t>IAI2, <t>IAI2TI or
<t>IAI2TlflN on coins of Terina, Velia, Tarentum, Herakleia, and
Metapontum. Both D' Arthur Evans and Prof. Furtwangler have
refuted this theor}' and shown that not only the style is entirely
different, but that the coins also are of a considerably later period.
Several Metapontine Didrachms bear the inscription 01, which
may represent also 01 AH..., an Engraver or Magistrate's name
(Vide B.M. Cat., Italy, p. 253, n°' 114, 125, 130).
TARENTUM. On coins of that Mint, the artists' signatures API
and KAA are often found associated, as well as on the coins of
— 4^6 —
Herakleia, with that of the Engraver or Ol. Among the most
interesting of these types, I will only mention : Didrachms. Evans,
Horsemen of Tarentum, type of PI. iii, 8 (several varieties. For full des-
Didrachm of Tarentum, signed 0| on obv.
cription,and other illustrations, cf. Forrev, Les Signatures de Gravenrs
siir les Mommies grccques, Bruxelles, 1906) ; — Diobols, with heads of
Didrachm of Tarentum, signed on obv.
Pallas, to r., Herakles facing, and in profile, all with the 1^. Herakles
strangling the Nemean lion, a type evidently copied from Herakleian
^^^K**"
Didrachm of Tarentum, signed 0| on !^.
coins. The signature occurs either on the obv. or V^. ; —
Didrachms. Evans, type PI. iv, 3 (sev. var); PI. iv, n° 11 (with
Didrachm of Tarentum, signed 0| on I^.
the signature 01 on the I^. (sev. var.); PI. iv, n" 8 (with similar
signature; obv. by KAA ; ^. Taras riding on dolphin to r., and
- 487 -
holding in 1. hand a strung bow and two arrows, and in his r.,
behind him, another arrow ; beneath, Ol).
A further series of Tarentine coins bear the signatures 01, OIAI
or OlAIZ. These coins belong to the Period comprised between 334
and 330 B.C., corresponding to that of the Velian didrachms .signed
OlAIITinN in full.
With the signature <t>l. Didrachm. Evans, PI. iv, i. <t>l on obv.
.><
Didrachm of Tarentum, signed <J>| on obv.
{illustrated) ; — Another, with I^ Taras, represented as a child, riding
on dolphin to 1., resting r, hand on dolphin and holding with 1. a
distaff; <t>l and waves; in the field, eagle (Car. cxiv, 215). There
are several varieties (Evans, PI. vi, 3, 4; p. lOi, n° i, etc.).
IFith the signature <J>IAI. Didrachm. Evans, PI. vi, 5. (Obv. 0IAI ;
I^. 01). Several varieties.
fVith the signature <t>IAII. Didrachm, Evans, PI. vi, 2. Several
varieties.
Q O
Didrachm of Tarentum, signed OIAI2-
(For tuU descriptions of coins, and varieties, cf. Forrer, op. citS).
" The work of the Tarentine Die-sinker Philis... suggests ", says
D' Evans, "a hand accustomed to intaglio on gems. The engraving
itself is often of microscopic minuteness, and we are occasionall}^
struck b)' a certain preposterous perverseness in the exercise of this
Liliputian faculty, the personal signature being writ large, while
that of the Tarentine city shrinks to almost invisible dimensions.
It looks like the satisfaction taken by an artist, who accustomed
himself to sign in full though as inconspicuously as possible, found
the expression of his skill in minute lettering hampered by the
contemporary custom of the Tarentine mint, which obliged him to
attach to his handiwork an abbreviated but manifest signature, as
an official rather than an aesthetic guarantee. Nor could he, as in
— 488 —
the case of Philistion on the VeHan coins, gratify his taste by
combining his full signature. The character of the Tarentine types,
the entire absence of such facilities as that supplied by the helmeted
head on the Velian pieces, or even of an exergual line capable, as
at Thurioi, of being used as a label, precluded all such expedients ".
To the same period, circ. B.C. 344-322, belongs a Drachm of
Terina, signed 0IAI2 (B. M. Cat. , //a/)', p. 391, n^ 30), and another,
signed OIAIITI (Garrucci, op. cit., PI. cxvii, 17).
D"" Evans (Horsemen^ &c., pp. 1 1 i-i 14) suggests that the Engraver
of these coins is the same Philistion, who signed in full the Velian
didrachms, and Tarentine coins \vith his initials only {Vide Forrer,
SignatiireSy &c.).
*
* *
PHILISTION, probably another and later Engraver than the last-
named, who flourished c/rc. B.C. 380-320, and worked for Meta-
pontum, Herakleia, Velia, Tarentum, Terina, and possibly other
mints, is supposed to have been a pupil of Aristoxenos {q. f.),
whose dies for Metapontum, Herakleia and Tarentum, of about the
same period, are signed in a similar fiishion.
On didrachms of METAPONTUM, bearing on obv. the helmeted
head of the hero Leukippos, we meet ^^ith the signature <J> — I
Didrachm of Metapontum, by KAA and <J)|A.
connected with the triskeles symbol. It is interesting to compare
this signature with the exactly similar one on Velian staters. The
fine coin, with three-quarter face of Dionysos on obv., by the artist
KAA, is signed on ^. ct>IA...
Philistion is the undoubted Engraver of a series of coins ofVELIA,
of the second half of the fourth centur}' B.C. The most remarkable
types are the following.
I. JR,. Didrachm. Obv. Helmeted head of Pallas to r., wearing
earrings and necklace; helmet adorned with galloping quadriga; on
the crista, in minute characters, the signature, OlAIZTIflNOi :
border of dots.
^L. YEAHTHN (in ex.). Lion to 1. standing on prey which he
devours ; above, Nike flying, to 1. and holding wreath; behind, 01.
- 489 -
B. M. Cat., Italy, p. 313, n° 88- — Garmcci, op. cit.,
PI. cxix, 18. — Macdonald, Cat. Hunter, i, p. ri8, n° 81.
Velian Didrachms, by <J>IAI2TinN.
A variety has only OlAIITinN (B. M. Cat., Italy, n" 89).
Another (Ca/. of Greek Art, Burl. Fine Arts Club Exhibition, 1904,
PI. ci, n° 88) has, instead of Nike on ^L, the galloping Dioscuri
between the letters 0—1.
2. JR.. Didrachm. Obv. Helmeted head of Pallas, to r. ; helmet
adorned with olive-wreath and quadriga at side; on the flap, a
griffin or horseman; on the crista, OlAllTlflNOZ : border of
dots.
I^. YEAHTflN. Lion to r. ; in ex. O — I on either side of vine
leaves and snake.
B. M. Cat., loc. cit., n° 86.
There is a variety of obv. (Garmcci, op. cit., PI. cxix, 20 ; illus-
trated).
Didrachm ot Velia, by Philistion.
On the above-described coins, Philistion has adopted the style
of signing of his contemporary Aristoxenos. This had already been
noticed by Raoul Rochette.
3. JR^. Didrachm. Obv. Head of Pallas, to 1., wearing earrings
and necklace, and richly ornamented Phrj^gian helmet, adorned
with griffin at side ; behind, 0.
^L. YEAHTflN (in ex.). Lion, to r., devouring a ram's head,
which he holds between two fore-paws ; above, O — I and grass-
hopper.
— 490 —
B. M. Cat., Italy, p. 313, n° 90, — Garrucci, PI. cxix,
13- — Macdonald, op. cit., i, PI. viii; p. 118, n° 82.
Velian Didrachm.
4. J^. Didrachm. Obv. Head of Pallas, to r., wearing crested
Athenian helmet, adorned with olive- wreath and griffin ; behind, A ;
in front, O.
I^. YEAHTHN (in ex.). Lion to r. ; above, I — ct> and dolphin.
B. M. Cat., Italy, p. 313, n° 92. — Macdonald, Cat.
Hunter, p. 115, n°'40. — Car., cxxxviii, 32.
ian Didraci:
5. iR. Didrachm. Obv. Head of Pallas, to 1., wearing crested
Athenian helmet ; in front, O ; behind, K.
^. YEAHTflN (in ex.). Lion to 1. ; above, ct>— I and triskeles.
B. M. Cat., Italy, p. 314, n° 95. — Macdonald, op. cit.,
I, p. 117, n''56. — Car. N.LV.T. cxxxix, 42.
Velian Didrachm.
6. iR. Didrachm. Obv. Head of Pallas, to r., etc. ; in front, <J>;
behind. A/-
V/L. YEaHTHN (in ex.). Lion to r. ; above, <t> — I and ear of corn.
B. M, Cat., Italy, p. 314, n° 96.
7. J^. Didrachm. Obv. Head of Pallas, to r., etc. ; above, n ;
behind, <t).
— 491 —
^L. YEAHTHN (in ex.). Lion to r. ; above, — I and bunch of
grapes.
B. M. Cat., Italy, p. 314, n° 98. — Macdonald, op. cit.,
I, p. 115, n° 42.
8. JK. Didrachm. Obv. Similar.
^. YEAHTflN (in ex.). Lion tol., head nearh' facing; in back-
ground, pahn-tree between O — I.
B. M. Cat., Italy, p. 314, n° 99. — Garrucci, op. cit.,
PI. cxix, 7.
9. JR.. Didrachm. Obv. Helmeted head of Pallas, to 1., as before;
on the helmet, a dolphin; and on the flap, cj> ; beneath, /E-
^. YEAHTHN (in ex.). Lion to r.; above, <J> — | ; between,
trident to r. : border of dots.
B.M.Cat., Italy, p. 314, n° 100. — Car. cxxxix, 49. —
Garrucci, PI. cxix, 9. — Macdonald, 0/). at., I, p. 116, n°44.
Velian Didrachm.
10. yK. Didrachm. Obv. Similar head of Pallas, to r. ; helmet
adorned with griffin ; above. A-
^. YEAHTflN (in ex.). Lion to r. ; above, <X> — I on either side
of pentagram.
B.M.Cat., p. 315, n° 102. — Car. cxxxviii, 31. —
Macdonald, I, p. 116, n" 46.
Velian Didrachm.
II. JR. Didrachm. Obv. Similar head of Pallas, to 1. ; on flap,
<t> ; behind, yp.
^- YEAHTflN (in ex.). Lion to r.; above, caduceus to r.
suspended by chain.
— 492 —
B.M.Cat., Italy, p. 315, 11° 105.
p. 116, n°49.
Var. Macdonald, I,
Reverse of Velian Didrachm.
On some Didrachms of the same Mint, the signature <t> is found
in connection with those of the Engravers O {one illustrated^
and >E (Kleodoros, q. v.^.
Didrachm of Velia, by ^, O and O.
I have described several varieties under Kleodoros (Vol. Ill,
p. 177, n°' 3 and 5; p. 178, n° 11, &c.).
Didrachm of Velia, by Kleodoros and Philistion.
On a small copper coin of Velia, we also meet with the signature
<t>| on I^: —
JE. Obv. Laureate head of Poseidon, to 1.
^. -EAHTflN. Owl, facing; above, (J>\ : border of dots.
B.M.Cat., Italy, p. 317, n° 26.
'* Philistion de Velia ", remarks D"" Sambon, in Le Musee, 1907,
p. 335, '* est — si j'ose m'exprimer ainsi — le Cellini de I'art grec.
Un didrachme grave parlui vers 330-320 nous montre d'un c6t6une
tete de Pallas coiffee d'un casque corinthien orn^ d'un quadrige au
galop, de I'autre un lion blesse mordant un javelot et labourant de
ses griffes le terrain. Evans croit que cet artiste a grave les monnaies
— 493 —
tarentines qui portent les lettres <t>l, mais j'hesite a reconnaitre dans
ces pieces le style du brillant graveur de Velia ".
" The period of years during which Philis ... seems to have
worked for the Tarentine coinage, from shortly before the date of
the Molossian Alexander's expedition, onwards, certainly squares
very well with the approximate date of the Velian coins bearing
Philistion's signature. More than this, there are certain features
of the Velian works of Philistion which unmistakably betray a close
familiarity with designs in vogue in three at least of the cities of the
Ionian shore — Herakleia, Metapontum, and Tarentum itself... We
find this engraver for the first time introducing on the Velian series
a Corinthian form of helmet, which about the same date makes
its first appearance on the coins of Herakleia and Metapontum,
where during the last quarter of the fourth century B.C. it becomes
quite usual. At Velia, on the other hand, this deviation from the
usual Athenian type of Pallas' head-piece is confined to Philistion's
work, which combines in a remarkable way motives supplied by
the contemporary^ coinage of Herakleia and Metapontum. So far as
the general outline of the head and helmet is concerned, the crest
and the arrangement of the hair, Philistion's Velian Pallas is almost
a reproduction of the contemporary didrachm type of Herakleia.
In the ornamental design, however, with which the upper part of
the helmet is decorated, the quadriga, with horses at full gallop,
we see a close adaptation of the same device in the same position
as it appears on the helmet of Leukippos on the fine tetradrachms
of Metapontum.
" But the parallel goes a step farther. The peculiar method
adopted by Philistion for attaching his signature to the helmet on
the Velian coins, the utilization, namely, for this purpose of the
curved line at the base of the crest, is borrowed from the practice
of the artist Aristoxenos (ex hypothesi the master or associate of the
artist Ol... on Tarentine coins), who on the fine didrachms of
Herakleia of a slightly earlier date, first invented this device.
Amongst all Greek coin-engravers this mode of signature is confined
to Aristoxenos and Philistion " (Evans, Horsemen of Tarentum^
pp. 111-114).
That Philistion was a Gem-engraver is evidenced by the very
style of his coin-dies, some of which seem to have been cut in the
same way as stones, and showing all the peculiar characteristics of
gem-engraving. Unfortunately, no ancient gem with the signature
<t>IAI2TinN has yet come to light.
Bibliography. — A. J. Evans, Horsemen of Tarentum, 1889. — Ibid.,
SyracHsan Medallions, &c. — L. Forrer, Les Signatures de Graveurs sur les Mon-
naiesgrecqiies, Bruxelles, 1906. — Von Sallet, op. cit. — Raoul Rochette, Lettre
a M. le Ditcde Luynes, &c. — Brunn, op. cit. — British Museum Catalogue of Greek
Coins. — A. Sambon, La gravure mone'taire en Sicile, Le Mus<5e, 1907.
— 494 —
PHILLIPS (Brit.y Die-sinker of the middle vears of the nineteenth
centun', who resided in Cockspur St., London. His name occurs
on the ^ of a Victoria and Albert medal.
PHILLOT, PETER (Swiss.). Goldsmith of Freiburg, who filled the
post of Mint-master there from r/Vc. 1619. In 1636 he was still in
office.
PHILLOT, STEVEkH (Swiss.). Mint-master at Freiburg, 1596-1618.
He died on January 9, 16 19. He was an artist, and the author of
the remarkable Plan of Freiburg, dated 1606.
PHILLP, I. (Brit.). Medallist, and Coin-engraver, who was in the
employ of Matthew Boulton at the Soho Mint, in the early part of
the nineteenth century. He w^as a colleague of C. H. Kuchler,
with whom he collaborated in the execution of various coin-dies.
His signature occurs in various forms : I. P. ; — ^ • ^ ; — PHILLP, &c.
The best known production of this Engraver is the 5/6 Bank of
England Token, 181 1, of which there are numerous varieties (Vide
Davis, XIX Cent. Token Coinage, n°^ 26-44). Obverses or Reverses
of this type frequently occur in conjunction with Reverses or
"^"^.liis^
Bank Token for 5/6, 181 1, by Philip.
Obverses by Kuchler. A Reverse of the Bank of Ireland Six Shilling
Token of 1804 by Kuchler is also known with Philip's 181 1 head
of George III.
The only medal I know of with Philip's signature is the Christ's
College Porteus Medal, 1808 ; obv. Bust of George III. ; 1^. ob studia
THEOLOGIAE FELICITER INSTITVTA &C. VieW of College.
Bibliography. — Davis, o/>. cit. — Spink, Catalogue of Mr. Montagu's Collection
of Coins from George 1. to Victoria, 1891. — Crowther, op. cit.
PHILOCALUS. Fictitious signature on a modern gem, representing
a Head of Youth, crowned with olive (King, p. 223).
— 495 —
PHILODESPOTES. Fictitious signature on a modern gem represent-
ing a Tragic maslc and two fishes.
PHILOKLES (?) (Greek). Coin-Engraver (?) at Herakleia, second
half of the fourth century B.C. Two Didrachms, in the British
Museum Collection, bear the signature OlAfl or <J)|AO} which may
represent an artist's name, possibly Philocles.
I. iR. Didrachm. Obv. |- HPAKAEinN- Head of Pallas, to 1.,
wearing crested Corinthian helmet, adorned with griffin.
^L. Herakles, nude, standing to r., leaning on his club and
holding lion's skin in his 1. hand; in the field, to r. Nike flying to 1.
about to crown him; to 1., <J)|AO-
B.M.Cat., Italy, p. 231, n° 45. — Car. n.i.v.t. clxi.
25,
Macdonald, Cat. Hunter, I, p. 87, n° 14.
2. JK. Didrachm. Obv, Similar type, with Skylla on helmet;
behind, |-A-
^- HHRAKAEinN- Herakles, nude, facing, crowning himself,
and leaning on club ; in field, tol., aplustrum ; to r.,<t>|An-
B.M.Cat., Italy, p. 232, n° 50. — Cf. Carelli n.i.v.t.
CLXI. 22. — Var. Macdonald, op. cit., I, p. 87, n° 16.
3. JK. Didrachm. Obv. Similar type, to r., with helmet adorned
with olive-wreath.
^. As last ; to r. of Herakles, <J>| .
B.M.Cat., Italy, p. 232, n° 51.
These coins were published for the first time by Raoul Rochette,
Lettre, &c., p. 40.
PHILOLOGDS. Fictitious signature on a modern gem, with two
dolphins (red jasper).
FHILON (Greek). Gem-engraver of the IIF'' century B.C., whose
signature .. lAflN EFIOEI occurs on a Portrait-intaglio, inserted in
a ring, — of the old Tyskievickz collection, — which was found
Portrait-intaglio, by Pbilon.
at Athens. The portrait is that of a beardless man, and is very
characteristic.
Bibliography. — Furtwangler, loc. cit. — Babelon, Pieries gravies, p. 130.
— 496 —
PHILOT, PIERRE {Swiss). Moneyer at Freiburg, i6i 9-1620.
Another, 1632-165 1 (?)
PHILOT, STEPHAN or ETIENNE {Swiss). Moneyer at Freiburg,
1596-1618.
PHILOPPONA, JACQUES {Swiss). Moneyer at Freiburg, 1651-1701.
PHIPS, J. {Brit.). Issuer, in conjunction with others, of a series ot
tokens of Bath, in the early part of the nineteenth century.
PHIPSON {Brit.). Engraver of the latter end of the eighteenth
century, who resided at Birmingham. His signature occurs on a
medal of Joseph Priestley, 1794.
PHOGAS. Probably a fictitious signature. It occurs on a jacinth
representing an Athlete standing, holding a palm, and touching the
fillet around his head. Bracci thinks the inscription does not refer to
the artist, and King adds, probably this is the true reading of OHIAA
on a Bacchante sard (Schellersheim).
PHOCION. The sardonyx Portrait-cameo, published by Stosch,
bearing the inscriptions inKinNOC and PYPrOTEAHI EHOEI
is known to be the work of Alessandro Cesati. The Marlborough
Phocion, which is also the work of the same Engraver, is however
not the original, of which Stosch had an impression, and which,
in Winckelmann's days, was in the possession of Cardinal Alex.
Albani.
PHOILAS. Probably a misreading for OflKAZ- Fictitious signature
on a sard, representing a Bacchante, formerly in the Schellersheim
collection.
PHRD, PERD {Germ.). Moneyer at Freising, circ. 1006.
PHRTGILLOS {Greek). Sicilian Coin- and Gem-engraver of the
second half of the V''' century before our era, circ. 440-400 B.C.
His signature often occurs on the obv. of coins, signed on Rev. by
Evarchidas or Euthymos.
According to the late Prof. Furtwangler, Phrygillos was probably
a native of Asia Minor, as his name indicates, and he may have
received his artistic education at Athens. By his st}'^le, he is connected
with the school of Pheidias.
Besides coin-dies for the Syracusan Mint, this Engraver has also
signed gems, one specimen of which has come down to us. It is a
carnelian intaglio, of the former Blacas collection, representing
Eros kneeling and playing with knuckle-bones. The head of this
Genius reminds one, says Babelon, of Polycleites' Dorj'phorus.
— 497 —
The inscription 0PY on Syracusan coins invariably represents
the signature of the engraver Phrygillos. A fine coin of Thuriuni is
also signed 0PY but in this case the name is thought to represent
a magistrate.
Gem, by Phrygillos.
The types of Phrygillos' heads all appear to date of the period
preceding the siege of Athens. They are characterised by a microscopic
delicacy in the treatment of details, which is another proof that the
artist practised the art of gem-engraving.
It has been suggested, and perhaps with reason, that Euainetos
was a pupil of Phrygillos.
The known types of Syracusan coins by this Engraver are the
following : —
I. .^. Tetradrachm (Circ. B. C. 430-415 or later). Obv.
(YPA KO^I ON. Head of Arethusa, to 1., wearing earring, necklace,
and a sphendone adorned with stars and inscribed OPY on frontal
band; around, four dolphins.
I^. Quadriga to 1., led by charioteer (Persephone?), bearing
lighted torch and holding reins in r. hand; above, Nike flying to
r. about to crown charioteer; in ex. ear of barley with three leaves
to 1. : border of dots.
B.M.Cat., Sicily, p. 168, n° 158. — Bunbury Sale Cata-
logue, 1896, lot. 454. — Hill, Coins of Ancient Sicily,
PI. Ill, 13.
\
Syracusan Tetradrachm, by Phrygillos.
Several varieties of this type are in the British Museum Collec-
tion (n°' 159, 160, 161, &c.).
L. FOKRER. — Biographical Notices of hiedallists. — IV. }2
- 498 -
Although unsigned, the following tetradrachm has been ascribed
to Phrygillos, on account ot similarity of style (Vide Evans Sale
Catalogue, 1898, PI. v, lot 87).
2. iR. Tetradrachm. Obv. [2Y]PAK01[I0N]. Head of Nike (?)
to r., wearing necklace and earring with three pendants; hair in
korymbos; around head, four dolphins : the whole within circle.
^L. Quadriga to 1., led by female charioteer, carrying flaming
torch ; above, Nike flying to r. about to crown charioteer ; in ex.,
ear of barley with three leaves : border of dots.
Cat. of Greek Art, Burlington Fine Arts Club Exhibition,
1903, PI. cii, n° 129.
Syracusau Tetradrachm.
It will be observed that the reverse of this coin is similar to that
of the signed piece. The head on obv. may represent one of the
earliest dies of this engraver.
3. ^. Tetradrachm. Obv. ZY PAK 02 I ON. Head of
Persephone to 1., wearing earring and necklace ; hair bound with
wreath of barley and poppy, the latter with one leaf and a poppy-
head over forehead ; beneath, OPVriAAOI; around, four dolphins.
^. By Euthymos (q. v.). Quadriga to r., driven by naked
winged youth, looking upwards towards Nike, flying to 1., who
crowns him ; in ex., EY0, and Skylla swimming to r., her r. arm
Obv. of Syracusan Tetradrachm, signed OPYflAAOZ*
extended towards a fish, which swims before her, her 1. holding a
trident over her shoulder; behind her, a dolphin to r. : border of
dots.
— 499 —
B.M.Cat., Sicily, p. i68, n° 156 var. — Wei\, Kihistler-
inschriften &c., PL i, n°^ 8-9. — Holm, Geschichte Siciliens,
III, PI. V, n° 2. — Head, Coins of Syracuse, PL iii, n° 14. —
Du Chastel, Syracuse, PL vi, n° 70.
Other varieties are described in Torremuzza, &c.
4.^. Tetradrachm. Obv. 2YPAK02I0N. Head of Kore, to L;
on frontal band of sphendone, traces of the inscription OPY ;
around head, three dolphins.
^. By Euarchidas. Quadriga to L, led by Persephone, represented
facing, and carrying flaming torch ; above horses, Nike flying to r.
and holding wreath and aplustrum; in ex., ear of barley; under
exergual line, the artist's signature, EYAPXIAA.
Evans, Num. Chron., 1890, PL xviii, fig. 7. — Salinas,
PL XVII, fig. 25 (Collection Due de Luynes).
Syracusan Tetradrachm, by Phrygillos and Euarchidas.
Other varieties of ^. will be found enumerated amongst the
signed works ot Euarchidas (^. v.^.
5. Hemidrachm. Obv. Head of Kore, to L, wearing sphendone
adorned with stars; under the chin, <J> ; around, three dolphins.
I^. By Euarchidas (?) Quadriga to L, led by Persephone, crowned
by Nike flying to r.; in ex., ear of barley, and to L, the letters EY.
Evans, Num. Chron., 1890, p. 306 and PL xviii, 8.
The ear of barley usually accompanies heads by the engraver
Phrygillos. Possibly the reverses bearing this symbol in exergue
are all by Euarchidas.
6. iR. Litra. Obv. Female head to L, adorned with sphendone,
inscribed behind OPY; in front of head ZY and dolphin; behind,
ear of corn.
^. Sepia (eledone moschata).
Imhoof, Mommies grecques, p. 29. (Berlin Museum).
7. JE. Obv. Female head to L, hair in sphendone inscribed
behind 0PY.
^L. Wheel; in two top angles 2Y — PA; in two lower ones, two
dolphins.
Another variety has the signature (WY in the field behind the
head.
— 5^0 —
Maddalena Sale Catalogue, 1902, lots 657-
Syracusan Copper Coins, by Phrygillos.
" Ces petites monnaies", remarks D"" Sambon, "sont de veri-
tables chefs-d'oeuvre de la glyptique syracusaine ; elles ont ete con-
sid^rees comme telles dans I'antiquite, puisquequelquesexemplaires
sont signes, et c'estun exemple jusqu'ici unique dans lemonnayage
du bronze".
The same types of copper coins occur without the signature, but
are undoubtedly also by Phrygillos.
The fine Tetradrachms of the types reproduced below are now
ascribed to Phrygillos in preference to Kimon.
Syracusan Tetradrachms.
Fine specimens of these occurred in the Nervegna sale, Rome,
1907; Paris sale, 19-20 December 1907; and Vienna sale, 8-9.
January 1908.
Prof. Percy Gardner in Types of Greek Coins suggests the possi-
bility of Phrygillos being the author of the coins of Velia, Tarentum,
Terina, Metapontum and Herakleia, signed O. " On a fine piece
of Thurium (B.M.Cat., Italy, p. 287) the obv. bears the letter O,
the ^. the syllable 0PY. It is possible that in all cases O may be
the initial of a magistrate's name, but, more likely, it is the
signature of an artist, who may possibly, as the Thurian piece
- 50T —
suggests, be the Sicilian engraver Phrygillos. Certainly the style of
these pieces is uniform, andasfine and delicate as that of Phrygillos'
signed works ". Furtwangler did not agree with this on account of
the absolute dissimilarity of style between the Thurian coin and
those signed of the Magna Graecia mints (Masterpieces of Greek
Sculpture, I, io6, note i).
D' Arthur Evans places the signature OPY on the Thurian coin
on the same rankasthatof Nikandros (A7^«;w. Chron., 1896, p. 138).
*' Phr^'gillos ", writes D"" A. Sambon(Z,fl Gravure monitaire en Sicile,
Le Musee, 1907, p. 301) " partage avec Molossos le merite d'avoir
porte la glyptique, a Thurium, a son plus haut degr^ de perfection.
Phrj'gillos a signe des premieres lettres de son nom (OPY), une
monnaie de Thurium d'un dessin remarquable (B.M. Cat., p. 287,
n° 3 ; illustrated) ; mais je crois qu'il faut lui attribuer egalement
toute une serie de monnaies de Thurium, Velia, Pandosia, Terina,
sign^es simplement de I'initiale <t>, d'autant plus que quelques
^6
Staler of Thurium, by Phrygillos.
pieces de Thurium ont, sous le taureau (qui sur la croupe a un <t>
minuscule), un petit oiseau qui bat des ailesetquiparait une devise
parlante, car c'est un pinson (^pjvfAo;, en italien jrungillo).
Phrygillos, plus que tout autre graveur de I'epoque, a su suivre
dans le petit espace d'une monnaie les sains preceptes de I'art
phidiasique, et il I'a fait avec un sentiment exquis. II n'est pas
improbable que cet artiste soit le meme que celui qui a grave les
coins syracusains qui portent en toutes lettres la signature
OPYriAAOl, mais, pour expliquer les differences de style qui
existent entre les deux monnayages, il faudrait admettre qu'il s'est
^tabli a Thurium apres avoir travaill^ pour Syracuse, surtout si on
veut lui attribuer les superbes pieces de Pandosia et d'Heracl^e
signees <X> ".
The same author in his admirable preface to his Sale catalogue of
a " Collection de monnaies antiques de la Grande Greceet Sicile, 19-20
December, 1901, Paris " gives a further account of Phrygillos'
activity as a Coin-engraver : " A Terina, des 410-400, nous
trouvons le graveur Phrygillos, qui infuse une nouvelle vie aux
images appauvries des coins monetaires. II n'y a pas de doute
possible sur I'identite de I'artiste <J> (pour nous Phrygillos), des
— 502
monnaies de Terina, avec I'artiste <t> des monnaies de Thurium ;
sur une des monnaies de Terina, il profile de la presence d'un
oiseau a cote de la nymphe pour repeter, sous le siege de la nymphe,
I'image identique du pinson (©puvfAoc), qui se voit sur sa plus belle
Didrachm of Velia, by <J>.
monnaie de Thurium, et c'est egalement une composition dont il
pouvait a juste titre etre fier : la nymphe ailee (Ligee-Nike) assise,
jonglant avec des balles, telle une des fiUes de Pandar^e, dans la
Minyade de Polygnote (Cab. de Berlin), Mais son chef-d'oeuvre a
A. Didrachm of Terina.
Terina est la delicieuse figure de Lig^e assise sur une hydrie
renversee, tenant un oiseau sur I'index de la main gauche et le
caduc^e de la main droite (Regling,pl. ii, vy ; pi. i, R.S.). Phrygillos
Didrachm of Terina.
a et6 assist^ a Terina par un autre artiste de grande valeur, ATH..
— peut-etre le raeme qui a travaille a Thurium et a M^taponte —
qui signe un revers d(^licieux, copi^ probablement de quelque bas-
relief cd'lebre. Lig^e est assise sur un cippe (sign6 ATH), a cote d'une
fontaine et pr^sente son hydrie sous le jet d'eau qui sort d'un
— 503 —
deversoir en forme de tete de lion ; un cygne baigne dans une
vasque aux pieds de la nymphe (Regling, pi. ii, 66).
Didrachm of Terina.
" Cast encore sous la direction de <t>... (Phr}^gillos) qua 6te
gravee la ravissante monnaie de Pandosia, ayant d'un cote une tele
de Hera Lacinia de face, inspiree de la tete de face de la nymphe
Arethuse, par Cimon, et, au re vers, Pan assis pr^ d'un Terme
(B.M.Cat., p. 370; Regling, pi. 111,9)"-
Stater of Pandosia, signed <J).
" Le monnayagede Velia, des 420, est sous I'influence artistique
de Thurium. Les plus belles monnaies de cette epoque montrent a
Tavers une tete d Athena identique a celles de Thurium, accost^e
souvent de la signature <t> (Phr}'gillos) et, au revers, une composi-
tion admirable repr^sentant un lion terrassant ou devorant un cerf.
Distater of Thurium, signed <t>.
Phn,'gillos — car je crois que c'est lui le createur de ces types —
se revile par ces dessins un des artistes animaliers les plus remar-
quables de I'epoque ".
From the above it will be noticed that D'^ Sambon is of opinion
— 504 —
that Phrj'gillos is the author of the fine coins of Thurium, —
which rank amongst the best issues of that mint, — Terina,
Heracleia, and Metapontum.
*' These dies "", wrote the late Prof. Furtwangler ", arc most
probably the work of the artist who signs with a O in Terina, and
whose personality makes itselfso distinctly felt on its coinage (comp,
Stuart Poole, Num. Chron., 1883, 269 sqq.; PI. xi, xii). His style,
in the design of the seated Nike of the ^L bears so surprising and
unmistakable a resemblance to that of the Parthenon frieze that he
must have stood in the closest relations to the artist of the frieze —
in other words, to Pheidias. His activity in Terina is evidently some-
what later than his Thurii period, for the Thurii work recalls the
style of the Lemnia, while the head of the nymph on the coins of
Terina is, like the reverse, in the manner of the Parthenon frieze.
These coins of Terina, following, as they do, closely on coins of
the period in which the trammels of archaic convention are still
felt, must from evidence of st}4e be dated in the same time as the
Parthenon frieze — /. e. between 440 and 430 B. C, ".
D"^ Sambon contests the date proposed by Furtwangler and puts the
coins down tocirc. B.C. 460-400.
The reverses of the coins of Terina present Nike in changing
attitudes of' a singularly playful grace, alone paralleled by the
similar types of the Fountain Nymph of the Thessalian Larissa. We
see her resting on an overturned hydria (B) ; seated on a base and
drawing water with the same vessel from the fountain in the wall
(C) ; in a chair, throwing and catching two balls on the back of her
hand (A), repeated in a different form at Larissa, and also in two
instances seated on a base. In all subjects but that of the game of
balls she holds the caduceus. In n° i(A)alittle bird rests on her hand;
in n° 4 (D) she leans her left hand on the side of the cippus, while
she holds the caduceus in the right, pointing towards the ground.
The composition in all cases is masterly " (Stuart Poole, loc. cit.^.
D. Didrachm of Terina, by O.
These Didrachms of Terina belong to the period of finest art,
and are infinitely superior in style to those of the Engraver n, who
may have been a pupil of 0. The head of the nymph Terina bears
— 50) —
close relationship in the composition to the head of Kor6 on
Syracusan tetradrachms of transitional style.
Very probably, as suggested by Prof. Furtwangler, we meet with
the same artist's hand on the reverse of a coin of Pandosia, which is
also signed O. The seated youthful hunter (Pan, according to
Sambon) is quite in the style of the Parthenon frieze. The obv, is
more remarkable still, in that it presents a facing head of Hera,
with flowing hair, on either side, " another instance of the more
recent Pheidian tendency, which we see brought to expression in
certain figures of the Parthenon frieze and in the Dioscuri of Monte
Cavallo. The whole scale of gradation from the Lemnia to the
Dioscuri, which we trace in the large monuments, is exactly reprod-
uced, step by step, in the works of a die-cutter " {Masterpieces &c.,
I, p. io6).
To Phrygillos we may perhaps ascribe the fine Staters, Hemi-
drachms, and Diobols of Heracleia signed 0, and possibly also the
beautiful didrachm of Metapontum, with head of Demeter to 1.,
wearing a diaphanous veil and crowned with corn-wreath, and on
I^. META (to r.), ear of corn, with leaf to 1. on which a field-
mouse.
PHYBES {Germ.). A Jew of Hanover vho in 1565 was entrusted
to work the mint of Wunstorf (Brunswick) by Duke Erich. His
name occurs in 1565 and 1567.
Bibliography. — Eduard Fiala, Mnni(en und MedaiUen der fVelfischen Lande,
Wien, 1904.
PHTLAX. Perhaps a misreading for Scylax, Fictitious signature on
a sard representing an Actor or Philosopher (King, p. 223).
PIACENZA, BERNARDO (ItaJ.). Florentine Goldsmith of the end
of the fifteenth century, whom Bolzenthal names, but who may
not have practised the medallic art.
PIANTANIDA, GIACOMO (//«/.). Mint-master at Milan, appointed
12. July 1589; his heirs were in office from 24. December 1590 to
8. August 1 591, when Marco Cresnasco succeeded them.
Bibliography. — Fratelli Gnecchi, Le Monete di Milano, 1884.
PIAZZA DE LODI, ALBERTO (surnamed TOCCAGNI (7/fl/.). Accord-
ing to Gaetano Milanesi, this artist may have been the author of
the medals signed : A. T., in particular that of Francesco Sforza,
dated 1455 (Armand II, p. 26, i.).
PIBWORTH, CHARLES J. {Brit.'). Sculptor and Medallist, residing
in London, Member of the Society of Medallists. By him are :
— $o6 —
Portrait-medallions of Sarah Vennell; — J. Hugh Thomson; — A
Gentleman ; — Maxime, &c.
PIGARD, ERNEST (French). Contemporary Sculptor and Medallist,
born at Brest; pupil of Chapu. At the Salon of 1883 he exhibited
amongst others two Portrait-medallions of a Lady and a Gentleman.
PIGARD, PIERRE (^French). Engraver of Jetons, circ. 1 531-1534.
PIGARD (French). A jeton of 1787 (Wood and Coal Trade) is
signed : PIGARD DEDIT (Florange, Essai stir les Jetons et Midailles de
Mines, p. GG, n° 253).
PIGARD Y FAREN (Span.). A firm of Die-sinkers who in 1834
issued a Proclamation Medal of Queen Isabella I . at Santiago de las
Vegas, which is signed : PIGARD Y FAREN FT.
PIG ART (French). Engraver of the seventeenth centur}', and the
author of various religious medals (Medals or Crosses of
St. Benedict). F/c?^ Numismatic Chronicle, 1863, pp. 123-127.
PIGART, JAGQUES (French). Goldsmith of Cambrai, who has
engraved M^reaux for that town, circ. 1 676-1 678.
PIGAUD, GHARLES LOUIS (French). Contemporary Sculptor; pupil
of his father, A. Millet, and G. Crank ; by whom are various
Portrait-medallions, amongst which I have noted : 1884. M"* X***;
— 1885. M""^ Picaud; — M"^ Picaud ; — 1892. M. & M""' Henri
Picaud ; — 1903. M. Dorrian ; — M. X*** ; — 1904. M. Rouchier;
— M. Delaunay; — M-« J. S***; — M. X***; — Head of a
Fisherman; — 1906. Portrait-medallion of M. Bourganel, senator
of the Loire; — Portrait-medallion of M. J. Bezacier; — 1908.
Portrait-medal of M. Bourganel, &c.
PIGAULT, £mile LOUIS (French). Contemporary Sculptor, born at
Paris; pupil of Royer. Many of his bas-reliefs partake of a medallic
character. 1863. Captive Greeks at Syracuse, medallion in wax; —
1864. Human Life, bas-relief in clay; — 1866. The Eleusynian
Mysteries, medallion in clay ; — 1867. The Tomb of Orpheus, a
medal; — 1873. Offering to the Lares on the Via romana ; —
Perseus and Andromache; — 1876. Our Butterflies; — 1878.
Othello and Desdemona; — Herodias giving orders to have
St. John the Baptist beheaded, etc.
PIGGIOLI (Ital.). A Bolognese Sculptor of the first half of the
nineteenth century, whose signature occurs on two Portrait-medals
of the composer Gioacchino Antonio Rossini, struck in commemo-
ration of the first performance of his Stabat Mater at Bologna, 1842.
— 507 —
Both medals were engraved by Grottolini, and only modelled by
Piccioli. His signature : PICCIOLI F. occurs also on a Portrait-medal
of Cardinal Ugo SpinoLi, 1842.
PICCIONE, PROF. MATTEO (Ifal.). Contemporary Sculptor of
Rome, lately residing at Rimini, in Romagna ; an eminent archaeo-
logist and numismatist, and founder and director of the periodical
" Battaglie di Archaeologia".
Beside numerous works of sculpture, he has executed several
Portrait-medallions and plaques, cast in bronze, among which I have
noted : Pope Leo XIII. 's father and mother (bas-relief); —
Pope Leo XIII. (medallion of 120 mill, in diam.); — Cardinal
Rampolla, Papal Secretary of State under Leo XIII. (this medallion
has been officially described as an excellent work) ; — Cardinal
Jacobini, Portrait-medallion; — Mr. S. M. Spink, Portrait-medal-
lion, etc.
PICHENAT, HONORAT (French). Mint-master at Aix in Provence,
1543-44.
PICHL, J.B. (Bohem.). Die-sinker and Medallist residing at Prague.
I have noticed his signature on the following medals : Friedrich
Smetana, composer, 1892 ; — Various Pbquettes and Medals
commemorating the Jubilee of Francis Joseph I., Emperor of
Austria, 1898 ; — Baron Appel, 60 years' service Jubilee ; — Prize
Medals of Agricultural and other Shows, Exhibitions, etc. ; —
Medals of local interest, etc.
The PichI Die-sinking establishment is the most important in
Bohemia, and has for thirty years or more produced most of the
commemorative medals, badges, tickets, etc., issued in that countr\\
PICHLER, AUTOmO (A list r.). Really Johann Anton. Gem-engraver,
born at Brixen in Tyrol, on 12. April 1697, died at Rome, on
14. September 1779. He began life in the mercantile profession,
under the care of a rich uncle at Nice, but his native inclinations
soon led him on a different path. He visited Italy, and at Naples
— 5o8 —
took employment with a goldsmith, where he learned die-sinking
and became a very clever Engraver of armorial bearings, seals, and
precious stones. In 1732 he married, during a visit to his native
land, Therese Pinzeritz, the daughter of a Bohemian musician. By
her he had two sons, Giovanni, and Giuseppe, who both distin-
guished themselves in the glyptic art, and three daughters.
The success and encouragement with which the artist met in
Italy, led him to settle at Rome in 1743, where he could extend the
circle of his patrons, and again this change proved most fortunate
for him. He however had the grief to lose his wife, but after two
years married again, this time a Roman lady, Cajetana Magozzi,
who presented him with six children, one of whom, Luigi, also
attained distinction in his father's footsteps.
He died on 14. September 1779, and was buried in S. Lorenzo in
Lucina.
Antonio Pichler excelled in the imitation of antique subjects, but
also produced intaglios and cameos from his own designs. His
works are sometimes signed in Greek, niXAEP, although we meet
also with the following forms of signature : A. P.; — A. PI.; —
PICHLER P.; — A. P. P.; — ANTONIO; — A. HIXAEP, etc.
Among the artist's best known productions D''Rollett mentions:
CAMEOS. Faun, bust to 1.; cornelian; signed : A- fllX. (Vienna
Museum) ; — Homer, facing bust, after the Vatican bust ; signed :
niXAEP EnOIEI ; — Isis; — Sardanapalus, etc.
INTAGLIOS. Bust of Aesculapius ; cornelian ; after the gem by Aulos ;
signed : AVAOV and A. P. P. (a masterpiece) ; — Amazon, bust to r. ;
— Cupids, after an antique ; — Antinous, head to 1. ; corneHan ; —
Apollo, bust to r. ; topaz; — Bacchanalian scene (an exact copy of
the gem known as Michael Angelo'sseal); cornelian; — Bacchante,
bust to r. ; — Bacchante standing before Term ; — Head of Brutus,
between two swords, and inscription : EID. MAR; cornelian (after a
coin) ; — Head of Michael Angelo Buonarroti ; — Head of Julius
Caesar; topaz ; signed : fllXAHPOC ; — Centaur bending his bow ;
signed : A. P. P. (engraved for Metastasio's seal); — Centaur and Cupid
riding on his back; — Chiron carrying the youthful Achilles ; —
Head of Cicero ; signed : H; — Cleopatra, half-length figure; —
Bust of Cromwell ; — Diana ; — Diana montana ; corneHan ;
signed : TTIXAEP ERO. ; after the gem by Apollonios (one of the
artist's finest productions) ; — Bust of Dido ; A I AON ; — Diomedes
with the Palladium ; — Hercules, nearing his death, on mount
Oeta ; — Youthful Hercules, bust to r. ; dark sardonyx (Franz v.
Pulzsky's cabinet in Budapest); — Head of Homer, chalcedony; —
Isis, bust three-quarter face to r. ; — Bust of Juba ; — Leda and
the Swan; signed : A- fllXAEP; — Head of Leucothea; — Head of
Livia, as Ceres ; cornelian ; — Head of Lysimachus ; — Laureated
— 309 —
male head; — Heads of Mark Antony and Cleopatra, chalcedonyx;
— Head of Marcellus; — Head of Medusa, cornelian; — Meleager,
after the Vatican statue; — Mercury; signed : HIXAEP EHO. (after
the gem by Dioscurides) ; — Helmeted head of Minerva; crystal; —
Baron de Montesquieu ; — Muse, leaning against column, her hand
to her head; signed : DIXAEP; — Oedipus with his two daughters
Antigone and Ismene in front of the Temple of the Furies; onyx;
after a drawing by Raphael Mengs ; — Bust of Palladio ; — Bust of
Perseus; cornelian; — Horse attacked by a lion; signed : AVAOV;
— Priam at the feet of Achilles, claiming Hector's body ; cornelian;
— Sacrifice to Priapus ; five figures around altar near Term of
Priapus ; — Priestess, standing near a column, with sacrificial knife
in her hand; — Priestess, standing near a column, holding sacrifi-
cial vase ; — Priestess offering a ram ; — Psyche dancing, Eros
playing the lyre, and Anteros the double ffute; — Laureated head
of Ptolemy; — Head of Raffaelo Santi; — Head of Sabina, consort
of Hadrian ; cornelian ; — Head of Scipio Africanus ; — Seneca ; —
Bust of Severus ; cornelian ; — Head of Socrates ; cornelian ; signed :
niXAHPOC; — Bust of Xenophon, with inscription : ZENOOflN ;
— The Muses (copied from denarii of the Pomponia gens) ; —
Fauns and Nymphs ; — The three Graces; — Venus marina; —
Venus callipyga ; — Cupid riding on a sea-lion ; — Cupid
mounted on Centaur; — Cupid embracing Psyche; — Venus
reproaching Cupid ; — The Venus de' Medici ; — Venus bathing ; —
Venus seated on rocks; — Venus on her knees; — Venus terrestrial;
— Venus and Cupid; — Cupid repairing a bow; — Cupid riding
on Pegasus; — Cupid leaning on a hoe; — Cupid burning a
butterfly with his torch ; — Cupid embracing Psyche, etc .
Many of Antonio Pichler's cameos and intaglios are known by
plaster casts. He excelled in engraving figures of Venus and Cupid.
His copies after the antique are as a rule very correct.
Bibliography. — Dr Hermann Rollelt, Die drei Meister der GemmoolypUk
Antonio, Giovanni utid Lui^i Pichler, Wien, 1874. — Nagler, Allgemeines Kiutsller
Lexikon, &c. — Ibid., Monogrammisten. — Raspe, Tassie Gems, 1791.
PICHLER, GIACOMO (Ital.). Son of Giovanni Pichler, and also a
Gem-engraver, who died young. He learned the art under his
uncle Luigi Pichler, and produced a number of intaglios, many of
which were commissioned to him by Count Somariva of Milan,
where he had settled, near his sister Teresa, wife of the famous
poet, Vincenzo Monti.
PICHLER, GIOVANNI (Ital.). ReaWy Johann Anton. Gem-engraver,
Painter, Draughtsman, and Line-engraver, son of Antonio Pichler.
born at Naples on i. January 1734, died at Rome on 25. January
1 79 1. His father first instructed him, and he later studied under
— 510 —
Domenico Corvi, the celebrated painter. So rapid was his progress
that at the age of sixteen he produced his first notable work, a copy
in onyx of an antique gem representing Hercules crushing the lion.
In the same year, 1750, he cut another intaglio, showing a bull
attacked by a lion, which is signed : fllXAEP. His intellect was
endowed with rare powers, but although he devoted himself to
various branches of art. Gem-engraving always remained his work
of predilection.
For a number of years the artist worked for antiquaries, who
benefitted by his skill, as we learn from the following extract :
" Pichler told Dutens (' Mem. d'un Voyageur ', iii, 153) that,
although he had always been striving to imitate the ancient
masters, he did not consider his own best works as equal to even
their mediocre performances. Nevertheless, having once obtained a
fine sardonyx, he engraved on it a youth with a hoop Qrochus),
Giovanni Pichler, by Luigi Pichler.
tolerably to his satisfaction. He lost the gem, and supposed it to have
been stolen by a pupil. Some weeks after, a noted antiquary, Alfani,
brought him his gem, for which he had just paid fifty zecchini to
another antiquary, Christiani. The latter had bought it from a
peasant, who stated that he had dug it up in his garden. Pichler
was ordered to make a fac-simile at the price of forty zecchini.
Alfani then took the two to Paris, sold the first to M. St. Augny,
the copy to another amateur, both as antiques, at a hundred Louis
each. The purchasers chancing to meet, each claimed his own as
the antique of the two, and finally sent both by post to Rome, for
Pichler's judgment. The latter told the whole story, having
discovered that his pupil had employed a contadino to pass off the
gem on Christiani".
In 1 76 1 Pichler was entrusted with the painting of four Altar
tablets and Choir table for the Franciscans at Orioli, but this is the
only important work of painting that he did, beside the large altar-
— C I I —
piece, representing St. Thomas of Villanova, executed for the
Augustine monies of Bracciano.
In 1763 he definitively settled at Rome and married there
Antonia Selli, by whom he had several children.
On the visit of the Emperor Joseph II. to Rome in 1769,
Countess Schuvalow commissioned Pichler to make his portrait,
which was approved of, and won him the title of Gem-engraver to
His Majesty, and a knighthood.
In 1775 he was persuaded to goto London, but did not go further
than Milan, difficulties arising in his family that obliged him to
return to Rome, where Pope Pius VI. gave him a special appoint-
ment, and entrusted him with the execution of his portrait, as
Clement XIV. had done before him.
" Pichler's intaglios are usually on stones of large dimensions, the
drawing is admirable, the engraving not very deep, but atter the
true Greek manner, the details carefully given and the whole
beautifully polished. This great artist's forte lay in the representation
of female loveliness : his large bust of Helen, his numerous copies
of the antique Venus at full length in her various attitudes, and in
busts, constitute the noblest of his works. Kohler accuses him of
having produced a large number of Etruscan Scarabei, in imitation
of their peculiar style, and designed to pass for antique ; and also of
inserting *' artists' signatures " upon really ancient gems at the
request of their owners — the most despicable of frauds " (King,
Antique Gems, 1872, p. 440).
Rossi states that Pichler passed a few of his intaglios as antiques,
at times either to ridicule some pretended connoisseur or to punish
others who had criticised his work, but that in such cases he
never asked a bigger price than for productions which he would
have acknowledged to be modern and by his own hand. His
reputation was such that some of his contemporaries inscribed his
name on their own works in order to facilitate their sale.
Pichler prepared paste reproductions of his cameos and intaglios;
they number 220, but do not comprize many of his earlier works.
His imitations of antique gems were so clever, that even Winckel-
mann was deceived by some of them. He usually signed : |. H- ; —
niXAEP;— niXAEP EnOIEI; — niXAEPEn.; — n.;— J. p., &c.
D"" RoUett's list of Pichler's glyptic works comprises no less than
379 pieces :
CAMEOS. Helmeted head of Achilles; agate-chalcedony; signed :
niXAEP; — Spread eagle flapping its wings; agate jasper; — Head
of Marcus Agrippa ; — Head of Marcus Agrippa wearing turreted
crown; — Agrippina, wife of Germanicus, to r., carrying the
ashes of her husband; agate-onyx; — Bust of Alexander the Great;
agate-onyx; signed : FIIXAEP; — Busts of Alexander the Great
— 512 —
(three other varieties); — Alexander the Great, dying; head to 1.;
after the antique bust in marble at Florence ; onyx ; signed :
niXAEP; — Cupid, head to 1.; signed : niXAEP; — Cupid
chained and seated on a dice, inscribed : niXAEP; agate jasper; —
Cupid holding a butterfly to his breast ; — Cupid, leaning
against a pediment, caressing a butterfly; — Cupid holding
a butterfly over a torch; cornelian-nicolo ; signed : niXAEP; —
Cupid and Psyche; agate-chalcedony; — Cupid chaining
Psyche kneeling at his feet; — Bust of Antinoiis (after the
statue in the Capitol) ; agate-chalcedony ; — Antiope, with
Amphion and Zethus (after the group in the Villa Albani);
agate-onyx ; — Bust of Antonia, mother of Germanicus ; — Head
of Apollo ; agate-onyx of three strata ; signed : FlIXAEP ; — Head of
Apollo; agate-jasper (after the statue in the Vatican); — Apollo,
standing figure; agate-onyx; — Apollo^ as a hunter; agate-onyx;
signed : FlIXAEP; — Head of Arethusa; agate-onyx (after a Syra-
cusan coin); — Head of Ariadne, diademed; — Head of Ariadne
to L, looking up; — Bacchus and Ariadne; agate-chalcedony;
signed : FlIXAEP (after a modern group); — Silenos to I. holding
wine-cup, skin and club; — Head of Bacchante, wearing ivy-wreath;
— Head of Bacchante, wearing laurel-wreath ; agate-onyx of four
strata; — Bust of Bacchante; signed : FlIXAEP; — Bust of
Britannicus, son of Tiberius Claudius and Messalina; signed :
FlIXAEP ; — Laureated head of Julius Caesar ; agate-onyx; signed :
FlIXAEP; — Cicero, facing bust; — Danaid advancing to r.,
holding vase and torch ; agate-onyx of four strata ; signed : FlIXAEP ;
— Head of Diana ; agate-onyx ; — Diana huntress, with dog at her
feet ; — Bust of Diogenes; agate-onyx ; — Diomedes carrying the
Hector's leave-taking. Cameo by Giovanni Pichler.
Palladium; agate-onyx; signed : FlIXAEP; — Drusus, son of
Tiberius ; onyx (after a coin) ; — Boar to r. ; — Eurydice, stung by
serpent; agate-onvx ; signed : niXAEP; — Head of Faun; agate-
onyx (this gem has long been considered as antique ) ; — Female
Faun eating grapes ; — Flora ; onyx of three strata (was taken for
an antique); — Head of Germanicus ; agate-chalcedony; signed :
— 513 —
niXAEP; — Hebe and eagle ; agate-jasper ; signed rfllXAEP; —
Hector's leave-taking of Andromache for the fight with Achilles ;
signed : fllXAER (in the Kibaltchich collection; illustrated) ; —
Head of Helen ot Troy, with double diadem; cornelian-niccoloof four
strata; signed : RIXAEP; — - Head of Helen, wearing Phrygian
cap; agate-chalcedony; signed : niXAER (illustrated); —
Head of Helen, Cameo by Giov. Pichler.
Youthful Hercules strangling the serpents (after a painting by
Annibale Caracci) ; — Head of Hercules; agate-onyx; signed :
niXAER (after the gem by Gnaios); — Hercules seated on lion's
skin; agate-onyx; — Hercules standing, leaning on club; agate-
onyx; signed : HIXAER (after the statue in Naples); — Hercules
slaying the horses of Diomedes ; — Hermaphrodite and the nymph
Salmakis (after a painting by Annibale Caracci) ; — Head of
Jupiter Sarapis, wearing niodius; — Head of Justitia; onyx (after
the original in the Vatican); — Head of the philosopher Karneades;
signed : TAAOV; — Leda and the Swan; signed : PlIXAEP; —
— Lucilla, consort of Lucius Verus; agate-onyx (after an antique);
— Bust of Luna, wearing Phrygian oip decorated with stars; —
Head of Lysimachus ; agate-onyx; signed : niXAEP (after a coin) ;
— Head of Maecenas, to 1. ; — Head of Maecenas, to r. ; — Head
of Medusa, three-quarter face, in high relief ; — Melpomene ; agate-
onyx (after the statue in the Vatican) ; — Head of Mercury, wearing
petasos ; — Mercury, Hebe and Cupid ; — Helmeted head of
Minerva; a^ate-onyx; signed : RIXAEP (after a coin); — Helmet-
ed head of Mercury to I., helmet adorned with laurel-wreath;
agate-onyx; — Hygiaea feeding serpent entwined around altar;
beside, Abundantia; — Athene Promachos; sardonyx of three strata
(formerly in the Marlborough collection); — Head of Mithridates;
agate-onyx; (after a bas-relief in the Capitol); — Head of Niobe;
agate-onyx; signed : fllXAER (after an antique statue at Florence);
— Octavia, consort of Nero ; agate-chalcedony (after the antique);
— Orpheus and Eurydice ; signed : niXAEP; — Pan, seated on a
L. t'oRREK. — Biographical Notitis of Mtdallists. — IV. 33
— 5M —
skin and playing the syrinx ; agate-onyx ; — Head of Paris, to 1. ;
signed : niXAEP; — Small head of Paris, to 1. ; onyx ; — Bust of
Poppaea, consort of Nero (after the antique) ; — Head of Psyche,
to r., signed : FlIXAEP; — Head of Psyche, to r. ; — Head of
Psyche; cornelian-niccolo ; — Psyche, on her knees, in the attitude
of grief; agate-jasper; signed : niXAEP; — Head of Ptolemy;
agate-onyx; — Head of Sappho; signed : niXAEP; — Head of
Sappho, laureated; signed : niXAEP; — Head of Sappho, to 1.;
agate-jasper; signed : FlIXAEP; — Head of Sappho; agate-onyx ; —
Bust of Sappho to 1.; hair in sakkos; onyx; signed : fl (in the
Vienna Museum); — Semiramis; agate-jasper; — Head of Seneca,
to 1. ; signed : FlIXAEP ; — Socrates ; agate-onyx (has been consid-
ered as antique); — Bust of Solon; agate-chalcedony (after an
antique); — Terpsichore; agate-onyx ; signed : FlIXAEP; — Head
of Tiberius; — Head of Trajan ; — Tuccia, a Vestal virgin ; agate-
onyx; — Tuccia, to r. ; agare-onyx; signed : FlIXAEP; — Bust of
Ulysses; agate-onyx (has been held as antique) ; — Bust of Ulysses;
agate-onyx; signed : RIXAEP; — Venus, after her bath, draping
herself; onyx; — Venus rising from her bath; — Venus and
Cupid ; signed : FlIXAEP ; — Bust of Venus ; — Head of Vespasian ;
signed : FlIXAEP; — Laureated head of Vespasian; agate-chalce-
dony (after the antique) ; — Head of Vestal virgin ; — Vestal virgin
walking ; agate-onyx ; — Vestal virgin kneeling ; beside, a lamb, &c.
INTAGLIOS. Achilles dragging after him the body ot Hector; —
Aeschyles ; cornelian (a masterpiece) ; — Bust of Aesculapius ;
sardonyx; signed : FlIXAEP; — Bust of Aesculapius to r., laureated;
sard ; — Agrippina seated before the urn containing the ashes of
Germanicus, cornelian; signed: FlIXAEP (after the statue in the
Museo Farnese at Rome) ; — Another, smaller ; — Agrippina seated ;
cornelian; signed: FlIXAER (after the statue in Naples) ; — Bust of
Ajax ; sard ; signed : FlIXAER (after the marble bust in the Vatican);
— Head of Alexander the Great; signed: FlIXAEP; — Fragment
of a bust of Alexander theGreat; — Bust of Antinous ; chrysoprase;
signed: FlIXAEP; — Bust of Antinous; sard; signed : FlIXAER
(after the marble statue in the Capitol) ; — Antinous standing to
1. ; signed : FlIXAEP; — Apollo, nude, standing on a base ; — Head
of Apollo, to r. (after the antique); — Bust of Apollo; signed:
FlIXAER (after a bust in the Vatican); — Apollo advancing to 1. ;
signed : FlIXAEP (after the statue in the Vatican); — Apollo
leaning against a column; chalcedony ; signed : FlIXAEP; — Apollo;
chalcedony ; — Apollo leaning against trunk of tree ; chalcedony ;
signed : FlIXAER (after a statue in Florence); -- Apollo and
Hyacinthus ; signed : FlIXAEP ; — Head of Ariadne, to r. ; cornelian;
signed: FlIXAEP (after a marble in the Capitol); — Head of
Ariadne, to 1. ; sard; — Ariadne seated on a rock ; Cupid at her
— 515 —
side, weeping; signed : FlIXAEP; — Artemisia seated holding urn;
sard; signed: niXAEP (after an antique gem); — Head of
Augustus; cornelian; signed: HIXAEP (after an antique marble);
— Aurora and Cephalus; — Atalante, holding the golden apple;
signed: niXAEP; — Head of Bacchante; — Bust cf Bacchante,
with right breast uncovered; signed: HIXAEP; — Bacchante
holding thyrsus; sard; — - Dancing Bacchante; signed: HIXAEP;
— Bacchante, drunk, to r., holding patera and thyrsus; signed :
HIXAEP (after the antique) ; — Small figure of Bacchante emptying
a vase ; — Bust of Bacchante, beside a Term ; — Bacchante, in ecstasy,
kneeling on altar before Term; — Bacchante, nude, dancing before
a Term, and holding a dagger to her mouth ; — Blacat, an
Englishman; cornelian; — Head of Brutus ; sard; signed: HIXAEP;
— Head of Brutus; cornelian (after an antique marble); —
Bulgaria, as a conquered Roman province; sard; signed: HIXAEP;
— The same representation, smaller; cornelian; signed : HIXAEP ;
— Quintus Lutatius Catulus, consul; head to I. ; — Centaur, with
Cupid riding on his back; sard; signed: HIXAEP (after a marble
statue in the Villa Borghese ; in commission for Prince Kaunitz);
— Centaur and Cupid ; chrysoprase; signed: HIXAEP; — Head of
Clement XIV. ; — Bust of Cleopatra, to r., with the snake; cor-
nelian ; signed : HIXAEP; — Clio; smaragd; — Clio seated on a
stool ; chalcedony (after an antique) ; — Clio seated, reading ;
signed : H ; — Head of Cupid ; — Cupid catching a butterfly ;
— Cupid striking a butterfly with a whip ; — Cupid seated on a
rock and holding a myrtle-wreath on which a butterfly; cornelian;
signed : HIXAEP ; — Cupid; a variety; cornelian; — Cupid riding
on Pegasus; agate; signed: HIXAEP (after a marble statue in the
Villa Borghese) ; — Cupid on hippoaimp ; sard; signed: HIXAEP
(after a marble statue in the Villa Albani); — Another, a variety;
— Cupid bending his bow; sard; signed: HIXAEP (after a painting
by Parmegianino); — Cupid resting on a scythe; signed: HIXAEP
(after an antique cameo); — Another, smaller; — Cupid and
Psyche embracing; signed: HIXAEP; — Another; unsigned;
— Cupid and Psyche embracing; cornelian ; signed : HIXAEP
(after a marble group in the Capitol) ; — Cupid and Psyche,
standing, embracing ; onyx; signed: HIXAEP ; — Dacia, represent-
ed as a conquered Roman province ; cornelian (after a marble
relief in the Capitol); — Danae, asleep; signed : HIXAEP ; — Head
of Diana, to r. ; cornelian (has been taken for an antique); —
Another, similar, unfinished ; — Diana, standing to r., holding bow
and arrow; signed : HIXAEP ; — Diana, advancing rapidly ; — Dido,
abandoned by Aeneas, and Cupid in tears; chalcedony (after a
painting from Herculaneum) ; — Diomedes carrying off" the Palla-
dium ; sard; signed : HIXAEP; — Discobolus; sard ; — Erato seated
- 5i6 -
on chair; in front of her an urn nnd wreath; — Head of Euripides;
— Euterpe leaning against column, holding double flute; green
plasma; signed: H (after a * consular' coin); — Faun and Lute
player; sard (after an antique marble vase in the Villa Borghese);
— Female Faun carrying youthful Bacchus; — Fortuna; chalcedony
(after the antique) ; — Portrait of a Lady ; hyacinth ; signed : fl IX AER ;
— Galatea standing on shell drawn by two dolphins (Venus
marina); sard; signed: mXAEP; — Ganymedes carried up by
eagle; signed: FlIXAEP; — Bust of Genius ; sard ; signed: FlIXAEP;
(after a marble in the Vatican); — St. George killing the Dragon;
onyx; — Gladiator; onyx; — Gladiator, in fighting attitude;
niccoio ; signed : FlIXAEP; — Gladiator, rushing forward ; sard;
signed: FlIXAEP (after a marble statue in the Villa Borghese); —
Dying Gladiator , sard; signed: FlIXAEP (after a marble statue in
the Capitol); — The three Graces; cornelian (after the antique);
— The three Graces, nude; signed: FlIXAEP; — The three Graces,
the middle one nude, the two others clothed; signed: FlIXAER
(after an antique vase); — Group of three figures; cornelian
(after an antique vase); — Harpocrates, seated on lotus flower
with Apis bull, on Nile barge; — Hebe, floating in the air, filling a
cup; signed: FlIXAEP; — Hebe, seated, and filling the eagle's
cup; signed: FlIXAEP; — Hebe holding the cup to the eagle ;cor-
nehan (after a painting by Hamilton); — Hector, kneeling, bend-
ing over Patroclus (2 varieties) ; — Head of Hercules ; sard (after
Gnaios); — Head of Hercules; beside, a club; cornelian; signed:
FlIXAEP; — Hercules carrying globe and standing on another;
sard ; — Youthful Hercules strangling the serpents ; — Hercules
slaying the boar; beside, a tree; — Hercules crushing the Nemean
lion ; onyx (after an antique gem); — Hercules crushing the lion;
signed: OIAHMONOC and Fl ; — Hercules, kneeling, carrying the
dobe on his shoulders; — Hercules and Penthesilea; — Hercules
holding the sinking Penthesilea; — Hercules Bibnx; — Hercules,
resting, seated on skin ; signed : AAMHN ; — The Farnese Hercules ;
chalcedon; signed: FlIXAEP; — Hermaphrodite, standing, nude,
and admiring himself; — Hermaphrodite, seated ; at his feet,
Cupid in attitude of grief; — Hermaphrodite lying on a mattress ;
cornelian; signed: FlIXAEP (after a marble statue in the Villa
Borghese; in commission for Lord Percy); — Hermaphrodite
wrestling with the nymph Salmakis ; chalcedony ; signed : FlIXAEP
(after a painting by Annibale Caracci); — . Head of Homer; cor-
nelian (after the Farnese bust); — Bust of Homer (after an antique
bust at Naples); — Head of lole; cornelian (after an antique); —
Head of Isis; — Bust of Joseph IL; chalcedony (cut on commission
for Countess Schuwalow during the Emperor's visit at Rome in
1769); — Juno, enthroned; beside, a peacock; signed: FlIXAEP;
— 517 —
— Jupiter, standing, holding thunderbolt and skin of the goat
Amalthea; at his feet, an eagle; — KaHirhoe, as victim of the
Bacchus priest Koresos; — Another, smaller ; signed : niXAEP; —
Korybante ; cornelian (after a paste in the Florence Museum) ; —
Warrior leading horse to drink; Indian sard (after an ancient
gem ; in the Pulszky collection); — Head of Laocoon ; — Leander
swimming across to Hero's tower; with Etruscan border; — Count
Lechi, of Milan; agate; — Leda and the swan ; cornelian ; signed:
niXAEP ; — Leda and the swan; cornelian; — Leda, seated;,
and the swan ; beside, a tree; cornelian ; — Leda, seated, embracing
the swan with both arms; sard ; signed : niXAEP; — Leda and
the swan ; dark sard ; signed : PI (formerly in the Marlborough
collection); — Leda and the swan, seated on a rock; cornelian;
signed: fllXAER (2 var.); — Leukothea; diademed head to I.;
cornelian; signed : FlIXAEP; — Head of Leukothea with diadem
and vine-wreath; — Head of Livia; — Lion devouring bull;
signed: FlIXAEP; — Head of Lysimachus ; cornelian; signed:
niXAEP; — Head of Maecenas ; — Mars, resting; sard; signed:
niXAEP (after the marble statue in the Villa Ludovisi); — Mars
and Venus embracing; signed : FlIXAEP; — Mask; sard;
signed : Fl ; — Comic Mask, with the inscription : AlCIC;
cornelian; — Head of Medusa, almost facing; onyx-niccolo; —
Head of Medusa; sard ; after the celebrated gem by Solonos; signed :
FlIXAEP; — Melpomene, leaning against column; cornelian;
— Melpomene, to r., holding torch; — Head of Mercury; —
Mercur}' riding on ram, and holding caduceus; chalcedony;
— Mercury standing on a basis, holding caduceus and skin ; —
Mercury; signed : FlIXAEP (after the statue in Florence); — Mer-
cury, holding patera, out of which a butterfly is drinking; beside, a
caduceus; — Mercury, holding caduceus, and placing his right hand
on his mouth; signed: FlIXAEP; — Mercury, holding caduceus
in r. hand, and in the left a ram's head on discus; chalcedony;
signed: FlIXAEP (after the gem by Dioscorides) ; — Minerva
medica, standing; sard ; signed : FlIXAEP (after an antique candela-
brum bas-relief in the Vatican); — Minerva medica, standing;
cornelian (after an antique statue in the Giustiniani Palace) ; —
Muse ; cornelian (after an antique) ; — Muse, leaning against
column, her head sunk in her hand; agate; signed: FlIXAEP; —
Nemesis ; sard ; — Neptune, holding trident, and stepping on prow
of galley; Etruscan border; — Laureated head of Nero; cornelian;
signed : FlIXAEP ; — Laur. head of Nero; sard (after an antique) ;
— Head of Omphale ; cornelian ; signed : FlIXAEP; — Head of
Omphale, also wearing the lion's skin; sard ; signed : FlIXAEP; —
Head of Omphale, wearing lion's skin; signed: FlIXAEP; —
Omphale, holding club; signed: FlIXAEP; — Omphale, advancing
to r., holding club; signed : niXAEP; — Offering of Pan and Aescu-
lapius; cornelian; signed: niXAEP; — Offering to the god Ter-
minus; sard; — Offering to the goddess Salus; cornelian ; — Por-
trait of Marquis d'Orcasittas; cornelian; — Pan, running, blowing
the syrinx; — Pan, seated on goat's skin, holding double flute; —
Papirius and his mother; chalcedony; signed: niXAEP (after a
marble statue in the Villa Ludovisi) ; — A variety, in cornelian;
— Head of Paris ; white sard; signed : niXAEP; — Head of Paris;
cornelian (in commission for Lady Spencer) ; — Head of Paris,
wearing ornamented bonnet ; — Pastor fido^ seated on rock and
drawing a thorn out of his foot (after a statue in the Capitol) ; —
Peleus V ashing his hair (in the Pulszky collection) ; — Bust of
Perseus; — Perseus and Andromeda ; cornelian ; signed : niXAEP
(after the group in the Capitol); — Perseus and Andromeda;
rock crystal (after an antique bas-relief in the Capitol) ; — Pindar ;
— Head of Pius VII. ; — Head cf Phocion ; cornelian ; — Head
of Phocion ; signed: CKYAAOC; — Polyhymnia; chalcedony (in
commission for Sir William Hamilton); — Offering to Priapus;
cornelian (after an antique in the Paris Cabinet); — Term ot
Priapus being adorned by two nymphs; — Priest, holding pitcher;
— Bust of Psyche; signed: RIXAEP; — Head of Psyche; oriental
topaz (after an antique); — Bust of Psyche; cornelian; signed:
niXAEP; — Bust of Psyche, to 1., looking down; signed: HIXAEP;
— Psyche, holding pitcher, and Cupid, blowing double flute ;
cornelian ; signed: FlIXAEP (after Angelica Kauffmann) ; — Bust of
Raphael ; signed : FlIXAEP ; — Head of Regulus ; — Head of Caius
Antius Restio; cornelian ; — Helmeted head of Roma; cornelian ;
signed: FlIXAEP; — Head of Quintus Pompeius Rufus; sard; —
Salus; cornelian; signed: DIXAEP; — Head of Sappho; cornelian;
signed: fllXAEP; — Another; sard; — Another, smaller; sard;
— Another; with laurel-wreath bound with string of pearls; signed :
niXAEP; — Saturn, holding scythe; — Saturn, holding serpent,
the emblem of eternity; — Satyr pursuing a Bacchante; signed:
niXAEP; — Satyr, dancing, and playing the syrinx; cornelian; —
Satyr catching hold of a nymph from behind and kissing her ;
amethyst; signed: H IX AEP (after a painting from Herculaneum,
in the Naples museum) ; — Satyr, in a state of intoxication, seated
on a rock, and asleep; sard; signed: fllXAEP ; — Semiramis,
handing sceptre to Ninyas ; agate; — Head of Septimius Severus,
to r. ; — Head of Silenos, wearing ivy-wreath ; signed : YAAOV ;
— Silenos holding thyrsus; at his feet, an amphora; — Silenos
blowing the double flute; — Silenos carrying youthful Bacchus; —
Dancing girl ; cornelian (after a painting from Herculaneum); —
Dancing girl, holding veil over her head ; amethyst ; signed :
niXAEP (after an ancient painting); — Dancing girl, playing on
ft
— 519 —
the lyre; sard; signed : RIXAEP; — Dancing girl, playin^
cymbals; cornelian; signed: fllXAEP (from a painting by Caracci
in the Palazzo Farnese) ; — Terpsichore, leaning agamst column,
holding lyre; — Thalia, holding sword and mask; — Theseus,
finding his father's sword under a rock; sard ; — Theseus, in front
of the gate of the Labyrinth where he has slain the Minotaur (after
the gem by Philemon; illustrated); — Thetis; sard; — Head of
Theseus ; Intaglio by Giov. Pichler.
Tiberius; signed: RIXAEP; — Tuccia, a Vestal virgin; signed:
niXAEP ; — Tuccia, as before, holding simpulum; chalcedony;
signed : fl ; — Tuccia ; corneUan ; — Urania ; sard ; signed : DIXAER
(after a " consular" denarius, of the Pomponia gens); — Another,
a variety ; sard; signed: FllXAEP; — Venus, nude, standing on a
basis; signed : niXAEP (3 var.) ; — Venus Anadyomene; hyacinth ;
— Venus, slightly draped (2 var.); — The Venus de' Medici;
cornelian; — Another; chalcedony; — Venus; signed : RIXAEP
(after the Florence marble statue) (2 var.); — Venus, nude, admir-
ing herself; — Venus callipyga ; cornelian ; signed : RIXAEP
(after the statue in the Farnese Museum) ; — Venus callipyga, in
a different attitude; amethyst ; signed : RIXAEP (3 var.); — Venus
rising from the bath ; signed : RIXAEP (from the marble statue in
the Vatican) ; — Venus, placing her 1. foot on vase, and holding
drapery in 1. hand ; signed: RIXAEP ; — Venus covering her breast
with drapery; signed: RIXAEP ; — Venus pouring water from a
vase over her head; signed : RIXAEP ; — Venus, seated, drying
herself after the bath ; sard ; — Venus, almost kneeling, reaching
a patera ; — Venus marina, standing on shell, drawn by two
dolphins ; signed : RIXAEP ; — Venus arising cut of the water, her
arms over her head ; — Venus, with raised skirt, holding a bird
(known also as ' Innocency ') ; cornelian ; signed : RIXAEP; —
Venus, hunting; yellow sard; — Venus, in reclining attitude;
chalcedony ; signed : RIXAEP (after the painting by Titian, at
Florence); — Venus terrestris; sard; signed: RIXAEP; — Venus
— 520 —
victrix; sard; signed: HIXAEP (after the marble group in the Villa
Borghese); - — Lucius Verus; cornelian (after the statue in the Villa
Borghese; in commission for Sir William Hamilton); — Victory;
— Victoria navalis; sard (in commission for General Schuwalow);
— Bust of Virgil, &c.
Beside these, Giovanni Pichler executed a number of Portrait-
cameos and intaglios, some of which cannot now be identified.
A series of plaster casts of these exists in the Vienna Imperial
Cabinet.
Raspe, Tassie Gm^^, further describes some productions of Antonio
and Giovanni Pichler, which are not mentioned in D"^ Rollett's
work. Amongst these are: Sphinx seated with a butterfly on the
axle-tree in the circle of a serpent; — Atys ; cameo signed : HIXAEP ;
— The Ephesian Diana within a temple ; — Cupid riding on sea-
lion ; — Venus reproaching Cupid ; — Amphitheatre with
spectators; - — Apotheosis of Titus; — Prometheus, gnawed by the
vulture ; — Copy of the famous ' Portland ' Vase ; — Hercules
strangling the lion (one of Giovanni's earlier works, executed when
he was only fourteen years old) ; — Hercules taming the bull
(executed at the age of seventeen) ; — Achilles dragging the
body of Hector out of the walls of Troy (repeated at least a dozen
times) ; — Cameo, from a statue by Guglielmo della Porta, of the
monument of Pope Paul III., in St. Peter's Church at Rome.
"This artist", says King "must be declared the greatest profi-
cient of his age, unless indeed Rega be equalled with him, in the
art of engraving in intaglio... His works were often sold by the
dealers as antiques of the first order. To prevent this fraud he ever
afterwards signed his works with his name in full, in delicate Greek
capitals, niXAEP".
On his early death, the art world of Rome joined with his
family in mourning over "II celebre Giovanni Pikler" and "Arti-
fice di sempregloriosamemoria". His biographer writes : "Sprech-
en wir nun von Giovanni Pichler's Styl, so lasst sich dieser mit
den zwei Worten : einfach und grossartig ausdriicken ; denn diese
beiden Eigenschaften findet man mehr oder weniger in jedem
seiner Werke : und dies ist nicht wenig, wenn man weiss, dass in
diesen Eigenschaften hauptsachlich das Schone und Wunderbare
in den Arbeiten dieser Art der Kunst beruht, und wegen welcher
die ausgezeichneten antiken und modernen Werke der Gemmo-
glyptik so sehr geschatzt werden. Betrachtet man die Sache genauer,
so unterscheiden sich die Arbeiten Giovanni Pichler's durch etwas
ganz Eigenes, durch eine nur ihm zukommliche Art, in welcher er
z. B. Kopfhaare in Masse reizend darstellt und mit ein paar freien
Strichen deren Feinheit andeutet, in welcher er dem leicht ge-
schlossenen Munde eine edle Grazie, den Augen eine wunderschone
— 521 —
Form zu geben weiss. Dazu kommt eine hochst correcte Zeichnung,
eine Kraft und Energie des Schnittes^ ein mit Gefuhl und Tiichtig-
keit ausgefiihrtes Basrelief, im classischen, harmonisch-hohen Geist
der Alten" (RoUett, op. cit., p. 21).
The same writer continues (p. 22) : " Wenn man die Werke
Giovanni Pichler's im Ganzen betrachtet, mit ihrer Wahrheit,
mit ihrem charakteristischen Ausdruck, mit ihrer Bewegung, so
mangeln fast die Worte, so viele hochste Schonheit und eintache
Grazie zu beschreiben, und die Bezeichnung fiir die Bewunderung
der Technik zu finden, die in ihrer Reinheit und Scharfe so glanzend
war, dass er sich auch dadurch vor alien neueren Kiinstlern aus-
zeichnete, und ihm keiner an die Seite gestellt werden konnte.
Breit in der Anlage, entwickelt er dieFormen vollkommen plastisch,
mit voUiger Belebung. Zugleich gab er seinen Steinen eine denen
der antiken Kiinstler nicht nachstehende Politur. Aus seinen
stets mit harmonischer Empfindung gezeichneten Werken wird
ersichtlich, dass er sich tief in den Geist seiner antiken Vorbilder
einstudirte, daher ihn auch alle Kunstfreunde und Kenner ungemein
hochschatzten, die durch Winckelmann auf den Werth und die
Wiirde der antiken Gemmoglyptik aufmerksam gemacht worden
waren. "
There are various portraits of John Pichler; one by Mastrellini
was reproduced in the enamel paste of the Tassies.
Between 1776 and 1791, Pichler cut, after his own drawings,
the Stanzas of Raphael, but was unable to finish the work.
Bibliography. — Rossi, Gioiatini Pichler, 1792. — Rollett, Die drei Meister
der Gemmo-glyptik, Antonio, Giovatmi 11. Luigi Pichler, 'Wien,i8j4. — Babelon,
La Gravure en pier res fines, 1894. — Mariette, Traite, &c. — Bolzenthal, op. cit.
— J. M. Gray, James and William Tassie, 1884. — Murr, Journal, VIII, 5. —
Catalogo d'impronti cavati da gemme incise dal Cavaliere Giovanni Pichler, incisore
di Sua Maesta Cxsarea Giuseppe IF. , 1 790.
PICHLER, GIUSEPPE (lial.). Also known zs Johann Joseph Pichler .
One of Antonio's elder sons, born at Rome in 1760, and also a
Gem-engraver. He produced chiefly copies of antique gems but
executed too a number of portraits from nature. One of his best
works is the head of a Youth, which is n.itural and very tasteful. Of
almost equal merit is a Female head wearing diadem.
By him are the following intaglios : Achilles seated on a rock;
— Bacchante and Maenad, dancing ; — Youthful Bacchus, held by
two kneeling Nymphs; — Head of Ceres; signed : niXAEP; —
Ceres in chariot drawn by serpents; signed, I. FlIXAEP; — Diana
and Cupid; signed : ni. Efl.; — Htlmeted head of Hannibal,
facing; — Hercules, leaning on spear, and at rest; beside, quiver
against tree; — • Hope and Fidelity; — Head of lo (2 var; one
signed : fllX.); — Juno and Minerva, in biga; — Head of a Greek
— 522 —
philosopher; — Head of Marcus Aurelius; cornelian (in the Pulszky
collection); — Head of Medusa, almost fiicing; signed : niXAEP; —
Perseus standing beside Pegasus; — Satyr seated, asleep; — Venus
victrix; signed : niX; — Female bust, facing; — Head of Livia,
as Ceres; amethyst (Vienna Museum); — Bacchus and Cupid (Berlin
Museum); - — The three Graces; brown sard; after Canova (Berlin
Museum); — Head of a Lion; rock-crystal (Berlin Museum); —
Head of Sirius; topaz (a copy of the famous gem by Gnaios. This
topaz, which is inscribed 2KYAA01 was sold by Giuseppe Pichler
to a dealer at Rome for the sum of lOO Ducats. It is now in the
Hermitage Museum, St. Petersburg); — Numerous heads of ani-
mals, particularly dogs and lions, &c. ; — Head of Alexander I. oi
Russia; cameo in cornelian-onyx; signed : I. PI. (now in the Vienna
Museum); — Cameo with the three portraits of Alexander I. of
Russia, Alexander the Great, and Julius Caesar, superposed ;
signed : FlIXAEP; — Another, similar; signed : HIXAEP <t>; —
Copies of antique gems, at for instance, of the famous Etruscan
gems representing the Heroes of Troja, &c.
This artist died after 1820.
Bibliography. — As above.
PICHLER, JAKOB. Vide GIACOMO PICHLER supra.
PICHLER, JOHANN. F/Wt' GIOVANNI PICHLER supra.
PICHLER, JOHANN (Austr.). Pupil of the School of Engraving at
the Vienna Mint, 1740, ij^o (Katalog der Miin:^- und Medaillen-
Stempel Sammlung des K. K. Hauptmim:^amtes in Wieriy 1904).
PICHLER, JOSEPH ANTON. Vide ANTONIO PICHLER supra.
PICHLER, JOHANN JOSEPH. Vide GIUSEPPE PICHLER supra.
PICHLER, LUIGI (ItaL). Also Ludwig P. Second of the six sons
of Antonio Pichler by his second wife; born at Rome, 31. Januar}-
1773, died there, 13. March 1854. He distinguished himself chiefly
as a Gem-engraver, although he turned his attention also to
painting, coin- and medal, and line-engraving.
He had the misfortune to lose his father at the age of six, but
displaying already whilst quite young a tondness tor drawing, his
brother Giovanni undertook to instruct him. Between 1782 and 1786
the youth studied painting under Domenico de' Angelis, then he
entered Giovanni's workshop where he was taught to model in wax
and to engrave precious stones. In 1790 his brother died, and Luigi
was called upon to take up his succession. After a severe illness, he
visited Austria, and was unable to return to Rome until after the
Treaty ofCampo Formio(i7. Oct. 1797). During his residence in
Vienna, he executed amongst others a Portrait-cameo of Countess
— 523 —
Schonborn, a very graceful Venus for Count Lamberg, and a Cupid
embracing Psyche. On his return to Rome, he worked at first for
a dealer who sold many of his productions as antiques, as for instance
a Victory in quadriga, which was purchased by the Vienna Museum.
In 1800 he married a Roman lady, Anna Belli, by whom he had
several children.
The artist's success was so great, that his work even attracted the
notice of foreign courts. The Empress Josephine commissioned from
him a gem representing an *' Offering to the god Terminus ",
intended for presentation to Napoleon. Counts Lodron, and Zinzen-
dorf, Cav, Malia, wealthy English and Russian collectors, all
patronized him. In 1808, he was presented at Vienna to the
Emperor Francis I., under the auspices of Count Zinzendorf, and the
foreign minister Count Stadion. He became honorary member of
the Viennese Academy of Fine Arts, 12. February 1808. Later,
Pope Pius VII., whose portrait Pichler had cut, made him a
member of the Academy of San Luca.
In 18 1 8, Count Metternich invited the artist, on the Emperor's
recommendation, to Vienna, as Professor of engraving at the
Austrian Academy. One of his most important works during that
period w-as the reproduction in glass and paste of all the antique
gems of the Imperial collection, as a present from Francis I. to the
Pope. Some writers have ascribed this series erroneously to Luigi's
brother, Giuseppe (jj. v.).
Pisan Francescone, 183 1, by Luigi Pichler.
In 182 1, Pichler had the honour of making the portrait of
Francis I., and was entrusted with the mission to deliver to the Pope
the Emperor's present of his fine series of pastes, which are still
one of the treasures of the Vatican Library. In return Pope
Pius VII. presented the artist with a valuable snuffbox containing
one hundred new Roman doppie.
— 524 —
Ten years later Luigi Pichler was elected a member of the Acad-
emy of Fine Arts of Florence; he received the same distinction
from the Academy of Milan in 1839, and from the Academy of
Venice in 1844, while he was created a Knight of the Order of
Gregory the Great by Gregory XVI. in 1839 and of the Order of
St. Silvester in 1842.
In 1850 the artist resigned his official post at Vienna to return
to Rome, where after fours years' rest and quiet life he ended
his days, 13. March 1854, in his eighty-second year.
At Vienna, Luigi Pichler cut many coin-dies for the Austrian
and Tuscan governments. His signature, PICHLER occurs on Fran-
cesconi of Leopold II., Grand Duke of Tuscany (one ot 183 1
illustrated) and L. P. on Fiorini, 2| Paoli, &c. of the same reign.
The medallists Johann Daniel Bohm, and Carl Radnitzky were
among his pupils.
The Master also engraved a number of Portrait-medals,
amongst which I have noticed : Charles, Prince Schwarzenberg,
Austrian fieldmarshal, -j- 1820 (signed : L. PICHLER); — Merkel,
Memorial medal, 1820; — Prince Metternich, Chancellor of State,
1835 (^. LIB. ARTIVM QVINQYE PER LVSTRA CVRATORI ET DECORI
ACADEM. GRATA VINDOBON. MDCCCXXXV).
Portrait of Canova, by Luigi Pichler,
(from the gem in the Paris Cabinet des M^dailles).
Pichler excelled in gem-engraving, and especially in the cutting
of Portraits, for which he was celebrated. Among these the best
are : Alexander I., Czar of Russia; — Grand Duke Alexander of
Russia ; — Cardinal Bernis ; — Canova (illustrated) ; — Sir Eyre
Coote; — William Constable ; — Charles III., King of Spain ; —
Carohne Augusta, Empress of Austria; — Lady Duncannon; —
Eckhel ; — Elizabeth, Czarina of Russia; — Ferdinand, Emperor ot
Austria; — Francis L, Emperor of Austria ; — Pope Gregory XVI. ;
— Admiral Greaves; — James Hamilton, Lord Clanbrasil; —
— 52) —
Isabella, second consort of Francis I. of Austria; — Prmcess
Liechtenstein ; — Count Lechi, of Milan ; — Sir John Lindsay ; —
Louis L, King of Bavaria; — Maria Anna, Empress of Austria;
— Marie Louise, Archduchess of Austria ; — Maximilian L, King
of Bavaria; — Metastasio; — Prince Metternich; — Princess
Metternich {nee Leykam) ; — R. Morgen ; — Maria Theresa; —
Mr. Macdowal ; — Napoleon L (sev. var.) ; — Nicholas L, Czar of
Russia ; — Marquis Orcassitas ; — Capt. Pelham ; — Pellerin,
numismatist; — Giovanni Pichler; — Pius VII. (sev. var.); —
Duke of Reichstadt ; — Schiller : — Domenico Sestini, numismatist;
— Sophie, Archduchess of Austria ; — Princess Stolberg, consort
of the English Pretender, Charles Edward ; — Count Tatischtschew,
Russian ambassador at Vienna ; — Thorwaldsen ; — Quirino Vis-
conti; — Winckelmann, archaeologist; — Sir John Rous; —
Charles Albert, King of Sardinia; — Isabella, Queen of the Two-
SiciHes, and many other distino;uished Russian, German, English and
Italian personages, including liis brother Giovanni {illustrated).
Portrait of Giov. Pichler.
The artist's gems are usually signed :A. niXAEP; — A-H-; —
A- nix. ; — niXAEP, etc.
He is said to have been the first to discover the process by which
the Ancients gave the polish and brilliancy to the incised part of
their gems.
D"^ RoUett gives the following list of Luigi Pichler's productions :
CAMEOS. Alexander the Great, dying; onyx; — Head ot
Antinous; — Head of Arethusa; — Head of Ceres; — Head of
Cicero; signed : A- fl. ; — Cupid, standing, caressing a butterfly ;
— Cupid in fetters ; — Head of Diogenes ; onyx ; — Eurydice ;
onyx ; — Facing head of Jupiter; — Head of Justice; — Head ot
a Child; onyx; signed : A- Fl. ; — Head of Medusa; onyx; —
Satyr wrestling with a ram ; — Head of Countess Schonborn, etc.
INTAGLIOS. Helmeted head of Achilles; signed : A- niXAEP;
— Another, after Canova ; signed : FIIXAEP; — Achilles,
wounded; signed : HIXAEP; — Aeneas carrying Anchises (2 var.);
- 526 -
— Bust of Aesculapius ; — Head of Ajax; amethyst; — Head of
Alexander the Great ; sard ; — Alexander I. of Russia ; sard ; —
Alexander, Grand Duke of Russia ; sard; — Amicitia, in the attitude
of grief (after Canova); cornelian, signed : A- FlIXAEP ; — Bust of
Antinous (2 var. ; both signed : A- niXAEP); — Head of Apollo
(2 var. in sard); — Egyptian Apollo; signed : A- RIXAEP ; —
Apollo and Daphne ; signed : niXAEP; — Apollo driving the Sun's
chariot around the zodiac (after Raphael) ; signed : A- niXAEP;
— Head of Arethusa, to r. ; signed : A. fllXAEP ; — Smaller
head of Arethusa, wearing pearl necklace; signed : FlIXAEP; —
Head of Ariadne ; sard ; signed : AVAOV (a copy) ; — Head of
Ariadne; cornelian; — Bust of Ariosto ; sard; — Artemisia,
seated, holding urn (after Giovanni Pichler); topaz; signed :
niXAEP; — Head of Augustus; corneHan; — Augustus, as Jupiter,
with eagle at his feet ; — Aurora, with Genius holding torch,
flying in the air and throwing flowers down (after Thorwaldsen) ;
cornelian; signed : A- FlIXAEP; — Aurora, in quadriga; — Head
of Bacchante; oriental onyx ; signed : A. Fl.; — Bacchante; topaz;
— Bacchante, dancing; signed : A: FlIXAEP; — Head of Bacchus,
facing; topaz; signed : EAAHNOV ; — Bacchus and Cupid (after
Thorwaldsen); sard; — Bellerophon riding on Pegasus; sard;
signed : A- FlIXAEP ; — Head of Boccaccio; sard ; — Bulgaria (a
copy of Giov. Pichler's gem); — Bust of Canova; sard; signed:
A- n\XKEP (illustrated); — Charles Albert, King of Sardinia ; topaz ;
— Caster (after Thorwaldsen) ; cornelian ; — Centaur and Cupid;
cornelian ; — Head of Ceres (3 var., signed : A- FIIX-. A. FlIXAEP) ;
— Child's head ; cornelian ; signed; A- Fl. ; — Another; cornelian;
signed : L. PICHLER; — Head of Christ, three-quarter face ; sard;
signed : A. Fl. ; — Bust of Christ; onyx (Collection of M™^ de
Sales, at Vienna) ; — Head of Cicero ; cornelian ; signed : YAAOY;
— Cleopatra; sard; — Clio; signed : Fl; — Clio, seated, to 1.,
reading; signed : A. FlIX; — Cupid, riding on sea-bull; — Cupid
bending his bow; signed : A- Fl. ; — Cupid shooting an arrow;
cornelian ; — Cupid playing with a lion ; cornelian ; — Bust of
Cupid ; sard ; — Cupid, leaning against a pillar, and reading; —
Cupid whipping a butterfly; — Cupid chained to a pillar; sard;
signed : A. Fl.; — Cupid and Psyche (after Thorwaldsen); sard:
signed : A- FlIXAEP; — Cupid and Psyche embracing ; cornelian;
— Cupid and Psyche; sard; signed : A- FlIXAEP; — Cupid
and the goddess of Night, signed : A- FllXAEP; — Bust of
Dante; sard; - Diana, shooting an arrow; signed : FlIXAEP;
— Diomedeswith the Palladium (2 var. ; one signed: A- FlIXAEP); —
Headof Discobolus; cornelian (signed : A. FlIXAEP^; — BustofEckhel,
archaeologist and numismatist; cornelian (signea : A- FlIXAEP); —
Czarina Elizabeth of Russia, consort of Alexander I. ; — Euterpe,
— 527 —
signed : A- FlIXAEP; — Bust of Faun (signed : A- Fl.); — Faun;
sard ; — Faun and Nymph, dancing ; sard ; — Faun riding on a
goat, accompanied by dancer; — Felicitas (after Canova); signed :
A- niXAEP; — Ferdinand I., Emperor of Austria; cornelian; —
Head of Flora, sard ; — Fortune, standing ; sard ; — Galatea,
standing on a shell drawn by two dolphins; sard; signed :
A- niXAEP (2 var. ; both after a painting by Giulio Romano in the
Doria Gallery ; — Bust of Galileo ; sard ; — Ganymedes carried
^ml I
Hector's leave-taking of Andromache.
by eagle; sard ; — Genius of Hercules ; — Gladiator, in fighting
attitude ; sard; — Dying Gladiator (signed : A- FlIXAEP); — The
Three Graces (after Canova), with the inscription : APAAIA
EYOPnilNE, TAAIA ; — The Three Graces (after Thorwaldsen);
cornelian; signed : A- FlIXAEP; — The Three Graces (another
design) ; signed : FlIXAEP ; — Bust of Pope Gregory XVI. ; sard;
— Head of Hebe (after Canova); topaz; signed : FlIXAEP ; —
Hector's leave-taking of Andromache; sard; signed : A. FlIXAEP
{illustrated); — Youthful bust of Hercules; sard; signed :
A- FlIXAEP (2 var.) ; — Another, in onyx ; — Hercules, standing,
resting on club (after a statue in the Naples Museum); cornelian;
— Youthful Hercules, holding club and apple ; signed : A. FlIXAEP
(2 var. ; one in sard) ; — The Choice of Hercules ; signed :
A- FlIXAEP; — Hercules strangling the Nemean lion; sard;
signed: A- FlIXAEP; — Another, in onyx; — Hercules taming
the bull; signed : A- FlIXAEP; — Hercules seizing the hind of
Diana ; sard ; — Hercules destroying the Stymphalian birds ; —
Head of Homer; — Head of Innocency ; sard ; — Iris floating in
the air; chalcedony; signed : A- FlIXAEP (2 var.); — Isabella,
second Queen of Francis I., King of the Two SiciHes; signed :
A- FlIXAEP ; — Head of St. John (after Canova) ; chalcedony; —
Head of Juno (2 var.; both signed : A- FlIXAEP); — Jupiter
Dodonaeus; onyx; signed : A- FlIXAEP; — Jupiter, Mercury and
Mars in the Zodiac; signed : A- FlIXAEP; — Kapaneus thunderstruck
by Jupiter; — Caroline Augusta, Empress of Austria; — Laocoon
and his sons (after the Vatican group) ; sard ; signed : A. FlIXAEP ;
- 528 -
— Laocoon's son. Head; sard; signed : AD.; — Leda and the
swan (2 var.) ; sard ; signed : A- FlIXAEP ; — Livia, as Ceres, Bust
after an antique; onyx; — Lion attacking a bull; cornelian; —
Princess Liechtenstein ; sard ; — Head of Lucius Verus ; — Louis L,
King of Bavaria ; signed : A. FlIXAEP ; — • Macchiavelli ; cornelian ;
— St. Mary ; sard ; — Maria Anna, Empress of Austria ; cornelian ;
— Marie Louise, Archduchess of Austria; — Maximilian L, King
of Bavaria; cornelian; signed : A. niXAEP; — Facing head of
Medusa ; cornelian ; — Bust of Medusa (2 var. ; one in sard, signed :
A. niXAEP); — Another, to r., with closed eyes; cornelian;
signed : A- Fl. ; ■ — Mercury; sard; — Mercury (after Giovanni da
Bologna); signed : A. DIXAEP; — Messalina ; — Metastasio; —
Prince Metternich ; — Michel Angelo ; — R.Morgen (after Thorwald-
sen's bas-relief; sard; signed : A-FIIXAER; — Muse, seated;
amethyst; — Muse, leaning against column, holding lyre; corneHan;
— Muse, writing on column surmounted with bust ; signed :
A. DIXAEP; — The goddess of Night (after Thorwaldsen's bas-
relief); sard; signed : A- FlIXAEP; — Bust of Napoleon L (after
Canova); sard; signed : A- FlIXAEP ; — Napoleon L as Imperator,
nude, holding figureof Victory (after Canova); signed : A. FlIXAEP;
— Nemesis; — Neptune and Amphitrite ; sard; — Nicholas L,
Czar of Russia ; — Head of Nymph (after Canova) ; signed :
A. FlIXAEP ; — Oedipus led by his daughters Antigone and Ismene
out of Thebes (after Antonio Pichler); amethyst; signed :
A- FlIXAEP; — HeadofOmphale ; cornelian; — Othriades, a Spartan
warrior, writing on shield; cornelian; — Head of Palamedes (after
Canova); amethyst; signed : A. FlIXAEP ; — Head of Paris (after
Canova) ; sard ; signed : A- FlIXAEP ; — Head of Paris (2 var. ; both
signed : A- 11.) ; — Pastor fido (after Thorwaldsen); topaz ; signed :
A. niXAEP (M'"= de Sales Coll") ; — Bust of Pellerin, numismatist ;
cornelian ; signed : A- FlIX- EFl.; — Head of Perseus (after
Canova); cornelian; signed : A. FlIXAEP; — Perseus riding on
Pegasus; signed: A- FlIXAEP; — Peter L of Russia, with his
parents; sard; signed : A- FlIXAEP; — Bust of Petrarca; —
Phaethon upsetting the chariot of the Sun ; sard ; signed :
FIAMOIAOl ; — Giovanni Pichler; brown cornelian, inscribed :
GIOV. PICHLER, and signed : L. PICHLER FECE (Vienna Museum);
— Bust of Pope Pius VIL ; cornelian ; signed : L. P. ; —
Pius VIL wearing mitre (in commission for the Empress Jose-
phine); — Head of Nicolas Poussin; sard ; — Offering to Priapus;
sard; — Head of Psyche; signed : FlIXAEP (2 var.); — Bust
of Psyche, winged; sard; signed : A. FlIXAEP (after the antique);
— Psyche holding pitcher while Cupid is playing the double
flute (after Giovanni Pichler); onyx; — Quadriga (after the
antique gem by Aulos); — Duke of"^ Reichstadt ; chalcedony; —
— 529 —
Head ot" Sappho, to r. (signed : A. fl.); — Bust of Sappho;
corneHan (2 var.) ; — Mask of Satyr; signed : CKYA; —
Head of Schiller; sard; signed : L. P. F. (Vienna Museum); —
Head of Semiramis ; sard ; — Domenico Sestini, numismatist,
inscribed : TIMflNIOI lEITINini; beneath : niXAEP EH.;
cornehan (Vienna Museum) ; — Head of Socrates ; signed : A- n. ;
— Bust of Archduchess Sophia of Austria; sard; — Hope,
holding anchor (signed : niXAEP) ; — Bull; signed : A- niXAEP;
— Dancing girl ; sard : — Dancing girl (after Canova); cornelian;
signed : A. niXAEP; — Dancing girl, playing cymbals; — Bust
of Torquaio Tasso; sard; — Otfering to the god Terminus
(in commission from the Empress Josephine); — Terpsichore,
seated to r., holding lyre; signed : A- DIXAEP; — Terpsichore
(after Thorwaldsen) ; sard; — Terpsichore, leaning against column,
playing the lyre; signed : HEIOV; — Small figure of Theseus,
holding club ; — Theseus slaying the Centaur (after Canova);
sard ; signed : A- FlIXAEP ; — Bust of Thorwaldsen; chalcedony ;
signed : A. fl. ; — The Vestal Virgin Tuccia ; signed : A- FlIXAEP ;
— Bust of Ulysses ; — Venus ; cornelian ; — Venus, slightly
draped; cornelian; — Venus (after Canova) ; signed : A. FlIXAEP ;
Venus Anadyomene, holding two dolphins ; sard ; — Venus
Anadyomene ; at her feet, two dolphins; cornelian; — Venus
Anadyomene, with flowing garment and arms raised above head
sard; signed : fllXAEP; — Venus, bathing (2 var.: one signed
A- niX.); — Venus callipiga, seen from behind ; signed : FlIXAEP
— Venus Marina; signed : A- FlIXAEP; — Venus recHning on
couch (after Titian); — Venus and Cupid ; topaz; — Venus playing
with Cupid ; signed : A FlIXAEP; — Venus (Innocency) holding
a bird (after Giovanni Pichler) ; signed : FlIXAEP ; — Vestal Virgin
(2 var. ; one in sard, and the other in cornelian) ; — Victory driving
quadriga; sard; — Another variety; signed : A- FlIXAEP; — Bust
of Quirino Visconii, archaeologist; sard; signed : L. PICHLER; —
Vulcan, with Venus, Cupid and Mars (after Thorwaldsen); sard;
signed : A- FlIXAEP ; — Arms of the family Sala von Sales ; — Head
of Winckelmann, cornelian; signed : A. FlIXAEP ; — Biga, drawn
by two griffins, and driven by Cupid; sard; signed: A. FlIXAEP,
etc., and many other undescribed and unattributed Portraits etc.
I have lately seen an intaglio in pale sapphire, with helmeted
head of Pallas, signed : A. FlIXAEP, a beautiful piece of work.
Luigi Pichler is the author of a didactic work on the process ot
gem-engraving.
In a letter, dated 3. February 18 19, mentioned by D'Rollett, the
artist signs himself : Luigi Pichler,
Professoredi Medaglieed Incisioui in Pietre mil. c. R.
Universila delle Belle Arti.
L. FoRREK. — BiograpbUal Notices of Medallists. — IV. 3^
— 530 —
'* Der Charakter der Werke Luigi Pichler's ", says the artist's
biographer, " war im ganzen nicht unahnlich dem der Werke
seines beriihrnten Bruders Giovanni. Man bewundert daher in
denselben den bedeutenden Ausdruck und dessen Wahrheit, die
sehr correcte Zeichnung, eine genaue und richtige Kentniss der
Theile des Korpers, eine treffliche Kunst der Gewandung, das
Geschick, die Figuren zu beleben, die Haare darzustellen, sowie
die Ziige des Gesichtes und die Bewegungen, dergestalt, dass man
nicht leicht das Auge wegwenden kann von einer seiner Arbeiten.
Alles ist so zweckmassig durchgefiihrt, so schon und vollendet bis
in die kleinsten Theile. — Einige fanden in den Werken Luigi's
eine grossere Grazie und Feinheit, als in denen Giovanni's, welche
letztere alle im classischen Sty I der Antike gearbeitet und, von
diesem nicht im Geringsten abweichend, durchgefiihrt sind. Die
unbefangene Wahrheit ist aber, dass Luigi Pichler meist ganz in
modernem Geist arbeitend und manchmal sogar etwas Convention-
elles, in einzelnenProductionen nahe zu an Steifheit und Gezwung-
enheit Streifendes weisend — seinen beriihmten Stietbruder
Giovanni in der einfach edlen. idealen Grosse nicht erreichte, wenn
er auch einzelne Werke heferte, die denen Giovanni's in jeder
Beziehung sehr nahe kommen, so dass Luigi Pichler jedenfaiis zu
den besten Glyptikern der neuen Zeit gehort, ja, wohi sogar der
letzte bedeutende Gemmenschneider zu nennen ist" (p. 58).
Bibliography. — D^ Hermann Rollett, Die drei Meister der Gemtnoglyptik,
Antonio, Giovanni und Luigi Pichler, Wien, 1874. — Abate Pietro Mugna, List
of original luorks by Luigi Pichler. — Nagler, op. cit. — Bolzenthal, op. cit. —
Domanig, Die Deutsche Medaille, 1907.
PICHLER, MATHES {Austr.). Mint-engraver at Vienna, from
1635 to 1649, under Ferdinand IIL He cut dies for Thalers and
subsidiary coinage struck at Vienna during that period. He is the
author of undated Salvatorthalers of Vienna (Mitth. des Kliibs der
Mun:(^ und Medaillenfretinde in fVien, 1896, n° 79; PL i, 9. —
Domanig, Die Deutsche Medaille, n° 541).
PIGKEL, KILIAN {Germ.). Mint-engraver at Breslau, circ. 1560.
In 1563 he contracted to work the Mint of Jagerndort.
Bibliography. — Schlickeysen-Pallmann, op. cit.
PICQUE, DURANT DE (French). Engraver of jetons, at Tours, by
whom are Mereaux of the Chapter of St. Martin de Tours, 1593.
PICOT, JACQUES or JEAN. Vide GIOVANNI PICOZ infra.
PICOZ, GIOVANNI (Ital.) of Avigiiano ; Mint-master at Nyon,
1420-1426, under Duke Amedeo VIIL of Savoy.
PIDGEON, G. F. (Brit.). Sculptor and Medallist, of the early part
of the nineteenth century, who worked for some years at the Soho
531
Gold Medal awarded to British Officers for the Battle of Maida, 1806.
— 532 —
Mint, under Matthew Boulton. No particulars of his life appear to
be known.
By him are the following medals : Ackermann's Honorary
Medal, 1795 (?); — Battle ot Alexandria, and Death of Sir Ralph
Abercrombie, 1801 (London Gaelic Society); signed : GPF on
obv., and PIDGEON F. on ^L. ; — Matthew Boulton, Memorial
medal (illustrated in Vol.1, first edit., p. ii8)j —Unfinished Proof
of same (in the W. Moore Coll"); — 'John Colet, Founder of
Reduction of the Island of Cayenne, 1809.
St. Paul's School, 15 12; Tercentenary Festival (2 var.) ; signed :
PIDGEON P.; — Richard Fox, Founder of Corpus Christi College,
15 16; Tercentenary Festival (signed : PIDGEON SCULP.); —
George III., Battle of Maida, 1806 (illustrated); — Don John of
Portugal, Prince Regent, Reduction of the Island of Cayenne, 1809
(illustrated), etc.
Bibliography. — Hawkins, Franks and Grueber, pp. cit. — Fernandez,
Memoria das Medalhas e Coiidecoriifoes portugiiesas. — A. Rosa, Monelario Ameri-
cano. — H. A. Grueber, Ens;lish Personal Medals. — Bramsen, op. cit. — Various
Sale Catalogues.
PIEDADA, FRANgOIS DE (Port.). Modeller and Sculptor of the
early part of the eighteenth century. By him are various Portrait-
medallions.
Bibliography. — Raczynski, Dictionnairehistorico-artistique du Portugal.
PIELER (Germ.). Mint-engraver and Medallist at Dresden, circ.
1650-1680. Christian Wermuth appears to have been one of his
pupils.
Bibliography. — Amnion, op. cit. — Schlickeysen-Pallmann, op. cit. —
Fischer, Die Mim^en des Houses Sclnvar:;Jmrg, 1904, p. 139.
— 533 —
PIER MARIA DA PESCIA. Vide PESCIA supra.
PIER PAOLO. Vide GALEOTTO (Vol. II, p. 190).
PifiRART, JEAN (French). Contemporary Sculptor, born at
Avesnes (Nord); pupil of Jules Printemps, At the Salon of 1902
he exhibited a Portrait-medallion of M"*' A. de C***.
PIERI, G. r. (7/(7/.). A Florentine Sculptor and Medallist of the
first half of the eighteenth centur}', mentioned by Bolzenthal and
Nagler. He is the author of Portrait-medals of Giovanni Niccolo
Barinti, Antonio Francesco Marmi, and other distinguished person-
ages. According 10 Nagler he flourished at Florence between 17 10
and 1720.
PIERINI, CARLO (ItaL). Sculptor and Medallist of the early part of
the nineteenth century. By him is a Portrait-medalet, signed C. P.,
of Elizabeth, Duchess of Devonshire (1816?); ^. Dog's head and
stag's head couped (Weber, op. cit., 62).
PIERON, HUMBERT (Belg.). Also Pierron. Mint-engraver at
Amiens and St. Quentin, 1432-1440.
PIERON, LAMBERT (Belg.). Mint-warden at St. Quentin, 1437.
PIERONI, ADOLFO (Ital.). Sculptor and Medallist of Florence,
who flourished during the second halt of the nineteenth century.
He was born at Lucca in 1832, and died at Florence, 23. April
1875. Amongst his best known medallic productions, usually
signed A. PIERONI DA LUCCA F., I have noted : Portrait-medal of
D. Promis, keeper of the Turin Medal Cabinet, 1874 (illustrated
in Blatter ftir Milu^hcufide, 1875, P^- 43)5 — In.auguration of the
Eastern Ligurian Railway Line, 1871 (PIERONI P.); — St, Sebastian
medal (for the Capi diGuardia della Misericordia of Florence); —
Ariosto; — Petrarca ; — Raffaello Abro ; — Carlo Bombrini, 1874;
— Alfredo Cappellini; — Domenico Chiodo, 1869; — Cavour;
— Massimo d'Azeglio; — Emilio F. Bruno; — Augusto Riboty,
1866; — Dante; — Ciborio ; — Macchiavelli ; — D"^ G. B. Mor-
gnagni, Padua, 1899; — D"" F. Puccinotti, Siena, 1862; — D'
Francesco Rizzoli, Bologna, 1865 (2 var.); — D"" xM. Bufalini,
Cesena, 1863, etc.
He executed a series of over forty Portrait-medals, and distinguish-
ed himself also as a Line-engraver.
Pieroni was a pupil of P. Casale and Onestini. He worked as an
Engraver at Paris and London, before settling at Florence,
PIERRE I (French). Goldsmith, and Mint-engraver at Paris,
1374-1375-
— 534 —
PIERRE II {French). Goldsmith, and Mint-engraver at Paris, circ.
1402.
PIERRE, FRANQOIS DE LA {French). Mint-master at Angers, 1659
to I. April 1660.
PIERRE, LEONARD {French). A Florentine, who filled the post of
Mint-master at Cambrai, 1 376-1 377, under Robert of Geneva.
PIERRO {Swiss). ' Master Pierro ' was Master of the Mint at Frei-
burg, in 1456.
PIERRON, HUMBERT. Fide PIERON supra.
PIERROT DE CLEUSNfi, CHARLES MARIE {French). Mint-engraver
at Rennes, circ. 1733.
PIERROT DE LA MAISONNEUVE, JEAN FRANCOIS {French). Mint-
engraver at Rennes, nVr. 1719.
PIERROT, JEAN {French). Mint-engraver at Rennes, circ. 1720.
PIETERS, JEHAN {Belg.). Mint-master at Bruges, 5. June 1676 to
15. March 1682.
PIETRO DA MILANO. Fide MILANO, PIETRO DA, supra, p. 71.
PIETRO DI NERI DE' RAZANTI {Ital.). Florentine Gem-engraver
of the latter end of the fifteenth century.
PIETRO TEDESCO {Ital.). Chief-engraver at the Mint of Bologna,
under Pope Clement X., circ. i6'jyi6'j').
PIETRO DA FANO {Fide Vol. II, p. 72). Herr von Fabriczy points
out that this artist's medal of the marquis Lodovico Gonzaga
{illustrated) *' shows strong traces of the spirit of Pisanello, not
only in the lifelike and grandly conceived portrait, but still more
in the vigorous, simple composition of the reverse, although its
meaning is not so clear as that of Pisano's allegories. Are we intend-
ed to find in the legend noli me tangere an allusion to Lodovico's
confidence against any attack of the god of Love and at the same
time a promise of fidelity to his wife, Barbara of Brandenburg. The
Cupid on the Reverse, and the title of lieutenant of the Duke of
Milan in the legend on the obv., fix the date of the medal between
1453 and 1457. This agrees with the date of the other known
medals of our artist, those of the Doge PasqualeMaHpieri( 145 7-62)
and his wife, which show the same characteristic excellence and
— 535 —
power of expression as those of the Gonzaga. These unique speci-
mens of the Turin and Berlin collections show at the same time
Lodovico Gonzaga, by Pietro da Fano.
that Pietro afterwards transferred his residence to Venice, where,
however, ever}' trace of him is lost" {Eng. edit., p. 46-7).
PIGNER, LUDWIG (Germ.). Mint-contractor at Cugnon (Lowen-
stein), 1643.
PIGNONI, GAETANO (7/fl/.). Medallist and Mint-engraver at Bolo-
gna, circ. 1786-1795. CinagH calls hima" bravissimo incisore bolo-
- 536 -
gnese''. His initials G. P. occur on the following coins of Pope
Pius VI., struck at Bologna : M. 5 Zecchini, 1787 ; Due Doppie,
1786(2 var.), 1787; Doppia 1786(3 var.), 1787 (5 var.), 1788
(2var.), 1789, 1790, 1791. 1792 (2 var.), i794, ^795 (2 var.);
Mezza Doppia, 1786, 1787, 1788 (2 var.), 1790, 1791 ; — M^. Tes-
tone, 1786, etc.
One of his best known medals is that of Giacomo Bartolomeo
Beccari of Bologna, 1766 (two varieties in Boston Collection).
Bibliography. — Nagler, op. cit. — Bolzenthal, op. cit., 270. — Cinagli, Le
Monete de^ Papi, 1848.
PIGNONI, MATTEO (ItaL). Mint-master at Bologna under Pope
Benedict XIV., 1740-1758.
PIGNY, JEAN DE {French). Mint-engraver at Bordeaux, 1485.
PIJART, F. (French). Assistant-engraver at the Paris Mint, 1622.
PIKE, CHARLES J. (Amer.). Sculptor and Medallist, Instructor of
the New-York Class in Coin and Medal designing and Die-cutting,
conducted at the Academ}' of Design, under the auspices of the
American Numismatic and Archaeological Society, 1901-1905. The
Medallist, Victor Brenner, a pupil of Roty, is teaching practical Die-
sinking at the same class.
PILAJA, ANTONIO (Ital.). Medallist of the second half of the
seventeenth century about whom however very little is known.
He flourished at Messina (1656-1709). According to Ammon, his
signature : AN. PILAIA MESSANENS occurs on a Papal medal of 1694
(Kohler' s Miinibel, PI. xx, 342, n° 722), and he is also supposed
to have executed a medal of Queen Christina of Sweden (Bildt, Les
Medailles romaines de Christine de Suide, Rome, 1908).
PILET, l£ON (French). Contemporary Sculptor, born at Paris;
pupil of A. Toussaint. He is the author of a number of Portrait-medal-
lions, executed between 1870 and 18S0.
PILON. Several Engravers of that name. Fide PILLON.
PILLAART (French). Die-sinker of the middle years of the nineteenth
century. In 1848 he submitted to the Coinage Committee of the
second French Republic a Pattern for the Ten Centime piece, which
was not adopted. His signature occurs also on a small commemor-
ative medal of the February 1848 Revolution (De Saulcy, Souvenirs
num.y PI. IV, 4), and on a medal of Count D' S. G. S. des Guidi,
Lyons, 1835 (in Boston collection). Sebrstien des Guidi introduced
homeopathy at Lyons.
PILLET, CHARLES PHILIPPE GERMAIN ARISTIDE(F;^wc/;). Contem-
porary Sculptor and Medallist, born at Paris ; pupil of Henri Chapu
— 537 —
and J. C. Chaplain; First Grand Prix de Rome in 1890; was
twice awarded Medals at the Salon des Artistes fran^ais, and a
silver Medal at the Universal Exhibition of 1900.
Amongst this artist's best works are : Inauguration Medal of the
Canal " Porfirio Diaz " at Mexico ; diam. 60 mill. ; struck in gold,
silver, and copper; — Commemorative medal of the Erection of the
Chapel in Rue Jean Goujon, Paris, in memory of the victims of
the Charity Bazaar Fire, 1902 ; diam. : 70 mill.; — Plaquette for
the Paris Assistance Publique, as a Reward to Mothers ; diam. :
Homage of the Brazilian Colony to Santos Dumnnt, 1901.
61 mill. ; — Primavera ; — Daphnis and Chloe; — Pastorale; —
Cupid "'and Psyche; — Hyllas and the Nymphs; — Children at
Play; — Automobilisme; — Homage ot the Brazilian Colony in
Paris to Santos Dumont, 1901 (1^. illustrated); — Portrait
(Homme a lunettes) ; — Bust of a Gentleman, to r. ; — Bienfai-
sance; diam. : 41 mill. ; — Equipage des Drags de Lyon ; diam. :
36 mill. ; — Eros; — Centenary Exhibition of the Invention of
Lithography, 1896 ; — A. V. Cornil ; — M""= Pillet ; — Suzanne;
— Horticulture ; — Agriculture; — Mgr. d'Hulst; — M. Trabaud ;
— Mater Virgo; — M. Monier; — Gallia; — Joan of Arc; —
- 538 -
The artist's grandmother ; — Flora and Pomona ; — Orchidee; —
Jeune fiUe aux cyclamens; — Alsace-Lorraine; — Souvenir; —
Robert; — L'Aurore, etc.j and a large number of Portrait- medals.
Medallions, and Plaquettes, cast, and struck, in various metals,
mostly executed in commission. At the Salon of 1905 he exhibit-
ed a series of 24 Portrait-medals and Plaquettes, which all display
Comtneinorative Plaquette ot the Franco-British Exhibition
(after the designs by A. Maignan).
a fine technique, in 1906 models in bronze of the medal presented
by Michelin and Co (Gordon Bennett Cup, 1905), in 1907 a series
of seven Portraits in Bronze, and a Prize Medal for Agriculture, and
in 1908 a Medal in bronze, and Plaquette (in various sizes)
commemorating the Franco-British Exhibition.
In Art et Decoration ^ 1899 (II, 50) reference is made to Fillet's
work in the following terms : " Quant a M. Fillet, il se presente
avec une exposition assez complete : portraits, sujets symboUques,
— 539 —
medailles officielles, dont quelques morceaux gardent la trace
d'habitudes scolaires, maisqui int^ressent neanmoins par leur bonne
tenue. Pastorale, Psyche et l' Amour sont d'un aimable esprit clas-
sique ; Hyllas et les Nymphes, Daphnis et Chloi, n'ont guere a se
reprocher que leur lourde patine verte et luisante, qui leur donne
des apparences molles de simili-bronze peint. A signaler encore
quelques bons portraits bien compris, parmi lesquels la plaquette
de sa femme, d'un esprit attentif d'observation emue, "
Some ot Fillet's medals and plaquettes are reproduced in
R. Marx's Albums of medals, also in D' ]. H. de Dompierre de
Chaufepie, Medailles et Plaquettes modernes.
Bibliography. — Art et Decora I ion, 7899. — Revue de VArt, 190^ — Catalogues
dii Salon, 1895-1908. — Gaiette numisnialique fraii(aise, 1898-1908. — R. Marx,
Medailleuis Jratifais, 1887.
PILLON, GERMAIN (^French'). One of. the most eminent French
sculptors of the second half of the sixteenth century, born,
according to Lacroix du Maine, at Faris, about 1535, appointed
' Controleur general des effigies' in 1572; died at, Faris on the
3"* of Februar}' 1590. His father was a stone-cutter of the name of
Andry or Andre Germain.
Germain Pillon.
This great artist is best known by his works of sculpture, which
are numerous and conspicuous by their fine style and originality.
He was a follower of Frimaticcio's manner. By him are a bronze
Relievo in the Louvre representing the dead Saviour mourned by his
disciples, and a kneeling figure of Rene de Birague in the same
Museum. The monument to Henry II, and Catherine de' Medici
at St. Denis is an important work by him also, and likewise, that of
Francis I. which is one of his earliest productions. The Louvre
— 540 —
preserves his celebrated group of the Three Graces, the Monument
to Valentine Balbiani, the Four Cardinal Virtues, etc.
Before his appointment at the ' Monnaie du Moulin ', Germain
Pillon had already had some practice in medallic and decorative
work. He appears to have been employed, at various times, by
goldsmiths, in particular by Richard Toutain, to prepare models
and figures, etc. For some years he had been Sculptor-in-ordinary to
■Sf v^
Portrait-medallion of Henry II., 1559 {reduced).
the King, when in October 1572 Charles IX. decided to create in
favour of the artist the new office of ' Controller-general of the
Effigies', whose principal duty was to furnish the Engraver-general
and his subordinates with models in wax of coins and medals
to be issued by the Mint. He entered in office on 13. August
1573. His name frequently occurs in the Mint archives, during
his tenure of the post. On a document, dated 1586, we find him
requesting the Cour des Monnaies to compel the Engravers Philippe
Danfrie and Jean Beaucousin to submit to him for correction the
puncheons of coins cut by them.
The attribution to Germain Pillon, by the late M. Piot and more
recently by M. F. Mazerolle, of the fine Portrait-medallions of
Henry II., Catherine de' Medici, Charles IX., Henry III., Chancellor
de Birague, etc., is no doubt correct, and corroborated by the simil-
arity of work between them and the busts of the same personages
by the artist. "Le models savant et vigoureux", writes M. Maze-
rolle, ** accuse la main d'un sculpteur en possession de tous les
secrets de son art. " Of the Coronation medals of Henry III. the
same writer says : '*Dans chacune de ses m^dailles il apporta la
perfection. On ne surfait pas leur m^rite en appelant chet-a oeuvre
— $4t —
des pieces d*une telle finesse, d'une composition si agreable a Tceil
et d'une execution si pure. "
One of Pillon's latest works was the correction of the dies for
the Medal and Franc of Charles X., engraved by Philippe Regnault.
He died on 3. February 1590. His son Gervais succeeded him in
the post of Sculptor and Controller-general ot the Effigies, on the
8''' of the same month.
Portraii-medallion of Catherine de' Medici (reduced).
Rondot does not find in the Portrait-medallions of the so-
called ' Valois series ' the noble character and originality which the
celebrated sculptor impressed on his other works. Thev are, he says,
like a replica in bronze of the paintings by Clouet and pencil draw-
ings of the masters of his school, and notwithstanding their beauty,
display a certain lack in the finish which is not in accordance with
the artist's temperament.
— 54^ —
The work of the sculptor is certainly superior to that of the
medallist, but Germain Pillon has undoubtedly exercised a consider-
able influence upon the art of the medal and coinage of his time.
M. Fernand Mazerolle ascribes to Germain Pillon the following
medallic works : Henry II., Portrait-medallion, 1559; iron casting,
160 mill. (Tresor, PL xvi, n° i; illustrated); — Catherine de'
Medici, Portrait-medallion ; iron casting, 171 mill. (Tresor, PI. xvi,
n° 2 ; illustrated) ; — Catherine de' Medici, Portrait-medallion,
Portrait-medallion of Charles IX., 1573 (reduced).
three-quarter-face; iron casting, 85 mill. (^Tresor, PI. xxiir, n° i);
-— Charles IX., Portrait-medallion, 1573 ; iron casting, 157 mill.
(Tresor, PI. xx, n° i ; illustrated); — Another, three-quarter-face;
iron casting, 123 mill. (Valton Collection); — Elizabeth of Austria,
Queen of Charles IX., Portrait-medallion, 1575 ; iron casting,
171 mill. (Armand, t. II, p. 252, n° 18); — A variety; lead,
100 mill. (Richebe Collection); — Henry III., Portrait-medallion,
— 543 —
1575 ; '^^^^ casting, 158 mill. {Tresor, PI. xxiv, n° i); — Another,
Portrait-medallion, 1537 (sic)\ iron casting, 120 mill. (Louvre);
— Rene de Birague (i 507-1 583), French Chancellor; Portrait-
medallion (1573); iron casting, 166 mill. {Armand,t. II, p. 252,
n° 19); — Charles IX. and Elizabeth of Austria, 1571 ; a struck
medal in silver; 38 mill. (Tresor, PI. xix, n° i); — Charles IX.
and Elizabeth of Austria, 1572; with bust of King to left; struck
medal, iR, 37 mill. {Tresor, PI. xix, n° 2); — Henry III., 1574;
struck medal in gold; 41 mill. (Tresor, PI. xxi, n° 5) ; — Henry III.,
Coronation Medal, 1575 ; 31 mill., in gold, silver, copper and tin;
illustrated); — A variety; 27 mill. ; — Another variety; 24 mill.
Coronation Medal ol Henry 111., 1575, by Germain Fillon.
(Blanchet, Medailles ct Jetons du sacre, &c., p. 204, n° 3); —
Henry III., 1575; ^. manet vltima coelo. Three royal crowns,
&c. ; 36 mill. (Tresor, PI. xxi, n° 10); — Philippe Desportes, poet
(1546-1605); Portrait-medallion, signed G. P. ; iron casting,
53 mill. (Richebe Coll"); — Henry III., 1577; ^L. talis • alexan-
Medalof Henry ill., 1377 (obv. of Piedtort ot Half t'rauc).
DRi-MVNDVM-MODERANTis- IMAGO. King ou horseback to r. ; struck
medal, 30 mill. (Tresor, PI. xxii, n° 4; ilUistrated). The obv. is that
of the Piedfort of the Demi Franc; — Henry III., 1577;
^. MANET -VLTi.MA- COELO. Three royal crowns; struck medal,
J^. and lead; 36 mill. (Tresor, PI. xxii, n° 2). The obv. is that of
— 544 -*
the Piedfort of the Franc; — Henry III., 1577; ^L. Group of nine
female figures raising a Victory in the air; ex. felicitas; struck
medal, 38, and 43 mill. {Tresor, PI. xxii, n° 6). The obv. is that of
the Piedfort of the Franc; — Henry III. and Catherine de' Medici ;
JK. medal, 38 mill. (Tresor, PI. xxii^ n° 7); — Henry III., 1578;
JB^. 35, and 34 mill. (Tresor, PI. xxii, n" 3); — Henry III., 1579
(similar to the medal of 1577 with I^. talis, &c. and King on
horseback ; JR.. 32 mill. (Tre'sor,F\. xxii, n° 9) ; — A variety, 1579;
JE, 43 mill. ; — Another variety, with bust by Claude de Hery ;
JK. and vE., 42 mill. (Tresor, PI. xxi, n° 9); — Henry III. and
Louise of Lorraine ; obv. Bust of Henry III. , by Claude de Hery ;
^. LODOICA-LOTARiENA-REGlNA-FKANC. BuSt of Queen tO 1. ;
J^. and Lead, 44 mill. (Tresor, PI. xxi, n° 8); — Louise de
Lorraine; obv. Bust as on ^. of last; ^L. talis, &c. Henry III. on
horseback; JR. 42 mill.; — Henry III. and Catherine de' Medici;
obv. Bust of King, by Claude de Hery ; ^L. Bust of Catherine to
I. in widow's garb (Tresor, PI. xx, n° 4); — A variety ; JR.. 41 mill. ;
— Catharine de' Medici and Louise of Lorraine; JR. 43 mill. ; —
Renewal of Treaty between Henry III. and the Swiss, 1582 ; obv.
Bust of Henry III., 1579; ^L. Within laurel-wreath : foedere |
CVM I HELVETIIS | ET | RAETHIS | RENOVA | TO; beneath, MDLXXXIIi;
JR. and JE., 41 mill. (Tresor, PI. xxiii, n° 5); — Catherine de'
Medici; ^. Same as last ;^. 41 m\\\. (Tresor, PI. xxiii, n° 4); —
Henry III; ^L. manet-vltima-coelo. Three royal crowns, &c. ;
JR. 32 mill. (Tresor, PI. xxiii, n° 2).
Germain Pillon probably modelled or engraved the beautiful
Piedforts of the end of Charles IX. 's reign and thoseof Henr}' III.,
struck at the Mill : Charles IX. Piedforts of Teston and Half Teston,
1573 (Hoffmann, Mommies francaises, p. 129, n°^ 22-24); —
Henry III. Piedforts of Teston and Half Teston, 1577; Piedforts of
Franc, Half, and Quarter Franc, 1577 (Hotfmann, p. 135, n°* 12-
19); — Charles X. Pattern Franc (by Regnault, but retouched by
Pillon), etc.
At the Victoria and Albert Museum, South Kensington, there is
a French Plaque of the last quarter of the eighteenth century,
signed : PILLON S. ; THOMIRE C; B. DE TOTT. F. The modeller of the
original from which this was copied was most probably
Germain Pillon. The subject is, Time scared away by a youth
from a group of two female figures (Fortnum, Catalogue of Bront^eSy
p. 32, 541).
Bibliography. — N. Rondot & H. de La Tour, Les Medailleurs et les Gravetirs
de Monnaies. Paris, 1904. — Fernand Mazerolle, Les Medailleurs Jratifais. Paris,
1902. — Jal, Dictionnaire , &c. — BaronJ. Pichon, Memoires pour servir a Fhistoire
de Germain Pillon, sculpteur du roi. Paris, i860. — L. Gonse, La sculpture
fratifaise depuis le XIV'^ siccle. Paris, 1895. — H. Hoffmann, Motntaies royales de
frauce. — Chavignerie et Auvray, op. cit. — Barre, loc. cit. — S. Lami,
— 545 -
Dictionnaire, &c. — Leon Palustre, Germain Pillon, Gazette des Beaux Arts, XI,
XII. — Xouveau Dictionnaire Larousse.
PILLON, GERVAIS (French). Son of Germain Pillon and Madeleine
Beaudoux, was appointed Sculptor and Controller-general of the
Effigies on the 8. February 1590. He remained in office until his
death in 1595.
PILLON, GILLES {French). Moneyer at the Mint of Troyes, 1586.
Another, of the same name, was Moneyer at Saint-L6, 1585.
PILLON, JEAN {French). Controller-general of the Effigies to the
French Mint, in conjunction with Guillaume Dupre, 1604-1617.
He was born on 22. May 1578 and died in 16 17. His parents were
Germain Pillon and Germaine Durant.
PILLON, RAPHAEL {French). Son of Germain Pillon and Madeleine
Beaudoux, was appointed to the office of Sculptor and Architect to
the King, 1585-1589. He followed his father's artistic career and
also worked on the mausoleum of Chancellor de Birague. By him,
according to Rondot are Portrait-medallions.
Bibliography. As above.
PILLOUD, EUGtNE {French). Contempornry Sculptor, born at
Chatel-Saint-Denis ; pupil of Rouillard. By him are various Portrait-
medallions.
PILOTTI,A. {Ital.). Medallist of the third quarter of the seventeenth
century whose signature A. PILOTVS occurs on a Papal medal of
Innocent XL, reproduced in Kohler's Mun^belust.^ PI. xx, 301.
PILTZ, LDDWIG {Germ.). Medallist and Mint-engraver at Wiirzburg,
1845-1870. His signature L. PILTZ F. occurs on a Memorial medal
of Georg Anton von Stahl, bishop of Wiirzburg, 1870. Some of
his other medals are described in Heffner, Die Sammlun^en des hist.
Ver.fiir Unterfr. und Aschafenbnrg, Wiirzburg, 1864.
PILZ, J. (5o/;gw.). Medallist of Prague, by whom I have seen a
Marriage medal of Crown Prince Rudolph of Austria with Princess
Stephanie of Belgium, 1882, and also a Silver Wedding commem-
orative medal of Francis Joseph I., Emperor of Austria, and his
consort, Elizabeth, 1879.
PIMENTEL, FRANCISCO {French). A native of Fano, and aGoldsmith,
appointed Engraver at the Mint of Lisbon, 17. February 1723. He
was first taken on trial for a month, and his work giving satisfac-
tion, he was attached to the staff as assistant.
BiBLiOGKAPHY. — A. C. Tcixeira de Aragao, DescripfSo geral e Instorica das
Moedas cunhadas en Nome dos Rets, Regentes e Governadores de Portugal. Lisboa,
1874.
L. FoRKER. — Biographical Notices of Medallists. — IV. 35
— 54^ —
PIMMEL (Germ.^. Mint-engraver at Wiesbaden, 1842-1847.
PIN, JOSEPH ANTOINE {French). Sculptor, born at Belbeuf (Seine-
Inferieure) ; pupil of Gauthier and Choppin, I have seen by him at
the Salon of 1884 a Portrait-medallion entitled : Grand Papa.
PINATEL, JACQUES (French). General des Monnaies, 1550; Master
of the ' Monnaie de Nesle ' (Paris), appointed 2. April 1550.
PINCERS, MEDALLIST WITH THE MARK OF THE. Vide supra,
p. 5, and m/rfl TANAGLI.
PINCHARD-DENY (French). Makers of Coining-Presses and Mint
machinery. This firm recently made a large press for the Paris Mint.
PINCHBECK, CHRISTOPHER (5n^). i670?-i732. Clock-maker;
invented the copper and zinc alloy called after him. On his death,
his eldest son, Edward Pinchbeck, born in 1713, succeeded in the
Capture of Porto Bello, 1739.
business as a Clock, Watch, and Toy Maker, and he is supposed to
be the Issuer of the curious and interesting series of'' Vernon ",
M^
Carthagena destroyed, 1741'
and other commemorative medals of George 11. 's reign in
" Pinchbeck" metal. This metal is an alloy of three parts of zinc to
four of copper, but its composition was jealously guarded by the
— 547 -
inventor, who only communicated it to his son. " It resembles gold
in colour, smell, and ductibility ". Edward Pinchbeck died in 1766.
One of his brothers, of the name o{ Christopher, was established as
a Clock and Watch maker in Cockspur St. and died in 1783, aged
73 ; and a Richard Pinchbeck, described as a " Toyman ", who was
carrying on business 1760-1770, was probably a member of the same
family.
The medals referred to above, in " Pinchbeck gold ", which
were engraved by various die-sinkers, whose names have not come
down to us, with the exception of the initials I. R. (J. Roettiers) ;
T (Tibs ?) ; I. W,, comprise the following series : Convention of
Prado, 1739 (several varieties); — Porto Bello taken, 22. Nov. 1739
(with busts of Vernon, or Vernon and Brown, full-length figures,
&c.,; some 50 varieties); — Fort Chagre taken, 24. March 1740
(Full or half-length figure of Vernon ; 20 to 25 var.) ; — Cartha-
gena taken, i. April 1741 (Full-length figure of Vernon; or Vernon
and Ogle ; Don Blass kneeling, surrendering his sword to Vernon ;
Don Blass kneeling between Vernon and Brown ; Vernon, Ogle and
Wentworth, &c.; some 30 var.); — Proposed Attack on Havana,
July 1 74 1 (Full-length figureof Vernon ; 4 or 5 var.); — Admiral
Vernon, 1741; — Admiral Haddock and Admiral Vernon, 1741 ;
— Admiral Haddock; — Admiral Vernon and the Duke of Argyle,
1740(201025 var.); — The Dukeof Argyle and Sir Robert Walpole,
1741; — Admiral Vernon, Commodore Brown, and Sir Robert
Walpole, 1 741; — Admiral Vernon and Sir Robert Walpole, 1741;
— Resignation of Sir Robert Walpole, 1742; — Carlisle taken,
30. December 1745 (4 or 5 var.); — The Rebels repulsed (some
10 var.); — Battle of CuUoden, 16. April 1746 (6 or 7 var.); —
Failure of Prince Charles, 1746, &c.
Some of these medals are fairly well executed.
Bibliography. — Franks & Grueber, Medallic Illustrations &c. — Sidney Lee,
Dictionary of National Biography. — Britten, Old Clocks & fVatcbes and their
Makers. London, 1899, p. 225.
PINCHES. The name of a well-known family of London Die-
sinkers and Medallists.
All Brothers
Thomas R. Pinches William P. Theophiliis P. John Pinches Francis
(b. 1825 at Birmingham) | (-j- 22. April 1905)
Theophilus P. |
(the distinguished John H. Pinches
Assyriologist) {present Jnad of the firm")
I
J. R. Pinches
PINCHES, FRANCIS (Brit.). Contemporary Die-sinker and Medal-
list, residing at Manchester. He first worked with his brothers in
- 548 -
London, then served in the Army in India, and on his return
settled at Manchester as a Die-sinker.
He has engraved Seals, Armorial bearings. Prize-medals, &c.
PINCHES, JOHN (Brit.). Contemporary Die-sinker and Medallist;
died in London, 22. April 1905. He studied under W. J. Taylor at
Birmingham, worked at the Royal Mint under William Wyon, circ.
1846-185 1, and after leaving was occasionally employed by
Leonard C. Wyon, William Wyon's successor. G. W. De SauUes,
late Chief-engraver at the Mint(i862-Y 21. July 1903) was in his
employ from 1884 to 1888.
John Pinches also worked for the Birmingham Mint.
Among his principal medals I may mention : Opening of the
Crystal Palace, 1853 (sev. var.) ; — G. F. Handel; Crystal Palace
Handel Festival, 1857 (signed: PINCHES, LONDON); — Manchester
Exhibition of Art Treasures, 1857; — Florence Nightingale; —
University of Edinburgh Medal, etc.
PINCHES, JOHN H. {Brit.). Medallist and Die-sinker, born in 1852;
present head of the firm, 27 Albert Embankment, London ; entered
his father's business about 1867.
Beside doing contract work for the Mint, Birmingham, this
able Medallist has cut numerous dies from models supplied to him
by sculptors. Among his principal works I have noted : Coin-
dies for South American Republics (Brazil, Columbia, Costa Rica,
Ecuador, Salvador) in commission tor the Mint Birmingham ; —
Pattern Dollar of Princess Kaiulani, 1895
(issued by R. Huth Esq.).
Sir John Evans; Jubilee of the Numismatic Society of London, 1887
{illustrated) \ — Opening of the Imperial Institute, London, 1887;
— Pattern Dollars of Liliuokalani, 1891; Isabel II., 1894; Maria
Cristina, 1894; Ranavalo III., 1895; Princess Kaiulani, 1892;
Alfonso XIIL, 1896; Victoria, I of a Pound, 1900; Three Shil-
— 549 —
Hng piece, 1900 (all in commission for Mr. Reginald Huth ;
Vide Vol. II, pp. 539-584) ; — Maria Luisa Fernanda de
Borbon, Duchess of Montpensier, 1897; — Mrs Huth, 1901;
Queen Victoria's Jubilee, 1887 (engraved by De Saulles); —
Diamond Jubilee Medal, 1897; — Imperial Institute Medal, 1887
cj:
V/.-
Sir John Evans ; Jubilee of the Numismatic Society of London, 1887.
(probably engraved by De Saulles); — Token of D Col. B.
Lowsley, for private distribution, 1880; — Robert Burns, Dumfries
Centenary Celebration, 1896, etc
At the Royal Academy, London, 1908, Mr. Pinches exhibited a
case of medals, mostly Prize medals and Badges.
Pattern 100 Peseta piece, 1896
(issued by R. Huth Esq.).
Mr. J. H. Pinches has also written for the Numismatic Chronicle,
1903, an interesting memoir of the late Engraver at the Royal
Mint, George William De Saulles.
— 550 —
PINCHES, JOHN R. (Brit.). Son of J. H. Pinches, and a Partner
in the firm.
PINCHES, THEOPHILUS (Brit.). Die-sinker and MedalHst, of the
second half of the nineteenth century. His son is the distinguished
Assyriologist, Theophilus R. Pinches.
PINCHES, THOMAS R. (Brit.). MedalHst and Engraver of the
nineteenth ceniur}', born at Birmingham in 1825. He cut many
military, academical and private Medals, among which I have
Memorial Medal of the Duke of Wellington, 1852.
noted : Samuel Hahnemann, 1842 (2 var. ; one signed :
T. R. PINCHES;]^. Staff of Aesculapius, upright; leg.: similia
siMiLiBvs MDCCcxLii ; 23 mill.; the other, 40 mill.; ^. Shield with
monogram, and English and Latin inscriptions) ; — Memorial
Medal of the Duke of Wellington, 1852 (illustrated); — University
of Edinburgh Medal, with bust of D"" J. M. Fothergill; — James
Morrison, 1840; — " The Anglo-Saxon", signed on both sides
(in D-^ F. P. Weber's collection), etc.
PINCHES, WILLIAM (Brit.). Medallist and Die-sinker of the nine-
teenth century, one of the five brothers, who practised engraving.
PIN£do, £miLE (French). Contemporary Sculptor, born at Paris ;
pupil of the Paris School of Arts and Crafts. He is the author of
numerous Portrait-medallions, usually cast in bronze, some of which
have been exhibited from time to time at the Salon, thus: 1870.
Portrait of Marquis deSchedoni; — 1875. Mgr. Valerga, patriarch
of Jerusalem; — 1876. Pius IX; — 1880. S. M. Dona Maria de
las Mercedes, etc.
Bibliography. — Chavignerie and Auvray, op. cit.
— 551 —
PINGO, JOHN (Brit.). Son of Thomas Pingo, and brother of Lewis;
also a Medallist. In 1768 and 1770 he exhibited Medals and
Wax Models at the Free Society of Artists. In 1786 or 1787 he held
an appointment of Assistant-engraver at the Royal Mint.
PINGO, LEWIS (Brit.). Medallist and Coin-engraver, born in
1743, died at Camberwell on 26. August 1830, at the age ot
eighty-seven. He was a son of Thomas Pingo, and his successor as
Assistant-engraver at the Royal Mint, London, in 1776. Three
years later, he was appointed Chief-engraver, and remained in
office until 181 5, when he was superannuated.
Among the coins engraved by this artist I have noted the
following: Gold. Pattern Guinea, 1787, Laur. bust to r. as upon
the Spade Guineas (Num. Chron., xiii, p. 120, n° 39; only two
Pattern for Hanoverian Pistole, 1767.
known); — Pattern Guinea, 1787; *' Spade " type (2 var.); —
Ordinary "Spade" Guineas, 1787-1799 ; — Pattern Guinea,
1798 (struck from the die of the "Spade" Half Guinea ot
that year); — Pattern Guinea, 1804 (after Marchant's model);
— Pattern Guineas, 181 3 (2 var.). The 'Military' Guinea,
which was issued for currency, is by Thomas Wyon after Mar-
chant's design. Pingo's types have the Royal Standard unfurled on
Obv. of Pattern Guinea, 181 3.
V^.', — Half Guineas, ' Spade' type, 1787-1800 inclusive with the
exception of 1792 and 1799; — Pattern Half Guinea, 1798 (struck
on a Half Guinea flan from the dies of the Seven Shilling piece;
probably unique); — Pattern Half Guinea, 1798 ; l^. m b f et h
REX &c. in raised letters on a sunk band, &c. "The die was struck
— 552 —
for the purpose of shewing that the incuse work, lately introduced
by Mr. Boulton of Birmingham, could be executed at His Majesty's
mint. "; — Pattern Seven Shilling piece, 1798; — Pattern Seven
Shilling piece (or Half Guinea), undated ; with incuse bust of
George III.; — Seven Shilling pieces, 1797- 1804, 1806, i8o8-ri,
1 81 3. From 1804 the type is after Marchant's model; — Pattern
Hanoverian Pistole ; ^L (engraved by hand) Exemplar Probatae
Monetae Ekctorati Bruns. Ltin. MDLXVII J. Meyer del. L. Pingo
fee., &c. ; illustrated).
Silver. Proof Guinea and Half Guinea, 1787; — Pattern Half
Guinea, 1798 (2 var.), similar to the gold specimens; — Pattern
Shilling and Sixpence, 1786; — Proof Shilling and Sixpence, 1787;
Three Shilling Bank Token, 181 1.
— Pattern Shilling, 1798 (known as the Dorrien and Magens
Shilling, the issue of which, according to Hawkins, was consigned
to the melting pot by an Order of Council and but few escaped) ;
Defence of Gibraltar, 1782.
— Shilling and Sixpence, 1787 (ordinary issue) ; — Maundy
Money, second variety of George III., with King's bust exactly
— 553 —
like that of the ShilHng of 1787, and on the reverse the numerals,
in the written form, crowned with a small crown with angular
bars; only date, 1792. This issue is sometimes styled the Wire
type; — Three Shilling Bank Token, 181 1, 18 12 {one of 18 11
illustrated); — 1/6 Bank Token, 181 1, 1812; — Bank of Ireland,
Termination of the Blockade of Gibraltar, 1785.
Half Crown, 1808, and Tenpence, 1805, 1806; — Essequibo and
Demerara, ^ Guilder Token, 1809.
Copper. Pattern Guineas, 1791, * Spade-ace ' type; — Proof
'Spade' Guinea, 1789 ; — Pattern Guineas, 1798, &c. ; — Pattern
Penny and Halfpenny, 1788; Laur. bust of King tor. ; j^. Britannia
— 554 —
(some varieties). These are " of remarkably inferior workmanship";
— East India Company, Copper Coinage for Bombay and Madras,
1791, 1794, 1803 and other dates, &c.
Lewis Pingo did not produce many medals ; the best known are :
Memorial medal of the Marquis of Granby, with his bust, 1770
(2 varieties); — David Garrick, 1772; — Thomas Snelling, 1773 ;
— D"" Richard Mead, 1773; — William Penn, 1775 ; — Captain
J. Cook, 1776; — Defence of Gibraltar, 1782; ^L. reden lamotte
SYDOW, &c. ; — Termination of the Blockade of Gibraltar, 1783
(illustrated) ; — Free Masons' Hall Medal, 1780; — Christ's Hospital
Medal (^L. Open Bible); — The Royal Society Copley Medal;
— John Fothergill, Medical Society's Prize Medal, founded 1787;
— George III., obv. signed : L.P.R. ; I^. semper honos NOMEwavE
TVVM. Britannia standing, facing, holding long sceptre and cap of
Liberty. A lead impression of the 1^. of this medal exists in
D"" Stanley Bousfield's collection.
The artist also practised the art of gem-engraving, and by him is
a Seal of a Charitable Institution for poor and superannuated
Comedians, 1777; also probably others.
D"" Stanley Bousfield was fortunate enough to secure from the
succession of Lewis Pingo a number of Pattern coins, Impressions
of medals in wax, &c., having belonged to Thomas and Lewis
Pingo, and has kindly allowed me to examine them, for which I
wish to return my best thanks.
Among Lewis Pingo's productions in that collection are :
i*> Model for reverse of his pattern Penny and Halfpenny of 1788,
executed on a circular piece of slate, 2 | inches in diameter. The
figure of Britannia which stands 2 inches high is modelled in wax.
Globe and supporting base are also in wax, as were the now
missing shield and wand. The laurel-branch and the legend
'* Britannia" (followed by a dot) are painted in. The date is not
shewn. Thus probably the completed pattern, which has the dot
after the legend on reverse, was the first to be struck.
2" Similar model for reverse of pattern for the copper coinage.
The design is altogether modelled in wax on a circular piece of
slate, 2 I inches in diameter. The figure of Britannia, i ^' inches
high, is seated on a globe, and covered with flowing drapery. The
right hand rests on right leg and holds a sprig. The left hand hangs
straight down to rest on an oval shield and clasps a spear between
the thumb and first finger. There is an ornamental border also is
wax, and a circular groove in the slate marks the inner limit for the
legend. A perpendicular groove runs down the centre of the flan,
and a horizontal one passes through the Exergue.
3° Similar model in wax on slate flan for head and bust of George II.,
surrounded by a plain border.
— 555 —
4° Cliche of medal on the Defence of Gibraltar, 1782.
5° Cliche of Medal on the Termination of the Blockade of
Gibraltar, 1783.
Bibliography. — W. Wroth, Lewis Pingo, Diet. Nat. Biog., xlv, p. 314. —
Redgrave, Dictionary of Artists. — Hawkins, MedaPic Illustrations, ed. Franks and
Grueber. — Ruding, op. cit. — Hawkins, op. cit. — Montagu, op. cit. — Cochran-
Patrick, Medals of Scotland. — Crowther, op. cit. — Gentleman's Magazine, 1818,
1830. — Betts, American Colonial History illustrated by Contemporary Medals, 1894.
— H. A. Grueber, English Personal Medals, 1892. — Raspe, Tassie Gems, 1791.
— Hawkins, GoW CoiH5 of England, 1850. — W. J. Davis, Nineteenth Century
Copper Coinage, 1904.
PINGO, THOMAS (Brit.). Medallist, and Coin-engraver, of Italian
origin, born about 1692, died in London, December 1776. He came
to England circ. 1742-45, and from that date until 1770, he pro-
duced a large number of medals, which shew him to have been "a
skiltul and industrious worker". In 1771 he was appointed Assistant-
engraver at the Royal Mint, a post which he filled until his death,
when his son, Lewis Pingo, succeeded him. In 1763, he was a
member of the Free Society of Artists. He worked for Thomas HoUis,
also for Wedgwood in 1769, modelling representations of the battles
of Plassey and Pondicherry for him. He further engraved a plate of
arms for Thoresby's 'Leeds' (Walpole, Anecdotes, in, 984).
From Mr. Wroth's biographical account of the artist in DkL
Nat. Biog., XLV, 315, we learn that Thomas Pingo married Mary
(-J- 17. April 1790), dauo;hter of Benjamin Gold wire, of Romsey,
Hampshire, and had by her several children, of whom, Lewis and
John, both Engravers, and Benjamin, who attained distinction.
Pattern Guinea, 1772, by Thos. Pingo.
There is a mezzotint portrait (1741) of Pingo in 1738, i.e. at
the age of forty-six, by Carwitham, after Holland (Bromley, Cata-
logue of Portraits, p. 471).
By Thomas Pingo are the following coins : Pattern Guinea,
1765 ; Bust of George III. to r., laureate, hair long, curling beneath
the truncation; — Pattern Guinea, 1772 (illustrated) ; — Pattern
Guinea, 1773; — Pattern Guinea, 1774; — Guineas, 'Shield'
- 556 -
type, 1 774- 1 786 with the exception of 1780; — Pattern Half Guinea,
1776; — Half Guineas, 1776-78, 1781, 1784-86; — Pattern-
Quarter Guinea, 1764, etc.
The best known medals by this artist are the following,
which are usually signed : T. PINGO : The 'Captain Callis' medal,
1742 ; — Medal of 'One of the Loyal Associations', 1745 ?; —
Defeat of the French Fleet off Cape Finisterre, 1747.
Repulse of the Rebels, 1745 ; — Deteat of the French Fleet off Cape
Finisterre, with bust of Lord Anson, 1747 (illustrated); — D"" Charles
Lucas, 1749; — The 'Oak Medal' of Prince Charles, 1750
(illustrated). The engraving of the dies for this medal cost 88 /.
The Oak Medal of Prince Charles, 1750.
16 s.; — Prize Medal of St Paul's School; obv. Bust of Colet; ^L.
Minerva seated, 1755 ; — Battle ofRosbach, 1757 (Bust of Frederick
the Great); — Victory of Plassey, 1758; — Society for Promoting
Arts and Commerce, 1757 (dies cost 80 gns); ^L. type, Minerva
and Mercury approach Britannia seated on shield, on which the
signature PINGO. D' S. Bousfield has a lead impression of this
medal, and another, of identical design, signed in exergue : r.yeo
F. and with the date mdccliii instead of mdccliiii ; the legend is :
— 557 —
SOCIETY . FOR . PROMOTING . ARTS . AND . COMMERCE ; — Capture of
Louisburg medals, 1758 (several varieties); — Capture of Goree,
1758 (this medal gained the prize of the Society of Arts for the
best specimen commemorating the event) ; — Capture ot Guade-
loupe, 1759 (designed by Stuart); — Majority of the Prince of
Wales, 1759; — Battle ofMinden, 1759; — Taking of Quebec,
1759 j — Taking of Montreal, 1760; — Subjugation of Canada,
1760 ; — Coronation Medal of Stanislaus Augustus, King of Poland,
1764 (made in London, vide Hutten-Czapski Catal. II. 74); —
Repeal of the Stamp Act, with bust of Chatham, 1766 ; — Lord-
chancellor Camden, 1766 ; — Royal Academy Medals (two Reverses :
(a) Minerva and Student ; b Torso, 1770. Pingo executed several ot
Medal of Prince Charles, 1750, intended lor circulation amongst the supporters
of the Stuart cause, but whilst the dies were probably cut in 1730, it is evident
from the rust marks that the medals were not actually struck until some years
later.
these medals for the Society of Arts, under the auspices of Thomas
Hollis, and from designs by Cipriani ; — Marquis of Granby's
Prize Medal, with bust of George III., 1765 ; — Victories of Fred-
erick the Great in 1757 (^. gallis et avstriacis devictis); —
Taking of Pondicherry, 1761 ; — William Pitt, 1766; — Peter
Muilman and Mary Chiswell, on the celebration of the fortieth anni-
versary of their marriage (I^, View of Kirby Hall) ; — Royal College
of Surgeons, London, 1767; — Frederick, bishop of Osnaburg
1764 (medalet signed T. P. F., in D"" Bousfield's Coll"); — Society
of Arts medal (in D"^ Bousfield's Coll"); Obv. Bust oi George III. ;
^. GVL.ET mar.tradvnt blaro CHART. COL. William and Mary
granting a charter to the President of a College kneeling at their feet;
ex. : ANNO regni | qvarto; — Presentation Medal to Mr. Anthony
Malone by the Westmeath Election, 1768; — Welsh Prize Badge,
with facing bust of a Druid, nis gvvyr namyn diwyd dderwyddon.
-558-
The following productions by Thomas Pingo are in D' Stanley
Bousfield's collection : i. Wax relief : Britannia standing, head
turned to r., and I. arms raised, holds shield in r., unfinished;
evidently a model for the Britannia on the ^L. of the medal
commemorating the Visit of Prince Charles, 1752 (^Med. III., II,
^); — 2. Lead Trial niece of Medal, Society for Promoting Arts
and Commerce, 1757 (as Med. III., II, ^, but the signature PINGO
is inscribed on the shield on which Minerva is seated) ; — 3 . Lead
Trial piece, uniface : Britannia standing to I. on the prow of a
vessel, her shield at her feet behind, and with sceptre in 1., crowned
by Victory flying towards her. Impression of the obv. of the large
gold Naval Medal (instituted in 1794); — 4. Wax impression: A torso;
^L. of one of Pingo's Royal Academy Medals; — 5. Lead impres-
sion, uniface : Society for Improvement of Agriculture, inst.salford
HVND. I LANCASHIRE | MDCCLXvii ; Ceres Standing to r., surrounded
I^. of medal, Royal College of Surgeons.
by agricultural implements amidst rustic scenery; signed on exergual
line : T. PINGO F. ; — 6. White metal medal : Royal Academy insti-
tuted, 1768 ; obv. Bust of George III., to r., signed on truncation :
T. PINGO F. ; ^L. havd facilem esse viam volvit Minerva seated
pointing out a temple on the summit of mountain to a youth beside
her; ex. : r . ac . institvted | 1768; 55 mill.; — 7. Incuse impres-
sion of obv. of last medal in red wax : Bust of George III. ; — 7. A
philosopher (or surgeon) in Roman toga contemplating a skeleton
lying on the ground amidst rustic scenery ; in the field T. PINGO F.
Very fine work. This is the ^. of the Royal College of Surgeons'
medfal, 1767 (illustrated).
A number of other pieces, from the succession of Lewis Pingo,
may be by Thomas Pingo, under whose name I describe them,
although they are unsigned, i. Bust of George III., young head, in
— 5)9 —
wig ; wax painted red, on circular siieet of glass painted black on the
other side ; 65 mill, (possibly by Lewis Pingo) ; — 2. Impression in
wax of I^. of Scholastic medal. Female figure, standing, holding an
oblong object in her raised 1. ; to r., a youth holding scroll; to 1.,
symbols of Arts and Industries ; in back ground, view of St. Paul's ;
exergue, head of George III. ; 62 mill. ; — 3. Model in wax for^.
of London Hospital medal : relief in distress. Allegorical figure of
the City of London standing to 1., raising female figure, with bandaged
head, prostrate on the ground ; in the background, view of London
Hospital; in front, two men carrying a sick person on a stretcher;
ex, : LONDON HOSPITAL. | M . Dcc . LViii. ; in the field to 1. near the
edge traces of letters : G. M... (possibly the signature of G. MOSER ?);
unpublished design ; — 4. Model in wax of Female bust to right, on
oval sheet ofglass,40X35 mill. ; — 5. Model in wax : Apollo seated
to left, his 1, arm resting on lyre, and holding in extended r. hand
Portrait-medal, unkaown.
a wreath with which he crowns a student kneeling at his feet ; on
circular sheet of glass painted black on other side; 42 mill. This is
apparently an alternative design for the ^L. of the D*" Sir William
Browne medical medal, 1765 (Election for Presidency of the Royal
College of Physicians). — 6. Portrait of a man, in compact wig, on
circular disc of white metal ruled in small squares (illustrated^
Possibly by Mossop ; — 7. Impression of Seal of Zion College, Lon-
don; subject. The good Samaritan; 59 mill.; — 8. Two other seals,
possibly by Lewis Pingo, etc.; — 9. Cliche o( medal of Society for
Improvement of Agriculture, 1765. Also a medal in bronze, signed
TPF ; — 10. Lead Impressions of Medal commemorating the Destruc-
tion of Spanish galleys, 1742 ; M^^.///., II,'|nr!; — 1 1 . Proof in lead of
the Loyal Association Medal, 1745 ; Med. III., 11,^; — 12. Proof in
lead of obv. of medal ofjohn Earl of Sandwich (1718-1792), possibly
— $6o —
by another artist than Pingo ; — 13. Proof in lead of obv. of St. Paul's
School medal, with portrait of John Colet, signed : T. PINGO F. ; —
i^. Ticket of the Pantheon, London, 1772, with facade of building
on obv. ; — 15. also Trial of obv. die (Sharpe's Cat. of Sir Geo.
Chetwynd's Coll", p. 256, 4'); — 16. Battle of Culloden, 1746;
obv. impression. The Duke on horseback to r. (Med. III., II, —) ;
— i7.Norrisian Prize medal; obv. Cross and Bible; ^L. Resurrection
of Christ, 1 78 1, &c.
Bibliography. — W. Wroth, Diet. Nat. Biog., p. 571. — Redgrave, Did. oj
Artists. — Franks and Grueber, op. cit. — Ruding, Annals of the Coinage. — Metcyard,
Life of Wedgwood, I. 442, II. 92. — Gent. Mag. 1776. — H. B. Wheatley, Medals
of the Society of Arts. — H. A. Grueber, English Personal Medals. — Leroux, op.
cit.
PINGRET, JOSEPH ARNOLD or ARNOUT (Belg.). Sculptor and
Medallist born at Brussels in 1798, died at Paris in 1862. He was a
pupil of Bosio and of the Ecole des Beaux-Arts of Paris. Between
1824 and 1853 he exhibited the following works at the Salon : 1824.
A frame of Medals; — 1827. Frame of Models and Medals; —
183 1. Frame of Models and Medals; — 1839. The Parting of
Abailard from Heloise, group in plaster ; — 1846. Bust of M"" Pin-
gret, marble; — 1848. Horticultural Prize Medal (in commission
from the Mint) ; — Michel de I'Hospital (medal executed for the
Mint); — Marriage Medal; — Naval Medal (for the French
Admiralty); — Bourgelat (in commission for the ' Societe de mede-
cine veterinaire ') ; — Queen Isabella II. of Spain (ordered by the
Spanish government) ; — Allegorical Medal (for the Paris ' Conseil
des Avocats ') ; — M"^ Rachel ; — Jeton for the Insurance Company
* La Banlieue ' ; — Jeton of the Chamber of Commerce of Caen ;
— Jeton of the Academy of Rheims; — Jeton of the ' Compagnie
de Seyssel ' ; — Jeton of the * Chambre des Avoues ' of Mantes ;
— Jeton for a Newspaper Publisher; — 1853. Commemorative
medal of the French Colonization of Algeria (in commission for the
State Council) ; — Medals of the Veterinar}' Colleges of Alfort
and Lyons, and the Societe centrale de medecine veterinaire de
Paris .
I have noted several other medallic productions of this artist :
Commemorative medal of the Expedition to Morea ; — Medal of
the Paris Chamber of Deputies, 1830 ; — Medal of the ' Societe de
medecine pratique', Paris; — Galen (Durand Series, 1844); —
Benjamin Franklin ; — Medal of the Free Masons' Provincial Grand
Lodge at Rostock ; — Jeton of the Lodge of Saint Louis de France,
Paris, 1816; — ^L. of Masonic Jeton, with obv. Bust of Minerva,
I. The Pantheon Ticket was used at the Pantheon, Oxford St., London. The
obv. occurs with those reverses.
- 56i -
by E. Dubois (Marvin, PI. xvi, 57) ; — Medal of the Sovereign
Chapter of Arras, Valley of Paris; — Pattern 10 Centime piece,
1848 (illustrated); — Peter the Great, 1823 (Durand series); —
Nicholas I., Czar of Russia ; — Pierre Aime Lair, philanthropist,
Pattern Ten Centime piece, 1848.
1862; — Jacques Cujas, French lawyer, 1822; — Jacques de
Vaucanson, 1820; — Jeton of the Asphalte Mines of Pyrimont-
Seyssel, &c.
M. Florange states that Pinojret was the inventor of the Gudgeon.
Pingret largely contributed to the Galerie nietalliqiie des grands
honinies fran^ais.
Bibliography. — Chavignerie et Auvray, o/>. cil. — Bolzenthal, op. cit. —
Nagler, op. cit. — Singer, Altgevieines Khnsller-Lexikon. — De Saulcy, Souvenirs
numismatiques, 8ic. — Kramm, Len'eii, &c. — Floranj^e, Jetons de Mines, Sec.
PINI. GIOVANNI ALBERTO {Ital.). Known as GIANNALBERTO DE
BONZAGNA ; son-in-law of Giovanni Francesco Bonzagna. Goldsmith
of Parma, and Mint-engraver there. He died in 1596.
Bibliography. — Bolzenthal, op. cit., p. 157.
PINON (French). Medallist of the early years of the eighteenth
century. By him is a Portrait-medal of De Launay, director-general
of the Paris Mint. This medal is signed : PINON.
Bibliography. — Rondot & de La Tour, op. cit.
PINOT. MATHIEU GEORGES (French). Mint-engraver at Nantes,
1725.
PINSK, JOACHIM (Germ.). A Breslau Jew who supplied silver
bullion to the Mint of Glatz, 1807.
Bibliography. . — Friedensburg. op. cit.
PINSON (French). Surgeon, and Modeller in wax, born in 1746,
died at Paris in 1828. By him are several Portrait-medallions; one
of the Due de Cosse, governor of Paris, was exhibited in 1782 at
L. FoRRER. — Biographical Notices of Medallists. — IV. j6
— 5^2 —
the Salon de la Correspondance ; another interesting one is that of
the mysterious Chevalier d'Eon.
Bibliography. — Chavignerie et AuviAy, op. cii. — Singer, Allgemeines Kunstler
Lexikon.
PINTZ, ERASMUS WOLFGANG (Germ.). Engraver of Seals, Armorial
bearings, etc. at Nuremberg, first half of the eighteenth century.
PION, JEANjSurnamed FAVEROLLE (Belg.). Mint- master at Nancy,
appointed in 1704 and still in office in 1712. In the latter year he
was ordered to issue all kinds of currency of gold, silver, and billon.
He principally worked for Duke Leopold.
Bibliography. — Lepage, op. cit.
PIQUOT, PHILIPPE {French). Sculptor of the first half of the
seventeenth century. Rondot places the date of his activity between
Marin Lc Bourgcoys.
1629 and 1633. He modelled and cast in 1633 a Portrait-medal of
Marin Le Bourgeoys (illustrated), which is reproduced in Mazerolle,
- 5^3 -
PI. XXXIX, n° 784. The modelling is good but the execution is very
rough.
Bibliography. — N. Rondot and H. De La Tour, op. cit. — MazeroUe, op. cit.
PIOTTO. ALTOBELLO (Siuissy Goldsmith and Gem-engraver of the
sixteenth century, born at Brissago (Tessin). In 1593 we find him
in Milan, and the next year in Rome. In 1603 he had a business at
Mantua, where he held the appointment of Court-Goldsmith to
Duke Vincenzo I. His jewels and gems are said to be very remark-
able. He belonged to the school ofCaradosso.
Bibliography. — D' C. Brun, Schweiierisches Kunstlei-Lexicon, II, 556.
PIPPO, surname of FILIPPO SANTA CROCE (f/a/.). A noted Gem-
engraver of the second half of the sixteenth century. Originally a
shepherd boy, says King, he began by engraving groups upon plum
and cherry stones. Count Filippino Doria, having met with him
at Urbino, brought him to Genoa, had him instructed in drawing,
and thus he became a noted artist. His numerous children, the
PIPPI, followed his profession. They applied themselves especially
to copying the antique.
Bibliography. — Babelon, Pier res grave'es. — MarieUe, op. cit. — King, Antique
Gems, 1872, p. 427.
PIQUER, S. (Span.). MedaUist of Barcelona, whose signature I
have noted on Prize Medals of the Barcelona Universal Exhibition,
1888.
PIRES, GOMES (Port.). Goldsmith of Porto, appointed Mint-
engraver there, and Mint-warden, 10. January 1547.
PIRI, MARTIN (Brit.). Mint-master at DuMin, appointed in 1550
(Ruding, I, p. 318). He appears to have been connected with the
Dublin mint for some time previous to that date. His initial P
occurs on a Dublin Sixpence of Henry VIII., reproduced in
Grueber's Handbook, &c. PI. lviii, 54.
Under Edward VI., an indenture of 1548 directs Martyn Piri
and others to issue Groats, Half-Groats, Pence and Halfpence. This
was followed by others of 15 51 and 1552 giving various directions
relating to the striking of coins for Ireland (Grueber, op. cit., p. 229).
Bibliography. — Ruding, op. cit. — Grueber, op. cit., p. 228, 229.
PIRIX, J. M. (Ital.). Sculptor and Medallist of the first half of the
seventeenth centur}\ He dedicated to Prince Luigi Montalto a
medal on the VjL. ot which is a female figure embracing a column
and holding scales, with the legend : in omnibvs ego. This medal
is dated 1638. Zani gives to the artist a Spanish origin.
Bibliography. — Bolzenihal, op. cit.
— 5^4 —
PIRON, EUGilNE (French). Contemporary Sculptor, born at Dijon ;
pupil of Barrias. I saw by him at the Salon of 1902 a Portrait-
plaquette, which was well executed.
PIRNER, MAX {Austr.). Designer of a medal, engraved by V.
Santrucek, on the Foundation of the Kaiser Franz Josef Bohemian
Academy of Fine Arts, Sciences, and Industry, 1890.
PIRRI. Vide MARTYN PIRI supra.
PIRSON, JEAN LOUIS (Belg.). Manufacturer of counterfeit gold
coins at Brussels, circ. 17 18.
PISA, GIOVANNI DA (Ital.). Sculptor of the sixteenth century,
who worked at Padua. D"^ Bode ascribes to him and reproduces in
*' Die italienischen Bronzen"' four Plaques: Half-length figure of
Madonna; 93 X 82 mill. (Molinier, n" 367) ; — The Holy Family,
surrounded by Angels; 100 X 89 mill.; — Half-length figure of
Madonna between Saints; 74 X 62 mill. (Mol., n° 749) ; — Half-
length figure of Madonna; 67 X55 mill. (Mol. n° 366).
PISANELLO, otherwise PISANO, ANTONIO (not Vittore) (Ital.).
Painter, and the most famous of Renaissance Medallists, was born
in 1397 and died in October 1455. Signor Biadego, archivist of
Portrait of Pisanello.
Verona, has recently published ' some important documents, which
throw fresh light on the career of this eminent artist. From these we
I. Atli del R. Istituto Vetteto di scienie, lettere ed arti, t. LXVII (13. June
1908).
- 565 -
learn that in 1433 a painter of the name of Antonio Pisano, aged
36, was living at Verona, with his mother Isabetta, aged 70, and
daughter Camilla, a child of 4. Isabetta di Niccol6 was a Veronese,
who had married a Pisan named Bartolomeo, by whom she had
two children : Bona, who became the wife of Bartolomeo, son of
Andrea della Levata, a wealthy notary of Verona, and Antonio,
the painter; her first husband died after 1409, and she married a
second time, previous to 1425, a well-to-do Veronese, Filippo, son
of Galvano, a native of Ostiglia.
This Antonio Pisano has lett many traces in the archives of
Verona, in which he is named Pisanello as well as Pisano. Receipts
for rates of his house in the Contrada di S. Paulo, dated 1445 and
1446, are made out in the name oi Antoniiis Pisanellus pictor. As a
partisan of the Marquis of Mantua, he was also exiled from Verona
after 1438. In 1442 he was authorised by the Council of Ten to
reintegrate Venetian territory, and on 2 1 . November of the same
year he was allowed to go to Ferrara to fetch some furniture which
he had left there and recover important debts. On the other hand,
we also know that in the first days of March 1443, Pisanello, who
had long been in relation with the house of Este, arrived at Ferrara,
which he had left on 16. April 1441. This all proves that Antonio
Pisanello is the artist whom Vasari has named in error Vittore.
Pisanello signed Pisanus pictor without Christian name. The
nickname Pisanello signifies " the small Pisan ". Evidently, Pisanello,
son of a Pisan, established at Verona, must have been of short sta-
ture. The medal on which he has preserved to us his features gives
one the impression that he was neither tall nor thickly built.
From the same documents, which are more trustworthy than
Vasari's conjectures, written a century after the death of the artist,
we gather that Pisanello executed in 1422 his first great works away
from his native place. His first medal is dated 1439; he was
therefore forty-two when he created that art so new, so profoundly
original in the form in which he had conceived it ; it is the fruit of
his maturity, as M. de Foville wisely remarks '.
After 1442 Pisanello remained in contact with his native town,
and kept a house there, where he had already been living in 1433.
In 1443, 1444, 1445, Pisanello worked — at least at intervals, —
at the court of Ferrara, but in 1446 he was in Verona.
Pisanello is said to have been a pupil of Domenico Veneziano.
His pictures, which are now very scarce, were held in high esteem
by his contemporaries ; many of his drawings are still extant, and
I. Jean de Foville, Pisanello d'aprls des decouveries recentes. Revue de I'Art,
1908, p. 316.
Philip Maria Visconti, Duke of Milan (1391-1412, 7 U47)-
Niccolo Piccinino.
— 568 —
confirm both Fabio and Vasari's statement that the artist took a
peculiar deHght in the portra^'al of animals, in which he excelled.
As already mentioned the artist was in the prime of life when he
began to model his Portrait-medallions ; his earliest production of
that kind, which is probably that of the Greek Emperor, John VII.
Paleologos, cannot date before 1438 or 1439, when the artist
was forty-two. He was then residing at Florence; in 1444 he was
at Ferrara, 1445 at Rimini, 1446 at Verona, 1447 at Mantua, and at
Naples in 1449.
Basinio of Parma, Guarini of Verona, Porcellio Pandoni of
Naples, Tito Strozzi of Ferrara, and other contemporary poets have
dedicated verses to Pisano, whom they compare with the most
famous painters and sculptors of antiquity. Leonello d'Este, whose
features the artist has reproduced on seven different medaUions,
writes : *' Pisanus, omnium pictorum hujusce aetatis egregius, cum ex
Roma Ferrariam se contulisset, tabulam quamdam sua matin pictam
ultro mihi pollicitus est , quutn primum Veronam appUcuisset."
Heiss describes twenty-four authentic medals by Pisano :
John VII. Paleologos, Emperor of Constantinople (13 90- 1425
f 1448) ; diam. 103 mill, (the Florence Museum possesses a
specimen in gold, which is a poor cast. Another gold specimen,
formerly in the Bibliotheque nationale, disappeared in the burglar}'
ofi83i); — Philip Maria Visconti, Duke of Milan (1391-1412
•4-1447); diam. 102 m\\\. (illustrated^ -, — Francesco Sforza, Duke
of Milan (1401-1450 -|- 1466); diam, 87 mill.; — Pier Candido
Decembrio ; diam. 80 mill. ; — Niccolo Piccinino, a famous Italian
Captain of the fifteenth century, -J- 1444; diam. 88 mill, (illustrat-
ed) ; — Leonello d'Este, Lord of Ferrara, Modena and Reggio (1407-
1441 -J- 1450) ; seven different types : (a) Old man and youth,
nude, seated at the foot of a mast; 69 mill. ; — (b) Child's mask
with triple face, etc. ; 69 mill.; — (c) Old man and youth, nude,
standing, and carrying two baskets of corn, etc.; 69 mill.; —
(d) Vase with plants ; 42 mill. ; — (e) Male figure reclining to r.
at foot of a rock, above which a vase supported by two anchors;
69 mill. ; — (f) Lion in front of Cupid holding a roll of music, etc. ;
dated 1444; loi mill, (illustrated) \ — (g) Lynx blindfolded seated
on cushion; 69 mill.; — Sigismondo Pandolfo Malatesta, Lord
of Rimini (1417-1432, -|- 1468) ; two types : (a) Sigismondo Mala-
testa on horseback; dated .M.ccccxLv;diam. no mill. A later cast,
diam. loi mill., realized 2600 Mks at the Lobbecke Sale, Munich
November 1908; — (b) Malatesta standing, in full armour, with
vizor drawn over his face ; 90 mill. ; — Domenico Malatesta
Novello, Lord of Cesena (1418 f 1465); diam. 85 mill. ; —
Giovanni Francesco I. de Gonzaga, first Marquis of Mantua (1395-
1407 f 1444); diam. 100 mill.; — Ludovico III. de Gonzaga,
— 5^9 —
Marquis of Mantua (1424-1444 •; 1478); diam. 100 mill.; —
Caecilia de Gonzaga (1414? f MS^) J ^iam, 88 mill, (illustrated) ;
— Vittorino Bambaldoni, better known as Victorinus de Feltre
(1379 -|- 1447); ^L. Pelican feeding its young; diam. 6"; mill. ; —
Belloto, of Como; dated : m cccc.xlvii ; diam. 56 mill.; — Don
Inigo d'Avalos; diam. 83 mill. ; — Alfonso V. of Aragon, King of
Naples and Sicily (1394-1443, f 1458); four types: (a) liberalitas.
AVGVSTA. Eagle, amidst rocks, standing on trunk of tree, etc. ;
diam. loj m'lW. (illustrated). ''Nothing can be finer", says Keary.
"than the eagle and other birds of prey on this medal"; —
(b) VENATOR INTREPIDVS. Alfonso, nude, on the point of slaying a
boar attacked by two dogs; diam. 105 mill.; — (c) victor
siciLiE p.REGi. Victory in quadriga; diam. 25 mill.; — (d)FOR-
TiTVDO . MEA . ET . LAVS . MEA . DOMiNVS etc. Victory in quadriga, etc;
diam. 107 mill.
Several of these medals are signed : OPVS.PISANI.PICTORIS.
To these twenty-four medals, described by Heiss, Prof. Venturi
has added three portraits of Leone Battista Alberti, but in Fabriczy's
opinion only the specimen in the Louvre (illustrated) " deserves
to be considered, so far as the attribution in question is concerned";
of the two others in the Biblioth^que Nationale, at Paris, and in
the Dreyfus collection, he holds the first to be a contemporary
imitation of the Louvre medallion, and the second a restoration
of the sixteenth century. Alberti was residing at Ferrara during the time
that Pisano was engaged on the medal of Leonello d'Este, and, in
fact, his portrait, both in style and arrangement, shows many
points of similarity with the medal of Leonello. On the other hand,
it deviates from all authentic medals of Pisanello in its eUiptic form,
its unusual dimensions (15 1 by 11 | cm.), and also in the absence
of a reverse. But the conception is so grand, the excellence of the
work so extraordinary, that the new attribution seems to have
better claims than that hitherto received; the work has been regarded
by some as a portrait of Alberti by himself, by others as the work
ot Matteo de' Pasti."
M"^ G. F. Hill does not readily accept the attribution to Pisanello,
of the remarkable plaques with the portrait of Leone Battista Alberti,
and even of the Louvre specimen; he says : " The portrait is so fine
that we would gladly accept its attribution to the greatest of all
medallists; but it will be hard to prove that its resemblance in
style to the signed medals is more than superficial. The whole
feeling of the piece, and the modelling of the features, are surely
different from anything else known to be by Pisanello; it is the
work of a sculptor rather than of a medallist " (Num. Chron.,
1903, p. 190).
Pisanello is known, from contemporary records, to have model-
Leonello d'Esie.
Caecilia de Gonzaga, 1447.
— 572 —
led other Portrait-medals, the originals of which have not yet turn-
ed up. Among these may be : Braccio de Montone, condottiere of
Perugia;.^ — Girolamo... (mentioried by Basinio of Parma); —
Carlo de Gonzaga, Prince of Bozzolo; — Carlo de Malatesta; —
Martin V. ; — Porcellio, of Naples, etc.
On the other hand, Vasari, Basinio, Paul Jove, Cicognara and
other writers have ascribed to this artist Portrait-pieces, which are
known to be by other artists, such as Constantius, Marescotti,
Guaccialotti, Matteo de' Pasti, Sperandio, etc. The medals of Dante,
given by Cicognara to Pisanello, and later by Fnedlander, are
manifestly not by this artist.
Pisanello had many followers, some may even have been his
pupils; among them Matteo de'Pasti, Niccolo Baroncelli, a sculptor
of Florentine origin, several of whose ably-executed statues in
bronze are preserved in the cathedral of Ferrara, and who cast a med-
al of Leonello, full of character and inspired by Pisano, Amadeo
da Milano, Antonio Marescotti, and others.
The well-known medals of Niccolo III. d'Este have been ascribed
to Pisanello, but no doubt erroneously (^Vide G. F. Hill, Pisanello
pp. 102-106).
'*The question whether Pisanello invented the medal has long
been decided against him; but it was he, none the less, who gave to
the medal its place as an independent work of art, and as one of the
most characteristic productions of the Renaissance "(Pisanello, p. 96).
The medal of the Emperor John VII. Palaeologus is considered
as Pisanello's earliest medallic work, although it may not have been
his first attempt in this direction. It was probably executed during
the Council of Ferrara, 1438-39, at which the Emperor was present.
Pisanello may have seen the medals of Constantine and Heraclius,
executed probably by goldsmiths, during the trecento, and
possibly they may have first influenced his style. *' Compared
with the artist's later medals, that of Palaelogus " says Mr. Hill, "
shows certain slight traces of an undeveloped art. The profile por-
trait is, indeed, in its dignified reverse and rejection of all triviali-
ties, quite the finest head that he had yet produced. But on the
reverse the composition seems somewhat crowded, although it
contains no more details than some of his more successful de-
signs ".
The portrait-medal of Pisanello, the obv. of which I have repro-
duced above, from a specimen in the Imperial Cabinet at Vienna,
is considered by Prof. Venturi and other writers as a work of the
artist himself, but this attribution is not generally accepted on
grounds of dissimilarity of style and treatment to Pisanello's
medals. The reverse bears a wreath in which are the letters :
F. S. K. I. I P. F. T. correctly interpreted by M. Froehner as Fides,
— 573 -
Spes, Karitas, Justicia, Prudentia, Fortitiido. A specimen sold at
Munich (Lobbecke Collection) in November 1908, brought 1050
Marks. A variety of this medal, of smaller size, has a bare head of
the artist.
'iMg^iir
Leone Battista Alberti.
— 574 —
*
* *
Mr. Keary gives interesting information on the process used by
early masters in the production of their medals, which were always
cast (5. M. Guide, p. xii, nt.) : " A model was made in wax, and
this was first imbedaed in fine moulding earth or charcoal. This ma-
terial must be so fine as to be almost impalpable. When it had fitted
itself into every crevice of the wax model, it was stiffened with
some kind of lye, the wax was melted out, and into the mould
thus left the metal was poured. What does not certainly appear is
how far the same mould could be used more than once, whether
it was preserved or broken up, and whether a second medal
was made from this original mould, or from a fresh one
taken from the first medal ' . The first proofs were probably in
most cases made in lead ; and such proofs are naturally most highly
prized. The metal most commonly used was bronze; specimens in
silver or gold that can be regarded as genuine are exceedingly
rare. The process of reproduction was slow but as little mechanical
as possible ; each cast, so far as chased by the artist himself, was
an independent work from his hand " (Hill, p. 109).
*
* *
Von Fabriczy's admirable and masterly review of Pisanello seems
to me to sum up in a succinct manner all that has been written at
crreath length by so many well-known commentators, and I may
be excused if I quote this author's remarks in extenso : ** When
we remember how the idea of posthumous fame determined the
revival of the medal, we shall not be surprised that, of the two
places which gave birth to the Renaissance, it was not inrepubhcan
Florence, but amid the courts of the splendour-loving and ambi-
tious princes so numerous in North Italy, that the commemora-
tive medal first appeared as a fresh means for their glorification.
To Verona, the art-loving city, which throughout the entire
fourteenth century had possessed a school of painters vying in
importance with the Florentine Giottesques, belongs the glory of
having given birth to Antonio Pisano, surnamed Pisanello {circa
1380-145 1), the creator of the Renaissance medal. We are not
acquainted with the immediate circumstances of his life; we only
know that, one of the earliest followers of the modern realism,
he was widely known as the creator of works of monumental
painting and as the most renowned portrait painter of his time
beyond the confines of his home as far as Pavia, Mantua, Venice,
Ferrara, and Rome, and, within the last decade of his life, he
was to add still further to his title to immortality by his new
creation in plastic art.
— 57^ —
" The opinion, which has recently been expressed, that the master
may have been inspired thereto by the Flemish-Burgundian imperial
medallions, is probably justified. In the precious volume of
drawings, most of them due to Pisanello, preserved as the Codex
Vallardi in the Louvre, are three sketches from his hand for the
reverses of medals, which he afterwards adopted in somewhat
altered form for one of his medallions of Alfonso of Naples. Here,
in the representation of a triumphal car drawn by four horses,
the artist has evidently allowed himself to be influenced by the
reverse of the Heraclius medal. He doubtless fully believed that he
had before him ancient works worthy of imitation, and, inspired
by the newly awakened reverence for antiquity, was striving to
revive an ancient custom in glorifying in like manner the rulers of
his time. The earliest of his medals, moreover, presents the most
remarkable similarities — naturally, apart from style — to the medal
of Constantine in size, in method of casting, in the manner of
depicting the horseman, in the careful representation of the horse
itself, even down to its peculiar amble, and finally in the combin-
ation of Greek and Latin inscriptions. This is the medal of
John VIIL, the last emperor but one of the Paleologos race, who
came to Ferrara in 1438 to implore aid against the Turks from the
Council assembled there for the settlement of the schism.
" With it we may class the important series of his works —
twenty-four signed pieces, with twelve others that may assuredly be
ascribed to him. It is indeed a proud procession of crowned heads,
celebrated princes and tyrants, dreaded condottieri, renowned
statesmen and scholars, that the genius of the master places before
our astonished and delighted gaze. In the ardent desire for posthu-
mous fame all have sought to be immortalised by means of
Pisano's spatula and crucible. We can understand the praise heaped
upon these creations by his contemporaries in verse and prose. It
was the sense of the truly significant, the sublime, consistently
displayed in these works, to the exclusion of all trivial ornament
or refinement, that won them the approval of the best critics. The
gifted artist never fails to seize the character of the individual with
unerring directness — faithful and true to life, but ennobled by a
stylistic treatment which accentuates only the essential. Masterly is
the way in which he catches the bold poise of the head, reproduces
the clear, strong outline of the profile, gives concentrate expression
to passionate ferocity and untamed energy, as well as to high
intellectual endowment or profoundly contemplative character.
Nay, in the single woman's portrait that we possess by his hand,
that of the twenty-three-year-old Caecilia Gonzaga (1447), later
renowned for her learning and piety, he fascinates us by the refined
charm of expression, a refinement we had scarcely expected in the
— 577 —
pitiless observer of the coarser realism of life. And all this breathing
life is evoked by his genius with the most simple means. His
conception of a subject combines the most austere severity with the
Vittorino de Fcltre.
most attractive freshness; his modelling, invariably simple, scorns
all superfluous detail ; his technique is based on the most intimate
knowledge of the material, losing no ad vantage that it offers, without
L. FoKRER. — Biographical Notices of Medallists, — IV.
37
- 578-
ever seeking to force from it anything unsuited to its nature. Only
to speak of a few examples, how faithfully does the profile portrait
Tana Pisanello made without exception only profiles) of Palaelogos
{1438) depict stiff self-satisfaction; that of Sigismondo Malatesta
(1445) the cold haughtiness and savage determination of this
Prototype of the tyrant of Renaissance times; how does that of his
rother Novello, along with the unmistakable family likeness,
reveal the gentler character with its susceptibility to noble
influences ; that of Alfonso I. of Naples (1449) candid magnanimity;
that of Vittorino of Feltre, the much sought-after humanist teacher,
the spiritual features of the scholar ; finally that of Inigo Davalos,
the self-contained character of the noble Grand Seneschal of King
Alfonso.
'* Almost greater is Pisanello in the designs for his reverses.
Without the inspiration of any previous model, his marvellous
intuition at once hits on the most appropriate conceptions. What
fresh, healthy Ufe he is able to impart to his allegories, thanks not
least to the magnificent animal figures, which he loved to employ,
combining a monumental treatment with an intimate penetration
of their nature! What mastery, what restraint he displays in com-
position and technique, while he avoids pictorial effect no less than
the one-sided accentuation of the sculpturesque element and the
exaggerated labouring of the relief! How frequently does he thrill
the innermost feelings of the beholder by the intimacy of the
expression, reaching by apparently the simplest means to undreamt
of depths of soul ! Or can we conceive a more thoughtful symbo-
lisation of the power of love than that on the medal struck in 1444
to celebrate the marriage of Leonello of Este w4th the daughter of
King Alfonso of Naples, where Cupid, holding a sheet of music
before the lion — a play upon the name of the giver of the
commission — compels the mighty beast to song? Is there any
prouder illustration of the motto " Liberalitas Augusta " on
Alfonso's medal than the eagle in its eyrie, distributing its prey to
the vultures that surround it ? (The well-known device of Roman
imperial coins, as well as the eagle, which appears on the coins of
Agrigentum, testifies to inspiration by ancient examples, examples
wnicn the artist no doubt found in the royal collection, and to
which the sketches in the Vallardi Codex also point). Is not the
entire fascination of Romanticism forestalled on the charming girlish
figure of the Gonzaga medal, the maiden who, entrusting her
innocence to the protection of the unicorn, sits sunk in dreams in
a moonlit, rocky waste ? Finally, does it not border on the marvel-
lous how the figure of Novello Malatesta, in spite of being clad
from head to foot in armour, thrills with inward excitement, as
with an expression of deepest emotion he kneels before the Saviour,
— 579 —
who bends to him from the cross? Truly, in presence of such
creations, it must strike us with surprise that Goethe, in the Jena
Litteratur^eitung, can only, on the one hand, praise " his naive
simpUcity and the sincere imitative industry ", and on the other
censure " his somewhat timid and stiff treatment "! In Pisanello,
indeed, we seek in vain for the conventional flow of line and the
academical smoothness of the Caracci and Domenichino, which so
charmed Goethe in Italy " (transl. by Mrs. Hamilton, pp. 27-33).
"Pisanello", says R. S. Poole, in Enc. Brit., "is great in
portraiture, great in composition and design, and marvellously
skilful in depicting animals. He alone represents the moral qualities
of his subject in their highest expression and even capability ".
Referring to the recent discoveries on Pisanello's life, M. de
Ludovico Gonzaga.
(^reduced),
Foville writes : " La trouvaille de M. Biadego eclaircit deux points
jusqu'ici obscurs, a la lumiere desquels nous penetrons plussurement
le caractere du genie de Pisanello. D'abord, nous apprenons qu'il est
a moitie toscan : les Pisani etaient si nombreux en Venetie depuis des
siecles, que « Pisano » pouvait passer pour un nom patronymique
et ne rien prouver de I'origine du peintre. Aujourd'hui que nous le
savons pisan par son pere, nous voyons volontiers dans la souplesse
et I'extreme delicatesse de son genie des qualites toscanes, tandisque
son gout du detail raffine lui vient plus probablement des influences
u'il subit a Verone. En second lieu, nous deduisons avec certitude
es documencs publics par M. Biadego, — et notamment des impots
qu'il payait, du testament de sa mere, de celui de son beau-pere et
de celui de son beau-frere, — que, loin d'etre issu d'une famille
obscure, Pisanello appartenait a la bourgeoisie aisee ou meme riche
3
— 58o —
de Verone : en outre, nous savons aujourd'hui la pr^coclt^ de son
talent. Done, cet extreme raffinement de son oeuvre, qui est plus
qu'un gout du decor opulent et du detail delicat, et qui va jusqu'a la
pr^ciosit^ de la pensee, n'a pas et6 le produit inconscient d'un g^nie
plastique, docile aux inspirations des cours pour lesquelles il travail-
lait : toutporte a croire, au contraire, que, ne dansun milieu cultive
et fin, Pisanello fut dou^ d'un esprit complexe autant que d'une
imagination coloree^ et que tout ce que nous admirons dans son
oeuvre fut conscient et voulu. Et cela, sans dome, le grandit encore. "
(J. de Foville, loc. cit., p. 317).
M. de Foville's Pisanello et les Medailleurs ilaliens is the latest
publication on the famous Italian master, and I would refer readers
to this most valuable monograph, which gives a critical study of
the artist's work, written in a singularly charming style.
Leonello d'Este.
(reduced).
** Le large naturalisme de Pisanello », he writes, « est bien en
effet I'essence de son genie, comme du g^nie de tout vrai artiste;
son art nait, non pasde son education technique ou de sa virtuosity,
mais de son trouble devant les choses. Comme chez tout imagi-
natif, une emotion profonde au contact de la nature determine chez
lui I'id^e et I'expression. Meme s'il traduit le reel dans une langue
speciale, c'est le reel qui I'a touchy : et il I'a touche si profonde-
ment, que son Amotion subsiste, aussi fraiche, aussi sincere, lorsqu'en
gravant des medailles il I'exprime dans la forme d'art qui semble,
par ses conditions memes, la moins realiste de toutes. Toute la
beaut^ de ses medailles precede de cette sincerity. II a senti, avec un
tressaillement d'imagination, la brutalite fourbe et volontaire de
Lionel d'Este, la noblesse de Malatesta Novello, la purete trem-
blante et effarouch^e de C^cile de Gonzague, I'intelligence souveraine
d'Alphonse d'Aragon ; il a aim6 la magnifique ardeur des beaux
chevaux de combat figures aux revers de tant de pieces ; il a gout^
- 58i -
I'ivresse de la chasse quand il a repr^sent^ celle d'AIphonse V; il s'est
attendri a la pensee des songes mystiques de C^cile de Gonzague,
en la modelant, si douce et si meditative, avec la licorne a ses pieds.
Et jamais samain n'a hesite pour traduire dans le bronze ces images
qui enchantaient ses yeux.
" Cest pour cette meme raison qu'aucun de ses successeurs ne
I'^gala, et que ces artistes de la fin du xvi^ siecle, si bien rompus a
toutes les finesses du metier, nous plaisent sans nous toucher
jamais: leur art est voulu, il n'est pas une emotion qui s'exprime.
Sans doute, dans le portrait, plus necessairement asservis au r^el, ils
savent ne pas le trahir. Mais nous regardons distraitementles revers
des m^dailles de Benvenuto, des Leoni, des Poggini, comme d'in-
genieux mensonges, tandis que nous aimons les allegories de
Pisanello comme la plus vivante et la plus noble verite. "
*' Depuis les maitres grecs de Syracuse et de la Grande Grece ",
says Laienestre "personne avant Pisanello, n'avait su, durant de
longs siecles, fixer, en de petits disques de metal, tant de vie et tant
de poesie. Personne, apres lui, parmi tant d'illustres successeurs,
n'a pu le depasser, ni le faire oublier. C'esttoujoursa lui, que dans
cet art special, on a du s'adresser, pour obtenir les meilleurs conseils.
Nos charmants m^dailleurs contemporains, qui depuis quelques
annees ont rajeuni avec tant d'^clat les vieilles traditions nationales
quelque temps oubliees, Chapu, Ponscarme, Chaplain, Roty en
tete, sont les eleves de Pisanello autant que des Grecs " (^Figaro
Illtistre, janv. 1899).
Bibliography. — Giuseppe Biadego, Atti del R. Istittito Veneto, tome 67.
— A. Heiss, Les Medailleurs de la Renaissatice, I. — Armand, op. cit. — A. Venturi,
Gentile de Fabriano e il Pisanello, Firenze, 1896. — Vasari, op. cit. — Bryan's,
Dictionary oj Painters, ed. Williamson, IV, 126. — G. F. Hill, Pisanello, London,
1905. — Bernasconi, // Pisano, Verona, 1862. — W. Bode, Zur neuesten Forschung
aufdem Gebiete der italienischen Medaillenhinde, Zeitschr.fur bildende Kunst, 1905.
— C. F. Keary, Brit. Mns. Guide to the Exhibition of Italian Medals, 1893. —
Ch. Ephrussi, Vittore Pisano, Gaz. des Beaux Arts, 1881. — Fabriczy, Italian
Medals, Engl, transl., 1904. — B. Fillon, Les Medailleurs italiens des XV' et
XVI' siecles, Gaz. des Beaux-Arts, 1879. — J- Friedlander, Die italienischen
SchaumunT^en des funf:^ehnten Jahrhunderts, 1882. — G. Gruver, Vittore Pisano
appele aussi le Pisanello, Gaz. des Beaux-Arts, 1893-4. — ] . (jui^xey , Medailles de
Constantin et d'Heraclius acquises par Jean, diicde Berry, en 1402, Revue numisma-
tique, 1890. — L. A Milani, Vittore Pisano, G. Sartori's Protomoteca Veronese,
1881. — E. Muntz, Vittore Pisanello, Revue de I'Art ancien et modeme, I, 1897.
— J. Von Schlosser, Diealtesten Medaillen und die Antihe, 1897. — S. M.Spaventi,
Vittore Pisano detto Pisanello, 1892.— B. de Tauzia, Vittore Pisano, L'Art, VIII,
I. 1882. — H. Thode, Pisatiello Todesiahr, Zeits. tur bildende Kunst, XIX 1883.
— Yriarte, Un condottiere au qimqieme siecle : Rimini, 1882. — D' Julius Cahn,
Medaillen und Plaketten der Sammlung W. B. Met:(ler, 1898. — Numismatic
Chronicle, 1879, p. 199; 1882, p. 196; 1883, p. 136, 138; 1885, p. 70; 1879,
p. 201 ; 1903, p. 190. — Rexme beige de numismatique, 1892, p. 450. — Civilisation
florentine. — G. F. Hill, New light on Pisanello, Burl. Magazine, XIII, 288. — J.
de Foville, Pisanello et les medailleurs italiens, 1908.
— 582 —
PISANI, FRANCESCO {ltd.'). Mint-master at Cattaro, 1548-49.
PISANI, ALOYSIO (Ital.). Mint-master at Venice, under Doge
Marcantonio Giustiniani, 1 684-1 688.
PISTOIRE, FRANKIN DE (ItaL). Mint-master at Valenciennes,
1312.
PISTRUCCI, BENEDETTO {Ital.). This distinguished Gem-engraver,
Medallist and Coin-engraver, born in Rome on 29. May 1784, died
at Flora Lodge, near Windsor on 16 September 1855. He was the
second son of a family of three. His father, Frederico Pistrucci, a
Judge in the Criminal Court, and his mother, Antonia Greco, were
both Romans, who enjoyed a fairly good position and were enabled
to bestow a liberal education on their children. The eldest son,
Philip, devoted himself to painting, but was equally successful as a
Copper-plate-engraver, and a Poet.
Benedetto attended schools at Bologna, Rome and Naples, but did
not show himself a brilliant scholar. He owns, in his autobiography,
that he acquired little Latin, and preferred amusing himself by
constructing toy cars and cannon. His father intended him to
become a lawyer, whereas his tastes lay in quite another direction.
Having made acquaintance at Naples with a painter of the name of
Mango, whose brother in Rome was an Engraver of cameos, ''he
became quite crazy to learn such a profession", and at the age of
fourteen he was sent to Rome to be apprenticed to Signor Mango.
Although his master was an indifferent artist, the youth made rapid
progress, and in less than a year was able to draw figures, which
were considered excellent. He now applied himself to serious study
under Tofanelli, and even on holy days, after having fulfilled the
duties of religion, he and his brother Philip, used to go to the
loggie of the Vatican painted by Raphael, to draw after the great
Master. After some months of arduous labour, he had acquired
considerable ability in cutting hard and soft flints, which Mango
sold with great profit to himself. About this time, in a dispute
which arose between Benedetto and his colleagues at the workshop,
he was severely wounded, and was confined to his house in conse-
quence. He set himself to model in wax, at home, without any
instruction, bas-reliefs, heads, mythological subjects, etc., and thus
attracted the notice of a cameo-merchant, Domenico Desalief, who
gave him a stone of three strata to cut for him, and later employed
him on a large cameo, representing the Crowning of a Warrior,
which was considered by Denon, Director of the Paris Medal Mint,
as an antique, and passed as such into the Cabinet of the Czarina
Catherine IL
Benedetto was about fifteen when his father placed him with the
Gem-engraver Morelli, an eminent artist, patronized by the Pope
— )03 —
and Napoleon I. " In the space of eleven months, he cut nine
cameos for him, amongst which were some both large and difficult,
and, in his leisure hours, he made five for himself." He employed
his spare time in attending the Drawing Academy at the Campi-
doglio, and modelling in clay, obtaining the first prize in sculpture
at the first competition. Morelli, says Pistrucci, grew jealous of
him, and wishing to check his progress, gave him menial work to do.
Benedetto Pistrucci (enlarged from Elisa Pistrucci's Portrait-cameo).
unsuited to his abilities, so he decided to start business on his own
account, and as he expresses it, *' loaded with commissions on all
sides, I began my career of professor, at not quite sixteen years of
age "
In 1802 the artist married Barbara Folchi, the daughter of a well-
to-do merchant in Rome, by whom, at the age of nineteen, he had
a daughter, named Victoria, and at twenty, a son, Vincenzio.
This son, like most of the males in Pistrucci's family (including
the artist himself), was born with a curious physical peculiarity
- 384-
in having the palms of his hands and the soles of his feet covered
with a tliick callous skin ; Pistrucci states that he had to pare it,
from time to time, with a razor.
Until 1 8 14, with short intervals, the artist worked at Rome, at
first for the dealer Ignazio Vescovali, who supplied many gems to
Poniatowski, Blacas, and other collectors, then for Count Demidof,
a wealthy Russian, and General Bale, and later also for the dealer
Angiolo Bonelli, who did not scruple to pass off some of his pro-
ductions as antiques. He made Portrait-cameos of Princess Bacciochi,
Grand-Duchess of Tuscany (Napoleon's sister), and was, at her
Portrait Model of Napoleon I., by Pistrucci.
request, entrusted to give instruction in modelling at the court,
and for this purpose was invited to Florence and Pisa. The Queen
of Naples and Princess Borghese also patronized him, and he
executed a portrait of the Princess Napoleon, and of the Marchesa
Canami, daughter of the Spanish Ambassador.
In 18 14 the downfall 01 Napoleon caused Pistrucci to return to
Rome, where Bonelli, who had just returned from England, gave
him a great quantity of work to do, at the same time suggesting,
jokingly, that he should go to London. He readily agreed to accom-
pany Bonelli, but did not go further than Paris with him (December
18 14). There he met several collectors from whom he obtained
orders, and made a model in wax of Napoleon, which " was consid-
ered extremely like".
On the approach of the Allies to Paris, Pistrucci set out tor Lon-
don. At Dover, probably on the instigation of Bonelli, he suffered
very rough handling on the part of the Custom officials, who over-
- 50) —
hauled all his stock of cameos and models. In London, he put up
at Brunet's Hotel, in Leicester Square.
Through a Mr. Konig, to whom the artist had been recommended
from Paris, he made the acquaintance of Sir Joseph Banks, who
ordered him to model his portrait. At his house, he met the famous
collector, Richard Payne Knight, who had come to show a cameo
Fragment, Head^of Flora, by Pistrucci.
— a fragment, representing the head of Flora (or Persephone), —
purchased as an antique from Bonelli for € lOO (some accounts
state five hundred, and two hundred and fifty guineas). Pistrucci
at once recognized it as his work, and " explained to Knight that
he had made it for Bonelli about six years previously at Rome for
i*A ^^^'-^'i^^, jm^
■3
View of the Royal Mint, London, temp. George III.
less than £ 5 , and that like all his productions it bore his private
mark, a Greek A". Knight, continues Mr. Wroth, angrily
asserted that the cameo was antique, and declared to Banks that the
wreath was not of roses, but of an extinct species of pomegranate
blossoms. Banks examined it and exclaimed, ' By God they are roses
— and I am a botanist'.
Pistrucci was commissioned to cut another Flora, which even
exceeded in beauty the first one, but Knight would not be persuaded
— 586 —
even then that his original purchase was not an antique, and in his
manuscript catalogue of his gems, which he bequeathed to the
British Museum, he persists in describing the wreath as of pome-
granate blossoms — 'non rosas.ut B. Pistrucci gemmarum sculptor,
qui lapidem hunc se sua manu scalpisse gloriatus est, praedicaverat,
et se eas ad vivum imitando expressisse, pari stultitia et impudentia
assuerit. "
Pistrucci made a third * Flora' cameo for William Richard
Hamilton, vice-president of the Society of Antiquaries, and yet
another replica is still in the possession of Major S. Poggioli, in
Rome.
Pistrucci now began to be patronized, and his success, says King,
*' surpassed, as far as pecuniary remuneration went, the wildest
dreams of any of his profession in previous ages. " Sir Joseph Banks
Pattern Crown of George IV., 1820 ; by Pistrucci.
paid him fifty guineas for making a portrait of George III. in a
jasper cameo, and in 1816, he presented him to the Master of the
Mint, Mr. Wellesley Pole (afterwards Lord Maryborough), who
gave the jasper cameo of George III. to be copied on the Half-
crown, by Thomas Wyon Junior, the Chief-engraver. The work
proved interior to Pistrucci's model and was disapproved.
"The Italian artist having suggested St. George and the Dragon
as a suitable subject for the reverse of the new gold coinage, he was
commissioned by Pole to execute a cameo of it in jasper, to be
copied; for which he paid him, by ngreement, one hundred gui-
neas. At this juncture (1817) T. Wyon died and from the ill-
success of the copy of Pistrucci's George III. by the Mint-engraver,
and the improbability of any other person in the Mint being able
to copy the George and Dragon,, the Master considered that it would
be necessary to employ Pistrucci himself to engrave both subjects
on the dies, and offered him the post of Chief-engraver, with a
- 587-
salary of five hundred pounds per annum, and one of the houses
within the walls of the Royal Mint appropriated for the officers of
the estabHshment" (Billing, op. cit., p. 192)'.
The jasper George and the Dragon, purchased by Welleslev Pole
for the coins, was an original, and not the cameo, or wax model,
which he had made previously for a ' George ' to be worn by Earl
Spencer, K. G. The design was considerably modified, and the St.
George was modelled from life, the original being an ItaHan servant
in Brunet's Hotel.
Pistrucci's St. George and the Dragon first appeared on the
Sovereign of 181 7 and Pattern Crowns of the same date. The Crown
of George IV. was called by Denon, the Director of the French
Pattern Crown of George III, by Pistrucci.
Mint, ' the handsomest coin in Europe.'
"The design, still retained, does not", observes Mr. Wroth,
" strictly speaking, owe its origin to Pistrucci. It can be traced back
to a shell-cameo, the ' Bataille coquille \ in the collection of the
Duke of Orleans. This was copied, at least in part, by Giovanni
Pichler, whose intaglio with this subject became popular in Rome.
Pistrucci himself, when in Italy, had made four copies (two cameos
and two intaglios) of Pichler's intaglio. "
Pistrucci made several patterns of the * Sovereign ' and * Crown '
of George III. A fine Pattern Crown (obv. only illustrated), from
the artist's own collection, and later in the Murdoch Collection,
exhibits the best portrait of George III. the artist was ever able to
cut. The coin was accompanied by an autograph note, of which the
following is a translation.
Enclosed is a proof of the head of the Five-shilling Piece of George III., of
extreme rarity, being unique, the die having broken as may be seen by the flaw
in the impression. This is different from all, and as regards the work it is the
best head which I ever did for that coin. I never succeeded in re-doing it as fine,
notwithstanding the innumerable times I had to repeat the puncheons and dies
— 588 —
of the said coin, which broke, and although I nearly always used the remainder
of this puncheon to do the others, it will be clearly seen that the first is always
the best. This is in my possession, as the mint master gave it to me, as he did at
other times, not asking me for the payment of the metal as I was obliged to pay
afterwards. — B. Pistrucci.
Referring to the reverse of the Crown, Hawkins criticises the
design. "The position of the right leg was purposely, but unfor-
tunately, changed ; for, as the hero now sits upon his horse, he
must inevitably fall to the ground the moment he attempts to
Original Design of the St. George and Dragon, by Pistrucci.
strike the meditated blow with the sword." In answer to this
criticism. Billing remarks : "Now, Pistrucci, who had doated upon
horses from his childhood (a perfect ^iKiizr^oq), and who — as was
said of Murat, and perhaps o( many others — ' rode like a Centaur',
was not likely to represent a hero that could not keep his seat ; on
the contrary, every one can see on the sovereign, double-sovereign,
or crown piece, that the rider sits perfectly straight and firm, —
that the left foot is visible below the horse's belly, showing that the
rider has closed his left leg to counterbalance the exertion of the
right arms ".
Various alterations in the design of the St. George and Dragon
are noticeable on Patterns of the Sovereigw. One of these, undated,
was accompanied by an interesting note, of which the following
is a partial translation, showing the artist's description of the
progress of his work :
- $B9 -
Extremely rare proof of a sovereign, with head of George III, finished, but
without the lettering, the reverse is unfinished ; my first work with the graving-
tool, and struck without a collar. One may like to know that, when I did this
work, I had had no practice as yet in engraving on steel. After having engraved
the puncheon, I had it tempered in its unfinished state, and a die executed from
it. I had the surface of the die planed, and then struck this proof coin to see the
effect of my work. After this, I made another puncheon, which I finished, feeling
sure that my work was raised over a flat surface. One will see on this piece the
marks of the wire-work design, which I drew to be sure of what I was doing, a
thing I never had to do when engraving camei, an art in which I had much more
practice. — It will be noticed further that the handle of the spear is shorter than
on the current coins with the same St. George, and this I did so that the spear-
handle should not pass over the horse, which did not seem tasteful to me. — This
piece is one of the most curious of my small series of proofs, and I value it very
highly because it is my first work and I saw it struck from the presses at the Mint,
&C., &C. — B. PiSTRUCCI.
Unfinished Proof of the Sovereign
Two Reverses of Proof Sovereigns (Murdoch sale, March 1904,
lot 190) were described thus by Pistrucci, in the autograph note in
which they were wrapped :
These proofs were struck from a die which had passed four times through the
fire, and got worse each time, the action of the fire spoiling the edges, and I am
only surprised that they are as good after so many experiments. I had these proofs
made, as I wanted to see the effect of the hand holding the bridle, as, after
having completed my work from my model, they made me change the hand,
which was at first showing a portion of the arm, to what is now seen on the
current coins. These are of the highest rarity and unique. Presented by Mr. Pole.
— B. Pistrucci.
The fairly exhaustive list I am able to give here of Pistrucci's
monetary productions, as well as of his gems and wax models, is
compiled from information I have been supplied wdth by Major
Serafino Poggioli, husband of his granddaughter.
" During the manufacture of the new coinage in 18 16 Pistrucci was
employed at the mint as an outside assistant. On 22 September 18 17
Thomas Wyon died, and Pole offered Pistrucci the post of Chief-
engraver. The appointment was resisted by the moneyers (the
corporation of the Mint), and for several years Pistrucci was
attacked and calumniated in the " Times " and other newspapers,
chiefly on the ground of his foreign origin. He found a staunch
— 590 —
defender In W. R. Hamilton. The office of Chief-engraver was kept
in abeyance, though Pistrucci continued to perform the duties. At
last, in 1828, as a compromise, William Wyon, the second engraver
at the mint, was made Chief-engraver, and Pistrucci received the
Obv. of Pattern Crown, 1818, by Pistrucci (without the artist's signature).
designation of '* Chief Medallist " (W. Wroth, Did. Nat. Biog.,
XLV, 329).
Pistrucci, says King, gave great offence to the suceptibilities ot
John Bull, by signing his name in full in the exergue of the
First Stage.
Second Stage.
crowns, a thing hitherto unknown in this country, though
commonly done abroad (Ant. Gems, 1872, 449).
Among Pistrucci's chief opponents were Mr. Hawkins, the
Keeper of Coins and Antiquities at the British Museum, and
Nicholas Carlisle, Secretary of the Society of Antiquaries. The
artist's works were described as having a scratchy appearance, and
of wanting in boldness ; he was reported to have cut the steel
— 591 —
matrices by means of a lapidary's wheel, and practically accused of
extorting money from the Master of the Mint. Carlisle's aspersions
were refuted by W. R. Hamilton, who broke friendship over the
quarrel. In a letter to Carlisle by W. D. Haggard, in the possession of
Third Stage. Fourth Stage.
Pattern Crown of George III. (small head), 1818, by Pistrucci
(showing four successive stages of the process of engraving).
Messrs. Spink & Son L*^, occurs the passage : '* Wyon could no more
cut the beautiful gems in which Pistrucci excels than could Pistrucci
engrave dies equal in beaut\' to those of Wyon ". Hawkins
First Stage. Second Stage.
had nevertheless to acknowledge that " Pistrucci's work is
beautifully executed, and its appearance was hailed with pleasure,
and with the hope, that those who were in authority were weaning
themselves from their attachment to armorial bearings, and be-
coming alive to the beauty, interest, and importance of classical
reverses ".
— 592 —
Pistrucci was very fond of showing his mode of working, which
may be described at follows. He first drafted a design of the future
die he intended to engrave, then made a model in a preparation
of white bees-wax. He afterwards spread this wax upon a piece of
glass or slate, adding and working in successive portions until
the design was completed to his satisfaction. When the human
figure had to be reproduced^ he represented it first in a nude condition,
to secure a natural and correct rendering of the postures and relative
'^,^
li^
Third Stage. Completed Die.
(without the artist's signature).
Pattern Crown of George III. (large head), 1818, by Pistrucci
(showing four successive stages of the process of engraving).
measurements of the individual parts; afterwards the needful dra-
peries and other accessory embeUishments were added and worked
over. Such models were made upon a scale that afforded a design of
larger size than the die which was intended to be engraved. They
were plotted into squares of equal measurements, and so
transferred with accuracy direct, to the metallic surface. In
many instances, the artist cut the types in steel without previously
making a model. Some Patterns in lead, from Pistrucci's own
collection, show the progressive stages of his work, and give
an idea of the accuracy, minuteness, and painstaking method and
process of engraving coin-dies.
The weakest part of Pistrucci's style, notes King, is his treatment of
the hair, which is extremely unnatural and wiry. Yet his Corona-
tion medals of George IV. and Victoria are entirely free from this
defect {Ant. Gevis, p. 449).
Pistrucci was entrusted with the cutting of dies for the coinage
from 18 17, and retouched and corrected the matrices and puncheons
of the silver coins dated 1815-1817. The Crowns were issued in
1 8 18, 1 8 19 and 1820. In 1820 he engraved a Pattern Five Pound
piece of George III., of which only twenty-five specimens were
— 593 —
officially struck, but it is said that Pistrucci, on hearing of the death
of the King, gave hasty orders for the striking off of a few more
specimens. A proof in silver was amongst the coins left by the
artist to his daughter ; it was mounted as a brooch which had been
worn by her many years. Of that same date is also the Pattern
Two Pound piece, of which about sixty specimens were struck.
There were two proofs of this piece in silver in the Pistrucci collec-
tion. Beside these Patterns, we find by the artist Sovereigns of
George III., 1817, 1818, 1819 (perhaps unique), and 1820; Half-
sovereigns 18 1 7, 18 1 8, and 1820 (a Pattern), as well as many other
Proofs and Patterns which will be found enumerated below. Under
George IV., Pistrucci engraved the early coins of this reign, ^i. of
Double Sovereign, 1823 ; Sovereign; 1 821- 182 5 ; Half-sovereign,
1821, 1823-25 ; Crown, 1821-22 ; Pattern Crown, &c. (^FideListoi
productions).
For his Coronation medal of George IV., Pistrucci, after refusing
to copy Sir Thomas Lawrence's portrait of the King, obtained
sittings. Again, he declined to reproduce Sir Francis Chantrey's
bust of George, when he was required to execute a medal commem-
orating the Royal visit to Ireland, in 1821, and on the coinage of
1822. In this way he wounded the amour-propre of the Royal
Academicians, and of many other influential persons. He had no
share, says Wroth, in producing the Coronation medal of
William IV., as he again refused to copy a bust by Chantrey, but
Queen Victoria sat for her portrait on the Coronation medal of
1838, which was hastily executed by Pistrucci in three months,
and gave general dissatisfaction.
"In 1838 ", continues Mr. Wroth, " Pistrucci, on the recom-
mendation of Samuel Rogers, made the silver seal of the duchy of
Lancaster. The work was finished in the short space of fifteen days
by a process which the artist claimed to have invented, and by
which a punch or die could be cast in metal from the wax or clay
model, instead of being copied from it with graving tools, as had
hitherto been usual (Weber, Medals and Medallions, &c., 1894).
The originality of this process (which has since been adopted by
medallists) was disputed at the time by John Baddeley {Mechanics'
Magazine, XXVII, 401), who claimed that it had been practised
fifty years before by his grandfather at the Soho Mint; but Pistrucci's
claim was defended by William Baddeley (//>., XXVIII, 36) and
others (cf. Num. Journal, II. inf.; Num. Chron. I, 53, 123 f.
230 f.) ". The real inventor of the first Reducing machine was
Hulot, in 1766, and his invention served as a pattern to all the later
appliances of the same kind.
Pistrucci's master-piece is undoubtedly the Waterloo Medallion,
which took him over thirty years to complete. It was begun in
L. FoRRER. — Biographical Notitts of MeJalUsU. — IV. }8
- 594 —
i8i7 and the matrices were not delivered to the Master of the Mint
before 1850. Pistrucci, on his appointment at the Mint, 1817, had
no longer any opportunity of earning anything beyond his salary ;
he wished to bring his family from Rome, and to pay his expenses
needed a certain sum of money. To remunerate him in lieu 01
engraving gems, the Master of the Mint hit upon the expedient of
ordering the Waterloo Medals, as an extra work, for the execution
of which it was agreed that he should be paid three thousand, five
hundred pounds sterling, the sum of two thousand pounds being
— 595 —
advanced to him by instalments within a short time (^Billing, p. 193),
The Waterloo medallion, the dies of which were never hardened.
though impressions in soft metal and electrotypes were taken and
sold to the public, far excelled, according to Pistrucci's own
^
The Waterloo Medallion, by Pistrucci.
published account, anything ever attempted in that way both in its
magnitude (4 | inches in diameter) and likewise in the number of
the figures introduced. King states that it had been originally the
intention of the Mint to present a copy in gold to each of the
princes who shared in the triumph, and in silver to the minor
— 596 —
satellites ot their glory, Tempora miitantur. The dies lie in the Mint
Museum. A very full description of the medallion is given in the
Illustrated London News, 22 June 1861.
After 1825 Pistnicci's connection with the coinage entirely
ceased. He continued to reside at the Mint until 1849, where he
Facsimile of an Autograph Note of Pistrucci.
was employed in cutting dies for medals. In his spare time he was
allowed to follow his oroper profession. He obtained ver}- high
prices for his cameos and intaglios (the latter are now very" rare),
and occasionally executed busts, as those of the Duke of Wellington
(in the United Service Museum), of Pozzo di Borgo, and several
London friends.
In October 1839 the Papal government offered Pistrucci the post
of Chief-engraver at the Mint of Rome, but finding his emolu-
ments too low he returned to London in 1840.
\
— 597 —
In 1849 the artist went to live at Fine Arts Cottage, Old
Windsor, and a little later he moved to Flora Lodge, Englefield
Green, near Windsor, where he died, of inflammation of the lungs,
on 16. September 185$.
His sight remained good to the last; he was able to do minute
work, and undertake orders for gems until a few months before
his death. His handwriting was unusually small. I reproduce a
facsimile of one of the autograph notes which accompanied some
of the coins in his collection, which until a few years ago were in
the possession of his relative, Major Serafino Poggioli, of Rome.
Pistrucci had six children, the two eldest were born at Rome,
and one died in early youth. His son, Camillo, was a pupil of
Thorwaldsen, and obtained an appointment from the Papal govern-
ment to restore ancient statues. He died of cholera in 1854. The
two younger daughters, Elena and Maria Elisa (Signora Marsuzi),
who resided for some years at the Mint with their father, after the
family's return to Rome, acquired skill in gem-engraving and
attained celebrity at Rome, at a later time, as Cameo-engravers.
Pistrucci was a Member of the Athenaeum Club from 1842, and
held diplomas from the Academy of St. Luke at Rome, from the
Royal Academy of Arts at Copenhagen, and from the Institute of
France. He was a man of fine presence, but very excitable, and as
he describes himself, unfortunately very proud. He was very persev-
ering and laborious, working sometimes for eighteen hours out of
the twenty-four.
To honour the memory^ of Pistrucci the municipality of Rome
has given his name to one of the streets of the new aristocratic
quarter of the city.
It may be going too far to endorse D"" Billing's appreciation of
the artist when he says : " Pistrucci was, and is, and will remain,
the immortal of the nineteenth century, as Dioscorides of the first,
and Cellini of the (cinque cento) sixteenth; " nevertheless, the
Italian Medallist and Gem-engraver stands very high amongst his
co
