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SMITHSONIAN INSTITUTION

UNITED STATES NATIONAL MUSEUM

BULLETIN 229

WASHINGTON, D.C.
1970

MUSEUM OF His TORY AND TECHNOLOGY

CONTRIBUTIONS
FROM THE
MUSEUM

OF HISTORY AND
TECHNOLOGY

Papers 31-33

On Numismatics

SMITHSONIAN INSTITUTION ¢« WASHINGTON, D.C. 1970

Publications of the United States National Museum

The scholarly and scientific publications of the United States National Museum
include two series, Proceedings of the United States National Museum and United
States National Museum Bulletin.

In these series, the Museum publishes original articles and monographs dealing
with the collections and work of its constituent museums—The Museum of Natural
History and the Museum of History and Technology—setting forth newly acquired
facts in the fields of anthropology, biology, history, geology, and technology. Copies
of each publication are distributed to libraries, to cultural and scientific organizations.
and to specialists and others interested in the different subjects.

The Proceedings, begun in 1878, are intended for the publication, in separate
form, of shorter papers from the Museum of Natural History. These are gathered
in volumes, octavo in size, with the publication date of each paper recorded in the
table of contents of the volume.

In the Bulletin series, the first of which was issued in 1875, appear longer, sepa-
rate publications consisting of monographs (occasionally in several parts) and vol-
umes in which are collected werks on related subjects. Bulletins are either octavo or
quarto in size, depending on the needs of the presentation. Since 1902 papers re-
lating to the botanical collections of the Museum of Natural History have been
published in the Bulletin series under the heading Contributions from the United
States National Herbarium, and since 1959, in Bulletins titled “Contributions from
the Museum of History and Technology,” have been gathered shorter papers relating
to the collections and research of that Museum.

The present collection of Contributions, Papers 31-33, comprises Bulletin 229.
Each of these papers has been previously published in separate form. The year of
publication is shown on the last page of each paper.

Frank A. TayLor
Director, United States National Museum

Papers

Pages
31. History of the National Numismatic Collections 2... 2...) .. 1-108
Vladimir Clain-Stefanelhi
32. Numismatics—an Ancient Science ......... =... +. 1-102
Elvira Eliza Clain-Stefanelli
33. Italian Coin Engravers Since 1800 . 2 2 2 2 ee ee ee. 168

Elvira Eliza Clain-Stefanelli

Papers 31-33

On Numismatics

CONTRIBUTIONS FROM
THe Musreum oF History AND TECHNOLOGY:

Paper 31

History OF THE
NaTionaL NuMISMATIC COLLECTIONS

Vladimir Clain-Stefanelli

ORIGINS AND EARLY YEARS TO I88O 3
GROWTH OF THE COLLECTIONS, 1880-1923 6
NEW DEVELOPMENTS, 1923-1948 12
RECENT HISTORY, 1948-1966 14
EXHIBITS 18
CARE OF THE COLLECTIONS 28
TECHNICAL EXAMINATION OF MATERIALS 31
NEW HORIZONS 33
APPENDIXES
I. SMITHSON’S GOLD SOVEREIGNS 62
Il. THE COLUMBIAN INSTITUTES NUMISMATIC COLLECTIONS 63
Ill. JOHN VARDEN’S “WASHINGTON MUSEUM” 63
IV. THE NATIONAL INSTITUTE 67
V. NUMISMATIC COLLECTIONS IN U.S. PUBLIC LIBRARIES, 1850 82

I. SMITHSONIAN PUBLICATIONS OF NUMISMATIC INTEREST, I860—1907 87

VI. GIFT OF GOLD COINS FROM JAPAN TO PRESIDENT U.S. GRANT 88
VIII. THE UNITED STATES MINT COLLECTION 89

IX. THE PAUL A. STRAUB COLLECTION 99)

INDEX 105

For sale by the Superintendent of Documents, U.S. Government Printing Office

Washington, D.C. 20402 - Price $1.50 (paper cover)

ft / ’
/G1Y. |

Fig. 1—MeEpaLiion or JAMES SmirHson by N. P. Tiolier,
1817. The back bears Smithson’s signature (reproduced
below medallion). About twice actual size.

HISTORY OF THE
NATIONAL NUMISMATIC COLLECTIONS

By Vladimir Clain-Stefanelli

ORIGINS AND EARLY YEARS TO 1880

The national numismatic collections had their
beginnings in the early 19th century in Washington,
D.C. They found a central repository in the Smith-
sonian Institution when that organization was founded
in 1846 in compliance with the will of James Smithson,
an English scientist, who bequeathed his fortune to
the United States for the “‘increase and diffusion of
knowledge.’ Smithson’s own interest in numismatics
is indicated in a listing of his personal property which
included ‘‘two pasteboard boxes containing medals,
coins . . . etc.’ ! as certified by the English consul
in Genoa where he died on June 27, 1829, at the age
of 63 or 64. The disposition of these items is unknown,
but among his effects which did reach the United
States was a medallion (fig. 1) to which was attached
a paper with the words ‘‘my likeness’ written in
Smithson’s hand.’ (This medallion has previously
been attributed to Antonio Canova, but it is not his
work. It was modeled in 1817 by Nicolas Pierre

'Wiriiam J. RueEEs, “James Smithson and his Bequest,’
in Annual Report of the Board of Regents of the Smithsonian Institu-
tion. . . for the Year 1879, Washington 1880, p. 156.

* The medallion is cast in brass and partly chased. Oval in
shape, it measures 52.5 x 63 mm; its thickness is 5 mm at the
border and 10 mm at its highest point. The back shows vertical
striations from planing and the lightly traced inscription cn-
graved on two lines reads, ‘“‘James Smithson Esqr./1817”. It
weighs 134.345 grams. This medallion served as a model for
the great seal of the Smithsonian by Edward Stabler, ordered
by the first Board of Regents, also for the portrait engraved by
Charles Burt and published by the Smithsonian for the vignette
which appeared on all of the Institution’s publications up to
the 1880s. It was also used as the model for the Smithson Medal,
designed by Paul Vineze and first presented to the Royal Society
at the James Smithson Bicentennial celebration in 1965,

Tiolier, engraver general at the French Mint from
1816 to 1843.)

On behalf of the United States
Richard Rush was appointed to receive the Smithson

Government,

bequest and he made the necessary arrangements for
transforming the estate into hard money, which
amounted to 104,960 gold sovereigns, 8 shillings, and
6 pence.” Rush reported its safe arrival in New York
on August 29, 1838, and deposited the gold at the
Mint for recoining into United States money; it
totaled $508,318.46.°

No official attempt was made to preserve examples
of the James Smithson gold transfer as_ historical
mementos. Certain historical and numismatic facts,
however, contribute to the conclusion that at least
two of the sovereigns (fig. 2) deposited by Richard
Rush were probably saved from the melting pot and
are now preserved in the national numismatic collec-
tions (see Appendix I).

3 For data about the transfer, see WiLL1AM JONES RHEEs, The
Smithsonian Institution: Documents Relative to its Origin and History.
1835-1899, vol. 1., Washington 1901, pp. 7ff.

4Tbid., p. 100, Richard Rush to John Forsyth. This large
quantity of gold was packed in 105 bags, each bag containing
1000 sovereigns with the exception of one bag which contained
only 960 sovereigns plus the 8 shillings and 6 pence wrapped in
paper. The bags were placed in 11 boxes—ten of them con-
tained 10,000 sovereigns each, while the eleventh box was used
for the remaining 5 bags—and shipped on board the .\fedzato

*Ibid., pp. 101-102. On September 4, 1838, Secretary of the
Treasury Levi Woodbury requested that $50,000 be coined in
gold immediately: see National Archives, Records of the
United States Mint at Philadelphia, General Correspondence
and other orders concerning the Smithson legacy, on Sep-

tember 5, and November 5, 1838.

Because the roots of the Smithsonian Institution’s
numismatic collections reach back to the beginning
of cultural activity and museum life in the District
of Columbia, a summary of these origins is in order.
As early as 1816 ‘*The Columbian Institute for the
Promotion of Arts and Sciences’? was active in
Washington and on May 20, 1818, it was granted a
charter from Congress. During the two decades of
its existence, its interests often seemed directed toward

Fig. 2.—BritisH SOVEREIGN, 1838, from the
original Smithsonian deposit.

natural history and especially mineralogy and botany,
but its endeavors were actually quite general in
scope. An interesting numismatic sidelight on the
Institute is that among its founders was Thomas
Law (1756-1834). He came from a prominent English
family and, after a distinguished career in India,
moved to the United States in 1793 where he soon
became one of the most active citizens of Washington.
He was keenly interested in economics and was an
ardent proponent of a national paper currency.
Whenever there was occasion—in publications, at
public meetings, and particularly at meetings of the
Columbian Institute—he expounded his ideas for a
“uniform, permanently secure currency,” describing
the advantages of the system he championed. The
president and directors of the Columbian Institute
ordered the publication of one of his addresses, showing
the interest they were taking in Law’s proposals and
extolling his preoccupations which were so akin to
the modern concept of numismatics.

It can be assumed that the Columbian Institute’s
small numismatic collection was kept in the Intitute’s
(Additional
Appendix II.) Insofar as is known, the public was

cabinet. information is presented in
never invited to view the displays. When the charter
for the Columbian Institute expired in 1838, associ-
ates “were invited to become members of the Na-

tional Institution, and to deposit in its cabinet their
effects, books, and papers.” °

The National Institution for the Promotion of
Science, or the National Institute as it was later
called, was organized on May 15, 1840, under the
leadership of Joel Roberts Poinsett of South Carolina,
Secretary of War under President Martin Van Buren.
Its purpose was to establish a national museum with
the idea that, later, it would be entrusted with the
administration of Smithson’s bequest.

The distinction of being first to offer public ex-
hibits featuring numismatic objects, however, goes to
John Varden, an enterprising private citizen of
Washington, D.C. He opened a small museum ad-

joining his 5th Street home, in 1836, with displays

consisting of some 500 “‘curiousities,”’ and he kept a
record of the museum’s numismatic collections. In
December 1839 Varden made arrangements for a
larger museum in the Masonic Hall at 443 and D
Streets. In 1840 the
“Washington City Museum’ was visited by repre-
sentatives of the National Institute who came to
examine the exhibitions and negotiate concerning
their acquisition. An

“Washington Museum’? or

agreement was apparently
reached since Varden sold his collections to the
Institute for $1,500 in June 1840. The curator of the
National Institute, Dr. Henry King, had the entire
inventory of Varden’s museum installed in the Na-
tional Gallery Hall at the United States Patent
Office. Varden accompanied the collections as an
“assistant, who is also a good mechanic and_ ar-
at $1.50 per day.” ‘ A brief account of
the records from Varden’s museum and excerpts of

ranger .

data of numismatic interest are given in Appendix III.

Thus, the National Institute took over the collections
assembled by the Columbian Institute and by Joha
Varden. For four years following its organization in
1840, the National Institute was exceedingly active
and prosperous. In rooms made available at the Patent
Office Building (fig. 3) it gathered, under the name of
the ‘‘National Cabinet of Curiosities,’ a nucleus for a
national museum.

A report of the Committee of the National Institute
dated January 1, 1842, indicates numismatic holdings

® Bulletin of the Proceedings of the National Institution for the
Promotion of Science, Washington, 1841, vol. 1, p. 94; G. BRowNn
Goope, ‘The Genesis of the National Museum,” p. 274 in
Report of the U.S. National Museum . . . 1891 (Washington,
1892). In fact, the history of some of the objects in the National
Museum may be traced back to the cabinet of the Columbian
Institute.

TTbid., p. 349.

4 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 3—A View or THE Patent Orrice Buitpinc, Washington, D.C. (from Gleason’s Pictorial
Drawing-Room Companion, 1853).

that even included 500 plaster castings of medals and
seals.5 The exhibits featured a scattering of numis-
matic material, but no particular area was Ccevoted to
a general numismatic display. The Institute helped
to create a public opinion favorable to the establish-
ment of a national museum as an idea worthy of con-
sideration by the United States Government. It failed,
however, to secure public recognition, and it lost
impetus after the Smithsonian Institution was estab-
lished. The transfer of its collections to the Smith-
sonian commenced in 1858 but was not completed
until 1883.

We have rather detailed information about the
scope of the Institute’s numismatic collections and the
various accretions ol coins, paper currencies, and
medals, as well as numismatic publications. This in-
formation may be found in the four Bulletins published
by the National Institute from 1841 to 1846. These
volumes record donations of more than 2,800 nu-
mismatic items received from about seventy donors

(Appendix IV A).

8 Ibid., p. 347.

The exhibits arranged by the National Institute
featured a scattering of numismatic material. No
particular area was devoted to a general display of
coins or paper money, the entire museum being set
up mainly in the style of a cabinet of curiosities.
Valuable information about some of the numismatic
displays around 1852 may be found in a manuscript
catalog prepared by John Varden and preserved in
the Smithsonian Archives (Appendix IV B).

A more comprehensive account, at least in some
respects, is given in a guidebook to the National
Institute published in 1855 by Alfred Hunter, listing
numismatic items on view in the “large and mag-
nificent hall” (fig. 4) (Appendix IV C).

On August 10, 1846, an Act of Congress establishing
the Smithsonian Institution was signed by President
Polk, and on May 1, 1847, the cornerstone of its first
building was laid on the Mall. In the early years of
its existence and before any numismatic collections
were assembled at the Institution, a Smithsonian
project was conceived that indicates the expanding
interest in coins and medals during the first half of

the 19th century. Charles Coffin Jewett, widely

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 7

known pioneer of the American library movement
and Assistant Secretary and Librarian of the Smith-
sonian, proposed to assemble a detailed account of all
public libraries in the United States. Aware that
libraries are frequently the repositories of collections
of coins and medals, Jewett, in his circular to these
libraries, asked if they had any collection of medals
or coins, and “If so, please to state the number of
articles of each description.”?* The results of his
efforts, incorporating information received through
1850, were published in a 207-page report printed in
1851. It shows that 40 libraries in 14 different states
had collections totaling about 10,000 coins and 1,000
medals. Because of their importance for the history
of numismatics in the United States, all data on
coins and medals contained in the Jewett report are
presented in Appendix V.

After Jewett’s departure from the Smithsonian in
1855, the Secretary, Joseph Henry, tried to continue
his project. In a letter dated December 24, 1858, he
asked the United States Mint for an account of their

numismatic library and collections to be used in a
Smithsonian book on United States public libraries. 1°
The reply on December 29, 1858, forwarding a listing
of their books, mentions previous correspondence in
November 1857 on the same subject. Unfortunately,
Joseph Henry never published the wealth of detailed
information assembled for this project.

In addition to the accession lists, several papers
during the period 1860-1880 in the
Smithsonian’s Annual Reports are of special numis-

published

matic interest (see Appendix V!). The accessions
mention a scattering of foreign coins, paper currencies,
and some medals. A set of Japanese gold and silver
coins was presented by Japan’s Minister Extraor-
dinary and Plenipotentiary (1870-1872), the Honor-
able Arinori Mori,'! to mention a_ characteristic
example of the donations received. Also, as a result
of general requests for library materials, some publica-
tions were added, such as British Museum catalogues

on ancient Greek coins and some numismatic

periodicals.

GROWTH OF THE COLLECTIONS, 1880-1923

The period after 1880 marked a turning point for
numismatic endeavors at the Smithsonian. This era
was introduced by two equally important events:
the centennial exposition of 1876 in Philadelphia,
which left such an enormous quantity of material in
the custody of the Smithsonian Institution that a new
structure (the United States National Museum, now
the Arts and Industries Building) had to be erected:
and the appointment of George Brown Goode as
Assistant Secretary in charge of this Museum. Many
of the guiding principles expressed by Goode in the
1880s were not realized in numismatics until 1961
when the first series of modernized monetary-history
exhibits was set up.!®

* Cuarces C. Jewett, “Appendix to the Report of the Board
of Regents of the Smithsonian Institution, Containing a Report
on the Public Libraries of the United States of America, Jan-
uary 1, 1850,” in Fourth Annual Report of Regents of the Smith-
sonian . . . Washington, 1850, p. 5, note.

0 National Archives, Records of the United States Mint at
Philadelphia, Correspondence.

't Annual Report of the Board of Regents of the Smithsonian In-
stitution, Showing the Operations, Expenditures, and Condition of the
Institution for the Year 1872 [hereinafter cited as SJ Report], p. 59.

6 BULLETIN 229:

Goode was a collector of coins and medals. As a
result, he understood the peculiar character of the
study of numismatics and recognized the problems
it posed as a museum discipline. In some instances, the
exhibit methods suggested by Goode were dictated
by his overriding idea of their educational and in-
structive scope, to such an extent that they may well
have appeared impractical. In 1881 he suggested
that ‘‘a collection of the standard works on numis-
matics shown in a case adjoining a collection of
coins, would have a decided educational value,
giving the public information which they would
otherwise have to seek from curators.’’ '* Another of
Goode’s ideas on the presentation of numismatic ex-

For other accessions during the period 1860-1880, see the An-
nual Reports for: 1860, pp. 79, 83; 1864, p. 88; 1869, p. 54;
1870, p. 49; 1872, pp. 57, 59; 1874, p. 56; 1875, pp. 76f.;
1876, p. 89; 1877, p. 102; 7878, p. 100; 1879, pp. 94, 98; 1880,
pp. 19f, 65f, 111.

12 [bid., 1877, p. 28.

‘3G. Brown Goope, Museum History and Museums of History,
New York, 1889, pp. 262-263.

ST Report, 1881, p. 87.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

ay
i} ie

Fig. 4.—Sourn Hai in THe Museum of the United States Patent Office. (From United States
Magazine, 1856).

hibits may be gleaned from Professor S. F. Baird in
h's Seeretary’s report in the Smithsonian’s Annual
Report for 1886: ‘It is intended to arrange a series
of the coins by countries, showing with them also
paper currency and postage stamps, giving, as far as
possible, the history of each coinage.”’ '° This casual
comment again demonstrates Goode’s enlightened
direction and independent mind. Only in its most

'5 ST Report, 1886, Part 1, p. 36.

recent exhibits, however, has the National Museum
succeeded in breaking away from the tracdidonal
metalistic approach in numismatics.

Possibly it was because of Goode’s concern with
numismatics and his understanding of the peculiar
character of the science that in the beginning numis-
matics was considered as a separate entity. The

National Museum’s Report for 1886 lists *‘coins and

medals’? as a separate group amounting to 1,055

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 7

Fig. 5.—JApANEse Gop Pieces from the President Grant collection on exhibit in the Smith-
sonian’s Monetary History Hall, 1961.

BULLETIN

»9Q°

CONTRIBUTIONS FROM THE MUSEUM

HISTORY

AND TECHNOLOGY

items.'® Shortly, however, the separate count was dis-
continued and not for many decades was numismatics
again recognized as a separate division.

In 1893 the entire numismatic collection was with-
drawn from display and stored after being crowded
out by the expanding natural history collections. At
this time an attempt was made to assemble a general
collection of currencies of the world, and numismatic
acquisitions were both numerous and varied. Some
major additions to the Museum’s numismatic holdings
indicate the general growth trend of the collections.
One of the most outstanding groups of coins received
was a collection of rare Japanese gold and silver
pieces (fig. 5) which came to the Museum in Novem-
ber 1886 together with other relics once owned by
General Ulysses S. Grant. Details of this collection
are given in Appendix VII.

Another major accession was a collection of Far
Eastern coins bequeathed to the Smithsonian by
George Bunker Glover. Received in 1897, this collec-
tion of 2,025 Chinese, Annamese, Siamese, Japanese,
and Korean coins, amulets, and paper money was
considered at the time to be the most perfect of its
kind.!7 (At the same time, Paul Beckwith, who was
versed in numismatics, was appointed as an aide.)
The Glover collection formed the basis for Sir James
Haldane Stewart Lockhart’s three-volume study The
Currency of the Farther East from Earliest Times up to the
Present Day (Hong Kong, 1897-1898). During this
period the Smithsonian obtained a variety of United
States and foreign coins, paper currencies, and medals.
Much significant numismatic material with associa-
tion value was also added to the collections. Included
are 16 gold and two silver medals awarded to Rear
Admiral Robert E. Perry in recognition of his achieve-
ments in Arctic exploration and the group of six
gold and 13 silver medals conferred on Commodore
Matthew Fontaine Maury by foreign governments in
recognition of his services to science and navigation.

The efforts made in the 1880s toward building an
adequate numismatic library were not consciously
continued. (For further information about the library
and Smithsonian publications with numismatic con-
notations see Appendix VI.) The problem of exhibit
space was partially solved by the introduction of up-
right cases, but still only a fraction of the numismatic

16 Report of the United States National Museum under the Direction
of the Smithsonian Institution {hereinafter cited as US NAL Report],
1893, p. 121.

1 ST Report, 1897, p. 15; USNM Report, 1897, p. 73; The
Numismatist, vol. 11, 1898, pp. 77f.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

T. Berore (1881-1953),
curator of the Division of History, Smithsonian
Institution, 1908-1950 (photo courtesy Mrs. ‘T.
Belote).

Fig. 6.—THEODORE

collection could be exhibited and most of 1t remained
in storage. The lack of space for numismatic displays
continued generally unchanged until 1914. Room was
made, however, for showing some 300 Polish coins
dating from the late 14th to the mid 19th century
which were presented by the Polish National Alliance.
This display was arranged in 1912 by Theodore T.
Belote (fig. 6), who had been appointed assistant
curator in the Division of History in 1909.!° His ap-

18 Born in 1881, on the Eastern Shore of Virginia, Theodore
T. Belote studied at the University of Richmond and did gradu-
ate work at Harvard where he took his master’s degree. He
studied also at the Universities of Berlin and Leipzig and
taught history at the University of Cincinnati before coming to
the Smithsonian in 1908. After 42 years of service with the
National Museum, he retired in 195%. He died on December 1,
1953, in Washington, D.C. Following is a short bibliography of
Belote’s numismatic papers which apply specifically to the
national collection: ‘‘The Numismatic Group of the National
Historical Collection,’ in The Numismatist (1925), vol. 38, pp
34-539; “Medals of ward in the Historical Collection of the
United States National Museum,” op. cit. (1927), vol. 40,
pp. 722-728; ‘Foreign Medals of Award in the Historic al
Collections of the United States National Museum,” op. cit
(1929), vol. 42, pp. 123-126: “Hard Money in Ancient Times,”
The World is Yours (Feb. 19, 1940), vol. 1, no. 20, published by
Columbia University Press in connection with the Smithsonian
Institution Radio Program, I4 pp.

pointment provided a fresh opportunity for the devel-
opment of numismatic collections in the Smithsonian,
for Belote had particular inclinations toward this
discipline. Also, in the years from 1910 to 1914, with
the addition of a new museum building for natural
history, space was gradually released in the Arts and
Industries Building and the numismatic exhibit area
was expanded. By 1914 Belote had finished selecting,
classifying, cleaning, and labeling coins and medals
for the display.

During World War I and in the early postwar years,
the numismatic acquisitions were heavily weighted
toward medals and decorations. Most noteworthy was
the addition in 1918 of 1,200 medallic Lincolniana
which had been assembled by Robert Hewitt.!® This
group included medals, coins, tokens, and badges re-
lating to almost every notable event of Lincoln’s
career. While most of the material was of purely
historical and numismatic interest, many pieces were
of artistic merit as well, particularly those struck in
commemoration of the Lincoln Centennial in 1909
(figs. 7-8). In 1919 the Museum started a collection
of World War I awards, decorations, commemorative
medals, German satirical issues, and emergency cur-
rencies which was systematically assembled over a
period of several years.?? In 1920, for instance, an
attempt was made to gather a complete collection of
Liberty Loan posters.

The most important event of this period was the
transfer of the Mint collection from Philadelphia to
the Smithsonian. The curator of the Mint collection,
Dr. ‘T. Louis Comparette, died suddenly in July 1922.
When the Mints were closed to the visiting public that
year, because of a robbery at the Denver Mint, the
Secretary of the Treasury, Andrew W. Mellon, was
prompted to suggest the transfer of the Philadelphia
Mint’s numismatic collection to Washington in a letter
to Charles D. Walcott, Secretary of the Smithsonian,
on February 8, 1923:

It has recently been deemed advisable in the
interest of safety to close the United States Mints
to visitors. As you are aware, there is a large numis-
matic collection in the Mint at Philadelphia. Since
the Mint is to be permanently closed to visitors the
inspection of the collection by the public is no longer
possible. There is an important and very beautiful
selection of coins, tokens and medals, perhaps the
largest and most complete numismatic collection

1° USNM Report, 1918, p. 27; ST Report, 1918, p. 30.
27 USNM Report, 1919. p. 65; 1920, p. 25; 1921, p 135: 1922,
p. 123. ST Report, 1919, pp. 27, 30; 1920, pp. 41, 132.

10 BULLETIN 229:

Fig. 7—Lincoin Portrait by Victor D. Brenner,
1909. Preliminary model for coin design.

owned by the Government. The logical place for
this collection would seem to be in the National
Museum in Washington, and I am writing to ask if
you would consider it feasible to have the collection
transferred there. In case you consider the under-
taking favorably may I suggest that you designate
a representative of the National Museum to inspect
the collection in order that you may be advised as
to its scope and importance, and as to other details
involved in the proposed transfer.

The Curator of the Mint at Philadelphia died
several months ago, but we have made no special
effort to fill the position for the reason that the
removal of the collection to Washington has been
tentatively considered for some time.

The collection is under the jurisdiction of the
Director of the Mint, and I shall be glad to instruct
that officer to place before you all available infor-
mation in regard to it. I am enclosing a Catalogue
of the coins, tokens and medals which may be of
interest to you in considering the proposed transfer
of the collection from the Mint to the National
Museum.

Formal acceptance by the Secretary of the Smith-
sonian Institution followed on February 19, 1923,
and on February 28, Belote was authorized to inspect
the collection at the Mint in preparation for its
packing and transportation. Afterward, Belote re-

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Edouard

Fig. 8.—Lincotn Mepat by Jules
Roiné, 1909,

marked: “I found that the size and importance of the
collection has been very materially increased since
my last visit to the Mint in Philadelphia and that the
acceptance of this collection will place the Nation-
al Museum in the front rank of the museums of
the world so far as the science of numismatics 1s
concerned.” 7)

In 1923 the United States Mint collection was trans-
ferred from Philadelphia (figs. 9-11) to the Smith-
sonian Institution. This numerically extensive collec-
tion not only increased the holdings of the national
cabinet, but, through the historical connotations of
many of its pieces, also augmented the importance of
this cabinet. (For the history of the Mint collection
and the

documents concerning the

transfer see Appendix VIII.)

details and

A total of 18,291 specimens were included in the
}

transfer, increasing the holdings of the national
numismatic collections from 21,523 to 39,814 items.
In addition to the numismatic material, the Mint

transferred 814 numismatic books selected by Belote

from the specialized library at the Philadelphia Mint
in December 1924.

As a result of the decision by Chief Coiner Adam
Eckfeldt (fig. 12) and Mint Assayer William E.
Du Bois (fig. 13) to retain the finest numismatic
examples that were struck or appeared in deposit
for recoinage, the Mint collection is rich in rare
specimens. Foremost among these are early issues
(figs. 14-15), early patterns (figs. 16-19), early gold
proofs (figs. 20-24), great rarities in the gold series
(figs. 25-29), historically important specimens (figs.
30-36), as well as rarities in the later pattern series
(figs. 37-48). The Mint’s retention policy included
also the historically important private gold issues
(hes. 49-56), as well as rare foreign strikings (figs.
57-60), medals (figs. 61-62), plaquettes (figs. 63-64),
and decorations (figs. 65-66).

Despite these efforts, the United States coins series
is not complete. *“A cursory examination of the
contents of the collection will reveal its exceedingly
noted ‘T. L. Comparette,
curator of the Mint, in his ‘‘Cataloguer’s Note’? to the

fragmentary condition,”

Mint catalogue.** There are very few branch mint
Mint

coinages, regular strikings are often missing while

issues. and, even among the Philadelphia
many of the proof coins are present. ‘To augment the
holdings, there have been frequent purchases of an-
cient, medieval, and foreign coins as well as United
States coins. A 1914 listing of 469 United States
medals in the collection showed that, while the
eroup was incomplete, official medals were well
represented.

Another important contribution from the United
States Treasury was several engraved steel plates
used by the Confederate States government for the
issuance of paper currencies in 186]. These plates
for 5-, 10-, 20-, 50-, and 100-dollar notes were seized
by Major General B. F. Butler at New Orleans in
April 1862 and sent to the Secretary of the Treasury
(fis 67 )n2*

2! For the importance of the collection, see USNAL Report,
1923, pp. 126f.

22 Catalogue of Coins, Tokens, and Medals in the Numismatu
Collection of the Mint of the United States . ., 1914 ed., p 675

23 USNM Report, 1926, p. 113.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 11

NEW DEVELOPMENTS, 1923-1948

No special curator of numismatics was appointed
after the transfer in 1923 of the Mint collection to the
Smithsonian, and Theodore T. Belote, curator of the
Division of History, remained in charge of the collec-
tions until 1948. They continued to increase—mainly
through donations—from 40,285 pieces in 1924 to
45,802 in 1933, and by 1948 to 54,175 pieces.

Curator Belote noticed during the Depression the
development of various forms of scrip and initiated
an intense correspondence in an attempt to secure
for the national collections examples of various local
emergency issues. In many instances the response was
prompt and it was thus possible to assemble 266
specimens issued from 1931 to 1933 by banks, business
firms, municipalities, and other organizations in the
United States.

Among the more important additions of medallic
material received during the 25-year period 1923-1948
was a collection of nearly 300 medals and plaquettes
assembled by the eminent American author and
diplomat Brand Whitlock. Also during this period the

American Numismatic Association loan collection
was installed at the Smithsonian.

In the early twenties Moritz Wormser (fig. 68) con-
ceived and promoted the idea of a display at the Smith-
sonian to be sponsored by the American Numismatic
Association, of which he was president (1921-1926).
The idea originated at the A.N.A. national convention
in 1922 when Wormser delivered an address aiming
to set forth the historical value and importance of
numismatics. He made an impassioned plea for the
recognition and development of numismatics through
governmental support of the national collections and
through the inclusion of the study of numismatics in
university education. His well-documented address, a
product of thorough study of the situation in foreign
countries, was widely circulated as a special 16-page
pamphlet. Wormser sent the pamphlet with a personal
letter to, among others, A. Howard Clark, secretary
of the American Historical Association and for many
years a ranking ofhcial of the Smithsonian Institution,
and Theodore T. Belote. A close and rewarding co-

Fig. 9.—View or THE NumisMATIC DispLay at the United States Mint in Philadelphia, 1885.
(From A. M. Smith, Visitor's Guide and History of the United States Mint, 1885).

12 BULLETIN 229:

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 10.—Numismatic Room in the new Mint building in Philadelphia, 1902 (from Annual
Report of the Director of the Mint, 1902).

operation soon developed between Wormser and
Belote. In retrospect it is clear that one central idea
guided Wormser in all his actions—to increase the
size and importance of the national numismatic hold-
ings through joint efforts until it would rank with such
great representative collections as those in London,

Paris, and Berlin. He considered this as a mission of

the American Numismatic Association, deriving from
its national character and in accord with the purpose
of its federal incorporation.

At the association’s annual convention in 1925, a
resolution was passed authorizing the president to
appoint three persons—preferably residents of the
Washington, D.C., area—as the ‘“‘A.N.A. Smithsonian
Committee’ which would cooperate with the Insti-
tution on numismatic problems. The same resolution
considered the establishment, through this committee,
of a numismatic collection to be placed on loan

exhibition at the Smithsonian. In 1927 an A.N.A.
collection was started by means of a fund donated by
Robert P. King of Erie, Pennsylvania. It was exhibited
at the Smithsonian in 1928. Throughout the depres-
sion and until his death in 1940, Wormser continued
to work at building up this loan collection. Since then
it has continued to grow under the sponsorship of the
association. At this writing plans are under way for
the establishment of A.N.A. headquarters in Colorado
Springs, Colorado. When this headquarters is es-
tablished the entire A.N.A. collection will be trans-
ferred from the Smithsonian to that location.

A major change took place in the Smithsonian
numismatic collection in 1931 when it was moved
from its poorly lighted quarters (fig. 129) to a smaller
but much brighter area of the Arts and Industries
Building (fig. 130) where it remained until its transfer
to the Museum of History and Technology.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS is

RECENT HISTORY, 1948-1966

With the help of the continued interest shown by
numismatic circles and particularly by the American
Numismatic Association, the Division of Numismatics
was formally established and Stuart Mosher (fig. 69),
editor of The Numismatist, was appointed on August 27,
1948, acting curator of the Division. He held this
post until his death in February 1956.”*

The collections, which consisted of 54,175 specimens
in 1948, had increased by 1956 to 64,522. This
growth includes the famous Paul A. Straub (fig. 70)
collection consisting of 1,793 gold and 3,855 silver
coins.2> In addition, Straub continued over the years
to contribute to the national numismatic collections.
The entire donation finally totaled 1,860 gold and
3,886 silver coins. (For details of the transaction see
Appendix IX.)

The importance of this addition to the numismatic
collections is of much more significance than simple
numbers could tell. This collection was built up with
discriminating taste and specialized knowledge over
many years, in part with deliberate design to fill a
very obvious gap in the Smithsonian’s holdings. It
covers the period from the 14th to the 20th centuries,
ignoring minor varieties and insisting on a general
representation of different types and particularly of
the larger multiple units in gold (figs. 71-73) and
silver (fig. 74).

During this period there were many other note-
worthy donations such as a gift from the McCormick-
Goodhart collection of 118 medals commemorating
the 1739-1741 victories of Admiral Edward Vernon

*4 Born in Canada, Mr. Mosher settled in Buflalo, New York,
in 1926, and became associate in numismatics at the Buffalo
Museum of Science. While there he wrote his popular book,
The Story of Money as Told by the Knox Collection (Buffalo, N.Y.,
1936). He left Buffalo in 1935 for New York City where he was
associated with Wayte Raymond and helped to edit The Coin
Collector's Journal. He also was joint author with Wayte Raymond
of Coins of the World; the Standard Catalogue of Twentieth Century
Issues (New York, 1938). In addition, he joined the staff of the
New Netherlands Coin Company. In January 1945 he became
editor of The Numismatist. Among his publications is the very
useful paper “Coin Mottoes and Their Translations” which
appeared in The Numismatist in 1948 and as a reprint. He died
on February 20, 1956. For his obituary sce The Numismatist,
1956, p. 275.

> USNM Report, 1949, p. 75 indicates 1,808 and 3,844 re-
spectively as total numbers; a recount established instead the
numbers given above. See also, SI Report, 1949, p. 21.

14 BULLETIN 229:

(fig. 75),*° the seal press (figs. 76-77) and tools used
by Edward Stabler,*’ the well-known Maryland die-
sinker and steel engraver, and 43 medals and decora-
tions °° awarded to Dr. William Crawford Gorgas
(1854-1920) for his work as sanitation engineer with
the Panama Canal Commission.

From February through September 1956 Mr.
Mendel Peterson served as acting curator of the
Division until the appointment in October of that
year of the present curator. In 1957 followed the
appointment of Mrs Elvira Clain-Stefanelli, first as
assistant curator and in 1959 as associate curator.

New horizons were opened for the development of
the national numismatic collections with the planning
for an expanded exhibit program in the new Museum
of History and Technology.

The broadening of the concept of numismatics
along modern scientific lines and the departure from
antiquated trends of thought dominated by metalism
are worthy of note. Careful consideration was given
to all changes of money economy from simple barter
to deposit currency, which in complex modern
financial transactions often replaces hard cash.

The exhibits built in accordance with these new
concepts were opened in March 1961 in the Arts
and Industries Building and after the completion
of the Museum of History and Technology in
1964 were installed in October of that year in the
Hall of Monetary History and Medallic Art. The
staff of the Division of Numismatics had moved to
the new location in March 1964. By that time it had
been augmented by the addition of Mr. Charles D.
Wilkinson, Mr. Carl H. Jaeschke, and Mr. R. LeGette
Burris. Mrs. Cora L. Gillilland joined the staff in
1965.

There was a rapid increase in the holdings of the
Division. From 32 accessions comprising 233 speci-
mens in 1957, the accessions rose to 249 in 1966,
while the total holdings climbed from 64,755 in
1957 to 199,747. It is impossible, however, to evaluate
contributions to the national collections on the basis
of numbers or quantities of the donations. In some

USNM Report, 1951, p. 55.
7USNM Report, 1951, p. 55; ST Report, 1951, p. 20.
USNM Report, 1955, p17; ST Report, 1955, p. 23.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig.

11.—FLoor PLAN of the numismatic exhibit at the Mint arranged by

T. D. Comparette (from Guide to the Numismatic Collection of the Mint, 1913).

cases the gift of a single specimen will exceed in

significance another contribution of thousands of
items, because historical importance—not intrinsic
value—is the primary consideration. Thus an heirloom
from the Theodore Roosevelt family (fig. 86)” or
from Mr. Kent Packard, a descendant of the noted
engraver Christian Gobrecht, arouses special interest
(figs. 94-97). A group of original sketches, designs on
mica, and models prepared for the 1836-1838 coinage
by Christian Gobrecht i962), well

additional materials illustrative of the work of mint

(figs. as as

engravers William Kneass, J. B. Longacre, George T.
Morgan (fig. 84), and William Barber are invaluable

°° USNM Report, 1961, p. 52.

PAPER 31: HISTORY OF THE NATIONAL

NUMISMATIC COLLECTIONS

research materials for the study of die-sinking tech-
19th
1836

obverse design by Gobrecht of a half dollar struck

niques in the United States since the early
century. Among important die trials is the

on an octagonal planchet (fig. 78). Two other unique
documents worthy of note are the original dies
prepared in 1861 by Robert Lovett, Jr., in Philadel-
phia, for the proposed striking by the Confederacy
0

of a copper cent (fig. 85),°° and the only surviving

of six Confederate ‘“‘chemicograph”’

currency plates manufactured by S. Straker and Sons

complete set

in London.

3” USNM Report, 1962, p. 46; see also, Joun J. Forp, ‘The
Confederate Cent,” The Coin Collector's Journal (1951), pp. 9-14.

Fig. 12.—Apam Eckrepr (1769-1852), chief coiner
of the United States Mint.

The United States paper money collection has been
considerably increased through numerous donations
of Colonial notes—including some uncut sheets—
obsolete state bank notes, a large and authoritative
collection of Confederate notes, and Raphael P.
Thian’s album entitled ‘‘The Currency of the Con-
federate States. . . .°’ °1 Noteworthy is a copper plate
dated September 26, 1778, used by the British in
New York for counterfeiting 40-dollar Colonial notes
(fig. 87).°* Various phases of the history of United
States paper money are illuminated by a few selected
examples: two exceedingly rare ‘‘seal-skin”’ notes cir-
culated in Alaska in 1816 by the Russo-American
Company (fig. 88), a scrip for 61; cents issued by
Gadsby’s National Hotel in Washington in 1837
(fig. 89), a unique Sub-Treasury interest-bearing
certificate of deposit for the amount of $10,000 issued
in 1862 (fig. 90), and a United States 100-dollar gold
certificate, 1877 (fig. 91).°° The specimen printing of
a 100,000-dollar gold certificate (fig. 92) is one from
a large group of such printings of United States cur-
rency notes transferred by the Bureau of Engraving
and Printing.

The remarkable growth in the medals section of the

31 USNM Report, 1963, p. 41; ST Report, 1963, p. 37.

82 Cf. Eric P. Newman, “‘Counterfeit Continental Currency
Goes to War,”? The Numismatist (1957), vol. 70, pp. 5-6, 137-147;
and by the same author, ““The Successful British Counterfeiting
of American Paper Money During the American Revolution,”
The British Numismatic Journal (1958), vol. 29, pp. 174-187.

3 USNM Report, 1961, p. 53.

16 BULLETIN 229:

national collection reflects the recently increased in-
terest in this field in the United States. Indicative of
this growth are additions such as early Washington
portrait medals, a hitherto unknown variety of an
1843 Indian peace medal in pewter distributed by a
Missouri fur-trading company (fig. 93), a gift from
Harvey G. Stack,*! a group of early American medals
depicting notable statesmen (figs. 94-97), and a
unique gold John Paul Jones plaquette executed in
1906 by Victor D. Brenner, received from Mr. and
Mrs. Isadore Snyderman.*°

Particular importance attaches to authoritative spe-
cialized collections such as the Polish coins assembled
by Andrew Zabriskie (fig. 107),°° the Canadian and
Newfoundland coinages received from the Honorable
and Mrs. R. H. Norweb (fig. 119),°” the vast paper
money series issued within the Austrian Empire (fig.
121) coming from Mr. and Mrs. Mortimer Neinken,
and especially Willis H. du Pont’s famous Grand Duke
Georgii Mikhailovich collection of Russian coins and
medals (figs. 109-118, 124-125).°* This Russian group
is exceeded in extent and importance only by the
holdings of the Hermitage Museum.

34 USNM Report, 1963, p. 40; SI Report, 1963, p. 37.

35 USNM Report, 1963, p. +1; SI Report, 1963, p. 37.

35 USNM Report, 1962, p. 46; ST Report, 1962, p. 2C.

37 USNM Report, 1960, p. 41; 1963, pp. 40-41; ST Report,
1960, p. 18; 1963, p. 37.

38 USNM Report, 1960, p. 41; 1961, p. 52; 1962, p. 46; 1963,
p. 41; 1964, p. 52; 1965, p. 133; ST Report, 1960, pp. 17-18;
1961, p. 29; 1962, p. 20; 1963, p. 37; 1964, p. 31; 1965, p. 133.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Often large collections of a more general character
have contributed considerably to the growth of the
national coin cabinet. Such was the case with Mrs.
Catherine Bullowa’s donation of more than 21,000
items,” the 20th-century coins of the world of
Mrs. Wayte Raymond * and Mrs. F. C. GC. Boyd,”
and the Frederick Hauck assemblage of 2,478 gold
coins and medals (fig. 123).*°

In no lesser measure additions of single, select items
have often enhanced the research potentialities of the
national coin cabinet. Among the ancient coins are
many highly interesting pieces such as: a Celtic silver
stater from the Danube region (fig. 99) bearing the
name of ‘“‘Sosthenes” in Illyric characters; an early
Celtic gold 14 stater (fig. 100) showing a barbarized
design derived from a posthumous stater of Lysimachus;
an apparently unpublished small bronze coin struck
by the Macedonian city of Amphipolis (fig. 101); a
bronze coin struck in Macedon during the time of
Gordian III (A.D. 238-244) representing two
temples of Beroia (fig. 102); a bronze medallion
struck at Bizya, Thrace, in the name of Philippus I
(A.D. 244-249) showing a view of the city with temple
and public building (fig. 103); and a large Roman
bronze so-called contorniate (A.D. 356-399) depicting
a view of the Circus Maximus in Rome (fig. 104).

Representing substantial increases in the medieval
section are a very rare bronze follaro struck during the
10th century at Salerno, Italy (fig. 105) and the
highly artistic bracteate of Falkenstein illustrating
German Gothic art influences on the coinage of the
12th century (fig. 106). The 1574 necessity '; gulden
of Leyden stamped on cardboard during the Spanish
siege of that city is one of the first examples of paper
used in European currency (fig. 108).

The foreign paper holdings were virtually non-
existent but have been built up since 1956 to one of
the leading collections in the world through sub-
stantial donations by Mrs. Catherine Bullowa, the
Messrs. Stack, and especially Mr. and Mrs. Mortimer
Neinken. The Hoscheck and Kubitschek collections
from Vienna, Austria, of over 100,000 notes of the
world, including one of the best specialized collections
of Austrian notes, form the nucleus of this section in the

® USNM Report. 1959, p. 50.

USNM Report, 1963, p. 41; 1964, p. 52; 1965, p. 133; ST
Report, 1963, p. 37; 1964, p. 31; 1965, p. 133

LUSNAM Report, 1963, pr 4151964, p. 2231965, pp. 132-133;
ST Report, 1963, p. 37; 1964, p. 31; 1965, p. 133,

" USNM Report, 1965, p. 132; ST Report, 1965, p. 132

Fig. 13.—Wiiiiam Ewine Du Bors (1810-1881),
Mint assayer.

national cabinet. A few highlights exemplify the
historical value of many of these items: a Swedish
note of credit, issued by the Stockholm Bank (fig. 120),
is one of the first examples of bank notes printed in
the western world; an extremely rare note issued by
the Italians in the community of Osoppo in Lombardo-
Venetia during the Austrian siege in 1848 (fig. 121);
and another necessity note General
Charles G. Gordon in Khartoum, Sudan, during the
siege by the Mahdi in 1884 (fig. 122).

The section of foreign medals has been built up
systematically. An interesting touch was contributed
by numerous additions of Russian medals of the
18th and early 19th centuries which came through the
W. H. du Pont donation (figs. 124-125), by fine
Swedish gold medals received from the F. Hauck
collection (fig. 123), and by a group of Spanish-
American proclamation pieces commemorating the
advent of the last Spanish kings, presented by Mr.

signed by

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 17

272-041 O—68——_2

Joseph B. Stack. The contemporary art medal was
not forgotten and a fine representative group of
foreign creations (fig. 126) has been added to the
regular contributions received from the Medallic
Art Company in New York. Of historical and tech-
nical interest is an obverse die used in 1565 for the
striking of an English marriage medal of Mary,
Queen of Scotland and Henry Darnley (fig. 127).
Finally, mention should be made of steady annual
contributors such as various members of the Stack

family, Mr. Willis H. du Pont, Mr. and Mrs. Mortimer
Neinken, Mrs. Milton Holmes, and others. Through
these regular and invaluable additions there has been
a well-balanced increase of holdings within the
various sections of the Division of Numismatics:
coins and tokens; paper money; medallic art;
documentation of the evolution of manufacturing
techniques of coins, medals and paper currencies; and,
as the most recent adjunct, documentation of the
history of banking.

EXHIBITS

As the previous chapters have discussed the history
and growth of the numismatic collections, this chapter
gives a general view of the development of numismatic
exhibits at the Smithsonian. Before 1860 these ex-
hibits were few and casual. W. J. Rhees mentions only
some Japanese gold and silver coins and some prim-
itive media of exchange on display in the west gallery
of the original Smithsonian Building.** Later, in 1886,
the arrangement of the collection of medals and
moneys of the world was begun and about 2,000
specimens were placed on exhibition in the north hall
of the Arts and Industries Building, in an effort to
show the monetary standards of different nations and
to give the origin of various denominations.** Also in
the exhibit was a series of bronze copies in duplicate
of all medals struck by the United States Mint.* An
exhibit was added in 1888 illustrating the money of
Biblical times. Attention was also given to United
States bonds and currency notes and, finally, to
medals of reward and badges.*®

Fig. 14.—Twoprence Piece of ““Hogge Money”
struck in the Sommer Islands (Bermuda) about
1616.

8 Wittiam J. Ruees, An Account of the Smithsonian Institution,
its Founder, Building, Operations, etc., Prepared from the Reports of
Prof. Henry to the Regents, and Other Authentic Sources, Washington,
1859, pp. 72-74.

4 USNM Report, 1887, p. 12.

' USNM Report, 1886, p. 12.

USNM Report, 1888, pp. 115f.
18 BULLETIN 229:

The exhibits illustrating the moneys of the world
apparently were well received. The National Mu-
seum’s Annual Report for the year 1890 emphasized the
popular interest accorded these exhibits, evidenced
by the many valuable loan collections of ancient and
modern pieces. The report again stresses that the
collection “‘is not limited to metallic currency, but
includes paper currency and various substitutes for
money.” *’ Additional information on the scope of
these displays of this period is provided by W. J.
Rhees in his Visztor’s Guide to the Smithsonian Institution
and U.S. National Museum in Washington, D.C., circa
1890.

Fig. 15.—Gorp Dousioon struck 1787 by the
New York goldsmith Ephraim Brasher.

In 1891, despite the lack of display space, an exhibit
was installed illustrating Indian shell money of the
early colonial period and also showing shells used for
wampum and wampum belts. This exhibit, arranged
by Dr. R. E. C. Stearns, an associate curator, was
accompanied by an instructive pamphlet, giving a
detailed history of the manufacture and uses of shell
money. The medallic history of the United States also
was shown by means of official medals struck by

7 USNM Report, 1890, p. 142.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

order of Congress, medals commemorating local
events, and medals and tokens delineating the history
of Presidential campaigns."

These promising beginnings came to a sudden end
in 1893, when numismatic exhibits were crowded
out by the rapidly and vigorously expanding natural
history collections, At this time the entire numismatic
collection was withdrawn from display and placed in
storage. After his appointment as an aide in 1897,
Paul Beckwith attempted to solve the exhibit space
problem by introducing the ‘‘use of upright cases with
sloping diaphragms covered with olive-green velvet” "
for coin display, but this was not completely success-
ful. Only a fraction of the numismatic material could
be displayed and most of it remained in storage—a
situation generally unchanged until 1914—except for
occasional temporary exhibits.

Fig. 16.—PATTERN Copper Cent, 1792.

A new museum structure for natural history re-
leased space in the old Arts and Industries Building
and provided fresh opportunities for the development
of exhibits. By 1914 Theodore T. Belote (appointed
in 1909 as assistant curator in the Division of History)
had completed a selection of coins and medals and
they were placed on exhibit in the northwest court
(fig. 128).°° More than 6,000 coins and medals were
installed in 27 flattop cases, 8 of which were devoted
to coins of the United States and its possessions, 11 to
European countries, and 8 to Asia and Africa.
Colonial American and United States coins, United
States medals, and a series of ‘‘hard times’’ tokens
were arranged in 12 historical and topical groupings.
The foreign specimens were arranged alphabetically
according to the countries of each continent. ‘The
European countries display included a group of 314
Polish coins, a large series of English and French
historic medals, and a large set of fine Papal medals.
Most of the other foreign medals came from the ex-
tensive H. Adams and G. B. Goode collections. In

S$ USNM Report, 1891, p. 151.
" USNM Report, 1897, p. 73.
See also, USNAL Report, 1914, pp. 32-35.

Fig. 17.—PatTerN DIsME in copper, 1792.

1917 this display was augmented by the Thomas Kelly
Boggs collection of more than 300 foreign decorations,
medals of award, and badges. The display of African
and Asiatic coins and medals was fairly well docu-
mented; the Chinese representation was impressive,
numbering more than 2,000 pieces, most of which
came from the George B. Glover bequest.

The greatest opportunity for expansion of exhibits
came when the Philadelphia Mint collection, along
with its display cases, arrived at the Museum in July
1923. The arrangement of this exhibit entailed
which,
was divided into three
phases: *‘The first of these included the removal from

considerable planning and intense work,
according to Belote’s report,”

the west-north hall of the Arts and Industries Building
already
occupying this space and its installation elsewhere;
the second included the mechanical work of setting

of the collection of historical materials

up in this space the cases received from the Treasury

Fig. 18.—PaATTERN QuarRTER Do Liar, 1792.

Department and preparing them for exhibition
purposes; and the third included the actual installa-
tion of the numismatic collection” (fig. 129). The old
exhibit cases from the Treasury Department were
refurbished by adding lighting fixtures and substantial
locks and made as suitable as possible for the installa-
tion of the valuable specimens. On March 31, 1924,
the Secretary of the Smithsonian, Charles D. Walcott,
wrote to Secretary of the Treasury Andrew \V. Mellon

that installation of the collection in the numismatic

VUSNM Report, 1924, pp. 126-129.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 19

hall was practically completed. The coins were
divided into five main groups: ancient Greece and
Rome; Roman-German Empire and modern Ger-
many; United States; Mexico, the West Indies,
Central and South America; and modern European
countries and their colonies.

During 1925, as a special cooperative project with
the American Numismatic Association, assistance
was provided in setting up special exhibits installed
for Coin Week 15-22),°* and similar
arrangements for such exhibits were made in sub-

(February

sequent years.

Fig. 19.—PatrerN Harr DisMeE in copper, 1794,
an intermediate step between the half disme of
1792 and the regular issue of 1794.

A rearrangement of the collections took place in
1925 and 1926,°° when the numismatic hall was
divided into four alcoves. These alcoves featured
coins from North, Central, and South America,
and the West Indies; ancient, medieval, and modern
coins of Europe; a display of United States medals;
and an exhibit of European medals. In the center
of the hall was a large circular case with electrotype
copies of ancient coins on the inner circle, and modern
European coins displayed in the exterior sections.
All of the numismatic exhibits were revised in
anticipation of the August 1926 meeting of the
American Numismatic Association.*t As mentioned
previously, it was through the efforts of Moritz
Wormser, president of the A.N.A., that funds were
donated by Robert P. King of Erie, Pennsylvania,
and a start was made on an A.N.A. collection which
was placed with the Smithsonian on loan. The first
exhibit from this collection was installed in 1928 in
the numismatic hall.

During 1930-1931, the numismatic collection was
moved to a smaller but better-lighted adjoining area
(fig. 130),°° where it remained until its transfer in
1964 to the Museum of History and Technology.
The various sections of the collection were arranged

° USNM Report, 1925, p. 116.

8 USNM Report, 1926, p. 116.

4 USNM Report, 1927, p. 126.

5 USNM Reoprt, 193), p. 134; ST Report, 1931, p. 30.
20 BULLETIN 229:

=
dq

ig. 20.—QuarTER EaGLe, 1821, proof.

in units to present coins of the United States; coin
of Mexico, Central and South America; coins of
ancient Greece and Rome; coins of the Holy Roman
and German Empires; coins of various European
countries; a series of American historical medals;
and a series of European historical medals. There
were also other displays of medals in an adjacent
court which was referred to as the ‘‘philatelic and
numismatic unit,’’°® and in the rotunda and in other
areas.

An exhibit was added in 1932-1933 which featured
coins, tokens, and paper currencies issued by state
and local authorities, by commercial firms, and by
private individuals from the Colonial period to the
great depression in the thirties. Included in_ this
special exhibit were Colonial and Continental paper
currencies, so-called “‘hard times’’ tokens issued 1832—
1844, and tokens of the Civil War period.** During
1934 a new case was assigned for the exhibition of
United States patterns. Various series of United
States medals previously on display in the rotunda
were transferred to the numismatic hall, which made
it necessary to remove the collection of scrip and
emergency currencies from the exhibit. Along with
this general rearrangement, United States military
and naval decorations were moved from the west
hall and placed on display in the rotunda of the
Arts and Industries Building, and exhibits of foreign
civil and military decorations were installed in the
west hall.°*

5° USNM Report, 1931, pp. 134f.

7
58

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig, 22.—Quarter Eac_e, 1841, proof.

Further progress was made during 1936 and 1937
when the numismatic hall was divided into an eastern
and western section by a central north-south aisle.”
The wall cases on the eastern side contained coins of
the United States, Mexico, and Central and South
America, while the floor cases featured ancient Greek
and Roman coins. The wall cases on the west side con-
tained coins of the various countries of Europe ar-
ranged in alphabetical order. Seven floor cases con-
tained national and local United States medals. Two
floor cases in the northwest corner of the hall were
used for the special display of post World War I
foreign coins lent by the American Numismatic Asso-

ciation, and this exhibit was enlarged to three cases
in 1943.

Fig. 23.—EacLer, 1838, proof.

During the forties, numerous additions and rear-
rangements took place. In 1944 improvements were
made in the installation of the United States naval
and military medals, showing their development from
the Civil War period to World War II." A display of
coins and medals was added to the exhibits arranged
in the foyer of the Museum of Natural History for the
celebration of the Smithsonian Institution Centennial
in August 1946. In the following year, under the joint
auspices of the Smithsonian’s Division of History, the
Washington Numismatic Society, and the American
Numismatic Society, a special display dedicated to
Chinese coins of the 19th and 20th centuries was ar-

ranged in March in the foyer of the Museum of

Natural History. The coins were the property of the

® USNM Report, 1937, p. 73.
USNM Report, 1944, p. 69.

well-known Chinese numismatist Kalgan Shih who
was then visiting the city.°! In January 1949 a tem-
porary display of United States Presidential inaugural
medals was placed on view in the rotunda of the Mu-
seum of Natural History.®’ Also during 1949 most of
the 106 existing panels in the numismatic hall were
cleaned, repainted, and provided with new labels for
all coins and medals, and the entire coin exhibit was
arranged in alphabetical and chronological order.”
As a security measure, shatterproof glass was installed
in 19 upright wall cases and burglar alarms were
added in 39 cases (25 more cases were similarly
secured in 1954)."!

Fig. 24.—Eacve, 1858, proof.

By early 1950 approximately half of the 1,793 gold
coins from the Straub collection were put on display,
arranged in geographical and cultural divisions which,
in turn, were broken down into alphabetical and
chronological series. (For details of the Straub col-
lection see Appendix IX.)

Also, at this time, a representative exhibit com-
prising about 200 foreign and United States orders
and decorations was arranged, and a selection of
‘paper money issued prior to and during the Amer-
ican Revolution by 12 of the 13 original Colonies was
installed.’ °* About 1950 the American Numismatic
Association’s Moritz Wormser Memorial Collection,
which had increased to 2,000 specimens, was relabeled
and rearranged."”

Special exhibits were prepared for various occa-
sions and during 1957 two displays were presented to
public view in the coin hall: One depicted the history
of the Reformation and the other was dedicated to
17th-century shooting matches in Saxony. For an
exhibit on the United Nations in October 1957 in the

" USNM Report, 1947, p. 67

62 USNM Report, 1949, p. 78.

"3 Tbid.

“ USNM Report, 1950, p. 79; 1954, p. 11
"5 USNM Report, 1950, p. 80.

“© USNM Report, 1951, p 55

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 21

Museum of Natural History, the division of numis-
matics contributed an extensive display of recent coins
of the world. The following year, a special display of
Napoleonic medals was set up in the Arts and In-
dustries Building.

Planning for rearrangement of the coin hall (fig.
131) was started in 1956 and by 1958 it was decided
to redesign it completely. Detailed scripts and pre-
liminary designs were worked out by the curator and
by Mrs. E. Clain-Stefanelli. The final exhibit layouts
were prepared by Harry Hart.

Meanwhile, several temporary displays were set up
during 1959. In February an exhibit illustrating
Abraham Lincoln’s life, his political aims, and _ his
achievements as shown on medals was installed in the
coin hall.°’ In May, on the occasion of a visit of King
Baudouin of Belgium, two displays were set up: one
featured decorations, medals, and rare gold coins
from Belgium; the other was dedicated to the achieve-
ments of Brand Whitlock as Ambassador to Belgium
during World War I.°S

The permanent displays in the coin hall were closed
in July 1959 for dismantling in preparation for the
installation of modernized exhibits: in the interim
arrangements were made for setting up a series of
temporary shows. Some of these, on view from July
through September 1959 in the rotunda of the Arts
and Industries Building, were topically dedicated to
Washington, Lincoln, and Franklin D. Roosevelt;
others featured United States paper currencies,
medals of merit, and decorations.

While materials for regular exhibits were being
prepared, the coin hall was used for several special
exhibits. Louis Eliasberg of Baltimore, Maryland,
lent his entire collection, including specially designed
cases, for a display that was on view from May |
through August 15, 1960. It was distinguished for its
“completeness of the United States series, superb
condition of the coins, and attractive presentation.’
An exhibit illustrating the life and military exploits of
Peter the Great was composed of a selection from
the Willis H. du Pont gift of Russian coins and medals
formerly owned by the Grand Duke Georgii Mikhail-
ovich of Russia. A selection of 250 masterpieces of
ancient Greek coins, on loan from a famous private
collection in Boston, was placed on public view in

7 SJ Report, 1999, p 41.

® USNM Report, 1959, p. 41.

® USNM Report, 1960, p. 26; ST Report, 1960, p. 43.
7 USNM Report, 1960, p. 27; ST Report, 1960, p. 43

22 BULLETIN 229: CONTRIBUTIONS FROM

Fig. 29.—Hatr Eac te, 1832.

December 1960; it included outstanding examples
from the 7th to the 2nd centuries B.C.”!

The completely renovated hall of monetary history
and medallic art (fig. 132) was opened on March 18,
1961, with formal ceremonies attended by govern-

' USNM Report, 1961, pp. 31-32.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 30.—Sitver Dottar, 1804, ‘class I’ variety
struck in 1834-1835.

Fig. 31.—Sttver Doiiar, 1804, unique ‘class IT”
variety, with plain edge, struck in 1858-1859

over Swiss 5-franc shooting piece.

mental dignitaries and distinguished numismatists.’*
Both in concept and design the newly renovated hall
was in bold contrast to the old (fig. 131). Bright,
internally lighted cases replaced the massive wooden
ones which had been dependent on daylight or ceiling
fixtures for illumination. Attractive display panels
were either decorated and illustrated with background
art work and labels done by silk screening or covered
with linen fabric. The main display in the new hall
was dedicated to monetary history—from primitive
barter to modern monetary systems—and traced the
development of money as an integral aspect of society.
Displays of coins, tokens, and paper currencies were
arranged in their historical and cultural context,
rather than by conventional classifications. Special

7 USNM Report, 1961, pp. 29-33, ill.; SZ Report, 1961, p. 13;
sce also, “Smithsonian Institution Numismatic Display, Lx-
tension of Remarks of Hon. A. Willis Robertson of Virginia
in the Senate of the United States,” Congressional Record (Monday
March 20, 1961), A1887-8; V. CrLain-STEFANELLI, ‘‘Hall of
Monetary History and Medallic Art, Smithsonian Institution,
Washington, D.C.,”> Afuseum (1962), vol. 15, no. 3, ill., with
Trench, Spanish, and Russian abstracts, pp. 191-196, also
pp. XXVII, XXXII; “Monetary History and Medallic Art
a the Smithsonian Institution, Washington, D.C.,’ Nwnisma
(N.adrid, 1965), vol. 15, no. 75, pp. 31-48.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

emphasis was given to the various forms of currencies
of North America and their role in the economic and
political growth of the United States.

The first half of the display showed significant
phases in the evolution of money economy in the
Western world (fig. 133): early economies; the
first coins; the Hellenic world; ancient Rome; the
Byzantine Empire; the penny (fig. 134); the revival
of gold; groats and testons; the dollar; the New
World: barter on the frontier; Colonial money, 1607—
1764; spirit of independence, 1764-1787; building a
nation; the United States Mint; economic adjust-
ments, 1812-1860; United States coin designs; war
and reconstruction, 1860-1873; rise of modern
America, 1873-1900 (fig. 135); and the 20th century.
Special topical displays completed the basic monetary
history exhibit, and among the themes illustrated
were the origin of coin names, the Reformation (fig.
136), Confederate currencies, and state bank notes.
Also on display was a reconstruction of a coin stamper
designed by Leonardo da Vinci (fig. 137) which em-
phasized the introduction of mechanization in coining
techniques. This machine was reconstructed for the
Smithsonian Institution by the International Business
Machines Corporation. Prominently displayed in the
renovated hall were the United States Mint collec-
tion and the noted Straub collection of coins, which
together include the world’s largest display of gold
coins, and a group of oversized multiple talers of the
Brunswick duchies. Also featured were the Japanese
gold and silver coins from the President Grant
collection.

Fig. 32.—HuisroricaL 1838 Proor half dollar
struck at the New Orleans Mint. ‘the first 50-
cent piece issued by a branch mint.

Displayed in two table cases were selections from
the Willis H. du Pont donation of Russian coins
illustrating coins issued by the Tsars Peter the Great,
Peter II, and Anna as well as the political aims of
Peter the Great evidenced on medals.

ho
Ce

In 1962 a specially designed semiautomatic case
was installed on an experimental basis. Its 40 mobile
trays were suspended between continuous chain
devices (fig. 138). By pushing electrical contacts, the
visitor could rotate the trays and examine at close
range each of the several hundred coins which were
displayed in this case.”*

All labels and background art work in these ex-
hibits, instead of being typewritten or hand painted
as previously, were silk-screened. The results were
excellent even for the smallest specimen labels.

Fig. 33.—THE 1849 DovusLe Eac_e,

UNIQUE
pattern for the 20-dollar gold pieces first minted
in 1850.

tp,

a %
( gf ae

Se yy,

wry

eave,

Fig. 34.—Unigue Proor Dousie Eac ie, 1854,
San Francisco Mint.

The display cases were provided with cold-cathode
internal lighting. The light boxes were equipped with
specially designed lenses of Lucite (methacrylate) for
maximum light distribution. These lenses also serve as
filters for some of the more damaging radiations, their
filter properties for ultraviolet being optimal at a
wavelength of 350 millimicrons The specially de-
signed cases are equipped with self-locking folding
braces and },-inch polished safety plate glass.

3 USNM Report, 1962, p. 28.

24 BULLETIN 229: CONTRIBUTIONS

FROM THE

Fig. 35.—Proor-FinisH HALF DoLuiar, 1855, first
specimen struck at San Francisco Mint.

Mounting coins for display has always presented a
challenge. Whenever possible, they were mounted
first in tightly closed individual boxes made of cellu-
lose triacetate K IV. These are attached to the display
panel with small pieces of ‘‘Velcro,’”? which consists
of a strip of nylon hooks which adheres to another
strip of nylon loops. When pressed together the hooks
and loops engage, creating a secure and easily ad-

justable fastener. This method permits easy removal

and replacement of display objects. In addition, by
this mounting method the coins are raised against the
background which accentuates them and produces a
very attractive overall effect. Where the size or shape
of a specimen precludes the use of boxes, the item is
often secured in place with a special paraffin wax.
The windows of the display room in the Arts and
Industries Building were covered with filters which
allowed only 8 percent light transmission, thus re-
ducing the danger of harmful radiations and maintain-
ing a low general light level in the exhibit area. Dis-
turbing glare and mirror effects were also reduced,
and the individual internal lighting of the cases was
enhanced. This total lighting arrangement brought

1879,
specially struck on the occasion of the February
20 reopening of the New Orleans Mint.

Fig. 36.—Proor-FINIsH SILVER DOLLAR,

MUSEUM OF HISTORY AND TECHNOLOGY

out details of coin design more effectively than high-
level room lighting. The same principle applies to
the current numismatic display in the Museum of
History and Technology, where external natural light
is no longer a problem.

With the assistance of the Medallic Art Company
and the United States Mint, a display of contemporary
United States medals was prepared in November 1963
in the Hall of Monetary History and Medallic Art.”
A unit illustrating the traveler’s cheque and its history
was set up in February 1964, using materials made
available by the American Express Company, the
Bank of New Zealand, and Kenneth L. Kelly.” An
exhibit featuring original mint models and designs for
the Kennedy half dollar was opened in March 1964
through the courtesy of the director of the Mint.’

In April 1964 a large display was installed using
material received from the Mortimer and Anna
Neinken collection. It illustrates the evolution of paper
money in Austria from the 18th century to the newest
monetary reforms of the 20th century. ‘7 Two new
exhibits, the ‘‘Origin of Coin Names’’ and State

Fig. 37.—Unigue Patrern Harr Dotrar, 1838.
Draped bust of Liberty probably designed by
William Kneass.

Bank issues in the United States, were set up in
January 1964 in the numismatic hall.

All the numismatic displays in the Arts and In-
dustries Building were moved to the new Museum of
History and Technology where the hall of numis-
matics was opened on October 23, 1964. While the
new layout differs in many respects from the previous

™ USNM Report, 1964, p. 29; ST Report, 1964, p. 63.

78 Tbid.

™® USNM Report, 1964, p. 29; 1964, p. 137; ST Report, 1964,
p:(63;;, 1965; p. 137.

7 Tbid.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 25

Fig. 38.—PaTTERN FLyinc EacLe CEntT, 1854, in
copper. One of three known surviving pieces.

one, the general character of the exhibit remains the
same (fig. 139).

From November 1964 through January 1965 a
special exhibit on ‘“‘Israel’s Ancient History Through
Its Coins” featured the internationally famous collec-
tion of ancient coins of Judaea collected by Mr.
Adolph Reifenberg, author of the standard reference
book of ancient Jewish coins.” ‘Miniature Master-
pieces of Ancient Greek Coin Engraving’? was the
ttle of another special display (October 1964-
March 1965) consisting of select pieces from the
Dr. Leo Mildenberg collection, Zurich, Switzerland.
Maps, photographs of individual coins, and back-
used extensively in these

material

ground were

exhibits.

yet

TEETER ey,

Fig. 39.—Unioue Gop ParrerN DousiLe EacLe,
1860. Reverse designed by Anthony C. Paquet.

Another temporary display, arranged through the
courtesy of the Buenos Aires Mint of Argentina
(Spring 1965), illustrated coins and paper currencies
of this Latin American country, as well as many
original models for 19th-century coins of Argentina."

8 USNM Report, 1965, p. 137.
” Tbid.

Fig. 40—Go.tp Patrern Har Eac te, eagle, and double eagle, 1865. Only two of each are
known to exist. Use of motto “In God We Trust” officially adopted in 1866 on United States coins.

In 1964 a geometric lathe, used in tracing the
intricate rosette-like designs used on currencies and
documents of value, was received from the Security-
Columbian Banknote Company, Philadelphia. A new
permanent feature in the hall was arranged in the
fall of 1964 with a selection of contemporary artistic
medals from Europe, featuring prominent artists of
France, Germany, Italy, and Greece.*°

On the occasion of the James Smithson Bicentennial
celebration, September 1965, a special display was
set up featuring Smithsonian Institution award
medals. This included original models as well as
bronze strikings of the new Hodgkins medal designed
by Albino Manca from New York, and the Smith-
sonian award medal by Paul Vincze from London.

“Our New Coinage’ was the title of a display
arranged in September 1965, in cooperation with the
United States Mint, showing two sets of experimental
strikings of “clad’’ material prepared in 1965 at the
Mint for the President’s approval. Over 400 United
States and foreign gold coins and medals from the
Frederick A. Hauck donation were selected for an
exhibit arranged in December 1965 in another new
semi-automatic case with rotating trays. Electronic
devices prevent unauthorized access to the material
on exhibit.

Outside Participation
Over the years, numismatic displays have been
made available by the Smithsonian Institution to

various national and international expositions and
local exhibits. Among these were:

26 BULLETIN 229:

CONTRIBUTIONS FROM

Fig. 41.—Frrry DoLiar Gorp Pattern, 1877, re-
flecting California’s interest in the issuance of
gold coins in denominations up to $100.

‘v4 in) / is ,
win >

Centennial Exposition at Marietta, Ohio, July 16-21,
1888. A group of 78 United States medals.*!

Columbian Historical Exposition at Madrid, Spain,
summer and fall 1892. A series of American Colonial
coins—medals illustrating the Colonial period and the

‘! USNM Report, 1889, gives on pp. 182-183 an itemized listing
of these medals. Cf. also SJ Report, 1889, p. 53.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Revolutionary War, and medals commemorative of
political and civic events—together with a large
series of paper money extending from the early days
of the American Colonies down to the national
currency issues.*?

Worlds Columbian Exposition at Chicago, 1893.
Nearly 600 medals illustrative of American history
from the earliest Colonial days through the Revolu-
tionary War to contemporary events and including
medals in memory of eminent Americans. Also a
collection of ‘metallic money of the colonies prior to
the establishment of the United States Mint,” a
collection of American Colonial and Continental
paper money, state and private bank notes, and scrip
issued by merchants.”

Cotton States and International Exposition at Atlanta,
Georgia, 1895. Principal coins circulating in the
North American Colonies from 1525 to the establish-
ment of the United States Mint in 1793; medals
commemorative of the Revolutionary War; and coins
mentioned in the Bible.™

Tennessee Centennial Exposition at Nashville, ‘Tennes-
see, 1897. Principal coins in use since 1652 in the

Fig. 42.—Copper Triav Piece for ‘‘metric’”’ double
eagle, 1879, reflecting attempt in Congress to
adopt the metric system.

Fig. 43.—Unique Patrern 5-CenT Piece, 1881,
bearing motto “‘In God We Trust.”

* USNM Report, 1892, p. 115. Cf. also, ST Report, 1893, p. 21.

3 USNM Report, 1893, p. 121.

“4ST Report, 1895, p. 632; also described in Cyrus ADLER
and I. M. Casanowicz, “Biblical Antiquities. \ Description
of the Exhibit at the Cotton States International Exposition,
Atlanta, 1895,” in USN Report, 1896, pp. 943-1023 + 46 pls. ;
pp. 982-988 are dedicated to ‘‘A Selection of the Coins of Bible
Lands.”

North American Colonies and in the United States up
to contemporary issues, including wampum, private
Georgia, North
California; medals commemorative of events in the
Revolutionary War and the War of 1812; medallic
portraits of the Presidents of the United States.*®

gold coins from Carolina, and

Alaska-Yukon-Pacific: Exposition at Seattle, Washing-
ton, 1909. An exhibit on on the medallic history of
the United States.*°

Sesquicentennial Exposition at Philadelphia, 1926. A
series of medals.*’

Washington Cathedral spring festival at Washington,
D.C., May 10-12, 1945.
evolution of Christian symbols on coins, consisting

A special exhibit on the

of 50 photographic prints showing coins arranged in
chronological sequence from Constantine the Great
to 1800.5°

Theodore Roosevelt Centennial Exhibition at the Library
of Congress, Washington, D.C., May 1958. Com-
memorative medals and plaques.*®

Fig. 44.—Parrern Harr Dottar, 1891, obverse
showing Columbia standing. Designed by
Charles E. Barber.

Tbero-American Numismatic Exhibition at Barcelona,
Spain, November 24—December 7, 1958.% United
States commemorative gold and silver coins illustrat-
ing the historical development of the country; a
complete series of official medals portraying the
presidents of the United States; a large number of

ST Report, 1898, p. 99; USNAL Report, 1897, p. 73; Report
on the United States Government Exhibit at the Tennessee Centennial
Exposition, Nashville, 1897, Washington, 1901, pp. 119f-

86 ST Report, 19C9, pp. 81-83; and USNAM Report, 1909, p. 57.

‘787 Report, 1926, p. 48.

88 USNM Report, 1945, p. 77.

“ “The Theodore Roosevelt Centennial Exhibit,’ 7 he
Library of Congress Quarterly Journal of Current Acquisitions (May
1958), vol. 15, no. 3, pp. 106-164, especially p. 129, no, 94;
pp. 130f., no. 100; p. 135, no. 121.

USNM Report, 1959, p. 41.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS ah

medals, plaquettes, and original models dating from
1889 to 1920 designed by the noted American
medallist Victor David Brenner, as well as a selec-
tion of medals illustrating twenty years of modern
medallic art in the United States.

National Numismatic Convention at Boston, August
24-27, 1960.*! Die-sinking techniques at the United
States Mint during the early 19th century; United

States patterns; and Peter the Great’s life and
military exploits as illustrated on 18th-century medals.

Lincoln Museum at Washington, D.C., spring 1961.
The history of the Medal of Honor.

Hancock County Centennial Exhibition at Weirton,
West Virginia, March 1963, on the occasion of the
West Virginia Centennial Celebration. Coins, paper
money, and tokens used in West Virginia in 1863.

GARE OF THE COLEEGTIGNS

Equally as important for museum purposes as the
acquisition and exhibition of numismatic specimens
is the care and maintenance of these specimens, which
includes not only their proper handling and conserva-
tion, but frequently also involved and difficult
problems of restoration and technical examination
and analysis.

Little is known about the care of coins and medals
in the early years of the national collections except
that no guiding policies are apparent and the practice
was largely a matter of the attitude of the individual
to whose care the specimens happened to be entrusted.
The earliest evidence of any systematic approach to
the problem appears in the work of Theodore T.
Belote in preparing a reorganization of the exhibits in
1914. At that time he saw to the cleaning of every
coin and medal to be displayed, but even of this no
details are given as to the methods he employed.
We do know, however, that the storage of the reference
collections posed serious problems for him, and
Belote decided to arrange them in alphabetical order
according to the donors and lenders. He dedicated a
considerable amount of time to this task which was
completed in 1916.%?

Fig. 45.—Unigue PATTERN In Gop of double
eagle, 1906. Designed by Charles E. Barber.

1 USNM Report, 1961, pis2:
> USNM Report, 1915 p. 33; 1916, p- 26.

28 BULLETIN 229:

Over the next two decades the lack of a numismatist
and a trained staff, an ever-increasing workload, and
general neglect of the hall led to continuing deteriora-
tion of the coins and medals on display as well as in the
reference collections. There is a report that mentions
the cleaning of the silver coins in 1937,°% but the
situation became so intolerable by 1948 that the
American Numismatic Association appointed a com-
mittee to consult with Museum officials on the proper
preservation and display of the national coin
collection.”*

Fig. 46.—EXPERIMENTAL DousLE Eac.e, 1907,
by Augustus Saint-Gaudens, struck on 10-dol-
lar size planchet. The only two surviving spec-
imens are in the Smithsonian.

The committee met in July at the Museum and there
achieved full cooperation and a complete agreement
on remedies. Dr. William Blum, of the Electrodeposi-
tion Section of the National Bureau of Standards, and
his assistants conducted research to find the easiest
and safest methods for removing dirt and tarnish
from the surface of silver coins and the best method for
protecting all the numismatic items.”

"3 USNM Report, 1938, p. 74.

“4 Considerable material concerning the committee and results
of its activity has been consolidated in a file entitled “William
Guild and Stuart Mosher” and consists of the old United
States National Museum file numbers 175 877, 176 221,
182 106. The file consists of correspondence and memoranda
from May 14, 1947, through January 28, 1949.

°° USNM Report, 1948, p. 79.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. +7.—Five-Cent PatTerns, 1909, some with portrait of Washington.

Because of the lack of trained personnel the entire
collection was cataloged only superficially. During the
years 1923-1948, however, Belote and James R.
Sirlouis, a scientific aide, prepared a detailed listing of
the United States coins transferred to the Museum
from the United States Mint.°° In 1944 the numis-
matic reference collections were installed in two
rooms at the north end of the Arts and Industries
Building.”’ A vault provided with an electrical alarm
system was prepared for the storage of the collections
two years later.°* Each of these measures marked a
slow but steady progress toward the establishment of
the national numismatic collections as a_ clearly
defined unit under its own curator.”

their accession and catalogue numbers, or even their
subject classification.”

An extraordinary effort was made in 1949 in clean-
ing the 4,200 silver coins on exhibit. Upon Dr. Blum’s
advice a 5 percent solution of sodium cyanide was
used to remove the tarnish, after which the coins
were carefully washed and dried. A group of 100
coins was then lacquered experimentally with Kry-

‘and this method of protection against tarnish

lon,
was adopted for the entire collection. Unfortunately,
however, unskilled technical assistants often used the

lacquer to excess with detrimental results to the ap-

pearance of some of the specimens,”

Fig. 48.—Patrern Har Dottar, 1916. Designed
by A. A. Weinman.

The grouping of specimens in the reference collec-
tions according to accessions—a practice formerly in
general use in the Division of Numismatics—was
abandoned in 1956, and all specimens were arranged
by subjects. State bank notes, for example, were
grouped by states, banks, denominations, types, and
then by dates. This kind of rearrangement of the col-
lections was because
many of the specimens had no identification as to

particularly time-consuming

°° Tbid.

"TUSNM Report, 1944, p. 70.

"8 USNM Report, 1946, p. 76.

"The SZ Report, 1947, mentions at page VIII for the first
time the “Section of Numismatics,’ Theodore T. Belote in
charge.

Fig. 49.—Trn-Dotitar Gorp Piece issued by
‘Templeton Reid in Lumpkin County, Georgia,
1830. A product of the first “*gold rush” in the
United States.

This method of spraying the coins and medals with
Krylon was re-examined after 1956 and the results
were not considered fully satisfactory. Frequently the
lacquer would “build up” around fine details and
give an unnatural, glossy, and unesthetic look, es-
pecially to bronze coins and medals. In addition,
Krylon cannot be readily removed if aged,’ and
sometimes resists prolonged applications of thinners
or solvents. Immersion in boiling water may be effec-
tive in removing old coats of lacquer, because of the

10 USNM Report, 1958, pp. 48f.

Wl USNM Report, 1949, p. 77 and op. cit., 1952, pp. SIf.
W2 USNM Report, 1956, p. 18.

103 (SNM Report, 1958, p. 49.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 29

different coefficients of expansion of metal and
lacquer. The use of low-pressure aerosol sprayers for
the application of Krylon lacquer was therefore dis-
continued, and experiments were conducted spraying
conveniently thinned lacquers with compressed air
at about 40 psi.

fe TE Nos
A OGL AR ‘Ts
es Ryd

Fig. 50.—Unigue 10-DoL_Lar GoLp Piece issued
by Templeton Reid in California, 1849.

Through the cooperation of the Union Carbide
Corporation, the opportunity was given the Division
of Numismatics to test a new and promising method
of protecting silver coins against corrosion. The prod-
uct tested is a low-viscosity solution containing 7.5
percent silicone solids in a solvent system formulated
primarily for spray application.”* The results were
satisfactory mainly for protecting bright, brilliant
objects. Matt surfaces, especially of bronze medals
and coins, should not be coated using this or any
other product currently available because of the re-
sulting “wet” appearance. The coating obtained was
absolutely clear and no more than approximately 0.05
mils thick. The protective film may be readily re-
moved with acetone, butyl Cellosolve, methylene
chloride, or other similar solvents.

Fig. 51.—Unigue Gorp Incor for 9.43 dollars
issued by Moffat & Co. in San Francisco.

Potassium cyanide is frequently used for removing
tarnish from silver coins, but it is dangerous and
not recommended. A method used to clean daguer-
reotypes was tried on coins and found to be satis-
factory. This cleaning solution consists of Thiourea
(70 grams), phosphoric acid (85 percent, 80 cc),

14 USNM Report, 1962, p. 56.

30 BULLETIN

229: CONTRIBUTIONS FROM

THE

non-ionic wetting agent (Photoflo, 2 cc), and distilled
water (enough to make | liter). After cleaning, the
coins must be carefully rinsed in running water,
followed by a mild soap solution, then rinsed again
and finally washed in distilled water.!°

The ion-exchange process has been used on a large
number of communion tokens made of lead that were
encrusted with carbonate. ““Rexyn RG 50 (H)” of the
Fisher Scientific Company was first used experi-
mentally by the Division of Numismatics in 1960.
After treatment the tokens were given a protective
coating of wax.

6 & yp

the
rane a,

Fig. 52.—Five- anp 10-DoLLaR PIECEs issued by
the Cincinnati Mining and Trading Co., 1849.

Ultrasonic cleaning was used successfully to clean
several steel punches. It was found that any loose
material was slowly knocked away by cavitation until
only the base metal remained. Caution must be ex-
ercised, however, against indiscriminate use of this
method for cleaning coins and medals made of
bronze or other such metals for it could damage the
objects.

An electrolytic apparatus was installed in 1958 for
cleaning tarnished and corroded coins. In the elec-
trolytic cleaning process, by the action of the electric
current, the corrosion process is reversed and the
metal is redeposited while the intruding ions are
displaced into the bath.

5 Cuartes Van Ravenswaay, “An Improved Method for
the Restoration of Daguerreotypes,”? Image (1956), vol. 5, no. 7,
p- 158. This method had been developed at the Missouri
Historical Society and was adopted at the George Eastman
House where we learned about its practical application.

MUSEUM OF HISTORY AND TECHNOLOGY

For storing paper currencies rigid controls were in-
troduced in the use of various holders commercially
available. Unfortunately, it was found that some of
the acetate and di-acetate films used for their manu-
facture were not sufficiently stable and were harmful
to paper. Invaluable help in this preservation project
was received from Dr. H. A. Pace of the Research
Division of the Goodyear Tire and Rubber Company,
Akron, Ohio, and from the Film Department of E. I.
du Pont de Nemours & Co., Wilmington, Delaware.

Through the cooperation of Dr. Pace it was also
possible to conduct fade-ometer tests of currency
samples partially covered with quarter-inch Plexiglas

filters and aluminum-foil masks. An exposure of 132
hours was used, and dyes were considered fadeproof if
no perceptible change occurred after 100 hours of
exposure. The tests proved that, in addition to light
filters, controlled ambient conditions are necessary
to assure maximtm protection for paper currencies
on display. It appears that success has been achieved
in protecting paper documents of value and ribbons
of decorations from the harmfal effects of light and
conditions by eliminating sulphur

other ambient

dioxide from the atmosphere,'’’ and through im-

pregnation with phenantrenone.’”’

TECHNICAL EXAMINATION OF MATERIALS
(NONDESTRUCTIVE ANALYSIS)

The Smithsonian is frequently faced with the
problem of determining the specific composition of
coins and medals. One of many methods used in
this research is electro-spectrographic analysis, but
electric sparks may damage the surface of a coin.
X-ray spectrography, however, is harmless to the
specimen. This method permits examination of the
coin, giving the composition of a thin surface layer
only. It has the advantage that it can be done in
10 to 20 minutes with an accuracy of a few tenths of
a percent.’

The method is of distinct practical use. A half eagle
struck in 1849 at San Francisco by Nerris, Grieg,
and Norris had been condemned by several experts as
a counterfeit because of its unusual “rippled” surface.
When submitted to the Division for examination,
certain details were noticed which indicated that the
coin was authentic and that a more thorough inves-
tigation was warranted. Through the cooperation of
the RCA laboratories the composition of this piece
was tested and compared with that of other similar
coins preserved in the United States Mint collection
since 1850. The results obtained with fluorescent

06 Hans Korte, “The Durability of Paper, Al/gemeime Papicr-
Rundschau (1956), no. 12, pp. 577-579.

7 John O. Hawthorne and Myron II
protecting material against the effects of light
2,905,570, Sept. 22, 1959.

8 Dr. Bernard DeWitt of Columbia-Southern Corporation,
Barberton, Ohio, analyzed on September 15, 1958, a British
sovereign dated 1957 and a Newfoundland 2-dollar gold piece

Wilt, Method of
U.S. Patent

PAPER 311:

analysis equipment showed that in addition to gold;
both silver and tin were present in Considerable
quantities in all specimens tested, and there were
traces of iron as well. The presence of tin in all
specimens tested diagnostic and
proved that all pieces examined were minted from an

was, of course,

alloy of identical origin.

Fig. 53.—Five-DoLLar Gop Piece issued by the
Massachusetts and California Co., 1849.

Once the special composition of the alloy becomes
widely known, counterfeiters may, of course, take
advantage of this knowledge, and other non-destructive
tests may have to be devised from time to time.
Arrangements are being made, for example, for

dated 1881 by using the smooth surface of a United States
cagle of 1897 as a presumed standard of 90°, gold and 10°,
copper. The X-ray analysis was made with a Phillips electronics
X-ray spectrograph. The sovereign was shown to contain 91.5,
vold and 8.7¢; copper, while the 2-dollar piece was shown to
contain 91.7°; gold and 8.3¢, copper. All specimens were
made available for testing by Dr. Kenneth C. Eberly, of \kron,
Ohio

HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 31

neutron-activation tests. [hese involve the irradiation
of coins to be analyzed in a neutron pile. The gamma-
radiation resulting from the neutron bombardment
is characteristic in wavelength and half-life according
to the content of the specimen. The radiation must be
sorted out and measured carefully in order to ascertain
the composition of the object.

Experiments were conducted in February 1960
concerning the application of the principle of X-ray
diffraction as a nondestructive means for determining
techniques used in the manufacture of coins and

Fig. 54.—Tren-Do_Lar GoLp Piece issued about
1849 by J. S. Orsmby & Co. in Sacramento,
California.

medals. Deceptive centrifugal casts may be readily
ascertained and eliminated through this method.
This was demonstrated in tests conducted in coopera-
tion with the United States Secret Service and the
Bureau of Standards. X-ray-back-reflection patterns
of two United States I-dollar gold pieces showed
definite differences as can be seen from the juxtaposed
photographs (fig. 140). The rings on the right are
much narrower and less spotty than those on the left.
They correspond to a struck, genuine piece on the
right and a cast, counterfeit one on the left.’ These
experiments are based on the fact that the structure
in this type cast metal is crystalline with extremely
small crystallites due to the rapid cooling, while the
processes in the manufacture of a struck piece induce
distortions in the crystalline lattice. These differences
of the structure of the metal result in different X-ray-
back-reflection patterns.

In 1964 tests were conducted by the Division of
the Bureau of
Standards to determine metallurgical details in con-

Numismatics in cooperation with

nection with a platinum 50-cent piece dated 1814,
a Russian 3-ruble piece, and two 5-dollar gold pieces
issued in 1849 by the Massachusetts and California
Gold Company. X-ray radiographic and diffraction
techniques were used, and the experiments were

19 USNM Report, 1960, p. 49.
32 BULLETIN 229: CONTRIBUTIONS FROM

Fig. 55.—Five- anp 10-DoLLAr GoLp PIECES
issued in 1849 by the Pacific Co. in San
Francisco.

continued in the spectrochemical analysis section of
the Bureau of Standards.'””

Through the cooperation of the Naval Research
Laboratory, it was possible to conduct comparative
analyses of an ancient silver quarter shekel, struck
during the first year (A.D. 66/67) of the Jewish
war against the Romans, and of a silver shekel struck
during the third year of the same war. The compo-
sition of the quarter shekel was found to be silver, with
2 to 3 percent copper and approximately | percent
arsenic, according to X-ray fluorescence analysis.

Fig. 56.—TeEn-DoLiar Gorp Piece issued in 1861
by J. J. Conway and Co., Colorado.

The shekel was made instead of practically pure silver,
with only | percent copper and no other elements
were present. The interpretation of the X-ray diffrac-
tion patterns allows some conclusions concerning the
manufacture of the pieces, the quarter shekel was
apparently worked cold, while the shekel planchet
was subject to a long annealing process with very
little, if any, cold work. '! Such analyses are im-

0) USNM Report, 1964, p. 66.
11 Tbid., pp. 66-67.

THE MUSEUM OF HISTORY AND TECHNOLOGY

portant for a better knowledge of ancient metallurgical
and striking techniques, and they are being continued
and expanded in our research laboratory. ''”

A systematic study was started in 1965 in coopera-
tion with Mr. Maurice Salmon of the Smithsonian’s
Conservation Research Laboratory on the use of
X-ray diffraction methods in the identification of
various kinds of metal working. Thus it was possible
to distinguish between nickel coins struck on plan-
chets cut from rolled metal and coins struck on plan-
chets produced through powder metallurgy.

In another instance two ancient Greek silver staters
from Aegina, supposedly struck in the 6th century
B.C., were examined and proved to be modern
counterfeits. Subjected to X-ray-diffraction examina-
tion one coin showed a general uniformity of metal
structure which led to the conclusion that it was Cast.
It was even possible to ascertain that the metal was
chilled rapidly, being cast in a rather cold mold. The
X-ray-diffraction patterns obtained from the second
coin also indicated casting, but using an unevenly
heated mold, which let one side of the coin cool more
slowly than the other.

NEW HORIZONS

The future development of the national numis-
matic collections will continue along lines stemming
from a fundamental recognition that our foremost
duty is the search into the history of all forms of
money, attempting to explain their origin, their evo-
lution, their extrinsic appearance as well as their
intrinsic qualities, their relations to economics, to
social and cultural history, as well as to the history of
art. Parallel with this is the search into the various
aspects and developments of medallic art.

Fig. 57.—PATTERN SttveR Ruste of Tsar Alex-
ander I of Russia, 1807.

We expect numismatics truly to broaden its scope
more and more from a science which virtually re-
stricted itself to metallic forms of currency or coins to
a science concerned with the meaning and_back-
ground of all forms of money, including primitive
media of exchange, money substitutes, and docu-
ments of value.

A continuous reappraisal of the scope of numis-
matics will be essential. In order to be able to design

N2V. Cratn-STEFANELLI, “An Application of Physics in
Ancient Numismatics,” American Journal of Archacology (1966),
vol. 70, no. 2, p. 185.

and project plans for the futur? we should consider,
for instance, that at this time, in 1966, the amount of
metallic currency in circulation in the United States
does not exceed 3% billion dollars compared with
41 billion dollars in paper currency. These amounts
are, in turn, dwarfed by the sums of money trans-
ferred in 1965 by the intermediary of checks. The
Federal Reserve banks alone handled in that year
492 million Government checks for nearly 135 billion
dollars. They also handled 4 billion 601 million other
checks amounting to about | trillion 631 billion dol-
lars. A multiple of this amount was transferred during
the same period by other banks. This gives us a better
perspective of the relatively limited role of hard
currency in modern money transactions. The ever
increasing use of checking accounts will lead to

GoLpD

Fig. 58.—Hatr-OuncE AND 2-OUNCE
Tokens issued in 1853 by the ‘Kangaroo
Office” in Victoria, Australia. Only two othe
specimens are known to exist.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 53

272-041 O—68 3

automation in banking, a necessary development in
our modern credit-based economy. It is our mission
to follow these developments and to preserve historical
records typifying this evolution while it is in progress
and while documentary material is relatively easy to
obtain. What might be obvious to us today should be
documented for the enlightenment of future genera-

tions.

Fig. 59.—Onza Srruck in 1836 at the La Rioja
Mint in Argentina.

The continuous, it should be repeated, reappraisal
of the scope of numismatics and the recognition of its
ever developing duties should not be swayed by tra-
ditional concepts like the prevailing metallistic ap-
proach. Also, in our quest for history there is little if
any place for the curious, the unusual as_ such.
Emphasis must be placed instead on the historically
significant aspects.

We expect that the growth rate of the collections
will remain high, at least for some years, in contrast
with the slow rate of growth of up to ten years ago.
For comparative purposes we will mention the United
States Mint collection which increased in 85 years—
838 to 1923—to around 18,000 specimens, or
by a yearly average of 212 items. The United States
National Museum collection showed an increase of
595 pieces each year during the period from 1881 to
1923. The national numismatic collections continued
to grow from 1924 through 1956 at a yearly average
of 531 items. In fact, during the latter period 17,000
items were added to the collections. In the past ten
years instead the average yearly rate of growth in-
creased to approximately 20,000 objects, the number
of items added varying, of course, greatly from year
to year.

It will be necessary to assemble and preserve the
that enable us to
study and better comprehend the development of

from

pertinent documentation will
money and of media of payment in their broad
historic and economic context. True comprehension
of these phenomena is possible only based on primary
‘numismatic’? source material. Modern instances of
regression to more “primitive”? forms of monetary
exchanges in times of need or economical stress
provide case studies of enormous practical meaning.
Thus it will be necessary to assemble documentary
material to foster the study of monetary history in

all its complexities. This difficult task might be aided

60.—SeEtT oF GoLp 2-, 5-,

Fig

10-, and 20-peso Peruvian coins struck at Philadelphia in

1855 for the Lima Mint as samples from American minting machinery purchased by Peru.

34 BULLETIN

22915

CONTRIBUTIONS FROM

THE MUSEUM OF HISTORY AND TECHNOLOGY

|
|
|

Fig. 61.—San Francisco Committee of Vigilance
gold medal, 1856.

by the establishment of an American Institute of
Numismatics.

Considering the ever broadening scope of the
collections and the activities of the Division of
Numismatics, it will be necessary to give recognition
to the various areas of knowledge by establishing
specialized sections. It also will be necessary to con-
sider the introduction of new methods of electronic
data processing and information retrieval.

The exhibits will be expanded within the near
future to include displays illustrating a history of
banking and other historical topics. To show particu-
larly extensive and space consuming displays like
paper currencies and documents of value as well as
large series of coins, it will be necessary to expand the
use of semi-automatic multiple tray exhibit cases.
It appears desirable to develop special exhibit units
featuring electronic selector devices in combination
with storage units containing several display panels
from which the visitor may select the one of particular
interest to him. This should further increase visitor
participation.

Research into the application of scientific methods
of investigation, particularly physics, to numismatics
will be intensified and developed even further. The
application of optical interferometry in surface
examination is an example of recent work done in
this field in our Division. Perfecting methods of trace
analysis and mass-spectrography may be used in
metal dating; isotope ratios may give indications for
the provenience of metals used in coinage. These
cxamples are mentioned to show some of the new
horizons in this area of research which we plan to
pursue with the cooperation of the National Museum’s
Research Laboratory.

Last but not least, we believe that metal analysis
should become a prerequisite and a routine require-

ment in descriptive works. Indeed, the correct
composition of metallic objects must be established
for cataloging purposes. It is not sufficient to give a
description and to indicate with varying degrees o!

accuracy the relative position of die axes, or to record

RCRE RE ET) hee

we A\! bFy im
Son GAT
(Soy —“ ne Se ad a
- ts | . . a - i "

RPHILOSOPHEL:
STSPAT ESIAATS

PLOIMAT ”
Se

I
NDI

Fig. 62.—Bronze Castinc from first study for
Franklin medal made by A. Saint-Gaudens in
1906.

the individual weights; as we must proceed further
in many series to comparative die studies, we also
must consider of equal significance a better and exact
knowledge of the composition of the matter studied.

In summary, the advancement of the Division of
Numismatics must be linked to the following basic
quests: The development of authoritative collections,
the arrangement of educationally meaningful exhibits,
and the training of specialists, thus fulfilling the
mission of a modern museum.

All these activities will be given true significance and
a measure of permanent value only through an ade-
quate and parallel publication program. New horizons
dawned in this field with the series of publications re-
leased since 1965. Further activities along similar lines
will help us expand all our programs and will help
give the numismatic activities at the Smithsonian
Institution the recognition they deserve.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 35

Fig. 63.—PLAQuETTE of Collis P. Huntington by
Victor D. Brenner.

Fig. 65.—UNIQUE STRIKING Fig. 64.—Cast-BronzeE PLaguetTe of President
in silver of Navy Medal Theodore Roosevelt by Victor D. Brenner, 1908.
of Honor. Designed by

Anthony C, Paquet.

Fig. 66.—Bance of the Society of the Cincinnati.
‘This specimen can be traced back to 1862.

Fig. 67.—STEEL Ptate for the printing of Confederate 50-dollar
and 100-dollar notes, 1861. ‘Three quarters actual size.

Fig. 69.—Stuart Mosuer (1904-1956), acting
curator of the Division of Numismatics,
1948-1956

Fig. 68.—Morirz Wormser (1878-1940) medal.

Fig. 71.—Gorp 50-ZeccHIni PrEceE struck in the
name of the Doge of Venice, Paolo Renier
(1779-1789). Obverse.

Fig. 74.—MeEpaALLic SILVER Piece struck in the
name of Johann Friedrich of Brunswick, New
Liineburg, 1677.

Fig. 73.—Gorp 3-RusLe Piece of Tsar
Alexander III of Russia, 1882. One of six

pieces struck

Fig. 77.—GutpE FoR Press SHAFT with name

plate of E. Stabler, Harewood, Maryland.

Fig. 72.—Gorp 25-Ducat Piece struck in the
name of Michael Apafi of Transylvania, 1681.

Fig. 71.—Reverse.

Fig. 75.—ApmiIRAL VERNON MEDAL in_ brass,
commemorating his capture of Porto Bello on
November 22, 1739.

Fig. 76.—Epwarp STABLER’Ss seal press.

Fig. 79.—DesIcN For A SILVER DOLLAR by C.
Gobrecht after Thomas Sully’s ‘‘Seated Liberty,”
drawn on mica to facilitate transfer to a brass
study die.

Fig. 78.—Die Triav in Leap of Christian |
Gobrecht’s Liberty bust for half dollar, 1836.

Fig. 80.—Casr Bronze Mopet by C. Gobrecht, after a design
by Franklin Peale.

Fig. 82.—Bronze TRIAL from hub.

Fig. 81—MecuanicaL RepuctTion from cast
bronze model to actual size used on pattern

half dollar, 1838.

Fig. 83.—Ink Drawinc by C. Gobrecht used, with
slight variations, on the reverse of the pattern
half dollar, 1838. It follows closely an original
sketch by Franklin Peale.

Fig. 84.—Pencit Drawinc by George T. Morgan
for a proposed 100-dollar gold piece, 1876.

Fig. 85.—OrictnaL Dies made by Robert Lovett in Philadelphia for the striking of Confederate cent, 1861.

Fig. 86.—ExPERIMENTAL Dousite Eacvte, 1907, originally
owned by President Theodore Roosevelt.

4
“ +]
te

oS TGs ee 2
Ke v1 ae VLA
pe @ slinias aS Eh e BS ee
=e -91 03 ‘wwsil ods, fe or
Arrive y Wok ovis2 4
Wa Mio cevnllo Vail -. RA | CO

Sti Joor9ls s\SP old x
4-98 Wo NG 10 YS Key

De S)O\s.125 OF © ities ae’ a, Ay)
p-99 ved bothig Now oe :

, : GL Sia Sen Aan ee, are 1S”
x remann08 IX

SUL eh oie)

M02

S 28 BOW
Uy

a
~~

Fig. 87.—Copprer Pate of September 26, 1778, used by the
British to counterfeit 40-dollar Continental currency notes.

Fig. 88.—ALAsKAN 25-Kopeck sealskin note, issued by the Russian-American
Company (ca. 1826).

s!TIONNY eR Hovey

; f ° Pe "a : : : *
Cn Memand S formu te fa be Fhe Love. Cn os oS C anire
2 7 4 . é AD : 3 7
Yip 4 Geile COV0n neler ecient ab the Loanks tn MS tt? of Cr
. genre t o
ie Yfvnled C7 DIM amountirie he Mie EG pa

aloes Oe LLG

= a a SS

Fig. 89.—Scrip ror 6); Cents (‘4 bit) issued in Washington, D.C., by Gadsby’s
National Hotel, July 18, 1837.

CHOGF

Ma sbi tittl Mer Witt st

“His.

+/)

ttle Will Ly

“ij

“a

YUMMY

\ Lato
Cf MITA

Wil /
YLINtH:

VII
Ne

ATED

a. ON

“/
YU: Ue N10p /
teliih dd WME th WIS. LW NM EF SUM

oe . yf S As
Vl forrmitpitlt)i Lipa MOP WIET?A: PIP) WISVOWMEL” ¥

V1
a

Aesstnl PRAY.

Fig. 90.—Sus-Treasury INTEREST-BEARING certificate of deposit for 10,000 dollars payable through
the Cincinnati Clearing House, Issued under the Act of February 25, 1862. ‘Three quarters actual size.

Mave Stn SLipesitd with a

‘he Assos rat epi ee

“ONES SUAS

r sae E és }
(po , A me , . 10, bi lhe Hiller |

CANCELED

Fig. 9].—Unirep States 100-dollar gold certificate, 1877. About *4 actual size

Fig. 92.—SpECIMEN PRINTING of United States 100,000-dollar gold certificate, 1934 series.
About %4 actual size.

++ BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 94.—Sitver SHELL of George Washington
medal, attributed to Conrad H. Kiichler and
supposedly prepared for Peace medal.

PAPER 31):

Fig. 95.—Wuite Meta SHELL of James Madison
medal by Moritz First.

HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

AVR THe 50T?

asyrvEusssy *

Fig. 97.—Sitver Mepat, 1826, by C. Gobrecht, commemo-

Fig. 96.—TriaL Impression in white metal i :
rating Charles Carroll of Carrollton, a signer of the

of John Adams Indian Peace medal. :
Declaration of Independence.

Fig. 99.—Sinver STATER struck by Celtic tribe in
the Danube region, ca. 2nd century B.C.

Fig. 98.—SILVER DRACHMA struck in Athens, 5th
century B.C. Twice actual size.

Fig. 101.—Bronze Corn struck at Amphipolis,
Macedon, in the name of Geta as Caesar (A.D.
198-209).

Fig. 100.—Go.ip 4 Starter struck by Celtic tribe
Ist century B.C. or later in imitation of post-
humous stater of Lysimachus of Thrace.

Fig. 102.—BronzeE Corn struck in Macedon
during the reign of Emperor Gordian III Fie. 103.—Bronze MEDALLION struck in the name
238-294- ae Sas; pemeeey s mae
(A.D. 238-244). of Emperor Philip I (A.D. 244-249), showing
view of the city of Bizya, Thrace.

46 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 105.—Bronzr Foiiaro struck at Salerno,
Italy, during the 10th century.

Fig. 104.—Bronze ConrorniaTe struck about A.D.
356-399 showing head of Emperor Trajan and
view of circus maximus; monogram in silver

inlay.

Fig. 107.—Necessiry Sitver TALER struck in the

Fig. 106.—German Bracteate struck by Count name of Sigismund II Augustus of Poland in

Burkhard IT of Falkenstein (1147-1174). 1564, during the war with Livonia.

Fig. 108.—Necessiry QuARTER GULDEN stamped
on cardboard during the Spanish siege of Fig. 109.—Strver Harr Porrina of Peter the

Leyden in 1574. Great, 1701.

Fig. 110.—Sitver Ruste of Peter the Great, 1710.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 47

Fig. 111.—Copper Tria, Kopeck of
Peter the Great, 1721.

Fig. 112.—Sttver Douste Rusve of Peter the
Great, 1722.

Fig. 115.—Copprer PotusuKa of
Peter IT, 1/27.

Fig. 116.—TriaL Kopeck in copper
of Peter II (1727-1730).

NIP.
Lili), 44

Fig. 114.—Souare Copper Harr Portina of
Catherine I, 1726.

Fig. 118.—Copper Patrern for 5-
kopeck piece struck in 1771 by
Catherine II, during the occupation of
Moldavia and Wallachia.

48 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

: EE -
eee

Fig. 119.—Firty-cent Prece of Canada, 1921.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 49
272-041 O—68——4

Chae bf |
aes ¢ ae a 4

‘4 amevodexhitnd Yala otha
TRL denne Credityt-Fe aehele Tanehafwande haf

™& wer { Slockholms Banco {ub N:° » at fora Tiugu Fam
Daler Sslfiwer Wiynt/ ohet warder af of Banco Dire@or, Commiflarier, *
Boofhdllare od Caifeurer hrvar for fish och medh Dheh eqne Handere Dn’
_ derfiriffe och Signeter artefterat; Sdfom och etl pétermehre wifo medh dhe |

Ee sae Hise seRERCREIS et he sensei
A
8
asx
38

Oher ttl fSrordnade feoree och mindve BancaSigiller verificerat, Datum Stock-
holms Banco An, 166G Den v' |

Dal, 25, Silf. SMynt, he ep 3
ores : nth ture! Lh

ie by —
SAN Warn pee

Fig. 120.—Swepisu Certificate of credit for 25 dalers in silver, 1666, issued by the Stockholm
Bank. One of the earliest bank notes issued in the Western world. Slightly reduced.

Fig. 122.—A 500-Prasrre Nore issued by General Gordon in Khartoum, Sudan, 1884.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

cys: oo
MG il! £2 NS }
~ Sg

pLOnsroese Gt Po fer.
Os are )
ee ee

i: ARTIGL. “Eni
| IN OSORPO

Fig. 123.—Gotp MepAL commemorating coronation of
Frederick I of Sweden, May 3, 1720. Engraved by J. K.
Hedlinger.

Fig. 124.—Sirver Mepat commemorating the capture of Noteborg, 1702, by Peter the Great of Russia.

Fig. 125.—Sitver Mepat of Alexander I of
Russia, commemorating the construction
of the Stock Exchange in St. Petersburg,
1805. Engraved by F. Leberecht.

Fig. 126.—‘*THe Pui_osopHer,” reverse of Rembrandt medal in cast

bronze by French medallist Raymond Joly.

Fig. 127.—Osverse Die used for marriage medal of
Mary, Queen of Scotland and Lord Darnley, 1565.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

. ax" +
savy) STARE:
TA Ns’

Fig. 128.—GeENeERAL View of the northwest court in the Arts and Industries Building, about 1915.

Sa)
Oo

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

Fig. 129.—View or Numismatic Exuisits in the west-north hall of the Arts and Industries Building, 1924.

54 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 130.—View or Numismatic Exuteits in the northwest range of the Arts and Industries Building, 1932.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIG COLLECTIONS 5

Fig. 131.—Numismatic Exursits in the Arts and Industries Building, 1957.

56 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 132.—Mopernizep NumisMAtic Exnisits, Arts and Industries Building, 196]

seh Ceete
sete

eeee

Fig. 133.—First Section of history of money exhibit.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS Bi/

, Gharlemagne 4

nuies were getatly deplored
and rhe use of Barner
snwed sparnghy
AD. 751 brought 3

The penny shilling
England today, was cab
nay, soring as the basis

i)
®

t
\
f Pi rance ee
}
German
J _talr

iS candinavia

Fmohemia

at 2 ~-s>

Fig. 134.—Exuisit ILLusrratinG the penny as the dominant coin of the Western world in the Middle Ages.

58 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

PERIOD of coonoMiK EXPANHOER aw Fhe €

TOONAD CHRKES GAL TINDER

TREASURY NOTES ENT PEO

Fig. 135.—Panex ILLusrratinc the period of economic expansion in the United States during the late 19th century.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATICG COLLECTIONS

THE REFORMATION

he ld Lo z aS
Luther and the Reformation 6 Wiel!
‘ {i

Fig. 138.—Sremi-AuTOMATIC DispLay CAsE
housing the Moritz Wormser collection of
20th-century coins of the world.

Fig. 139.—Havi or Monetary Hisrory anp Mepatuic Art in the Museum of History and Technology, 1965.

Fig. 140.—X-Ray-Back-REFLECTION patterns of
two gold coins, serving to distinguish between
a genuine struck coin (left) and a counterfeit
cast piece (right).

Fig. 137.—Reconsrruction of Leonardo da

Vinci's coin stamper

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 6!

APPENDIX I

Smithson’s Gold Sovereigns

From the very beginning of minting operations in
the United States, choice specimens were sought for
the Mint Collection. William E. Du Bois in his
Pledges of History. A Brief Account of the Collection of
Coins Belonging to the Mint of the United States, More
Particularly of the Antique Specimens (Philadelphia, 1846)
states that from the early days of the Mint, Adam
Eckfeldt (fig. 12) used to select ‘“‘and to retain some
of the finest foreign specimens, as they appeared in
deposit for recoinage.” This had become an estab-
lished procedure by June 1838 when the Mint
cabinet was officially opened, just a few months before
the huge Smithson gold deposit was received. The
eagerness of the Mint assayers, William E. Du Bois
(fig. 13) and Jacob R. Eckfeldt, to complete the Mint
collections is well recorded. In his Pledges of History
in 1846 and, again, in a second edition in 1851, Du
Bois mentions that after the collection took a per-
manent form in June 1838, it “*has gone on in a con-
tinual augmentation . . . specimens of new coinage,
domestic or foreign, must be added as they appear.

“A great majority of the coins—almost all of those
not over three hundred years old—have been culled
from deposits, and consequently have cost us no
more than their bullion value. They are moreover, the
choicest of their kind... .”

Data concerning coins which might have been
represented in the Mint collection in that early
period of its existence may be excerpted, with caution
and some qualifications, from Eckfeldt and Du Bois’
A Manual of Gold and Silver Coins of All Nations Struck
Within the Past Century (Philadelphia, 1842). A medal-
ruling machine invented by Christian Gobrecht and
perfected by Joseph Saxton was used in making the
illustrations in this Manual. The method required the
preparation of galvanic copies from actual coins,
and we must assume that they used only examples of
coins easily accessible to them, and drew largely,
therefore, on the Mint collection.

Among the English coins illustrated on plate VI of

the Manual and described on pages 192 and 193 are
found sovereigns of George III dated 1817 (illus. 5),
William IV dated 1831 (illus. 7), and one dated
1838 of Queen Victoria (illus. 14). These, of course,
may not be considered as a listing of all sovereigns
represented at the time on the trays of the Mint

62 BULLETIN 229:

collection, but rather as a selection considered to be
within the scope of the Manual.

Some years later, a catalogue listing all coins in the
Mint cabinet was prepared under the direction of
James Ross Snowden, director of the Mint. Entitled
A Description of Ancient and Modern Coins, in the Cabinet
Collection at the Mint of the United States, it was published
in 1860 in Philadelphia. English coins from the period
of the Smithson bequest may be found listed on pages
193-199. From this listing we learn that the collection
contained sovereigns dated 1817,1!% 18184 1823,
1826," 1831, and 1838.!!° Sovereigns were first issued
in 1817 in the name of George III and continued to be
struck in his name up to the end of his reign in 1820.
Under George IV (1820-1830) there were two issues
showing distinctly different designs. William IV
(1830-1837) sovereigns were struck with dates from
1831 to 1837, while 1838 is the first year of sovereigns
issued in the name of Queen Victoria (1837-1901).
One might assume that sovereigns similar to any of
these, bearing various dates from 1817-1838, would
have been included in the Smithson deposit of
104,960 pieces; this, however, does not seem to have
been the case.

The 1826 sovereign and the 1831 sovereign of
William IV are not of a regular issue coined for
circulation, but rather specimen strikings or proofs.
Both pieces are preserved in the national numis-
matic collections at the Smithsonian. Obviously,
these two pieces could not have been selected from
deposits, but came directly from the London Mint
and were among the ‘‘sample coins” which Franklin
Peale was ‘‘obliged to purchase’ and which he sent
in 1833 to Samuel Moore, then director of the United
States Mint, together with a few others presented to
him by Mr. Morrison, the deputy master of the Royal
Mint."

There are,- however, two sovereigns struck in the
name of Queen Victoria, both dated 1838, and these
are listed in Snowden’s catalogue on pages 197ff.
under numbers 183 and 184. One of the sovereigns

13 SNOWDEN, Description, p. 193, no. 124. A die break on the
reverse side identifies this piece with the one illustrated on plate
VI, 5 in the “Manual” and with the one now in the national
collections.

"4 Tbid., no. 125.

"5 Tbid., p. 195, nos. 149-150. The 1823 sovereign is not
listed in the second (1913) and third (1914) editions of the U.S.
Mint catalogue, neither can it be located in the collection.

16 Tbid., p. 197, no. 169.

17 Letter from Franklin Peale to S. Moore, November 20,
1833, National Archives, Records of the United States Mint at
Philadelphia, Franklin Peale Correspondence, No. 1.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

is illustrated on plate XIX, 1.!'* These listings of the
two coins of identical dates are confirmed in later
editions of the Mint catalogue prepared by Thomas
Louis Comparette,'! and, in fact, both of the 1838
sovereigns have been in the Smithsonian since the
transfer of the United States Mint collection to
Washington on May 29, 1923.

Assuming the ‘‘continual augmentation” of the
Mint collection, and with 104,960 gold sovereigns in
the Smithson deposit of 1838 from which to choose, it
seems likely that special circumstances led to the
presence in the Mint collection of two identical coins
of 1838. This strongly suggests that the Smithson
deposit made by agent Rush did not contain sovereigns
from dates other than 1838.'*° Had all dates issued
for the 1817-1838 period been represented it might
be expected that at least some of the later dates would
have been in the Mint collection, but they are not.

Perhaps the simplest and most obvious explanation.

for assuming that the two 1838 sovereigns in the
Smithsonian Mint collection were chosen from the
Smithson deposit is that Richard Rush—a lawyer, a
former Attorney General and Secretary of State, and
the appointed agent of the United States in acquiring
the Smithson bequest—tried to obtain coins of full
weight. Considering the large quantity of sovereigns to
be remelted and recoined, this was a most important
factor. Consequently they had to be in mint condition.
The obvious choice was to acquire coins of the most
recent mintage, 1838, for that date itself would guar-
antee against any possible weight loss through circula-
tion (fig. 2).

APPENDIX II

The Columbian Institute's
Numismatic Collections

In the minutes of its meetings, as well as in other
papers of the Columbian Institute preserved in the
Smithsonian Archives, Miscellaneous 92, we find
records for approximately 60 accessions. ‘The first
donation, of 107 coins, was recorded at the meeting of
December 17, 1825. These were presented by Dr.

118 See also Eckfeldt and Du Bois, op. cit., pl. VI, 8.

"9 Catalogue of Coins, Tokens, and Medals in the Numismatic
Collection of the Mint of the United States at Philadelphia, Pa. (2nd
ed., Washington, 1912, and 3rd ed. 1914), Part II, p. 448, nos.
202-203.

120 A check of the United States Mint records at the National
Archives was inconclusive in this respect.

Tobias Watkins, a member of the Institute. The
second donation, recorded on August 12, 1826, con-
sisted of 110 ancient copper coins collected by officers
of the United States’ squadron in the Mediterranean
in and around Tunis and transmitted on their behalf
by Lieutenant Bell. Finally, in 1833, the Institute re-
ceived from I. H. Causten, Jr., a medal commemo-
rating the reform of the Constitution in Chile.

The Institute had been housed in the United States
Treasury building from 1820 to December 7, 1822,
when it moved to the basement of City Hall. It re-
mained there until the latter part of 1824, when a
Room 44 was assigned for its use in the Capitol
building, under the library. We must assume that this
small numismatic collection of 218 items was kept
with the other objects or ‘‘curiosities”’ in the Institute’s
cabinet.

AppeENDIx III
John Varden’s “Washington Museum”

John Varden, according to his own account, had
been a resident of the District since 1803. His decision
to open a museum was prompted by the fact, as he
noted, referring to the period before 1829, that three
persons had opened and made very great collections
with the help of generous citizens, and then moved
away from Washington, “taking the many rich and
scarce donations with them thus leaving the seat of the
government without so valuable an institution.”

In 1843 Varden became a self-appointed *‘curator”
of the articles sent to the National Institute by the
United States Exploring Expedition (1843-1853).
When these materials were moved to the Smithsonian
in 1858, he moved with them, and continued as an
“arranger.”’ His diary for 1857-1863 is preserved in
the Smithsonian Archives. In January 1865 his health
failed and he died on February 10, at the age of 74
years.}?!

Varden’s records of his museum and its numis-
matic collections are preserved in the Smithsonian
Archives under Miscellaneous 52. In general they are
rather fragmentary and fairly continuous only for
1830. For the months of January through April 1830,

!21 The obituary in The Evening Star of Saturday, February 11,
1865, recounts his museum career while The National Republican
of the same date mentions that he was originally from Baltimore
and that he served under General Jackson at the battle of
New Orleans.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 63

we find 15 donors of numismatic materials listed, the
number of pieces received amounting to 91. A. Mon-
dellic, Jackson Gray, George Allen, C. Bentley, and
J. Dunn are some of the names of donors mentioned.
The latter may be identified with James C. Dunn,
publisher of the American Spectator and Washington City
Chronicle and the National Messenger.

An analysis of all records preserved shows for the
entire period from 1829 to 1841, 23 numismatic
donors. The total number of numismatic objects
indexed amounts to 246 specimens, among which are
4 medals, 24 silver coins, 69 copper coins, 136 coins
or medals not further identified, and 13 Continental
currency notes.

In the Smithsonian Archives there are on file under
Miscellaneous 52 four catalogues of objects in John
Varden’s museum. For reference purposes these cat-
alogues are designated A through D. They were pre-
pared at various times and cover the period from 1829
to 1841 with varying degrees of completeness.

Catalogue A

“JOHN VARDEN’s Museum” is a leatherbound index
measuring 25 x 36.7 x 2.1 cm with entries on the first
28 pages, which are unnumbered. The first entry is
dated October 1829 and the last is in June 1840. The
most extensive entries are for January through April
1830 and most of the numismatic items are found in
this period. There is little information for the years
1831 through most of 1835, since Varden lost his
“small? catalogue at sea on August 11, 1835, as he
notes on the fifth page. All information of numismatic
interest in this volume is listed subsequently. To pre-
serve the “Varden flavor,” his spelling has been left
unchanged. The information has been annotated and
completed with additional information taken from
the other three manuscript catalogues.

64 BULLETIN 229: CONTRIBUTIONS FROM

THE

Catalogue B

“SUNDRIE ARTICLES COLLECTED FOR THE WASH-
INGTON City MuseEuM BEGINNING THE 20TH OF OcTO-
BER 1837.”

This is a small leatherbound copybook with 44 un-
numbered pages, measuring 15.4 x 22.3 cm. There
are various numismatic entries and notes on pages |
through 32, and 43 and 44. The entries on pages 2
through 27 covering the period from October 20,
1837, through May 1840, were canceled as though
they had been transcribed into a permanent index.

Catalogue C

“JoHN VARDEN’s MuseEuM WASHINGTON City D.
oF C.”

This manuscript, measuring 20 x 31.8 cm, consists
of eight double sheets, one of them serving as cover
and title page. The first seven sheets are consecutively
numbered with entries on only one side and contain
a carefully written, frequently condensed version of
his “‘accessions’’ for the period from October 1829
through July 1836. Values of the coins and medals
listed are indicated in this inventory. Small pieces
are valued at 644 cents each, larger ones at 12%
cents or one bit, a medal at 50 cents.

Catalogue D

“WASHINGTON MuseuM, JOHN VARDEN PROPRIETOR”
This index gives a list of objects “‘as they were at the
time a Committee from the National Institution
examined them on exhibition . . .”” in January 1840.
The manuscript measures 25 x 36.7 cm and con-
sists of three unnumbered and 29 consecutively num-
bered pages with entries through page 20. It was
prepared about 1855 since it mentions on page | that
the objects had been in use for some 13 or 14 years.

MUSEUM OF HISTORY AND TECHNOLOGY

PAPER 31;
272-041 O—68

Joun Varpen’s Museum: A List of Numismatic Items

Page No.
2 1830, January
5 Peices of Old Copper coin Antonious Mondellie
2 Silver Coin of perrue
| Copper Coin Jackson Gray
2 Silver Coin A Mondellie
1 Canadian shilling Nemiah Lewis
2 Silver Coin of South America
4 Peices of Copper Coin of England Georg Allen
1 Do of Silver Do Do
1 Silver Coin of South America os
3 A Silver Cin of England 6 Pence made Marlhey An Honewell
in 1567
February
A Silver Coin
9 Peices of Coin Amy Patterson
John Smith
Marythey Ann Honewell
1 Peice of Coin William Harison
2 Do of Do
1 Medal by . Jackson Gray
3 Peices of Coin
| Silver Coin
March
1 Silver Coin of England A. Mondellie
| Silver Coin Mr Clark
1 Silver Coin of the East Indies er
1 Copper Coin !; penney Mr Clark
1 Coin of France
4 22 Four Copper Coin Bardarah Leighay
26 Thirty five Copper Coin Henry Banaster
HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 65

-5

Page No
28
33
34
35
5
56
LES
10 2
21
11 42
12 71
Ns}
94
18
25
26
66 BULLETIN

April
A Silver Coin of Brisiels
One East Indien coin clled the tash
A Copper Meddal of General Washington
A Farthing token
A Copper coin of Porlagale
Four Silver Coin
One Columbian Dollar

Several Silver and Copper Coin

October
One of the smalles peices of Silver
Coin
1836, June & July
110 Pieces of Coin
June, 4th
A Copper Meddal of the Second Presidency
of George Washington in the year 1796
June, 27th
6 Peices of Coin
July, 6th
110 Pieces of Coin and Meddals
Three Copper Coin

September
Loand—A fine Meddal of Horatio Gates

1838, September
Three Pieces of Old Coin

1839, October
3 Copper Coins or Meddals

1 Impression of the first Doller coined in the
United States

November

13 Pieces Contenental Money Paid to the
Officers of the U. States armey

George Stevenson
James Dunn
I W Blair

James S. Rowe

Mrs. Sarah M Cafferty

Mrs. Rosina Rowe

Caleb Bentley

pt by Wm Durr

pt by N M Ludlowe

Caleb Bentley
C Bentley

to Loand and to be
Returned if called for
by Caleb Bentley

Joseph Ledger

by Col. J. H. Hook

|The following excerpts are from Ms. B]

229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Page No.

Sl 1841, February

11 [?] pieces of copper coin pt. by Lieutenant

[blank]
32

March

A silver coin of [blank] pt. by Mr. Fisher.

APPENDIx IV
The National Institute
A. Numismatic Collections, 1841-1846

Four “Bulletins of the National Institute,’ 1841—

1846, published in Washington contain records of

donations of numismatic material received from about
70 different donors during that period.'**

Arranged by categories, insofar as is possible, the
Institute’s collection consisted of: 70 United States
coins; 160 or more ancient Greek
pieces;!*° 1,810 medieval and modern bronze and
silver coins; 6 modern gold coins: | Russian platinum
coin; 580 or more paper currencies, most of them
American Colonial and Continental issues; and 200

and Roman

medals, of these about 54 United States pieces.
These figures must be regarded only as estimates

122

Howarp L. ApELson, The American Numismatic Society
1858-1958 (New York, 1958), p. 5, points out that “‘It is question-
able whether there were actually three hundred numismatic
collectors to be found in the United States in the yeac 1850.”
He draws this conclusion from a letter by Edward Cogan to the
editor printed under the title “Concerning the Coin Trade in
America” in the American Journal of Numismatics (New York,
March 1867), vol. 1, pp. 86f. Actually Cogan indicates (p. 87)
that “it may be fairly questioned, whether, at this time there
could have been one hundred persons named, that were Coin
Collectors, in the whole of the United States.” While assuming
that Cogan had in mind only active collectors his statement
may be accepted only with caution and it certainly gains an

entirely different perspective considering the large number of

donors and donations received by the Institute between 1841
and 1846. It should also be considered that a large number of
the donations were coming from a relatively limited geographical
area in the United States.

'23°The number of ancient coins was probably much larger,
possibly close to one thousand pieces. In fact, included among
the modern bronze and silver coins is a “Collection of Coins,
ete. eight hundred and_ fifty-three Copper, thirteen Silver”
mentioned in the Third Bulletin, page 377, under February
10th, 1845, without indicating the name of the donor. This
may well be the ‘collection of ancient coins” shipped by
George Moore, United States Consul at Trieste, by the Camilla
to New York, as he announced to the Institute in a letter
dated June 22, 1844. Cf. Third Bulletin, page 365.

PAPER 3:1; HISTORY OF THE

because the exact number of specimens received is
not given in every entry. Of these donations received
during a period of six years, only 2 percent of the
total was United States coins. They included a
“complete collection of dimes,” '** and a half dollar of
1792,'*° possibly one of the extremely rare Washington
pieces. The cabinet did include, however, a sizable
number of Colonial and Continental notes, among
them 67 Virginia issues.!”"

Worthy of note among the United States medals
represented are 49 national medals sent in 1844 by
Franklin Peale, chief coiner of the Philadelphia
Mint.'*? Of particular interest is the listing attached
by Peale which contains several significant remarks
that in
1844, the presidential series issued by the Department
of Indian Affairs did not include medals of Presidents
Washington, John Adams,
emphasized the fact that the national medals were

confirming a fact known from other sources

and Harrison. Peale
usually struck in silver.

Among the list of donors are the names of many
prominent personalities of that period. The Honorable
and Mrs. Joel Roberts Poinsett, Secretary of War
(1837-1841), one of the founders of the National
Institute and its first president, contributed many
significant coins and medals, among them a Russian
platinum me Paulding of
New York, the popular writer and one-time Secretary
of the Navy (1837-1841), donated among other
pieces 8 ancient Greek and +5 Roman coins.'*"

piece. Governor Kirke

Members of the diplomatic corps and foreign repre-
sentatives also contributed in a large measure to the
increase of the collections. Charles Serruys, chargé
d’affaires of Belgium, for instance, presented several

124 Third Bulletin of the Proceedings of the National Institute for
the Promotion of Science, Washington, D.C. February, 1842, to
February, 1845, p. 347

125 Second Bulletin... March, 1841, to February, 1842, p. 224.

126 Third Bulletin, p. 322.

127 Tbid., p. 355.

128 First Bulletin, p. 43; Second Bulletin, pp. 74, 83.

129 Third Bulletin, p. 340.

NATIONAL NUMISMATIC COLLECTIONS 67

meda's on behalf of his Government.!® The first
donation of numismatic material received for the
cabinet of the National Institute came from the
United States consul at Malaga, G. Read. It consisted
of 24 Roman, Moorish, and Arabic coins.!*!

Charles Rhind, former United States Commissioner
to Turkey, gave a group of Russian coins and medals
as well as several Turkish coins and some ancient
pieces.'** W. B. Hodgson, United States Consul in
Tunis, also contributed a significant group of ancient
mintings.'** Certainly among the most assiduous
donors was John P. Brown, “‘First Dragoman’’ in
Constantinople, who contributed a large number of
Turkish issues.’**

A letter characteristic of the inspired interest of that
period is preserved in an extract in the “‘Proceedings.”’
It was written by Lieutenant Andrew A. Harwood,
USN, from the New York Navy Yard on November
16, 1841, wherein he pointed out that “‘officers,
particularly of the Mediterranean Squadron, may
render very essential service to the Institution, the
interests of which I feel assured they will all take a
pride in advancing.'*°

“By means of that simple apparatus the Electro-
type, perfect fac-similes of the choicest medals, both
ancient and modern, may be collected; '*° and if the
apparatus of Daguerre could be placed on board one
of the ships, perfectly accurate views of the
most interesting sites and monuments of classic
history obtained.” The record shows that Lieuten-
ant Harwood donated in 1841 four electrotyped
medals. 197

The Institute maintained close ties with the Phila-
delphia Mint. Director R. M. Patterson was a cor-
responding member, as was Joseph Saxton, the
ingenious inventor and constructor of the Mint’s pre-
cision scales.

130 Second Bulletin, pp. 122, 127.

8! On December 14, 1840, see First Bulletin, p. 14.

182 Third Bulletin, p. 331.

133 Tbid., pp. 235, 262.

‘34 Tbid., pp. 274, 286; Fourth Bulletin, pp. 486, 493.

185 Second Bulletin, pp. 127f.

'86 Electrotyping was in vogue at that time and frequently
referred to as Professor Jacobi’s process. In fact, it had been
described by Dr. M. H. Jacobi of Dorpat, Russia, in The
London and Edinburgh Philosophical Magazine and Journal of
Science (London, 1839), vol. 15, pp. 161-163 (“On the Method
of Producing Copies of Engraved Copper-plates by Voltaic
Action”’).

137 Second Bulletin, p. 121.

The numismatic collections of the young institution
were also enhanced by Professor C. A. Holmboe, of
Norway, who sent copies of his own publications to the
library and donated 176 medieval coins, mostly Nor-
wegian from the cabinet of Christiania University
where he was teaching. He also sent duplicates for
exchanges to be made by the National Institute.!%5

Characteristic of the wide support of numismatic
endeavors was the donation by a “‘club of members”
of copies of medals of French and English sovereigns,
from William the Conqueror to Queen Victoria and
Louis Philippe. These were electrotyped by Professor
Wyatt and presented on May 18, 1843, by B. Ogle
Tayloe of Washington.!”

The Institute’s medal collection benefited also from
Alexander Vattemare’s exchange arrangements be-
tween France and the United States. Through his
efforts, the National Institute received numerous
medals presented by eminent men in France, as well
as works of art and books. Prominent French medal-
lists joined the Institute as corresponding members;
among them Jean Jacques Barre, Graveur Général de
Meédailles at the Paris Mint from 1842 to 1855; Jean
Francois Antoine Bovy, the well-known medal
engraver of Swiss extraction; the celebrated medallist
André Galle, as well as his prolific colleague Jacques
Edouard Gatteaux. Several of these medallists con-
tributed examples of their work, through the good
offices of Vattemare, to the collections.!*°

The records of the Institute yield the names of many
prominent foreign numismatists of that period, such as
the Polish Count Edouard Raczynski, the famous
Francois Lenormant of France, and Count F.
Szecheny from Hungary. Closer contacts were estab-
lished with the noted medievalist Joachim Lelewel,
living as a Polish expatriate in Brussels. A number of
his publications were in the Institute’s library."*?

Official numismatic donations to the National In-
stitute are listed in Bulletins of the early years (the
original spelling and punctuation is preserved) :

198 Tbid., p. 98; Third Bulletin, pp. 340f.; Fourth Bulletin, pp.
487f, 496.

188 Third Bulletin, pp. 302, 306. In the United States Mint
records preserved at the National Archives, “Correspondence,”
there are letters dated March 2 and 9, April 26, and May 19,
1843, concerning Wyatt’s request to obtain impressions in tin
of medals, that should enable him to present medals in silver
by the elect-otype process to the National Institute.

0 Third Bulletin, pp. 345, 347, 348, 380f; Fourth Bulletin,
pp. 489, 494.

M41 Second Bulletin, pp. 80, 99; Third Bulletin, pp. 271, 274.

68 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

PAPER 313

Bulletin of the Proceedings of the National Institution for the Promotion of

Date Received
Dec. 14, 1840

Jan. 22, 1841

Feb. 8, 184]

Feb. 8, 1841

Second Bulletin of

Item
No.

b2
43

Science, Washington, 1841.

Description and Donor

Twenty-four Roman, Moorish, and Arabian coins, found near Velez
Malaga. Spain—From G. Read Esq., U.S. Consul at Malaga.

Copper coins.—From james Gaither.

Head of Dr. Franklin (framed), executed according to the Galvanic
process of Jacobi, Franklin Peale, Philadelphia.—From Franklin Peale.

A medal.—From Mrs. Ramsay.

. . . Medal, struck at the centenary celebration of the city of New
Haven, Connecticut. Seven silver coins. Russian coin of Platina.
Five medals commemorative of the French revolution achieved in the
three days of the 27th, 28th, and 29th of July, 1830. Copies of two
medals moulded by a natural deposit of carbonate of lime near
Radicofani. . . .—From Mrs. Poinsett.

.. . Three gold coins. Fourteen silver coins. Eight paras. Thirty-one
copper coins.—From Mrs. Offley, Georgetown.

Medal struck to commemorate a reform of the constitution of Chili in
1833.—From 7. H. Causten, jr.

the Proceedings of the National Institution for the

Promotion af Science, Washington, D.C., March, 1841, to February 1842

Date Received

March 8, 1841
April 12, 1841

May 10, 1841

June 14, 1841

July 12, 1841

Aug. 9, 1841

HISTORY

Item
No.

70
75

80
80

83
83
93

OF THE NATIONAL

Description and Donor

Box of ancient coins.—From Dr. T. B. 7. Frye.

Medal struck at the celebration of the Shakspeare Jubilee in 1769.—
From Hon. joel R. Poinsett.

Medal commemorating the opening of the Liverpool and Manchester
Rail-Road.—From Hon. Joel R. Poinsett.

Silver Coins and Minerals.—From Mr. Kervand.

Numismatique du Moyen Age, &c., par Joachim Lelewel, 2 vols,
8vo., . . .—From Mr. Kallussowski, West River, Md.

Silver and Copper Coins—from Mrs. Poinsett.
Silver and Copper Coins—From Hon. 7. R. Poinsett.

Medal commemorating the union of the waters of Lake Erie with the
Atlantic.—From Lieut. John S. Chauncey, U.S.N.

Gold Coin, called Buntagee, coined in the city of Fez, in the year of the
Hegira 1251, (A.D. 1835)—From 7. F. Mullowney.

Silver Coin of the Emperor Muley Abdallah, coined in Morocco and
named Citsushyee.—lrom 7. F. Mullowney.

De prisca Re Monetaria Norvegiae, with plates by Professor C. A.
1840:
Christopher Hughes, Chargé d’Affaires of U.S. to Sweden.—/rom
the Author.

Holmboe, Christiana, Norway, transmitted by the Hon.

NUMISMATIC COLLECTIONS

Date Received Item Description and Donor
No.
99 Sur les Medailles et Monnaies de Foux, par M. Lelewel, Bruxelles,
1837; (a bibliographical rarity,) in the Polish language.—From
H. Kallussowski, West River, Maryland.

Sept. 13,1841 104. Seven Medallions in Plaster—From W. C. Gill.

Nov. 8, 1841 118 One Five-Pound Note, 1759, Pennsylvania.—From the same. (Benjamin C.
Burt, Warwick, Orange County, New-York.)

Nov. 8, 1841 118 One Dollar Note, 1775, Maryland.—From the same.
118 Coins—From Dr. Hanson Penn.

Dec. 13, 1841 121 Four medals, electrotyped by the same (Lieut. Harwood).—From the
same (Lieut. Andrew Allen Harwood, U.S.N.).

122. Four Medals. No. |. Struck by the Royal Society of Sciences, Letters and
Arts of Antwerp, on the occasion of the bis-secular fétes in honor of
Rubens. No. 2. Of the National Exhibition of Fine Arts, in 1839,
intended as a national reward. No. 3. Commemorative of the opening
of the First Section of the Belgian Rail Roads in 1834. No. 4. Struck
in honor of the Regent of Belgium.—From Mons. Charles Serruys,
Belgian Minister, in the name of the Belgian Government.

127. From M. Serruys, Chargé d’Affaires of Belgium, Belgian Legation,
Washington, December 8, 1841.

Dear Sir: In addition to the Antique Roman Lamp, which you had
the kindness to accept in my name for the National Institution, I hope
you will allow me to offer you now—

Ist. A medal struck by the Royal Society of Science, Letters and Arts
of Antwerp, on the occasion of the bis-secular fétes in honor of Rubens.

2d. A Medal of the National Exhibition of Fine Arts in 1839, intended
as a national reward.

3d. A medal commemorating the opening of the first section of the
Belgian Rail-Road, in 1834.

4th. A Medal struck in honor of the Regent of Belgium.

These Medals are presented by me, in the name of the Belgian
Government, as a proof of the warm interest in the establishment and
prosperity of the National Institution for the Promotion of Science,
founded at the seat of Government, which is destined, I believe, to
shed lustre on the United States.

127 From Lieutenant Harwood, U.S. Navy (Andrew A. Harwood) (Extract)
U.S. Navy-Yard, New York, November 16, 1841

My Dear Sir: . . . . But I beg to remind you that they [certain

objects] are not forwarded so much for their novelty or intrinsic value

as to point out a way in which the officers, particularly of the Mediter-

ranean Squadron, may render very essential service to the Institution,

the interests of which I feel assured they will all take a pride in ad-
vancing.

/0 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Date Received

Feb. 14, 1842

Item
No.

147

147
149
149
149
149
Lag
149
Jed)
149

Description and Donor

By means of that simple apparatus the Electrotype, perfect fac-similes
of the choicests medals, both ancient and modern, may be collected:
and if the apparatus of Daguerre could be placed on board one of
the ships, perfectly accurate views of the most interesting sites and
monuments of classic history obtained.”

Antique Silver and Copper Coins, from Syria, Greece, and Samos.—
From the same. [Captain W. K. Latimer, U.S.N.]

Antique Copper Coins, from Baiae.—from the same.

Coins, (copper.)—From Martin Johnson.

Medal, (copper).—From Robert Graham.

Coin of United States, 1783.—From George W. Palmer, Baltimore.
Coins, of United States.—From james Callaghan.

Continental Paper Money, (1776).—From Dr. 7. B. 7. Frye.
Coins, Silver and Copper, (eleven pieces.)—From Wm. Shoemaker.
Coins, Copper, (thirty-eight pieces.)—From R. B. Fowler.

Medal, Spanish.—From George Shoemaker.

Third Bulletin of the Proceedings of the National Institute for the Promotion of
Science, Washington, D.C., February, 1842, to February, 1845.

Date Received

Apr. 11, 1842

May 9, 1842

June 13, 1842

July 11, 1842

Item
No

224

236
236
237
aa
243
243

Description and Donor

One Cent, coin of 1783; one Cent, coin of 1787.—From William
Blanchard.

Half Dollar, emission of 1792.—From George Mf. Davis.
Coin, antique.—From Wm. hemble, Esq., New York.
Copper Coins.—From A. T. Cavis.

Copper Coins.—From David Myerle, hentucky.

From W. W. Hodgson, U.S. Consul, Tunis, March |, 1842: Presenting
one hundred ancient coins, with observations on the subject. Will
forward others, &c.

Five Copper Coins.—From Thomas Birch, fr.

Seven Pieces of Copper Coin.—From J. 7. Greenhough.
Five Pieces of Coin.—From A. WW. Deorselling.

Eleven pieces of Coin. From 7. P. Couthouy.

Two Notes, (1840 and 1841.)—-From Charles H. James.

One Note, of the City of Macon, Georgia, 1840 . . .—From A. C. Van
Epps.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 7

Date Received Item Description and Donor

244 Medallion head of Cabot, from a design by Chapman.—From Chas. Gill.
244 —From Rev. Mr. Curly. Georgetown College . . . Several Copper Coins. . . .

Aug. 8, 1842 246f A Manual of Gold and Silver Coins of all Nations struck within the past
century, showing their history and legal basis, and their actual weight,
fineness and value, chiefly from original and recent assays: with which
are incorporated Treatises on Bullion and Plate, Counterfeit Coins,
Specific Gravity of Precious Metals, &c.; with recent statistics of the
Production and Coinage of Gold and Silver in the world, and sundry
useful Tables; by Jacob R. Eckfeldt and William E. Du Bois, assayers
of the Mint of the United States, illustrated by numerous engravings
of coins, executed by the medal-ruling machine, and under the
direction of Joseph Saxton, of the United States Mint; Philadelphia,
1842, quarto.—From the Authors.

249 From J. D. Doty, Madison, Wisconsin Territory, July 2, 1842: Sending
impressions on wax, of a coin found in the ruins of Aztalan. Hopes the
Institute will be able to throw light on the subject, by comparing it
with other coins. Enclosing printed description of Aztalan.

249 From Jacob R. Eckfeldt and Wm. E Du Bois, U.S. Mint, Philadelphia,
July 11, 1842: Presenting a recent work by them, on coins and
precious metals.

249 From George R. Morton, M.D., Sandusky, Ohio, July 15, 1842: Asking
information respecting the Institute, to which he wishes to make con-
tributions of coins, minerals, &c. Inquiring, also, how presents are to
be forwarded, and the terms of membership, &c.

Sept. 12, 1842 251 Twelve pieces of Copper Coin.—From Jeremiah Sullivan.
252 Copper Coin.—From E. P. Baily.
252 Copper Coins.—From Henry Hardin.
252. One Copper Coin of 1822.—From Joseph Boss.
252 Five Copper Coins.—From G. W. Harris.
252 Two Notes, of five cents each, Philadelphia.—From W. S. Walker.

253 Copper Coins.—From James D. Cox.

254. . . one Silver Coin, and four small Bank Notes.—From Margaret
Julten.
255. . . A number of specimens of Continental Money . . .—From

Dr. John Redman Coxe, Philadelphia.

258 From W. H. Smyth, Chelsea, England, August 20, 1842: Acknowledging
bulletin No. 2, and forwarding his privately printed catalogue of
Roman brass medals; also, specimens of impressions of the head of
Hipparchus, from the Poniatowski-gem. intended as a_ vignette
illustration of his work.

72 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Date Received

Nov. 14, 1842

Dec. 12, 1842

Jan. 9, 1843

Heb. 20) 1845
Feb. 20, 1843

Item

No.

262

274

280

Description and Donor

3,289 Dollars Continental Money, (including counterfeits).—
From H. H. Sylvester.

Twenty-two Ancient Roman Coins.—from W. B. Hodgson.

one hundred and forty-two pieces of Continental Paper Money.—
From John Redman Coxe, M.D.

Eight Copper Coins, collected on the Exploring Expedition.—From
David Smith.

Descriptive Catalogue of a Cabinet of Roman Imperial large Brass
Medals, by Capt. W. H. Smyth, R. N., &c.; Bedford, 1834, quarto.
. —From Capt. W. H. Smyth, R. N.

Continental Note of forty dollars, Philadelphia, 1778.—From Carr B.
Thornton.

Two English Copper Coins.—From Captain Easby.

Two Silver Coins of Mexico.—fFrom Rev. Mr. Richards.

Etudes Numismatiques et Archeologiques, par Joachim Lelewel;
octava, Bruxelles, 1840. . . .—From Joachim Lelewel, Bruxelles.

From John P. Brown, First Dragoman, Constantinople, September 27, 1842:
Stating that he has forwarded to the Collector at Boston a series of
coins of the Ottoman Empire, one hundred and ninety-three in
number; and that he will forward other coins as he collects them.

From Joachim Lelewel, Brussels, October 19, 1842: Acknowledging with
thanks the honor of membership conferred upon him, and presenting
several works of which he is the author.

American Medals struck in France, presented by Mr. Brent. Owned
originally by the American Historical Society, reported “wanting”
by the curator, Dr. H. King.

Two Continental Notes.—From john T. Towers.
One Continental Note of Rhode Island.—From joseph M. Lyon.
Copper Coin.—From Master Kendall.

One three cent Note of the State Bank of New York.—fFrom H. L.
Ellsworth.

One English Copper Coin of 1738.—From joseph S. Hedges.

Eight Copper Coins, six Silver Goins, and eleven Tokens.—From
James Howks.

From S. P. Franklin.

One Corporation Note of Washington City.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 73

Date Received Item
No.

280

Apr. 10, 1843 286

June 12, 1843 302

303

304f

306

July 10, 1843 308

Oct. 9, 1843 309

309

312

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Description and Donor

One Silver Coin of Prussia, 127 years old.—From Maurice Whail,
Baltimore.

Box, containing a series of Coins of the Ottoman Empire (one hundred
and ninety-three in number).—From John P. Brown, First Dragoman of
of the U.S. Legation, Constantinople.

Five Copper Coins.—From Dr. Wm. Wallace.

One Silver Coin.—From Edward Stubbs.

One German Coin.—From Edward Smith, Philadelphia.
Two Coins.—From George Henley.

One Silver Token, or Bank of England Dollar, George III, 1804.—
From George A. Davis, Washington.

Two Continental Notes.—From George Lindweaver, Pennsylvania.
Piece of Chinese Money.—From R. Bright.

Medals—two series; the first embracing the British Sovereigns from
William the Conqueror to Queen Victoria; the second, those of France
from Pharamond to Louis Phillippe; electrotyped by Professor
Wyatt.—From a club of members.

Paper Money on a Sheet.—From

From John P. Brown, Dragoman, Chargé, &c., at Constantinople, April 125
1843: Has forwarded to the Collector at Boston a box for the Insti
tute, containing Turkish weapons and other things, of which he en-
closes a list; is collecting coins, &c.

From B. Ogle Tayloe, Washington, May 18, 1843: Stating that two series
of rare medals of French and English sovereigns, from William the
Conqueror and Pharamond to Queen Victoria and Louis Phillippe,
electrotyped by Professor Wyatt, have been purchased by a club of
members and presented to the Institute.

Eleven pieces of Copper Coin.—From Henry Polkinhorn.
Silver Coin of Philip V of Spain, 1724.—From William Anderson.

Coin, George III, Virginia, 1773.—From John Carroll Walsh, Baltimore
County, Maryland, by the hands of the Hon. Secretary of State.

Coins of Central America.—From 7. W. Simonton.

From John Carroll Walsh, Baltimore County, Maryland, July 26, 1843:
Telling him that the Secretary of State has presented the coin he sent,
and his letter to the Institute.

Date Received Item

No.

S15

317

Nov. 13, 1843 319

Dec. |

PAPER 31%

320
320

320

1, 1843 322

322

Description and Donor

From William Anderson, Washington, July 1, 1843: Presenting a coin of
Philip V of Spain, 1724.

From john Carroll Walsh, (to Secretary of State,) Baltimore County,
Maryland, July 4, 1843: Presenting a coin of George III, Virginia,
17735

From Col. J. J. Abert, Washington, August 7, 1843: Presenting, in the
name of J. W. Simonton, a package of coins of Central America.

Copper Cent of America, Washington and Independence, 1783.—
From Capt. 7. S. Inglee.

five pieces of Continental Paper Money.—From 7. Templar.
Copper Coin of George II, of England.—f'rom Daniel Holmes.

Copper Coin, with the Lord’s Prayer on one side, a Crown and Halo on
the other.—F rom Peter Callan.

Two packages, containing sixty-seven Virginia Provincial Notes and

twenty-four Maryland Provincial Notes.—From Francis B. Mayer

Baltimore.

Collection of rare Coins and Medals, as follows.—From Charles Rhind, of
New York, late U'. S. Commissioner to Turkey.
1 Russian Medal, struck after the capture of Parma from the Turks.
2 Russian Medal, on the peace with Turkey.
3 Russian Medal, on the death of the Empress, widow of Alexander.
4 Turkish Piastre, of the year 1143, (of the Hegira.)
5 Silver Rouble of Russia, 1829.
6 Coins of Russia, 1830.
7 Para of Turkey, (hardly now to be found.)
8 Greek’ Coin, of very remote antiquity.
9 Aspre, reign of Sultan Selim, (extremely rare.)
10 Gold Coin, Mahmoud 2d, 20 piastres.
11 Gold Coin, Mahmoud 2d, 5 piastres.
12 Turkish aspres and Paras, of various dynasties, (all extremely
rare.)
13 Turkish Coins, Mahmoud 2d.

323 Three Shilling Note of New Jersey, of George III, March 25, 1776; a

Cent, Washington, 1782.—From john P. Bethell, M.D., Philadelphia.

HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

Date Received Item Description and Donor
No.

323. Copper Coin of Virginia, 1773.—From J. H. Causten, Jr., M.D.
323 Three Notes, Baltimore money, 1840, sent by mail.—Anonymous.

326 To J. P. Bethell, M.D., Philadelphia, November 3, 1843: Acknowledg-
ing letter, and sending a coin of 1783.

327 From D. C. Croxall, U.S. Consul, Marseilles, August 5, 1843: Enclosing a
letter from Monsieur Dan. Groux, an antiquary, offering for sale a
large and valuable collection of coins, medals, &c.

327 From W. W. Irwin, Chargé, Gc., Copenhagen, August 28, 1843: Stating that
Mr. Lay, our Chargé at Stockholm, had placed in his hands for the
Institute some curious Swedish coins, which he has handed to W.
Gordon Reed, of Boston, by whom they will be sent to Washington.

329 From Francis B. Mayer, Baltimore, October 1, 1843: Presenting two
packages continental money, &c.

331 From Charles Rhind, late U.S. Commissioner to Turkey, New York, Novem-
ber 17, 1843: Transmitting to the Hon. H. Fish, of New York, for the
Institute a collection of very rare Turkish coins of which he en-
closes a list &c.

Jan. 8, 1844 340 Forty-five Roman Coins, (forty-four silver, one bronze); fifteen mixed
Coins, (fourteen silver, one bronze;) two Alexander Coins, (silver;)
nine Corinthian Coins, (silver;) eight Greek Coins, (silver;) seven
Egyptian Coins, Ptolemies, (one silver, six bronze.)—From Gouverneur
Paulding, New York.

340 Box, containing one hundred and seventy-six small Coins, of the middle
age, chiefly from Norway, of fifty-six different Stamps, and many
duplicates to enable the Institute to exchange, from the Numophyla-
cium of the University of which he is Professor.—From Professor C. A.
Holmboe, Christiania, Norway.

341 Descriptio Ornamentorum Maximam Partem Aureorum et Nu-
morum Saeculi VIIIvi et [Xni, etc. etc. by Professor C. A. Holm-
boe, 1835.— . . . De Prisca Re Monetaria Norwegiae, by the same,
1841.—From Professor C. A. Holmboe, Christiania, Norway.

345 From Alexandre Vattemare, Paris, December 10, 1843: Explaining his
system of exchanges as it concerns the National Institute, &c.,
forwarding a large collection of books, &c., in advance of a still
larger collection he has on hand for the Institute, on which he expects
expenses paid, &c.; and accompanying his letter with various
printed and manuscript documents showing the steps he has been
taking to promote exchanges of books, works of art, &c., &c.,
between France and the United States, &c.

76 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Date Received Item
No.

May, 1844 547

347
347
347
347
347
348

348

354

355f

Description and Donor

From

Two large boxes, containing Books, Engravings, Medals, &c.
Alexandre Vattemare, Paris.

Package of Continental Money.—From Thomas Pratt, Philadelphia.

Package of large and curious Swedish Coins.—From George W. Lay, U.S.
Chargé @ Affaires, Stockholm.

Medal—Head of Alexandre Vattemare.—From AM]. Vattemare.

Coin, found in the District of Columbia.—From Captain R. France.

Box, containing a complete collection of dimes . . . —From [blank]

Two Boxes, containing a large and valuable collection of Books, En-
gravings, Medals, &c., of which a list is given.—lrom Alexandre
Vattemare, Paris.

Descriptive Catalogue of a Cabinet of Roman Imperial large Brass
Medals, by Capt. W. H. Smith, Royal Navy, &c., &c., Bedford,
1834, quarto.—From Captain 7. H. Aulick, U.S. Navy.

From H. Ledyard, U.S. Chargé d Affaires, Paris, March 15, 1844: . . .
stating that he has forwarded, via Havre, by the packet Duchesse
d’Orleans, two more boxes, containing books, engravings, medals,
&c., from M. Vattemare, &c.

From Franklin Peale, Chief Coiner, U.S. Mint, to Mr. Spencer, Secretary
of the Treasury, Philadelphia, March 28, 1844: Presenting to the
Institute a full series of the national medals, fourty-nine in number,
of which he encloses, with the medals, a catalogue, &c.

List of National Medals presented to the National Institute, by Franklin Peale,
Chief Coiner of the Mint of the United States, 1944.

PRESIDENTIAL SERIES

The dies of this series were constructed for the Department of Indian
Affairs. The medals are usually struck in silver.

No. 1. Jefferson; No. 2, Madison; No. 3, Monroe; No. 4, J. Q.
Adams; No. 5, Jackson; No. 6, Van Buren; No. 7, Tyler.—Whole
number, 7.

Dies of Presidents Washington, John Adams, and Harrison, have
not been constructed.

MILITARY SERIES
Army.—The two first of this series are in honor of Revolutionary
services, and were originally struck soon after the close of that war;
the remainder in honor of services during the late war.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS VT

Date Received Item Description and Donor
No.

No. 1, Gates; No. 2, Morgan; No. 3, Scott; No. 4, Miller; No. 5, |
Gaines; No. 6, Porter; No. 7, Brown; No. 8, Ripley; No. 9, McComb;
No. 10, Jackson; No. 11, Shelby; No. 12, Harrison; No. 13, Croghan.
Whole number, 13.

Navy.—All of this series were struck in honor of services during the

late war.
No. 1, Hull; No. 2, Jones; No. 3, Decatur; No. 4, Bainbridge; No. 5,
Perry; No. 6, Perry’s crew; No. 7, Elliott; No. 8, Burrows; No. 9,
McCall; No. 10, Lawrence; No. 11, Macdonough; No. 12, Henley;
No. 13, Cassin; No. 14, Warrington; No. 15, Blakeley; No. 16, Stewart;
No. 17, Biddle.—Whole number, 17.

ELECTROTYPE SERIES

This series has been copied from medals, the dies of which were
constructed in other countries or are lost.

‘The medal voted to Capt. Stewart has not been recovered.

No. 1, Washington; No. 2, Wayne; No. 3, Fleury; No. 4, Col. Wash-
ington; No. 5, Captors of André; No. 6, Howard; No. 7, Green; No. 8,
Preble; No. 9, Jones.—Whole number, 9.

ADDITIONAL SERIES

No. 1, State of Pennsylvania to Perry; No. 2, Inauguration, Van
Buren; No. 3, Visit to the Mint, ‘Tyler.—Whole number, 3.
Ageregate number, 49.

357 From Hon. George P. Marsh, House of Representatives, April 4, 1844: . . .
inquiring . . . about the Norwegian coins presented by Professor
Holmboe, of Norway.

359 From Thomas Pratt, Philadelphia, April 30, 1844: Presenting a package
of Continental money.

Sept., 1844 365 From George Moore, U.S. Consul, Trieste, June 22, 1844: . . . presenting
a collection of ancient coins, which he has shipped by the Camilla
to New York.

Dec. 9, 1844 369 Box, containing one large Silver Medal; one large Copper Medal;
twenty-seven Silver Coins; seventy-one Copper Coins; two Strings
Chinese Cash.—Box, containing seven Coins, found at Pestum,
Italy. —From Mrs. Anne Izard Deas.

Feb. 10, 1845 377 Collection of Coins, Medals, &c.—From Mrs. Anne Izard Deas.
377 Collection of Coins, &c., eight hundred and fifty-three Copper, thirteen

Silver.—From [blank]

377 Medal, Head of J. Fennimore Cooper: ‘‘The personification of honor,
truth, and justice;” reverse, ‘“To J. Fennimore Cooper, the offering
of a grateful heart, for his disinterested vindication of his brother
sailor, Jesse D. Elliott.”’—From Commodore 7. D. Elliott.

78 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Date Received Item Description and Donor

No.

380f From A. Vattemare, Paris, December 26, 1844: Stating that he has
forwarded, via Havre, a large box, containing eighty-six volumes, and
thirty-one medals, presented by eminent men in France, and will
forward by next packet the Journal des Savans, and other works;
has sent by same opportunity a large number of volumes, engravings,
medals, sc., for several States of the Union, &c., &c., &c.

Fourth Bulletin of the National Institute for the Promotion of Science, Washington,
D.C., February, 1845, to November, 1846.

Date Received Item Description and Donor
No.
485 From D. Groux, New York, June 15, 1845: On the subject of his large ard
valuable cabinet of coins, medals, &c., offered by him for sale to the
Institute.

486 *From John P. Brown, U.S. Dragoman, Constantinople, September 25°
1845: Describing a series of oriental coins presented by him to the
Institute, &c.

487f From C. A. Holmboe, Professor of Oriental Languages. Christiania, Norway,
May 2, 1846: Transmitting to the Institution, by the hands of M.
Lovenskiold, the newly appointed minister of Sweden and Norway, a
bronze medal of the late king, Charles John, in his coronation dress,
at Drontheim, struck by the city of Christiania twenty-five years after
the event; also, three coins struck by King Oscar, &c.

488 From D. C. Groux, Philadelphia, June 6, 1846: Transmitting a complete
catalogue of his collection of coins and medals, eight thousand two
hundred and seventy-two in number, which he offers to the Institute
at a low price.

488 From M. Serope M. Alishan, Constantinople, June 17, 1846: Giving a his-
torical account of the Armenian medals presented by him to the
Institute.

489 *From A. Vattemare, Paris: Transmitting a descriptive catalogue of books,
engravings, statutes, medals, maps, &c., presented by ministerial
departments, societies, and eminent persons in France, placed in
charge of the Hon. Reverdy Johnson, U.S. Senator from Maryland.

493 Box of Oriental Coins, &c.—From 7. P. Brown, Dragoman, U.S. Lega-
tion, Constantinople.

494 Box containing Medal of General Lafayette, by M. Gatteaux; ten
large Medals, Six Medals, Five Medallions, by M. Galle.

494 Two boxes, containing valuable Books, Medals, Medallions, Statues,
&c., from different branches of the French Government and eminent
men of France.—Sent by Af. Vattemaie, Paris, under the care of Hon.
Reverdy Johnson, of Baltimore.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 79

Item
No.

Date Received

496

Description and Donor

Six rare Armenian Coins of the Rupinyan Kings, between the eleventh

and thirteenth centuries.—From §. M. Slishan, of Constantinople.

496

Medal of Charles John of Norway; three Coins of King Oscar, of

Sweden.—From Professor C. A. Holmboe, Norway.

496

APpPENDIx IV

The National Institute

B. Varden's Catalogue

The manuscript catalogue prepared by John
Varden is preserved in the Smithsonian Archives in
Miscellaneous 52.

“Things belonging to the Patent Office and State
Department in the National Gallery September 1,
1852.” This notation in John Varden’s handwriting
appears on the front of a manuscript inventory with
gray covers, measuring 16.5 x 19.1 cm and consisting
of 18 unnumbered leaves, with entries extending from
leaf 1 through leaf 12. Below, someone added, ‘‘This
Catalogue was prepared by M. John Varden, Curator
in the Gallery of the U.S. Patent Office, and sub-
sequently at the Smithsonian Institution until his
death.”” Varden never was a curator of the National
Institute, but we are, nevertheless, indebted to him
for the care with which he noted certain numismatic
exhibits.

This catalogue concerns objects which belonged to
the Patent Office and the Department of State and
were on deposit only in the displays of the National
Institute. The catalogue lists 6 United States and 28
foreign medals, some coins of Morocco, an American
Colonial note, and some primitive media of exchange.
In the following excerpts containing all data of numis-
matic the catalogue, John Varden’s
spelling has been retained.

interest in

Page
2] A list of articles belonging to and under the
controle of the Patent Office proper and now in

80 BULLETIN 229:

Page

Copper Coin, Geo. III, 1773, Virginia.—From Edward Stubbs.

the Hall of the National Gallery
September Ist 1852

+A. medal of the King of Sweden (Barnadott)
in cast iron

Two medals in cast iron presented by the Society
of Beneficence of Cracow to the President of
the United States. James Munroe

A. Case of coin of Morocco . . . [Cancellations]
Som taken by T. Hond. Nov 9th 1848

Two Copper Medals of Horatio Gates

Two Do Do _ of Nathan Green

One Do Do _ of Neopolian Ist Consul
Two Silver Do _ of National Congress
Two Do Do of Leapold Ist King Benges

Two Silver Modals of Leapold

Two Do Do not mad[e] out

Two Do Do Regent of Belgeum

Two Do D not mad{[e] out

TwelveDo East side of case No. 24.
Four Do North End of case 24 small.

One Specimen of Brick Tea from the Province
of Yunann, China by George West June 19th
1850

One Piece of Provincial Money

7. By Orders from the Coms of Patents One
Medal of General Green was Exchanged with

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Page Page
Dr Lewis Roper of Philadelphia for a Medal later times issued all through the U.S. at various
of Georg Washington Decr 28th 1844. H. L. times. Some of the old Continental money was
Ellsworth redeemed, but the greater part was lost in the
[18] 10 Washington City Janr 29th 1845 hands of the owners.
Purser Bridge presents his compliments to . ; :
Mr Ellsworth and sendes for the National 21 Case 9 / ; / ;
Gallery a few curiosities from Africa and of 100 to 103. Gold and zine coins from Japan.
which he mentioned to Mr Ellsworth yesterday :
and of which the following is a list unciantific 22 Case 10 oa. ae Ee
language Native Money from Sett[{ra?] Kore Copper coin of the Republic of Chili. Has a
Africa Made mar CIDR trace Mano in waoilde. oF single five-pointed star in the centre, is worth one
sand value $1.50. small Cowries sewd upon and a quarter of our cents. Presented by Lieut.
cloth Native Money value 25 cts... . George W. Hammersly, Ex. Ex.
35 Brick tea from the Province of Yunann. 23 Case opposite 11—Indian Curiosities.
China . . . by Mr George R West June 19th aa prepared skins, wampum, pipes, neck-
1960. The Pwback Come of Pats. lace made with beads and the claws of the
grizzly bear.
APPENDIx IV 43 Case 28
Collection of ancient coins, collected in
The National Institute different parts of Europe by Thomas Munroe,
while aid to the Emperor of Russia: presented by
C. Hunter's Guide sae
. . Medals by the government of Belgium; medals
More comprehensive than John Varden’s catalogue : Rhema a ; :
. Z ; i ; : : of the Royal Society of Sciences, Letters, and
is a guidebook published in Washington in 1855 which Artec! Antwesavon théaecasion of the Rubenieal
describes displays arranged by the National Insti- fener 40 Pes. of Bikers ane ree
i 2 bead , , j S g y
tute in the Patent Office Building. Alfred Hunter's Netiofnl Raltbivion of Riek Aves fav 1839: wad
guidebook is entitled A Catalogue of the Extraordinary sadetidedl sie. ie indiana cevaies bac Commnarie:
Curtosities of the National Institute to be seen in the Patent fy. ah ; . :
oa : rative of the opening of the first section of the
Office Building; also a Catalogue of the Botanical Plants, Belgian railroad, in 1834—by Chas. Serruys,
to be Seen in the Government Conservatories, Foot of the Belsian miniiat: :
Cafntol (Washington, 1855). A later edition of Hunter’s -
guidebook was published in Washington in 1859 44 Case 29
under the title: A Popular Catalogue of the Extraordinary Money from Africa. Another piece of the value
Curiosities in the National Institute Arranged in the Building Bf Shae tour or ee tae a woud aed aden
Belonging to the Patent Office. boy.
The following are excerpts of numismatic interest
from Hunter’s 1855 catalogue. 33 Case 24
Page . Medals from the Belgian government,
17. Opposite Case 6 struck on the occasion of the inauguration and
A collection of Continental and Provincial completion of the great railroad. The great seal
money; one for 20 shillings, dated 25th April, of the United States.
1776, issued by the Assembly of Pennsylvania in ne
the name of George III, and printed by Benjamin Box of old Spanish coins.
Franklin; also what was called shin-plasters in Medals.
PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 8l

272-041 O—68——6

Page

35 Window opposite Case 24
Provincial money of Pennsylvania, printed by
Benjamin Franklin.
Continental money.
clemency of

An engraving showing the

Napoleon.

Page

38 Case 27

Muskrat—common American kind. Formerly
they constituted a large item in the northwestern
fur trade, and have been sold by traders to
manufacturers for 37% cents a-piece. In some
parts of the Middle States they are raised or
propagated for market. The pelts of the early
spring rats are the best.

APPENDIX V

Numismatic Collections in U.S. Public Libraries, 1850

The findings given in Charles Coffin Jewett’s 207-
page report entitled ‘“‘Appendix to the Report of
the Board of Regents of the Smithsonian Institution,
Containing a Report on the Public Libraries of the
United States of America, January 1, 1850” was
published separately in 1851 as an appendix to the
Fourth Annual Report of the Board of Regents of the
Smithsonian Institution . . . During the Year 1849 (Wash-
ington, 1850). In spite of an unavoidable lack of
completeness this report is of great value to us.

More than 900 circulars had been sent out plus
hundreds of additional letters requesting detailed
information from the various libraries about their
organization and their holdings including coins and
medals. Many circulars remained unanswered, “‘others
were filled out hastily, and gave but a meagre ac-
count of the collections; others, again, simply referred
to some source from which authentic details might be

LIBRARY

The New Hampshire Historical
Society
Concord, N.H.

Athenaeum Library 1817

Portsmouth, N.H.

State Library
Montpelier, Vt.

The Boston Athenaeum Library

Boston, Mass.

"2 Cuartes C. Jewett, “Appendix to the Report of the
Board of Regents of the Smithsonian Institution, Containing
a Report on the Public Libraries of the United States of

82 BULLETIN 229:

FOUNDED
Mar. 13, 1823

organized 1806
incorporated 1807

gathered.’’!*? Jewett was forced, therefore, to seek
additional information wherever available.

Over 40 libraries in 14 different States had collec-
tions of coins and medals: Massachusetts led with ten
collections, followed by Pennsylvania with six, and
New York with five collections. Some holdings were
small, limited in scope, and hardly merit being
designated as collections, while others contained up
to 2,000 pieces. It is remarkable that St. Joseph’s
College in Bardstown, Kentucky, had a collection of
400 medals of each century from the 15th through
the 18th. The collection of 8,000 ‘‘sulphurets’’ of
ancient Roman and other coins in the ‘‘Libraries of
the College of New Jersey’ at Princeton seems to
indicate a serious interest in numismatic research.

The following are items of numismatic interest ex-
cerpted from the Jewett report. Page references are
to Jewett’s Appendix and not the Report.

“‘ancient coins”? (mentioned as being in their
collection already in 1838), (p. 11).

“246 coins” (p. 14).

“thirty medals” (p. 17).

‘“‘the most valuable collection of coins in
that part of the country” (p. 21).

America, January 1, 1850,” in Fourth Annual Report of the
Board of Regents of the Smithsonian Institution . . . Washington,
1850, p. 5.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

PAPER 3'1\;

LIBRARY

Library of the General Court
Boston, Mass.

Library of the Massachusetts
Historical Society
Boston, Mass.

The American Oriental
Society
Boston, Mass.

Harvard College Libraries
Cambridge, Mass.

The Athenauem Library
Nantucket, Mass.

Library of the Essex Institute
Salem, Mass.

Williams College Libraries
Williamstown, Mass.

Library of the American Ant-
quarian Society
Worcester, Mass.

Library of the College of the
Holy Cross
Worcester, Mass.

Wesleyan University Libraries
Middletown, Conn.

HISTORY OF THE NATIONAL

FOUNDED
Mar. 3, 1826

organized 1791
incorporated
1794

“Recent”

1836

1848

1793

Oct. 24, 1812

1843

183]

“6 medals” (p. 24).

“a few coins” (p. 26).

“68 Muhammedan coins”

“Of Roman coins and medals, the library has

671 in copper, 43 in silver, and 1 in gold; of
ancient coins other than Roman, 8; there are
about 500 modern coins of all sorts, and 35
modern medals” (p. 33).

“several hundred coins of small value” (p. 38).

‘a few coins” (p. 41).

“a very few coins” (p. 41).

“medals” (p. 43). ““The cabinet contains a

collection of coins, comparatively small,
but amounting to nearly 2,000 pieces, of
which, however, many are duplicates.
Among them is a considerable number of
coins of the Roman Empire, and a few said
to be of still more remote antiquity. It is
believed there are specimens of nearly all
the pieces of money ever struck in the pres-
ent United States” (p. 45).

**650 coins and medals” (p. 47).

““coins”’ (p. 68).

NUMISMATIC COLLECTIONS

LIBRARY

State Library, Department of
the Miscellaneous Library
Albany, N.Y.

The Library of the United
States Naval Lyceum
Brooklyn, N.Y.

The New York Society Library
New York, N.Y.

Library of the New York
Historical Society
New York, N.Y.

Columbia College Library
New York, N.Y.

College Library
Burlington, N.J.

Libraries of the College of
New Jersey
Princeton, N.J.

The Easton Library
Easton, Pa.

Pennsylvania College Libraries
settysburg, Pa.

The Library Company and the
Loganian Library
Philadelphia, Pa.

BULLETIN

229

FOUNDED
1818

1833

Apr. 2, 1754

1804

1757

1846

1755

1811

1832

July 1, 1731

S*Medalls.s:c:svsyae sasarsaneaner hee cee cree 2 Ore
(p. 73).

“The catalogue published in 1846 is in two
parts, paged separately. . . Part seventh
contains a catalogue of works of art, globes,
atlases, maps, plans, paintings, engravings,
busts, and medals (pages 909-950.)” (pp.
75f).

“531 coins, 49 medals” (p. 79).

‘‘a small but beautiful collection of bronze
medals . and one set of Waterloo
medals, fifty in number.” (pp. 87f).

SiViedals:sabouts. eet a orca eee 200
COINS, AD OUte seers 1,400”
(pe 93).

‘‘a series of bronze medals illustrative of the
Elgin marbles” (p. 94).

“several hundred coins’ (p. 105).

‘‘a small one [collection] of medals and coins,
and has lately received more than 8,000
sulphurets—fac-similes of ancient Roman
and other coins” (p. 106).

‘a small number of coins’’

“about 50 medals, and 400 or 500 coins.”
(p. 109).

“In 1752, ‘a noble present of ancient medals’
was received through Mr. Peters from Mr.
Gray, member of Parliament for Col-
chester.” (p. 115).

: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

LIBRARY

Library of the American
Philosophical Society
Philadelphia, Pa.

The Library of the Historical
Society
Philadelphia, Pa.

The Chester County Cabinet
of Natural Sciences

Westchester, Pa.

Baltimore Female College
Baltimore, Md.

The Library of Congress
Washington, D.C.

The Library of the War De-
partment, Washington
Washington, D.C.

PAPER 31: HISTORY OF THE

FOUNDED

1742

1825

Mar. 1826

1850

Apr. 24, 1800

“In October, 1773, several specimens of min-

erals and 53 curious coins, were presented
by Edward Pole. Unfortunately, the secre-
tary, in reporting the gift, was obliged to
add the following memorandum: ‘but the
library being entered by some thief (as
supposed) last night, he carried off all the
coins and tokens, together with some change
which was left in the drawer.’ Mr. Pole,
however, received the thanks of the di-
rectors, and the articles were advertised,
but never recovered.” (p. 117).

‘The society has also an ‘extensive collection

of manuscripts, maps, charts, and engrav-
ings, and, in its cabinet, medals, coins, &c.’
The precise number ‘cannot readily be
given.’ ” (p. 123).

“collections of medals and coins.” (p. 129).

“a very few engravings and medals, and

about 400 coins, (300 copper and 100
silver,), among which are 86 silver and 59
copper coins from 21 different governments,
collected during the circumnavigating
cruise of the United States ship Peacock,
in 1835-37, by the late Lieutenant Dar-
lington, United States Navy, and presented
by him.’ (pp. 130f).

‘a cabinet of ancient and modern coins. Of

ancient coins there are more than 500.
(See catalogue of the B. F. C. for 1850).”
(p. 136).

“a series of medals designed by Denon and

executed by order of the French govern-
ment commemorative of events during the
reign of Napoleon . . .” (p. 138).

“all the government medals, (50 or 60 in

number,) .

ope 140).

NATIONAL NUMISMATICG COLLECTIONS

LIBRARY

The National Institute for the
Promotion of Science
Washington, D.C.

Emory and Henry College
Libraries
Emory, Washington
County, Va.

The Virginia Historical and
Philosophical Society
Richmond, Va.

Franklin College Libraries
Athens, Georgia

Wesleyan Female College
Library
Macon, Ga.

The Franklin Society
Mobile, Ala.

Oakland College
Claiborne County, Miss.

St. Joseph’s College
Bardstown, Ky.

Georgetown College Libraries
Georgetown, Ky.

Ohio Wesleyan University
Delaware, Ohio

BULLETIN 229:

FOUNDED
May 1840

1839

Dec: 29; 1831

183]

Nov. 1837

Jan. 17, 1835

183]

1824

1837

1845

CONTRIBUTIONS FROM THE

“many medals, coins, &c.” (p. 142).

“63 coins” (p. 144).

‘‘a few medals, coins” (p. 147).

‘“‘a medal struck in commemoration of the
victory at Saratoga, 3 gold, 94 silver, and
249 copper coins, ancient and modern.”
(p. 156).

*‘a few valuable ancient coins” (p. 157).

“a few coins” (p. 159).

**200 medals and coins” (p. 161).

“Tt has also about 400 medals of the 15th’
16th, 17th, and 18th centuries, and about
200 modern coins.” (p. 165).

“It has also 64 medals and 676 coins, com
prising those of Burmah, Siam, Hindostan’
the East India Company, South America’
Dutch East Indies, &c.’’ (p. 166).

“curious coins” (p. 171).

MUSEUM OF HISTORY AND TECHNOLOGY

APPENDIx VI

Smithsonian Publications of Numismatic Interest, 1860-1907

A Note on the Numismatic Library

Papers of numismatic interest published during the
years from 1860 to 1907 in the Smithsonian’s Annual
Reports are listed below in chronological order. In
addition, there is a brief account of the condition of
the numismatic library in 1888 and in 1925.

Mortor, A. ‘General Views on Archeology.”
Transl. by Philip Harry. Pp. 284-343 in the
Annual Report of the Board of Regents of the Smith-
sonian Institution, 1860 (Washington, 1860). Greek
coins are mentioned on pp. 328f and 337 in con-
nection with chronological problems.

Pottock, JAmMeEs. “A Brief Account of the Processes
Employed in the Assay of Gold and Silver Coins
at the Mint of the United States.” Pp. 422-428 in
the Annual Report of the Board of Regents of the
Smithsonian Institution, 1868 (Washington, 1869).

Rau, CuHarwes. “Ancient Aboriginal Trade in North
America.’ Pp. 348-394 in the Annual Report of the
Board of Regents of the Smithsonian Institution, 1872
(Washington, 1873). Special mention is made
of “wampum” (pp. 379-383) and trade in
copper (p. 355). This is an enlarged and improved
version of a paper first published in German in
Archiv fiir Anthropologie, vol. 5 (Braunschweig,

1872).

Mason, Otis T. ‘The Leipzig Museum of Ethnol-
ogy.” Pp. 390-410 in the Annual Report of the
Board of Regents of the Smithsonian Institut on, 1873
(Washington, 1874). Objects of cultural-historic. |
nature are listed in the order of their development.
Thus, numismatics appears fairly well defined
(pp. 408f) : ““Money—Coin—Substitutes for coin—
Paper money—Certificates of indebtedness—Med-
als, badges, and other outer decorations.”

Rau, Cuartes. ‘‘The Stock-in- Trade of an Aboriginal
Lapidary.”’ Pp. 291-298 in the Annual Report of the
Board of Regents of the Smithsonian Institution, 1877
(Washington, 1878).

Mason, Otis. “The Ray Collection from Hupa
Reservation.” Pp. 205-240 in part | of the Annual
Report of the Board of Regents of the Smithsonian
Institution, 1886 (Washington, 1889). This paper

contains a section on ‘‘Money and its Uses”

(pp. 231-234).
STEARNS, Rospert E. CG. ‘‘Ethno-Conchology—A
Study of Primitive Money.’ Pp. 297-334 +
9 plates in part 2 of the Annual Report of the
Board of Regents of the Smithsonian Institution, 1887
(Report of the U.S. National Museum) (Wash-
ington, 1889). This paper is still considered basic

for the study of shell money.

Gow .anp, W. “The Art of Casting Bronze in Japan.”’
Pp. 609-651 in the Annual Report of the Board of
Regents of the Smithsonian Institution, 1894 (Wash-
ington, 1896). This paper was first published in
the Journal of the Society of Arts, no. 2215, vol. 43,
May 3,
coinage of Japan (p. 614) and gives the analysis

1895. Gowland discusses the earliest
of late 17th-century coins based on the average
melted together

(p. 619). In this connection, he mentions the

composition of 7,600 pieces
conversion of Buddhist statues into coins during
the 15th and 17th centuries. Of particular interest
is plate 70 illustrating molding and casting
techniques in use at the old mint in Edo around

1835.

Witson, Tuomas. “*The Swastika, the Earliest Known
Symbol, and Its Migrations; With Observa-
tions on the Migration of Certain Industries in
Prehistoric Times.’ Pp. 757-1011 in the Annual
Report of the Board of Regents of the Smithsonian
Institution, 1894 (Washington, 1896). This paper
contains a special discussion of the swastika on
ancient coins (pp. 871-879, figs. 224-236, and
pl: 9).

RuHeEEs, WILLIAM J.
Institution and U.S. National Musewn in Washington,
D.C. (Washington, n.d., ca. 1890). Special
emphasis is placed in the guidebook on a. tally
stick, used by the Court of Exchequer of England,
with one full page on the subject (p. 34). See also
pp. 33 and 38.

Visitor's Guide to the Smithsonian

HorrMan, WALTER JAMES. ‘The Graphic Art of the
Eskimos.’ Pp. 749-968 in the Annual Report of the

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 87

Board of Regents of the Smithsonian Institution, 1895
(Report of the U.S. National Museum) (Washing-
ton, 1897). This unusual and rather broadly
cast study discusses the coinage of the ancient
Britons and ancient trade routes (pp. 818-824
and pls. 46-57).

ADLER, Cyrus and Casanowicz, I. M. “Biblical
Antiquities: A Description of the Exhibit at the
Cotton States International Exposition, Atlanta,
1895.” Pp. 943-1023 + 46 plates in the Annual
Report of the Board of Regents of the Smithsonian
Institution, 1896 (Report of the U.S. National
Museum) (Washington, 1898). This paper con-
tains a special discussion of “‘A Selection of the
Coins of the Bible Lands” (pp. 982-988 and pl. 9).

Wuire, CHARLES A. “The Archaic Monetary Terms
of the United States.’’ Smithsonian Miscellaneous
Collections, vol. 50, part 1, no. 1714. (Washington,
1907).

BeckxwitH, PAu Epmonp. ‘‘Indian Peace Medals;
French, Canadian, British, and Medals of the
United States.’’ Pp. 829-836 in part | of Handbook
of American Indians North of Mexico (Bureau of
American Ethnology Bulletin 30). (Washington:

Smithsonian Institution, 1907).

Library

Numismatics as a museum discipline demands a
complete reference library. In the early days, however,
since the museum had no specialized staff of numis-
matists, very little was done to build up an adequate
library. In the 1880s a beginning was made to obtain
various periodicals and 13 numismatic publictions
were received in 1888.'4% Unfortunately, this be-
ginning was not pursued as a long-range project for
the museum.

In 1925 the numismatic library was substantially
increased with the addition of about 800 volumes and
pamphlets from the old Philadelphia Mint cabinet.!**
No systematic acquisitions were made, however, and
current publications, periodicals, and standard refer-
ences were acquired only sporadically. Since 1956 an
increased flow of books and periodicals has come in,
mainly through donations. Although the library still
has serious gaps, the Smithsonian numismatic library
ranks among the leading specialized libraries in this
country.

APPENDIX VII

Gift of Gold Coins from Japan to President U. S. Grant

A collection of gold and silver coins from Japan
was given to President Grant by the Japanese Govern-
ment “asa slight return for [his] liberality and thought-
fulness in sending to His Imperial Majesty one of
[his] blooded horses.” The coin collection was pre-
sented later to the United States Government by
Mrs. Julia Dent Grant and Mr. W. H. Vanderbilt.
President Arthur’s message to Congress on Febru-
ary 4, 1885,'*° concerning Mrs. Grant’s offer to give
the Government the testimonials lately belonging to
General Grant, contains a schedule of these objects.
In this schedule the Japanese collection is mentioned
on page 3: “Collection of coin (Japanese). This is the
only complete set, except one which is in the Japanese
treasury. Seven of these pieces cost $5,000. This set
was presented by the Government of Japan.’ The
collection was accepted by a resolution of Congress
1886. (Mr. Isao
Gunji of the Economic Research Dept. of the Bank of

which became law on August 5,

M3 ST Report, 1888, pp. 33, 36.
44 USNM Report, 1925, p. 109.
45 Exec. Doc. No. 60.

88 BULLETIN 229: CONTRIBUTIONS FROM

Japan recently expressed the opinion that some of these
pieces were made during the 18th century for
collectors. )

The only known illustrations of this collection are
in William H. Allen’s The American Cwil War Book and
Grant Album published in 1894.

The following is a transcription of data from original
correspondence on file in the Registrar’s office, United
States National Museum.

Department of Colonization.
Tokio, Japan December 2. 1880,
Sir:

I have the honor to inform you that His Imperial Majesty,
having highly appreciated the swiftness and beauty of the
stallion, of your own breeding, which had been kindly
presented by you, has ordered me to make use of him for
breeding, in order to improve our native horses, and that
the stallion has been sent to the Agricultural farm at
Narwye in the Province Oohima, in the Island of Gesso,
for that purpose. I have no doubt that fine stock will soon
follow in abundance.

It affords me great pleasure to present you certain articles
mentioned in the enclosed list, as a token of our appreciation

THE MUSEUM OF HISTORY AND TECHNOLOGY

of your courtesy, and I shall feel much gratified if you will
be pleased to accept them.

Availing myself of this opportunity to express my best
wishes for your good health and prosperity,

I have the honor to be, Sir,

Your obt. Servant,
Kuroda Kiyotaka
Minister of Colonization
General U.S. Grant
Legation of Japan
Washington
January 7. 1881.
My Dear Sir:

I have the honor to state that a box has reached the
Legation this morning, which contains a small collection
of the ancient Coins of Japan, intended as a present for
you, from the Department of Colonization, and as a slight
return for you liberality and thoughtfulness in sending to
His Imperial Majesty one of your blooded horses. It affords
me great pleasure to forward the same to your address by
Adam’s Express today, and to enclose a letter from General
Kuroda, together with its translation and a descripton
of the coins.

I avail myself of this occasion to present to you and
Mrs Grant, the compliments of the season and best wishes.

Very Respectfully and Sincerely yours,
Yoshida Kiyonari
General U.S. Grant

List of Old Coins
Presented to
General U.S. Grant
No. 1. Yudzuriha Ban.
2. Higashiyama Héw6 Maru Ooban.

3. Kiyosu Ooban.

+. Kameyama Ooban.
3. Yoshi Mame Ban.
6. ‘Taiko Fukjuban.

7. ‘Vasima Ooban

Notes.

No. |. Was made during the reign of the Shogun Ashikaga
Yoshimasa in the years Hotok and Kotok—1450-54 A.D.-
and it is said that the coins were used as rewards.

No. 2. Was made in the Ginkaku (Silver Palace) at
Higashiyama in the Province of Yamashiro, by the Shogun
Ashikaga Yoshimasa in the year Bun Mei—1480 A.D.

No. 3. Was made by Udaijin Ota Nobunaga in the year
Yeiroku—1559 A.D. when he was the Ruler of Kiyosu in
the Province of Owari, and the coins were distributed among
his retainers for war-like exploits.

No. 4. Is said to have been made for war purposes by Akechi
Mitsuhide the ruler of Kameyama—in the ‘Tenth year of
‘Tensho—1582 A.D.—in the Province of ‘Vanba.

No. 5, Is said to have been made for prizes by Kikkawa
Motoharu, the ruler of Idzumo province, in the years
‘Tensho—1570-80 A.D.

No. 6. Is said to have been made by Kwanbaku Foyotomi
Hideyoshi in the years Tensho and Keicho—1580-90 A.D.
and was used as a high prize.

No. 7. Was made in the Province of ‘Tasima, after the end
of the Kiushu war by Kwanbaku Foyotomi Hideyoshi
in the I4th and 15th years of ‘Tensho—1586-87—A.D.
and was distributed among the soldiers who had distin-
guished themselves.

APPENDIX VIII

The United States Mint Collection

The Mint cabinet was officially started in June
1838, but its history goes back to the beginning of the
Mint in 1792-1793. The Chief Coiner, Adam Eckfeldt
(fig. 12), connected with the Mint since its inception,
“led as well by his own taste as by the expectation
that a conservatory would some day be established,
took pains to preserve master-coins of the different
annual issues of the mint, and to retain some of the
finest foreign specimens, as they appeared in deposit
for recoinage.” '*" Among the coins deposited by
Adam Eckfeldt was, for instance, the famous Brasher
Doubloon (fig. 15). When a special annual appropri-
ation was instituted for this purpose by Congress in

1838, the collection took permanent form and grew
continuously.

The eagerness of the Mint assayers William E.
Du Bois (fig. 13) and Jacob R. Eckfeldt to complete
the Mint collection contributed to its continued

46 Witttam E. Du Bors, Pledges of History. A Brief Account
of the Collection of Coins Belonging to the Mint of the United States,
More Particularly the Antique Specimens, Philadelphia, 1846,
pp. 6f. A “Second edition, with additions” appeared as an
appendix to JAcop R. Eckretpr and Witiiam E. Du Bors,
New Varveties of Gold and Silver Coins . . . New York, 1851.
See there the passage quoted by us, pp. 29f. It was reprinted
under the title “Collection of Specimen Coins at the Mint,
Philadelphia” in The Numismatist (1937), vol. 50, pp. 1OIE.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 89

growth. Du Bois in his Pledges of History (1846,
second edition 1851) mentions that after the collection
was Officially established in June 1838, it “has gone
on in a continual augmentation . specimens of
new coinage, domestic or foreign, must be added as
they appear.” In the same volume Du Bois also
describes the early Mint exhibit, located at that
time at 17th and Spring Gardens Streets in

Philadelphia.

[he suite of apartments in the Mint, appropriated to the
exhibition of coins, ores, and national medals, occupies
the front of the building in the second story, and measures
sixteen feet wide by fifty-four feet long. Originally there
were three rooms, connecting with each other by folding-
doors; the removal of these has made one large saloon,
with recesses, very commodious and suitable for the use to
which it is applied. The eastern and western rooms are of
uniform size and construction; the central one has a dome
and skylight, supported by four columns; with a corre-
sponding window in its floor (protected by a railing) to
light the hall of entrance below.

The ancient coins are displayed in eight cases, mitred in
pairs, and placed erect against the walls in the wide door-
ways and the middle room. The modern coins are variously
arranged; part (including all those of the United States)
being in a nearly level case which surrounds the railing
above mentioned; and part being in upright cases, disposed
along the walls of the middle and west rooms. The ores,
minerals, and metallic alloys, are placed in the west room;
in the eastern are shown the national and other medals,
and the fine beams used for the adjustment of weights.
All the cases are fronted with glass, and besides allowing
an inspection of every specimen, present an agreeable
coup d@oeil on entering the room, especially by the middle
door.

Visitors are admitted in prescribed hours, if attended
by an officer or conductor of the institution.

Data about the growth of the Philadelphia Mint
collection may be gleaned from Mint records pre-
served in the National Archives as well as from
occasional published notes and reports. Some early
illustrations of coins from the cabinet are contained in
Jacob R. Eckfeldt and William E. Du Bois’ A Manual
of Gold and Silver Coins of All Nations, Struck Within the
Past Century (Philadelphia, 1842). The illustrations of
coins were executed by the medal-ruling machine
invented by Christian Gobrecht and perfected by
Joseph Saxton. The volume has 16 plates, but not all
coins illustrated are from the Mint cabinet. The first
full catalogue of the collection appeared in 1860 under

90 BULLETIN 229: CONTRIBUTIONS FROM

the direction of James Ross Snowden. Entitled A
Description of Ancient and Modern-Coins, in the Cabinet
Collection at the Mint of the United States (Philadelphia,
1860), it was prepared by George Bull, in charge of
the cabinet, with the advice and assistance of Du
Bois, at that time assistant assayer and curator of the
cabinet. In 1861 Snowden published the Medallic
Memorials of Washington in the Mint of the United States.
He was very much interested in this particular section
of the cabinet and made every effort to enlarge it.

Notes about additions to the collections were pub-
lished by W. E. Du Bois in ‘*The United States Mint
Cabinet,” 14’ where he mentions that ‘“‘the whole
number of coins and medals at this time [1874] is
6,484," and in “‘Recent Additions to the Mint
Cabinet.”’ 8 Reports in later years were given by
Patterson Du Bois.'#? A design by D. A. Schuler
(fig. 9) dated 1885 and published in A. M. Smith’s
Visitors Guide and History of the United States Mint,
Philadelphia, Pa. gives a view of the exhibits of that
period.'®° In connection with Du Bois’ earlier de-
scription, it renders a general idea of the numismatic
displays at the Mint during the 19th century. In
1891, R. A. McClure, curator of the Mint collection,
prepared An Index to the Coins and Medals of the Cabinet
of the Mint of the United States at Philadelphia, published
by the Superintendent of the Mint, O. C. Bobyshell;
and in 1894 the Philadelphia Telegraph reported on
“Late Additions’ to the Mint cabinet: ‘*8,000 coins
were on display, the case of current coins stands to the
left of the museum door, opposite the Curator’s
clesknaeao2

With the completion of a new mint in Philadelphia
in 1902, described as “‘the finest building ever con-
structed for coinage purposes in the world,” the
cabinet was moved to the new location. It was rein-
stalled there in sumptuous surroundings and in new,
rather ponderous exhibit cases. An_ illustration
(fig. 10) in the Director’s report shows a picture of the
new displays.!°?

147 American Journal of Numismatics (1874), vol. 8, p. 65.

M48 Tbid. (1877), vol 11, pp. 86-88.

142 ““Compte Rendu,” ibid. (1884), vol. 18, pp. 89-91; “Hog
Money, etc.,”’ ibid. (1885), vol. 19, pp. 66f.

150 Reprinted from New Varieties of Gold and Silver Coins by

Jacos R. Eckretpr and WiLxiaM E. Du Bots (Assayers of the

Mint, 1851), New York, 1851, p. 29.
51 Reprinted in The Numismatist (1894), vol. 7, pp. 158-162.
152 Annual Report of the Director of the Mint . . . 1902, Wash-
ington, 1962, plate at p. 76.

THE MUSEUM OF HISTORY AND TECHNOLOGY

The first and only formally recognized curator of
the Mint collection was Dr. Thomas Louis Comparette
appointed to the post in 1905.!°8 (Various other people
had been delegated to take care of the Cabinet but
without the title curator.) Comparette immediately
made plans for expansion and improvement of the
Mint collection. ‘*The most pressing needs appear to
be a new catalogue and a rearrangement of the coins
in the cases,’’ according to his comprehensive report
about the numismatic collection.°' In the same
report he mentions, referring to the past, *“‘An apparent
tendency to give undue preference to rather expensive
rarities for exhibitions as ‘show pieces’ has resulted in
restricting the numerical development of the collec-
tion, in the increase of certain series at the expense of
others, and especially in the neglect of the coins of
lower denomination, which are much less attractive
to the average visitor but necessary in order to gain a
proper idea of the complete coinage of a given country
or period and highly valued by the better informed.
The more serious purpose better harmonizes with
what is felt to be the worthier function of the collec-
tion, for the attitude of the cabinet has been from the
first that of an educational institution.” 1%

The preparation of the catlogue took Comparette
about seven years; it appeared in 1912 comprising 634
pages and 15 plates. In 1914 a so-called “third edition”
followed with the same number of plates but expanded
through additions to 694 pages.” A most useful
106-page Guide to the Numismatic Collection of the Mint
of The United States at Philadelphia, Pa. was published
in 1913. In addition to the catalogue Dr. Comparette

18 Born in Dekalb County, Indiana, in 1868, Comparette
was educated at the University of Wooster, Ohio. He continued
his studies at the Universities of Michigan, Chicago, finally
Halle and Berlin. Comparette became also a member of the
American School of Antiquities, Rome. From 1893 to 1897 he
was professor of Greek and Latin at the Texas Christian
University at Waco, Texas, then served as assistant in Latin at
the University of Missouri until 1905. For further information,
see The Numismatist (1922), vol. 35, pp. 377f.

154 “Numismatic Collection,” pp. 65-75 in the Annual Report
of the Director of the Mint. . . 1905. Reprinted under the title
“On the Utility of a Cabinet of Historic Coins” in The Numis-
matist (1906), vol. 19, pp. 78-79, 103-111, 146.

'S9 Annual Report of the Director of the Mint. . .
The Numismatist (1906) vol. 19, p. 78.

156 Catalogue of Coins, Tokens, and Medals in the Numismatic
Collection of the Mint of the United States at Philadelphia, Pa.,
Washington, 1912; ‘3rd edition,” 1914.

1905; pi 65:

PAPER 3:1 5

published various papers, particularly in the field of
ancient numismatics.!57

While in charge of the Mint cabinet Comparette
expended considerable time and effort to mobilize
support for the improvement of the collection. He
attempted to obtain the support of President Theodore
Roosevelt to secure for the cabinet the H. C. Hoskier
collection of Greek and Roman coins when the owners
who lived in South Orange, New Jersey, offered it for
sale.°§ Comparette obtaining the
support of the Assay Commission of 1909: Their
committee on resolutions passed a motion recom-

succeeded in

mending that the coin collection be improved and
suggested the striking of artistic medals with the
understanding that the profits from their sale should
benefit the Mint collection.'®" Similar resolutions were

passed by the annual Assay Commissions meeting in

subsequent years.'°°

7'THomas Louis CompareTTe: “Inaccurate Tables of
Roman Coins in American Latin Grammars,” American Journal
of Numismatics (1912), vol. 46, pp. 125-129; ‘sDebasement of
the Silver Coinage under the Empercr Nero,” American Journal
of Numismatics (1913) (New York, 1914), vol. 47, pp. 131-141;
“Aes signatum,” American Journal of Numismatics (1918) (New
York, 1919), vol. 52, pp. 1-61, pls. 1-8; “The Decadrachms of
Syracuse,” The Numismatist (1913), vol. 26, pp. 57-64; “The
First United States Mint,’ Zhe Numismatist (1910), vol. 23,
pp. 2-5, 39-42; “‘ ‘La Risposta’—“‘Territorial’ vs ‘Private,’”’
The Numismatist (1910), vol. 23, pp. 9-10; “Society, not State,
Introduced Coinage,” The Numismatist (1910), vol. 23, pp. 43-
45; "A Brief Study of the Medal, its Origin and Early Develop-
ment,” The Numismatic and Antiquarian Society of Philadelphia.
Proceedings (1907-1909), pp. 91-113; ‘‘Coins and Medals in the
United States in 1913,?? American Journal of Numismatics (1913)
(New York, 1914), vol. 47, pp. 142-158, pls. 7-12; ‘“‘Medals
Engraved in the United States of America in the Year 1914,”
American Journal of Numismatics (1914) (New York, 1915), vol.
48, pp. 205-218, pls. 27-31; “Coins and Medals Engraved in
the United States of America in the Year 1915,” American

Journal of Numismatics (1915) (New York, 1916), vol. 49, pp

199-209, pls. 23-27.

158 His efforts were, however, in vain: The Hoskier Collection
was sold on auction by Dr. Jacob Hirsch in Munich in 1907;
see the latter’s catalogue no. XX.

‘58 Reported under the title “For the Improvement of the
National Coin Collection” in The Numismatist (1909), vol. 22,
pp. 144f. Chairman of the Committee on Resolutions was the
well-known numismatist Farran Zerbe, members were Ambrose
Swazey, Dr. William Sturgis Bigelow, and others. The resolution
was supported by the Director of the Mint, Frank A. Leach,
the Chief of the Secret Service, John E. Wilkie, and Congress-
man Ira W. Wood.

160 The Annual Assay Commission. Recommendation for the
Support of the Mint Cabinet,” The Numismatist (1910), vol. 23,
pp. 179f; Proceedings of the Assay Commission of 1912... pp.
17f.; Annual Report of the Director of the Mint . . . 1915, p. 56;
op. cit., 1916, p. 42; op. cit. 1917, p. 27; op. cit.,. 1918, p. 38.

HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 91

Reports about the growth of the collection were in-
corporated in the Director’s Annual Report from 1910
through 1921 under the title “The State of the Numis-
matic Collection” (after 1917, ‘““The Progress of the
Numismatic Collection’’).1°! All these activities
ended with Dr. Comparette’s sudden death on July 3,
1922.

The idea of the transfer of the collection to Wash-
ington had been proposed as early as 1916 by Dr.
George F. Kunz of New York, President of the
American Scenic and Historic Preservation Society
and one of the most active members of the American
Numismatic Society. He discussed the idea with Dr.
Charles D. Walcott, Secretary of the Smithsonian,
and with the Director of the Mint, Robert W. Wooley,
on April 4, 1916. The following documents trace the
transfer of the Mint Collection to the Smithsonian
Institution.

New York City,
April 6, 1916.
401 5th Avenue.
Hon. Robert W. Woolley,
Director of the Mint,
Washington, D.C.
Dear Mr. Woolley:

Appropos of our conversation of Tuesday, I am now
writing the following letter:

In view of the fact that in a number of foreign countries,
a great national collection of coins is in the National
Museum and in the national capital, it occurred to me that
if the United States Government transferred the majority
of the coins from the Mint in Philadelphia to the United
States National Museum and had it distinctly known that
a great national collection was being formed there, it would
undoubtedly be enriched by gifts and legacies from time to
time. The Curator in charge could be transferred from the
Mint to the National Museum.

The collection there would be more accessible to the
Director of the Mint and, undoubtedly, would be of con-
siderable value to him; the collection at present is more or
less inaccessible. A greater number of visitors would see it
at the National Museum and the study of coins and coinage,
which has had great bearing upon Art in history, would be
materially advanced.

I had the pleasure of dining with Director Walcott of the
United States National Museum on Tuesday, the 4th, and

61 Annual Report of the Director of the Mint . . . 1911, pp. 19f.;
op. cit., 1912, p. 18; op. cit., 1913, pp. 23f.; op. cit., 1914, pp.
28f.; op. cit., 1915, pp. 29f,; op cit., 1916, p. 24; op. cit., 1917,
p. 34 (“The Progress of the Numismatic Collection’); op. cit.,
1918, p. 33; op. cit., 1919, p. 33; op. cit., 1920, p. 42; op. cit.,
1921, pp. 33f.

9? BULLETIN 229:

CONTRIBUTIONS FROM THE

spoke to him of the possibility of a coin collection at the
Museum. I think that he seemed interested.

There are a number of large collections of coins in the
United States and with the example of Mr. Freer giving
paintings, there may be something doing in the coin line.

Believe me,

Very truly yours,
George F. Kunz

The lack of a curator after the death of Dr. Com-
parette and the closing of the Mint to the public
because of a robbery at the Denver Mint (committed
after thieves obtained information through a previous
visit) were among the factors that persuaded the
Secretary of the Treasury, Andrew W. Mellon, to de-
cide to transfer the collection to the National Museum
in Washington, and he so notified Secretary Walcott:

Washington
February 8, 1923.
Hon. Charles D. Walcott,
Secretary, Smithsonian Institution
Washington, D.C.

My dear Dr. Walcott:

It has recently been deemed advisable in the interest of
safety to close the United States Mints to visitors. As you
are aware, there is a large numismatic collection in the
Mint at Philadelphia. Since the Mint is to be permanently
closed to visitors the inspection of the collection by the
public is no longer possible. There is an important and very
beautiful selection of coins, tokens and medals, perhaps the
largest and most complete numismatic collection owned
by the Government. The logical place for this collection
would seem to be in the National Museum in Washington,
and I am writing to ask if you would consider it feasible
to have the collection transferred there. In case you con-
sider the undertaking favorably may I suggest that you
designate a representative of the National Museum to
inspect the collection in order that you may be advised as
to its scope and importance, and as to other details involved
in the proposed transfer.

The Curator of the Mint at Philadelphia died several
months ago, but we have made no special effort to fill the
position for the reason that the removal of the collection to
Washington has been tentatively considered for some time.

The collection is under the jurisdiction of the Director
of the Mint, and I shall be glad to instruct that officer to
place before you all available information in regard to it.
I am enclosing a Catalogue of the coins, tokens and medals
which may be of interest to you in considering the proposed

transfer of the collection for the Mint to the National

Museum.
Very truly yours,
A. W. Mellon
Secretary of the Treasury.

MUSEUM OF HISTORY AND TECHNOLOGY

The Secretary of the Smithsonian acknowledged
Andrew Mellon’s letter on February 12 and delegated
Mr. W. de GC. Ravenel, Director of the Museum, and
T. T. Belote, curator of history, to discuss the necessary
arrangements for the transfer.

My dear Mr. Mellon:—

I beg to acknowledge the receipt of your letter of Febru-
ary 8, concerning the transfer to the United States National
Museum of the numismatic collection at present in the
Philadelphia Mint, and to assure you of my deepest interest
in the safeguarding and exhibition for the benefit of the
public of this exceptionally important and valuable collec-
tion. The addition of the material to the collection of the
same character already in the custody of the Museum

would render available to those interested in the science of

Numismatics an exhibition collection comparable to those
shown in the other great museums of the world which have
recognized the importance of this subject. As a part of the
collections already in the National Museum representing
the more general subject of History, with which Numis-
matics is closely allied, the material from Philadelphia
when installed in the Museum would be seen by the
thousands of visitors annually from all over the United
States who are attracted to the Museum by the variety and
scientific and popular importance of its exhibits.
-In accordance with your suggestion, therefore, it will
give me much pleasure to authorize Mr. W. de C. Ravenel,
the Director of the Museum, and Mr. T. T. Belote, Curator
of History, who is thoroughly experienced in numismatic
work to inspect the collection and confer with the proper
officials of your Department regarding the transfer.
Very truly yours,
Charles D. Walcott
Secretary.

The Honorable A. W. Mellon,

Secretary of the Treasury

Washington, D.C.

Formal acceptance of the collection by the Sec-
retary of the Smithsonian Institution followed on
February 19:

My dear Mr. Mellon:—

Referring to my letter of February 12, concerning the
numismatic collection now in the Philadelphia Mint, as
to the conference between Miss O'Reilly, Acting Director
of the Mint, and Mr. T. T. Belote of the Museum staff,
I now take pleasure in advising you that the National
Museum is very glad to accept this splendid collection and
will be pleased to receive it whenever it is convenient for
the officials of the Mint to have it packed and forwarded.

A representative of the Museum will visit Philadelphia
to inspect the cases in which the collection is now installed
with a view to determining whether they will be serviceable
to the Museum.

PAPER 31:

In this connection I wish to assure you of my appreciation
of your thoughtful interest in making such an important
contribution to the national collections.
Very truly yours,
C. D. Walcott
Secretary.

The Honorable A. W. Mellon,

Secretary of the ‘Treasury,

Washington, D.C.

On February 28, Theodore T. Belote was authorized
to inspect the numismatic collection at the Mint in
order to plan for its packing and transportation to the
National Museum. He spent March 6 and 7 there and
reported on March 8 to Miss M. M. O’Reilly, acting
director of the Mint, his findings and recommenda-
tions. The following passages are of interest: “‘the col-
lection . was partly in exhibition cases and partly
in wooden cabinets in the office of the curator. The
entire collection was counted by the lady in charge,
Miss Anna Tibbles, and myself with the exception of
a collection of United States war service badges,
which Miss Tibbles informed me had already been
completely listed, and a large amount of European
emergency currency of comparative small intrinsic
value.

“The specimens in the exhibition cases were counted
by case and country and two copies of the list were
made one of which was entrusted to Miss Tibbles and
one retained by myself. The specimens in the storage
cabinets were counted by trays.”

He suggested that the coins “be placed in envelopes
of suitable size with the small lables which they now
bear, then grouped in boxes of strong paper, about
twelve by twelve by fourteen inches in size, and finally
inclosed in a series of stout wooden boxes of convenient
size for shipping such heavy material by express. The
medals which are not so liable to injury in transit as
the coins may be placed in envelopes of a good
quality and packed directly in wooden boxes for
shipment. Copies of those sections of the lists prepared
by Miss Tibbles and myself referring to the contents
of the various boxes may be packed with the coins to
which they refer.”’

On the same date, Theodore T. Belote, forwarding
to Ravenel his report to Miss O’Reilly, made some
additional remarks that should be quoted here:

I found that the size and importance of the collection has
been very materially increased since my last visit to the
Mint in Philadelphia and that the acceptance of this
collection will place the National Museum in the front

HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 93

rank of the museums of the world so far as the science of
numismatics is concerned.

In this connection special attention should be given to
the offer of the Treasury Department to transfer to the
Museum the exhibition cases in which the collection is now
contained. These cases were specially designed for numis-
matic material and are the safest of any types of such cases
I have ever seen. The woodwork is heavy mahogany, the
glass is a fine quality of heavy plate, and each case is fur-
nished with a unique double locking device which renders
it apparently as safe as it is possible to construct such a case.
The cases are at present arranged against the walls of an
octagonal room or rotunda and are of three sizes all of
the same general type. They consist of the following:

Twelve wall cases each six feet long;

Fourteen cases, each four feet long, built tangent to a

circle; and fourteen cases, each two feet long, built on the

interior of the circle.

All these are about six feet high with an upright portion
against the wall and a horizontal section extending out
from the wall each of these portions giving an exhibition
space of about twenty-four inches extending the length of
the case. The interiors of these cases are arranged for the
exhibition of numismatic material in an artistic and service-
able manner.

In addition to the cases described above the office of the
former curator of the collection in the Mint contains two
oak cabinets with combination locks and shallow trays for
coins. The smaller of these two cabinets is 24” x 36” x 48”;
the larger is 24” x 52” [? illegible] x 72”. They would
afford space for the coins of lesser value during the period
when they were not on exhibition and could not be dupli-
cated now by any cabinet maker for less than thousands
of dollars.

The office of the curator also contains two large oak book
cases containing a number of very rare and expensive
. which are now
offered to us with the collection of coins and medals. . . .
These should certainly be accepted as they will be priceless
aids to the arrangement of the collection in the National
Museum.

works on the subject of numismatics . .

The fact that the transfer of this collection to Washington
will mean the shifting of the numismatic center of gravity,
so to speak, in the United States from Philadelphia to
Washington, is very keenly felt by the higher officials of
the Mint. . . and
they did not hesitate to express to me their distinct opposi-

. who seem to be all Philadelphians . .

tion to this action on the part of the Treasury Department
and some of them even went so far as to hint that a propa-
ganda would be initiated to have the process reversed.

Pressure did indeed build up in Philadelphia against
the proposed transfer. The Philadelphia Ledger of March
31 expressed great concern “that the Philadelphia
Mint’s invaluable collections of coins, medals and

94 BULLETIN 229: CONTRIBUTIONS

FROM THE MUSEUM OF

tokens is being boxed, ready for shipment to the Na-
tional Museum in Washington. The collection which
was begun with the inception of the Philadelphia
Mint in 1792, is believed to be one of the finest in the
world.’ Another editorial on the same subject appeared
in the Ledger on April 1.'°

Various local organizations, and through them
congressmen from the area, were mobilized in an
intensive but futile action to reverse the Treasury De-
partment’s decision, which was enunciated in a press
release:

Tuesday, April 3, 1923
The Secretary of the Treasury announces that he has
approved the recommendations of the Director of the Mint
for the transfer of the collection of coins, tokens and medals
in the Mint at Philadelphia to the National Museum at
Washington. This is a national collection, and therefore
most appropriate for exhibition in the National Museum,
where it will be open to a larger public than at the Mint.
All of the Mints, moreover, are now closed permanently to
visitors, and if kept at the Philadelphia Mint the collection
would have been inaccessible to the public.

This press release could hardly calm the local re-
sentment and the pressure groups. On a national
level, however, the American Numismatic Association
immediately supported the transfer. In an editorial
comment which appeared in the May 1923 issue of
The Numismatist,'®* this position was made very clear:

‘Taking a broad view of the matter, the National Museum
in Washington is the logical place for the coin collection.
It has been termed the Mint collection, though, strictly
speaking, it is the national collection. The National Museum
already has a collection of medals, and the merging of the
two collections will be advantageous.

‘The construction of the Mint Cabinet is such that it would
be impossible to enlarge the space for the collection without
remodeling the entire rotunda. This fact would prevent
the material growth of the collection. . . . In the National
Museum more space will probably be available, and per-
haps more money for the purchase of additional specimens
can be obtained,

Washington is the home of our other national collec-
tions. . . . The Capital City is a Mecca for sightseers and
visitors, and the other collections will help to attract a
larger number of visitors than a collection of coins alone
could command.

‘There is one phase of the matter that is worthy of reflec-
tion, but which may not have received consideration by
the Treasury officials in reaching their decision. The late

182 See, The Numismatist (1923), vol. 36, pp. 198f.
163 Vol. 36, pp. 202f.

HISTORY AND TECHNOLOGY

Dr. Comparette is said to have been greatly con-

cerned... about the apparent deterioration of the condition
of the coins in the collection. The cause of this was
believed to be due to an atmospheric condition on The

Mall in Washington, all such conditions will be removed

The editorial concludes that the closing of the
mints to visitors “is to be regretted more than the
transfer of the collection from one city to another.”

Concerned about the protests from Philadelphia,
which multiplied during the month of April, Belote
tried to obtain the active support of the national
numismatic organizations.

He visited New York where he had a series of
meetings on May 7 and 8 with Edward T. Newell,
President of the American Numismatic Society,
Moritz Wormser, President of the American Numis-
matic Association, and Howland Wood, Curator of
the American Numismatic Society’s collections. He
obtained assurances that efforts would be made to
have resolutions passed by the executive bodies of
the two societies for presentation to the Secretary of
the Treasury recommending the proposed transfer
without delay.

As a result of these conferences, the Council of the
American Numismatic Society passed a_ resolution
favoring the transfer of the Mint collection to the
Smithsonian, and on May 15 a letter to that effect
was sent to the Secretary of the Treasury '"' Howland
Wood reported to Belote that: “Our Council passed
a Resolution to write to Secretary Mellon favoring
the transfer of the Mint collection to Washington, and
a letter was sent to that effect on Saturday last.
Also, the N.Y. Numismatic Club on Friday evening
passed a similar Resolution. It looks now fairly
favorable for the National Museum’s getting it.”

Similar action was taken by the New York Numis-
matic Club upon motion brought by Moritz Wormser
at its May meeting. After obtaining the unanimous sup-
port of the board of governors of the American Numis-
matic Association as well, Wormser wrote on May
14 to Andrew Mellon:

Our Association has noted, with great interest, newspaper
reports stating that the Coin Collection, heretofore on exhi-
tion to the public and in charge of your Department at
the Philadelphia Mint, is about to be transferred to the
custody of the National Museum in Washington

164 H. Wood’s communication to T. T. Belote of May 15
Letter in United States National Museum file No. 70 159
This file has been recently consolidated to contain all pertinent
information on the Mint collection transfer.

PAPER: 3.4":

HISTORY OF THE NATIONAL NUMISMATIG COLLECTIONS 9

Needle to say, our Association is vitally int

this collecuon, and its ultimate disposition, and
that if transferred to the National Museum, the Collec to
will serve a far greater usefulness than at the Philadel phi

Mint. We are convinced that at the National Museum i:
Washington, it would be used to the best advantage for
scientific and educational purposes, co-ordinated with the
splendid Collections in other branches of art and science
which are there displayed, that it could form the nucleus
of a large national collection, properly housed, displayed,
accessible at all times to a widet public from all parts of ou
Country, indexed and ultimately increased by propet
appropriation to a size in keeping with its importance and
with collections owned by other Governments less wealthy
and powerful than ours

Our Association, through the proper action of our Board
of Governors, begs to go on record as heartily in favor of
the proposed transfer of the Collection to the National
Museum and we hope and earnestly urge that your Depart-
ment will effect the transfer of the Collection to the National
Museum, as indicated in these newspaper reports

In short sequence, Secretary Walcott informed
Mellon on May 16 that ‘tthe National Museum has
entirely perfected its plans for the acceptance and
appropriate installation of the numismatic collection
from the United States Mint’ and asked whether the
Secretary of the Treasury could advise him “of the
exact time when the transfer ... will be com-
pleted.”

165

Actually, all arrangements for the trans-
portation of the collection were completed without
further delay, and on May 28, Ravenel was informed
that:

At the request of the Director of the Mint, we are sending
to you today 23 cases containing the numismatic collection
of this Mint

I am enclosing herewith receipts prepared in triplicate
which I would thank you to sign, returning to me the original
and duplicate copies.

There are some changes in the numbers as found by your
representative due to miscount in a few instances and addi-
tional coins that he did not see, discovered by us when all
cases were emptied. As noted in the receipt. we have
returned to Joseph K. Davidson’s Sons medals loaned by
them to the Mint, demand for which was made by them

Respectfully
M. H. Chaffin
Superintendent,

‘Treasury Department

1 Carbon copy in USNM file No. 70 139

Sa!

The shipment went forward by registered mail, was formally “‘accessioned” as a transfer on June 13
insured and accompanied by Secret Service men. under number 70 139. Below is a copy of the detailed
It arrived at the Smithsonian the next morning. It receipt signed by W. de C. Ravenel.

Received from Freas Styer, Superintendent of United States Mint, Philadelphia, Pa., United States and foreign coins and medals
enumerated hereunder by cases, sections, countries and numbers as determined by count made by representatives of the Mint
and the National Museum, at the Mint at Philadelphia, Pa., with exception of medals returned to Joseph K. Davidson’s Sons owners
of certain medals loaned to the Mint and additional coins stored in cases not noted at the time the count was made, as well as some
few changes in number of coins contained in certain sections ascertained on recount before packing.

Taken
Box Section Kinds No. out

No. 1 Case 24 Upper U.S. Tokens & Patterns 291
California Gold 73
Lower Colonies 103
United States Coins 136
Case 25 Upper oa ny i 395;
Lower = i ee 255
Case 26 Lower “ . 230
Lower U.S. Commemorative Coins 35
No.2 Case 26 Upper U.S. Coins 342
No. 3. Box | in Office Coins 251
Jee Civil War Tokens 470
Small Cabinet Counterfeits 30

~ - Medals 189 11*
ce se Tokens 722
Curator’s Desk Gold & Silver coins 24
No.4 Case 4 Upper Great Britain 195
Lower a a 167
Case 5 Upper France 127
Lower 126
Case 6 Upper Italy 154
Lower a 128
Case 7 Upper Portugal 88
Lower Spain 140
No.5 Case 10 Upper Germany 124
Lower ss 49
Case 8 Upper < 135
Lower ss 149
Case 9 Upper aS 128
Lower se 109
Case 11 Upper se 178
Lower Austria Hungary 174
No.6 Case 12 Upper Denmark 187
Lower Sweden 107
Plate Money 4
Case 13 Upper Netherlands 147
Lower Belgium 87

96 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Case 14

Case 15

No. 7 Case 16

Case 17
Case 22

Case 23
Case 21

No. 8 Case 18

Case 19

Case 20

Case 23

No. 9 Case |

Case 2

Case 3

No. 10 Case 37

Case 38

Case 39

Case 40

Casé 27

No. 11 Case 33

Case 34

Case 35

Case 36

No. 12 Case 32

Case 33

Section

Upper
Lower
Upper
Lowe1
Upper
Lower
Upper
Upper
Lower
Upper
Upper
Lower
Upper
Lower
Upper
Lower

Upper
Lower
Lower

Upper
Lower
Upper
Lower
Upper
Lower
Upper
Lower
Upper
Lower
Upper
Lower
Upper
Lower
Lower

Lower

Upper
Lower
Upper
Lower
Upper
Lower
Upper
Lower

Upper

Kinds

Switzerland

Minor States of So. Europe
Poland

Russia

Africa

Canada
South America

Mexico

Central America
‘Turkish & Persian
India, Ceylon & Siam
China

String
Japan

Philippine, etc.
South America

Greek

Roman Rep.
“Imp.

Byzantine

Medals

Italian

Medals

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

272-041 O—68——7

No.

Taken

out

co
~I

Taken

Bos Section Kinds No. out
Case 30 Upper i 29
Lower - 13
Case 31 Upper ‘¢ 34
Lower e 7
No. 13. Case 28 Upper = 104
Lower eS 13
Case 29 Upper . ay
Lower a 19
Wall Frame #1 Benjamin Franklin, etc. 4
No. 14 Wall Frame #2 Decorations 22 1*
43 French Decorations 12
#4 U.S. Decorations Sy
No. 15 Small Cabinet Medals 321 11*
No. 16 Small Cabinet Medals 406
No. 17 Large Cabinet A Medals 346
rs a B a 318
e a 437
Ist $4 Target medals 14
Decorations 4
Medals 5
Oak Leaves 2:
Ribbons 8
No. 18 Large Cabinet Medals 146
| Frame Jap. Gold & silver coins 37
No. 19 Large Cabinet 2d 14 A Medals 765
- os s 287
by SB, S 171
No. 20 Large Cabinet 2d !s B Medals 1026
« “ eee ee « 365
No. 21 Large Cabinet 3d '4 B Medals 48
“ ~ eS War Money
Medals 20
Decorations 14
Tray Notes of Defunct Banks and Con-

federate States.

No. 22 Large Cabinet 2d '3 A War Badges 319
Tray 70 Civil War Tokens 798
Surplus Coins & Medals 72
No. 23. Wall Frame #1 Ben Franklin, etc. 3
plaques, miscellaneous Ie

Case 27 Upper Friends of the Medallion 32*

Case 17 Lower Dies (Held at the Mint) 7*

*Taken out to return to Joseph K. Davidson’s Sons by whom they were loaned.

IO BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

The total number of specimens in the United
States Mint collection transferred to the Museum was
18,324. The unpacking of the collection started on
November 26, 1923, and the first case opened con-
tained, according to Mr. Belote’s report on file,
United States gold and silver coins of the late 19th
century. The unpacking and checking of all 23 cases

was finished on January 21, 1924.

In addition to the numismatic material, the \1i
transferred all numismatic books which were select:
by Mr. Belote from the specialized library at th
Philadelphia Mint on October 8, 1924. A total of 814
publications were transferred to the Museum in
December 1924.

APpPENDIx [X
The Paul A. Straub Collection

The most important addition to the national
numismatic collections came during the period of
1923 to 1952 from Paul A. Straub of New York
(fig. 70). On May 13, 1949, Mr. Straub, accompanied
by his friend, Henry Grunthal, delivered to Stuart
Mosher, associate curator of the Division of Numis-
matics, and Charles Carey, acting head curator of
the Department of History, his magnificent collection
consisting of 1,793 gold and 3,855 silver coins.

Paul A. Straub was born on March 19, 1865, in the
city of New York. He was associated with several
china and glass importing firms. From 1895 to 1915
he resided in Dresden, Saxony, as European repre-
sentative of one firm. Returned home, he established
in New York in 1915 the firm of Paul A. Straub &
Company, which became one of the leading importers
of china and glassware.

When asked how he became a coin collector, he told
the following story: °°

I became interested in coins in 1930 while in Dresden
on a business trip with some friends.

Coming from a display of relics of the Reformation,
shown in connection with the celebration of the Fourth
Centennial of the Augsburg Confession, we passed the
windows of a coin dealer who displayed a couple of 10-
ducat pieces of 1630 commemorating the First Centennial.

We stepped in to see whether he had any United States
gold dollars. He did, and my friends bought a few at 7
marks, or $1.75 each. On our way out, the dealer tried to
sell me the 10-ducat pieces. Quite surprised at his proposi-
tion, I told him that I did not want them, and knew no
one who might care to have them. Then I left, but the
ducats had made an impression on me, for after lunch I
confessed to my friends that I would like to go back to the
coin shop. We went—and I left with the 10-ducat pieces
in my pocket. I was a coin collector and have been one
ever since.

His collection increased rapidly. As early as June 12,
1939, Moritz Wormser, who had shown so much

interest in the transfer of the United States Mint
collection to Washington, wrote to Theodore T.
Belote, curator of the Division of History, mentioning
Mr. Straub’s desire to find a permanent home for
his collection at the Smithsonian. Wormser wrote:

This time I think I have for you a communication of
great interest to yourself and to the Smithsonian.

A very good friend of mine has discussed with me the
thought that he might wish to bequeath his coin collection
to the Smithsonian. ‘This gentleman is a very fine collector
and owns a really magnificent collection especially strong
in the foreign field. | have had the privilege of seeing some
of his collection, during a five hour visit, when I could see
only about half of what he had and he has a wonderful
series, especially Germans and gold coins. What I have
seen is really too vast to mention in detail; but just to
mention one item, he has a complete set of the Guinea
series, from the 14 Guinea to the 5 Guinea pieces of every
British Ruler, from Charles II to Queen Victoria, excepung
of course the excessively rare George III. ‘That was just one
of the items that hits you in the eye when looking over the
collection. While I made no detail appraisal of the collec-
tion, I should think it represents a money value of about
$25,000.00. to $30,000.00.

As usual there is of course one string tied to his ideas of
bequest: He has been down to the Smithsonian and he does
not like the way the collection there is displayed; and he
wants some assurance and understanding that his collection
would be displayed to better advantage, in some special
arrangement of tiers, and perhaps behind shatter proof
glass,

As I had read that the Government was going in for so
much W.P.A. work, I think that the building and installa-
tion of such display facilities should be readily undertaken
by the Government.

At the present moment the gentleman is leaving on an
extended vacation and will not be back until early in
August.

However, I wanted to write you about this while my talk
with the collector is fresh in my mind, and you might write

to me at your leisure your reaction to this idea, and give

166 See The Smithsonian Torch (December 1956), p. 9., about / Beas
Straub’s visit to the museum in November 1956 some thought how it could be worked out with your Museum
PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 99

The gentleman is a well established business man, with no
immediate heirs, so that I am convinced that his ideas are
serious and not just “pipe dreams.”

The acquisition of this collection by the Smithsonian,

would I believe, give you a really outstanding coin collection.
Let me hear from you at your convenience.
Of course when my friend gets back from his trip and when
you get to New York after that time, I shall of course be

glad to introduce you to him.16

About July 20, 1939, Belote visited with Wormser,
who arranged for a meeting with Paul Straub in
March 1940. The delay was occasioned, in part, by
Straub’s extended trip to Europe. Following the
meeting, Straub wrote on March 28, 1940, to Dr.
Charles G. Abbot, Secretary of the Smithsonian
Institution:

I have been collecting coins for a number of years, and
have somehwere between five and six thousand pieces at
present, and of these about 1200 pieces are of gold.

It is a general collection of types, and covers the Americas
and Europe from about 1500. Over ninety-five percent of
the pieces are extremely fine or better.

I would like to give this collection to the Institute [sic]
if it can arrange to show it, as I think it should be shown,
and if the necessary protection can be given it,—safety glass,
etc.

As to the collection itself, I would refer you to Mr. M.
Wormser, 95 Fifth Avenue, New York, N.Y., whom you
may know and who has seen it. Would gladly show it to
the Curator of this division of your museum any time he is
in New York.

If my offer appeals to you, I would be glad to hear from
you and remain,

Yours truly,

Paul A. Straub
PAS:S
Mr. Graf: See also letter of March 29, attached herewith.

In a supporting memorandum addressed to Dr.
Alexander Wetmore, the Smithsonian’s Assistant
Secretary, Belote pointed out that Straub was

intensely interested in art and history [in fact, he had a large
library of Lincolniana] and this interest has expressed itself
in the form of coin collecting. He has spared no expense to
acquire a collection of the very finest specimens of ex-
ceptional art and historic interest and he now feels that he
might assure the perpetuation of the collection by present-
ing it to some museum of the first rank in the United States
where it might be permanently shown for the benefit of the
American public. . At first he thought of offering the
collection to the American Numismatic Society in New York
but finally concluded it would have a wider sphere of use-

167 Letter in the USNM Archives, Accession 161590.

100 BULLETIN 229:

fulness if accepted by the U.S. National Museum. If the
Museum should accept the collection, Mr. Straub will
continue to add to the collection annually as a gift to the
Smithsonian a large number of new specimens of the same
fine character as those which it already contains.168

The Secretary replied to Straub on April 17, 1940:

Dear Mr. Straub:

We appreciate indeed your recent letter, in which you
indicate that you wish to present your collection of coins to
the Smithsonian Institution as an addition to our national
collections in this important field. Your material is well-
known to those working in numismatics, as containing only
the finest type of specimens.

You are no doubt familiar with our present important
collection, to which your series would make a highly valu-
able addition. We handle this material under suitable con-
ditions as regards display, and safeguard those parts of the
collection that are not on public exhibition, but are used
for study by experts, in a manner that insures their careful
preservation. For some of the important gold coins on dis-
play, we use a special safety glass that protects against
vandalism, a matter of definite importance now when the
high price of gold is considered.

With gifts such as the one you contemplate, it is our policy
in all branches of the Museum to catalog the material given
by the donor and to keep his name on the labels with each
individual specimen. We arrange our collection according
to some definite scheme of classification, interpolating new
pieces that come to us from material such as yours in the
proper place, with the name of the donor. The whole thus
makes a unified display with each piece properly labelled.
We do not find it practicable to display individual collec-
tions as a unit, since to do so detracts from the value of the
collections as a whole, since it makes it necessary for those
interested to go to several places to see our series covering a
single subject. I am sure you will appreciate the desirability
of having one systematic series so that the materials can be
directly compared. I shall appreciate hearing from you
further regarding your desires in the presentation of your
collection.

With appreciation of your attention, I am,

Very truly yours,
Charles G. Abbot
Secretary.

Abbot wrote at the same time to Wormser to
express his appreciation of ‘‘your long continued and
valuable assistance.” Wormser’s reply of April 26,
1940, was characteristic of his unassuming attitude:

I was very glad indeed to receive your kind letter of the
25th and to hear from you that the matter of the Straub

168 USNM Archives, Acc. 161590.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Collection is of interest to you, and is making some progress.

Really I have done very little in this matter; for after all
the prime factor in it is Mr. Straub’s public spirit and I do
hope that the ultimate bequest of the collection to the
Smithsonian Institution will be accomplished

I can assure you that it is a wonderful and representative
collection of foreign gold and silver coins primarily, with
many rarities, and material in first-class condition, and its
ultimate acquisition by the Smithsonian would greatly
strengthen its mumismatic section.

Of course I shall be most interested in the progress of this
proposition and hope that Mr. Straub will soon make a trip
to Washington for the discussion of further details.

“T am rooting hard for it.” 1°

This was Wormser’s last letter to the Smithsonian
for on May 22, 1940, this restless worker and dedicated
friend of the Smithsonian’s numismatic collections
died unexpectedly.

Discussions concerning the donation continued.
In July, Straub visited the Smithsonian and in
October he invited Belote to examine his collection.
Belote spent November !I4 and 15 in New York and
Summit, New Jersey, with Straub, and in a detailed
memorandum he described the collection as well as
the conditions attached to the donation.

On January 7, 1942, Assistant Secretary Wetmore
wrote to Straub going into details connected with
exhibiting, labeling, credit lines, and difficulties that
would arise if blue velvet lining should be used as
considered desirable by Straub.

In his reply of January 12, 1942, Straub set forth
“three fundamental conditions” for the gift:

Thanks for yours of the 7th. I have carefully noted its
contents and am pleased to know that my collection has
had your consideration.

Replying I would say that there are only three funda-
mental conditions attached to my giving the collection to
the Museum, viz.:

1. That the coins be carefully protected from injury and
theft.

2. That they are appropriately and advantageously
shown.

3. That they are made a permanent exhibit. All other
matters are details that can be adjusted and arranged
without trouble.

It matters little whether the cases are lined with blue
velvet, if the pieces are shown to advantage in another way.
I only suggested blue velvet because both silver and gold
show up well on it.

Also it would be well to show your pieces with mine, for
by so doing the object to my making the gift is attained

169 USNM Archives, Acc. 161590.

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

That is, to provide the nucleus for a better and
collection,—one that will place at the disposal of the

and the artist specimens of the best coinage of other cout
tries. Also to develop in our people a desire and demand fo:
better designed monies than we have had in recent year
See our Commemorative half dollars and our Jefferson
five cent nickel

If you think it best to show silver and gold coins together
I will agree to it, although I am of the opinion that it would
be much better to separate them. ‘Try and visualize a row
of gold ducats following a number of large, coarse, double
talers and talers. | am sure the small gold pieces would be
overlooked. Gold coins are so much smaller and of so much
finer detail that it seems to me they should be shown by
themselves so as to bring out the beauty of detail.

If it is known that gold and silver are shown separately,
I don’t think any interested person would object to walking
across an aisle to see both. I think the collection is so ar-
ranged in Berlin.

I don’t consider a flat case the ideal way to show coins,
and I only remember seeing coins so displayed in Paris at
the National Library, and of course to the disadvantage of
the pieces displayed.

The only way to show coins, to my way of thinking, is in
upright cases, the way you show the American and other
coins in the cases against the wall. However, they should be
without the cases in front of them so that a person can get
up close to the case and examine the pieces. What can one
see of the details of a gold dollar or a two and a half dollar
gold piece at a distances of say one to two feet, or when
standing on one’s toes and straining to see the piece at all.

I attach a sketch of my idea of an upright show case as |
have seen them in many Museums for your consideration.
The cases must be fitted with safety glass to prevent the glass
being smashed or cut with a diamond and valuable pieces
taken. There are gold pieces that cost up to $750., and silver
pieces worth up to $500. and more in my collection, and
they must be protected against accident or theft.

Attaching my name to the pieces means little to me, for
like Andy Mellon I seek no notoriety in making the eift
However, that detail I would leave to you.

I hope that I have made my position clear, and I would be
elad to hear from you further after you have considered it.

Of course, I'll be glad to come down to Washington to
arrange details if we get together on the three main points.
I enjoyed Mr. Belote’s visit and it will give me pleasure to

meet you.

On February 11, 1942, Dr. Wetmore wrote Straub
accepting the collection under the stipulations offered
by Straub:

Your kind letter of January 12 came to me in due time
and I greatly appreciate your statements in it regarding
your coin collection. ‘] hat I have not replied to you earlier

has been due to the present war situation which has made it

101

a little difficult for me to see my way with regard to our
collections. These matters are now clarified so that I know
better where we stand.

We should like to accept your collection under the stipu-
lations offered at the beginning of your letter and can assure
you that your wishes as indicated there will be met.

At the present time I do not feel that it is proper to make
extensive exhibitions of valuable gold coins for a number of
reasons. The principal one among these is the possibility
that we may have some sporadic bombing from enemy
sources here along the Eastern seaboard. I am not pessi-
mistic concerning the matter but is it definitely prudent to
have this in mind and to make the proper dispositions in
case such circumstances should arise. I would consider it
very foolish not to make arrangements for such a possibility.

There is a further matter that at the present time so far as
I can see now it will be impossible to get the proper grade of
shatterproof glass for cases. We have some of our coin cases
now equipped with this glass made for us by the Pittsburgh
Plate Glass Company from a special grade called water
white which is so clear and so well prepared that there is no
hintofcoloring and consequently no indication of the lamina-
tion of the glass. This grade of glass is not available at the
present time. The ordinary glass such as is used in our auto-
mobiles and in the armored trucks that transport valueabls
around our cities will not serve since after a period of a year
or two it becomes yellow and more or less opaque.

We expect to place an important series of specimens from
our coin collection in a location outside Washington where
they will be properly guarded and safe from any bombings
that may come to us here near the coast. I realize that you
wish to make a permanent arrangement about your col-
lection. May I suggest to you, therefore, the possibility that
you may wish to make the transfer to us at the present time.
It this is done we would accept the collection with the
understanding that the bulk of it would be put into safe
storage for exhibition at the close of the war. We would then
arrange the storage of the material with the other specimens
that we expect to remove from our collections here.

If this does not meet with your approval perhaps you
would be willing to consider the actual legal transfer of the
collection to us at this time with the understanding that it
would remain in your possession during your life.

I shall greatly appreciate hearing from you in regard to
these suggestions. I may add for your own information, and
not for publication, that in common with other large
museums we have removed some of our valuable specimens
already and that other material is being packed. We expect
to maintain our public exhibitions in their present extent
and will merely change somewhat the type of things that we
show. It is our definite feeling that our museums and art
galleries have a highly important function in times like
these in the mental relief they give to the individual from
the stresses brought about by the matters of the day. At
the beginning of the war in England the museums were
102 BULLETIN

2999:

CONTRIBUTIONS

FROM

closed but were opened almost immediately on public
demand, and have been kept open often under the most
trying circumstances since.

Straub, in turn, formally confirmed his gift with a
letter dated February 26,1942. At the same time he
announed the preparation of an inventory and raised
some questions concerning duplication of coins already
represented in the national collections. Wetmore
replied on March 9, and on the 29th Straub reported
to Belote that he was making progress with the prepa-
ration of the inventory as well as with the acquisition
of new pieces. Among others, he had acquired a 50-
zecchini piece struck in the name of the Doge Paolo
Renier of Venice (1779-1789) and had increased the
number of gold coins to 1,450 and the number of
multiple talers to 51 pieces.

After this the exchange of correspondence stopped
until 1945, when, in reply to a letter of March 27 from
Secretary Wetmore, Straub promised on April 3
that he would have the collection ready ‘“‘any time
after May Ist.’’ He mentioned at the same time that
the collection of gold coins had grown in numbers and
importance. ““There are now at least 1,750 gold
pieces ranging from 4 to 50 ducats.”’

Months went by and, in November, Straub apolo-
gized for the delay. He had discovered inconsistencies
between his listings and the collection which he was
attempting to clear up.

The delay in delivering the collection to the museum
in the beginning was caused in part by World War II.
The main reason, however, was Straub’s ambition
to build up first a collection which “Uncle Sam could
be proud of.’’ These were, in fact, the words used by
himself on more than one occasion.

After its arrival in 1949, delays in displaying the
collection followed. About half of the gold coins were
installed in six upright cases by May 1950.17° Problems
in obtaining the special shatterproof glass delayed the
installation of the other gold coins until May 1953.17
Since that time the Smithsonian has had the largest
display of gold coins on view anywhere in the world.

Straub continued to take an active interest in the
exhibit, and in spite of advanced age, visited Wash-
ington from time to time, always bringing along a
few coins to be added to the collection.

He was appointed an Honorary Fellow of the
Smithsonian in 1955. He died on December 9, 1958,
at the age of 93 years.

1 Letter from Stuart Mosher to Paul A. Straub, May 19>
1950.
‘1 Stuart Mosher to Paul A. Straub, May 7, 1953.

THE MUSEUM OF HISTORY AND TECHNOLOGY

A last gift of seven gold coins which he had not
been able to present himself reached the Museum
a few days before his death, a moving symbol of
Paul A. Straub’s purposeful dedication.

In addition to the main donation in 1949 of 1,793
gold and 3,855 silver pieces, Straub over the years
gave 67 other gold coins and 31 silver pieces. The
entire donation amounted to 1,860 gold and 3,886
silver coins, or 5,746 pieces in all.

It would require a special publication to do justice
to the overall significance of the collection. There are
27 10-ducat pieces represented in this collection, and
even heavier coins including a 25-ducat piece of
Transylvania struck in 1681 in the name of M.
Apafi (fig. 72), a 25-zecchini piece struck in the name
of the Doge of Venice Giovanni II Corner (1709-
1722), and a 50-zecchini coin of Paolo Renier of

PAPER 31: HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS

(1779-1789) (fig. 71). The
contained in this collection are many; one example is

Venice great rarities
the Russian 1882 gold 3-ruble piece of Alexander III,
of which only 6 pieces were struck (fig. 73). Not much
the lesser in importance is the collection of silver
coins. There are, for instance, 50 multiple talers of
the Brunswick duchies. Among them, five are 10-
taler pieces. No references in other collections could
be found, for instance, for the medallic piece dated
1677 (fig. 74) struck in the name of Johann Friedrich
of New Liineburg.!**

2 Mentioned without other references by JouHn S. Daven-
PORT, Oversize Multiple Talers of the Brunswick Duchies and
Saxe-Lauenburg (1956), p. 60, no. 211. See also R. MuLtuHaur,
“Mine Pumping in Agricola’s Time,” USNVAf Bulletin 218-
Contributions from the Museum of History and Technology, Washing-
ton, 1959, p. 115, fig. 1.

103

Index

Abbot, Charles G., 100

Adams, H., 19

Adelson, Howard L., 67n

Adler, Cyrus, 27n, 88

Alaskan sealskin note, 16, 43

Allen, William H., 88

American Express Company, 25

American Numismatic Association, 94, 95;
loan collection, 12, 13, 20, 21

American Numismatic Society, 95, 100

Baird, S; F., 7

Bank of New Zealand, 25

Barber, Charles E., 27, 28

Barber, William, 15

Barre, Jean Jacques, 68

Beckwith, Paul Edmond, 9, 18, 88

Belote, Theodore T., 9-13, 19, 28, 29,
29N, 93, 95, 952, 99-101

Bigelow, William Sturgis, gin

Blum, William, 28

Bobyshell, O. C., go

Boggs, Thomas Kelly, 19

Bovy, Jean Francois Antoine, 68

Boyd, Mrs. F. C. C., 17

Brasher, Ephraim, 18, 89

Brenner, Victor D., 10, 16, 28, 36

Brown, John P., 68, 73, 74, 79

Bull, George, go

Bullowa, Catherine, 17

Bureau of Standards, 32

Burris, R. LeGette, 14

Burt, Charles, 3n

Butler, Major General B. F., 11

California gold, 26, 30-32

Canova, Antonio, 3

Care of collection, 28-31

Carey, Charles, 99

Carroll of Carrollton, Charles, 46
Casanowicz, J. M., 27n, 88

Chaffin, M. H., 95

Clain-Stefanelli, Elvira, 14, 22
Clain-Stefanelli, Vladimir, 22, 23n, 33n
Clark, A. Howard, 12

Cleaning of coins, 28-30

Cogan, Edward, 67n

Coin stamper, 23, 61

Coins: African, 19; ancient, 17, 20-23, 25,
32, 33, 46, 47; Argentinian, 25, 34;
Belgian, 22; Canadian, 16, 49; Chinese,
9, 19, 21; Colonial American, 18, 26,
27; English, 62, 63; Far Eastern (see
also under respective countries), 9, 19:
foreign, 6, 11, 14, 17-21, 23, 26, 33, 38,

23,

88, 89; Judaean, 25, 32; medieval, 17,
47; Peruvian, 34; Polish, 9, 16, 19, 47;
private gold, 11, 27, 29, 30-32; Russian,
16, 22, 23, 32, 33, 38, 47-49; United
States, 11, 19-24, 26, 27, 30, 39, 42

Coins of the Bible, 27, 27n

Colonial and Continental American notes,
16, 205/27, 29,27, 42

Columbian Institute, 4, 63

Comparette, T. Louis, 10, 11, 15, 63, 91,
gin, 92, 95

Confederate cent, 42

Confederate States paper currencies, 11,

15, 16, 23, 37

Davenport, John S., 103n

Decorations: Belgian, 22; foreign, 9-11,
14, 19-21; United States, 9, 11, 20-22,
28, 36

DeWitt, Bernard, 31n

Display cases, 24, 35, 60

Du Bois, Patterson, 90

Du Bois, William Ewing, 11, 17, 62, 63n,
72, 89, 89n, 90, gon

Dunn, James C., 64, 66

duPont, Willis H., 16-18, 22, 23

Eberly, Kenneth C., 31n
Eckfeldt, Adam, 11, 16, 62, 89
Eckfeldt, Jacob R., 62, 63n,

go, gon

2, 8a, 89n,

Electro-spectrographic analysis, 31

Eliasberg, Louis, 22

Emergency currencies, 10, 12
Exhibits, numismatic, 14, 18-28, 53-61
Ford, John J., 15n

Forsyth, John,
First, Moritz, 45

Galle, André, 68, 79

Gatteaux, Edouard, 68, 79

Geometric lathe, 26

Gillilland, Cora L., 14

Glover, George Bunker, 9, 19

Gobrecht, Christian, 15, 39-41, 46, 62, 90
Goode, George Brown, 4n, 6, 6n, 7, 19
Gorgas, William Crawford, 14

Gowland, W., 87

Grant, Julia Dent, 88

Grant, President Ulysses S., 8, 9, 23, 88, 89
Groux, D., 79

Grunthal, Henry, 99

Guild, William, 28n

Gunji, Isao, 88

Hall of Monetary History and Medallic
Art, 22, 23, 25, 57-60.

Hart, Harry, 22

Harwood, Andrew Allen, 68, 70

Hauck, Frederick A., 17, 26

Hawthorne, John O., 31n

Hedlinger, J. K., 51

Henry, Joseph, 6

Hewitt, Robert, 10

History of money exhibit, 57-59

Hodgson, W. B., 68

Hoffman, Walter James, 87

Holmboe, C. A., 68, 76, 79, 80

Holmes, Mrs. Milton, 18

Hoscheck collection, 17

Hoskier, H. C., 91, gin

Hunter, Alfred, 5, 81

International Business Machines Corpora-
tion, 23
Ion-exchange processes, 30

Jaeschke, Carl H., 14

Jewett, Charles Coffin, 5, 6n, 82, 82n
Joly, Raymond, 52

Jones, John Paul, 16

Kalgan Shih, 21
Kelly, Kenneth L., 25
Kennedy half dollar, 25

LOE BULLETIN 229: CONTRIBUTIONS FROM

King, Henry, 4

King, Robert P., 13, 20
Kneass, William, 15, 25
Kotte, Hans, 31n
Kubitschek collection, 17
Kiichler, Conrad H., 45
Kunz, George F., 92
Kuroda, Kiyotaka, 89

Law, Thomas, 4

Lay, George W., 77
Leach, Frank A., gin
Leberecht, F., 52

Lelewel, Joachim, 68, 73
Lenormant, Frangois, 68
Leonardo da Vinci, 23, 61
Lighting of exhibits, 23-25
Lockhart, Sir James Haldane Stewart, g
Longacre, J. B., 15
Lovett, Robert, Jr., 15, 42

McClure, R. A., go

McCormick-Goodhart collection, 14

Manca, Albino, 26

Mason, Otis T., 87

Mass-spectrography, 35

Maury, Commodore Matthew Fontaine, 9

Medallic Art Company, 18, 25

Medals: Admiral Edward Vernon, 14, 39;
Belgian, 22; foreign, 10, 12, 14, 17-20,
22, 26, 51, 52; Lincoln, 10, 11, 22;
Napoleonic, 22; Russian, 16, 17, 22,
28, 51, 52; Smithsonian Institution
award, 26; Swedish, 17, 51

Medals and plaquettes, United States, 11,
16, 18-22, 25-28, 35, 36, 45, 46

Mellon, Andrew W., 10, 19, 92, 93, 95

Metric double eagle, 27

Mikhailovich, Grand Duke Georgii, 16, 22

Mildenberg, Leo, 25

Mint collection, United States, 10-13, 15,
19, 23, 29, 34; 62, 63, 88-99

Monetary history, 23

Moore, George, 67n, 78

Moore, Samuel, 62, 62n

Morgan, George T., 15, 41

Morlot, A., 87

Mosher, Stuart, 14, 28n, 37, 99, 102n

Mounting of coins, 24

Multhauf, R., rogn

THE MUSEUM OF HISTORY AND TECHNOLOGY

National Cabinet of Curiosities, 4
National Institute for the Promotion of
Science, 4, 5, 67-81

National Museum’s Research Laboratory,
33> 35

Naval Research Laboratory, 32

Neinke, Mr. and Mrs. Mortimer, 16-18, 25
Neutron activation, 32

Newell, Edward T., 95

Newman, Eric P., 16n

Norris, Grieg, and Norris, 31

Norweb, Honorable R. H. and Mrs., 16
Numismatic library, 6, 9, 11, 87, 88, 99

O’Reilly, M. M., 93

Pace; HH. A.,.31

Packard, Kent, 15

Paper currencies: Confederate States, 11,
23; United States, 16, 20, 22, 25,
27-29, 43, 44

Paper money: Argentine, 25; Austrian,
17, 25; foreign, 9, 17, 25, 50, 51

Paquet, Anthony C., 25, 36

Patterns: foreign, 33; United States, 11,
19, 20, 25-29, 40, 41

Patterson, R. M., 68

Paulding, Kirke, 67, 76

Peale, Franklin, 40, 41, 62, 62n 67, 77

Perry, Rear Admiral Robert E., 9

Peterson, Mendel, 14

Poinsett, Joel Roberts, and Mrs., 4, 67, 69

Pollock, James, 87

Preservation of paper, 31

Raczynski, Count Edouard, 68

Rau, Charles, 87

Ravenel, W. de C., 93, 95, 96
Raymond, Mrs. Wayte, 17

RCA laboratories, 31

Read, G., 68, 69

Reformation, coins and medals of, 21, 60
Reifenberg, Adolph, 25

Rhees, William J., 3n, 18, 18n, 87
Rhind, Charles, 68, 75, 76

Roiné, Jules Edouard, 11

Roosevelt, President Theodore, 15, 42, 91
Rush, Richard, 3, 3n, 63

Saint-Gaudens, Augustus, 28, 35
Salmon, Maurice, 33
Saxton, Joseph, 62, 68, go

PAPER #31:

Schuler, D
Scrip, 12

A,, go

Security-Columbian Banknote Company,
26

Security devices, 21, 26, 29, IOI, 102

Serruys, Charles, 67, 70, 81

Shell money, 18

Sirlouis, James R., 29

Smithson, James, 2, 3

Smithsonian deposit, 3, 4, 62, 63

Smyth, W. H., 72, 73

Snowden, James Ross, 62, 62n, go

Snyderman, Isadore, and Mrs., 16

Sommer Islands hogge money, 18

Spanish-American proclamation pieces, 17

Stabler, Edward, 3n, 14, 38, 39

Stack, Harvey G., 16

Stack, Joseph B., 18

Stack, Messrs., 17, 18

Stearns, Robert E. C., 18, 87

Straker, S., and Sons, 15

Straub, Paul A., 38, gg-103

Straub collection, 14, 21, 23, 99-103

Styer, Freas, 96

Sully, Thomas, 39

Swazey, Ambrose, gin

Szecheny, Count F., 68

Tayloe, B. Ogle, 68, 74
Thian, Raphael P., 16
Tibbles, Anna, 93

Tiolier, Nicolas Pierre, 2, 3
Tokens, 19, 20, 28
Traveler’s cheques, 25

Ultrasonic cleaning, 30
United States Mint, 25, 26
United States Secret Service, 32

Vanderbilt, W. H., 88

Varden, John, 4, 5, 63-66, 80, 81
Vattemare, Alexander, 68, 76, 77, 79
Vincze, Paul, 3n, 26

Walcott, Charles D., 10, 19, 92, 93, 95

Washington City Museum, 4, 63, 64

Washington Museum. See Washington
City Museum

Washington Numismatic Society, 21

Weinman, A. Adolph, 29

Wetmore, Alexander, 100-102

White, Charles A., 88

HISTORY OF THE NATIONAL NUMISMATIC COLLECTIONS 107

Whitlock, Brand, 12, 22

Wilkie, John E., gin

Wilkinson, Charles D., 14

Wilson, Thomas, 87

Wilt, Myron H., 31n

Wood, Howland, 95, 95n

Wood, Ira W., gin

Wooley, Robert W., 92

Wormser, Moritz, 12, 13, 20, 21, 37, 95;
gg-101

108 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Wormser Memorial collection, 21, 60
Wright, Joseph, 19

X-ray diffraction, 32, 33, 61
X-ray fluorescence analysis, 32
X-ray spectrography, 31n

Zabriskie, Andrew, 16

|
|
Yoshida, Kiyonari, 89
Zerbe, Farran, g1n

U.S. GOVERNMENT PRINTING OFFICE - 1968—O-272-041

CONTRIBUTIONS FROM
Tue Museum or History AND TECHNOLOGY:

Paper 32

NuMISMATICS—-AN ANCIENT SCIENCE

A SurvEy OF 1Ts History

Elvira Elixa Clain-Stefanelli

INTRODUCTION

EVOLUTION OF A SCIENCE =

BEGINNINGS OF COIN COLLECTING 5

MIDDLE AGES AND EARLY RENAISSANCE II

RENAISSANCE AND CINQUECENTO I5

SEVENTEENTH CENTURY 22
EIGHTEENTH CENTURY 25

EARLY NINETEENTH CENTURY 34

MODERN TRENDS AND ACCOMPLISHMENTS 41

NUMISMATICS IN THE UNITED STATES 60

LITERATURE CITED 68

NUMISMATICS—AN ANCIENT SCIENCE

A Survey of its History
By Elvira Eliza Clain-Stefanelli

INTRODUCTION

This study has been prompted by the author’s
observation that many people regard numismatics
simply as coin collecting, a pleasant hobby for young-
sters or retired persons. ‘The holder of such a view-
point is unaware of the scope and accomplishments of
a historical investigation that traces cultural evolution
through one of the basic aspects of everyday human
life: money. Seen as a reflection of past aspirations
and accomplishments, coins are invaluable sources
for scholarly research, but few people are aware of
the tremendous amount of work done in this field by
past generations.

The present monograph is intended to give only a
synoptic view of the complex world of numismatic
research. An area of knowledge that spans centuries
and contains such varying fields as primitive media
of exchange, coins, paper money, money substitutes,
tokens, medals, and decorations, can hardly be given
a detailed history by a single person in a single work.

Even in a survey such as this, before such wealth
of material, many omissions are unavoidable, and,
since this work is also intended for the nonprofes-
sional, other omissions have been made to facilitate
the presentation. Authors and their works have been

carefully chosen to illustrate the main line of progress

2, BULLETIN 229: CONTRIBUTIONS FROM

within specific areas. Citations of their books and
articles are given in shortened form in the footnotes,
with full references appearing at the end of the paper.
Because coin collections have supplied the raw
material for much investigation, the histories of some
of the major private and public collections also have
been included in this survey.

In my research, I have had an excellent guide in
Ernest Babelon’s chapter ‘“‘La numismatique et son
histoire,” published in 1901 as part of the first volume
of his Traité des monnaies grecques et romaines: Théorie
Material on recent accomplishments has
come from reports given by specialists to the inter-
national numismatic congresses. But without the

et doctrine.

helpful assistance received from leading European
numismatists on the occasion of my visits to various
numismatic museums, this study could not have been
completed.

I am indebted to Dr. Nils Ludvig Rasmusson,
Director of the Kunglig Myntkabinettet of the
Statens Historiska Museum, Stockholm, as well as
Ulla S.
Linder Welin from the same institution for their
kind interest in reading the galleys. Through their
suggestions I have been able to benefit from the wide

Professor Willy Schwabacher and Mrs.

THE MUSEUM OF HISTORY AND TECHNOLOGY

experience and knowledge which distinguishes these
scholars in their fields. Of invaluable assistance in
gathering basic information about the actual status of
numismatics in different countries were: Prof. Felipe
Mateau y Llopis, Director of the Biblioteca de
Catalufia, Barcelona; Dr. Paul Grotemeyer, Director
of the Staatliche Miinzsammlune in Munich; Mr.
Jacques Yvon of the Cabinet des Médailles, Paris;
Mr. Antonio de Andreade Rebelo, Curator at the
Museu Numismatico Portugues, Lisbon; and Prof.
Walter Havernick, Director of the Museum fiir
Hamburgische Geschichte, Hamburg.

My gratitude also is extended to Dr. Otto M¢grkholm,
Curator of the Kongelige Mgnt- og Medaillesamling,
Nationalmuseet, Copenhagen, to Mr. I. G. Spasskii,
Curator of the Numismatic Department at the

EVOLUTION

About a hundred and twenty years ago, a historian,
Friedrich Creuzer, called numismatics ** the enlighten-
ment of archeology.” He characterized the coin as
“‘a mirror of the ancient world, which indicates the
progress of the arts, which accompanies human society
in all its civic life,
wars, conquests, peace treaties, changes of govern-

aspects, laws, institutions,

ment, trade, and alliances. It perpetuates the fame
of noble generations and it keeps alive the memory of
great men.” !

Expressed in the exuberant language of the roman-
tic era, this is the rather vivid description of a disci-
pline which traditionally has been regarded within
the strict denotation of its Greek or Latin root
voutoua or nummus (coin)—as the science of coins.
So terse a definition as the latter, however, suggests
little of the origin and scope of an area of research
that often is looked upon as a branch of history and
archeology. The function of coins as an official prod-
uct of the issuing authority, as an essential element in
trade, as a reliable source of information for historic,
linguistic, and epigraphic phenomena, as a subtle
interpreter of artistic trends, and, above all, as a clear
reflection of many aspects of human society through
the ages, usually escapes the layman and even the
student. Numismatics, with a record as a scholarly
discipline which dates back at least to the 13th century,
suffered greatly in prestige because of its earlier
methods. Necessarily descriptive at first, it emerged

1 BaBevon, Traité, vol. 1, col. 66.

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

Hermitage, Leningrad, to Professor Hansjére Bloesch
in charge of the Miinzkabinett of the Stadtbibliothek
in Wintherthur, Switzerland, and to Mlle. Monique
Du Verdier from the Bibliothéque Nationale, Paris,
for their aid in securing important illustrative material;
to Mr. Sawyer M. Mosser, Executive Director of
the American Numismatic Society, New York, for
many practical suggestions concerning the style of
the manuscript, and to Mr. Richard P. Breaden and
Mr. Geoffrey H. North, Librarian and Assistant
Librarian, respectively, of the American Numismatic
Society, New York, for their continual help; to Mr.
Isadore Snyderman, New York, for providing trans-

lations from the Russian. Finally, without the assist-

‘

ance of my husband, Dr. Vladimir Clain-Stefanelli,
this work would have never reached its conclusion.

OF A. SCIENCE

very slowly as a more interpretative science wherein

emphasis on the application of established data
became the basis for research of a broader nature.
With English and especially German scholars as the
leading theoreticians, numismatics as a science has
moved more and more toward a definition which
would include the essential problems of origin, scope,
method, and application. Such a direction was
pointed out in 1921 in a lecture by the German
numismatist Behrend Pick.” [It has since become the
subject for many learned debates among scholars,’ all
of whom seem to agree at least in one respect—that
numismatics can aspire to scientific honors only if it
approaches coins primarily in their historical function

as money.’

2 His lecture, “Die Miinzkunde in der Altertumswissen-
schaft,” was presented at a mecting of philologists in Jena,
1921, and published in Gotha, 1922. It was reproduced later

3 Jesse, “Aufgaben und Grenzen der Numismatik” (1924

in his Aufsdtze zur Numismatik (1931).

1926); Senwinkowskt, “Numismatik und Geldwissenschaft”
(1929); Gepnart, Numismatik und Geldgeschichte (1949); Loetr,
“Numismatik und Geldgeschichte’ (1957); Grpnart, “Von
der Numismatik zur Geldgeschichte’’? (1959).

4$The relation between numismatics and history has been
discussed in Grierson, Nwnismatics and History (1951); BREGLIA,
*Possibilita e limiti del contributo numismatico alla ricerca
storica’” (1957); SuTHERLAND, Ancient Nwnismatics: A Brief In
troduction (1958); Wattacer, “Greek Coins and Greek History”
(1958); Jones, ‘*Numismatics and History” (1956);
Roman History from Coins (1958); Braun von Stumm, ‘Dic
Miinze als Hilfsmittel der mittelalterlichen Kulturforschung”
(1953).

GRANT,

Pick drew a sharp distinction between pure numis-
matics (reine Numismatik) and applied numismatics

(angewandte Numismatik). Under the first, he con-
fined the simple activities of collecting, classifying,
and describing coins—a preoccupation which he
rated on a lower scale and which he, therefore,
assigned contemptuously to the nonspecialist, the
amateur, the collector. On the other hand, applied
numismatics, according to him, became the science
that permits the scholar to deduce from coin material
important conclusions applicable to the related fields
of social, political, and economic history, and art and
philology. This latter approach he reserved for the
scholar, the highly trained specialist.

This attempt to define numismatic science failed
completely. Within a few years Wilhelm Jesse con-
tested these ideas by pointing out that very often even
purely descriptive activities require the knowledge of
a highly trained person.® ‘To disregard coin catalogs
would be similar to a historian’s ignoring a collection
of published documents. The qualitative difference
between an inferior listing of coins and a_ highly
specialized publication of numismatic material rests
upon the approach and methods used. Moreover,
Jesse contended, applied numismatics cannot be con-
sidered an independent science since it results from a
blend of other disciplines.

Starting from these premises, Jesse proceeded to
state his own definition of numismatics as a science.
Since coins were created for the practical purpose of
serving as a medium of exchange, it seemed logical

‘Thus,

Jesse argued, the search into the history of all past

that their research should begin at this point.

forms of money—attempting to explain their origin,
their evolution, their extrinsic appearance as well as
their intrinsic qualities, their relation to economics,
to social and to cultural history—is the real scope of
numismatics as a scientific and historical discipline.

While some scholars were involved in theoretical
discussions of this theme, others tried to give it a
practical application. For example, in the Vienna
coin cabinet, August von Loehr built the collections
and exhibits according to such a historical concept of
money, beginning with primitive media of exchange
and bringing the exhibits up to the present complex
period of financial documents; and in the United
States, exhibits recently arranged at the Smithsonian
Institution emphasize similar ideas (fig. 1).

5“Aufgaben und Grenzen der Numismatik’’ (1924-1926),

pp. 3-5.

4 BULLETIN 229: CONTRIBUTIONS FROM

Beyond the basic requirements of accurate descrip-
tion and within a geographical and
historical framework, other factors, which involve
history, law, economics, art, philology, religion, and

allocation

even philosophy, must be taken into consideration.
A complementary science to all these disciplines,
numismatics in turn utilizes them also in its own
research. With this reappraisal, the field of numis-
matics has expanded considerably, increasing the
knowledge requirements for every numismatist.° The
scholar has to exchange the delightful pastimes of the
antiquarian and hobbyist, the Liebhaber of the past,
for the more exacting work of the scientist who
must possess an almost encyclopedic knowledge.
Specialization within a determined field or period,
as a result, seems the only workable solution.

When he approaches the economic function of coins
as money, the researcher today sees many new factors
entering his field of vision. Following this predomi-
nant school of thought, numismatics should broaden
its scope from a science restricted to coins or metallic
currency, larchéologie de la monnaie métalique,’ to a
science of all forms of money—including primitive
media of exchange, necessity money, money sub-
stitutes, and documents of value.

Although primitive media of exchange generally are
considered to be within the province of anthropology,
recent numismatic theories concerned with a philo-
sophic explanation of the origin of money have
resorted to the forms of value and exchange used by
early or contemporary primitives. Examples of such
theories are Bernhard Laum’s Heiliges Geld: Eine
hustorische Untersuchung iiber den sakralen Ursprung des
Geldes (1924), which explains the origin of money as
an expression of primitive cult forms and not as a
phenomenon produced by economic factors; and
Wilhelm Gerloffs Die Entstehung des Geldes und die
Anfdnge des Geldwesens (1947), which emphasizes
sociological factors as the explanation for the origin of
money.

As seen in the history of monetary values, in the
history of prices and wages, and in the evolution of
national economies with their ensuing theories, there
is an implicit connection between numismatics and

® See Harvernick, “ ‘Cooperation’: Some Thoughts and
Suggestions for the Intensification of Numismatic Research”
(1958).

7 GeLper, “Rapport sur la numismatique moderne,” p. 104.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Tras PERIGD of coomeMic eepartor
Bovireaal OD standand fellowed by >
tmainrain the yaluc of silver
ESS 2 The ismusance of silver and gold ceceficac
ft under the National Banking System wfoct
e ao addidianas 20 year, Large sumber
: into arculation.
‘Coinage of both gold and silver was grea
this tine and new coins amd coin deagons we
Fractional paper currency was abolished.

MOVEMENY FOR FREE COINAGE OF SILVER

SALVER CERTUEICATES

Nuaep rnleemable in slver mare auctiicseed fry
thee Aig of 187 aml (886

ta acon

L WANK NOTES

sg Srmemn wat ex

GOLD CERTIFICATES
Lanued for gener circulation (0 L402, these motes
vwere secured by gold deposits,

se
iO,

j Pores TE we

Fie. 1.—Corn Exuipir in the Smithsonian Institution, illustrating numismatics as the history

§
of money (Div. ol

On the other hand, considerations of a

nature—the causal relations between money

economics.*

broader

8 For bibliographical information, see SCHALK, ** National-
ékonomic und Numismatik” (1891); Luscuin von EpenGReutn,
Die Miinze als historisches Denkmal (1906) Jesse, ““Miinze und
Geld in Geschichtswissenschaft” (1937).

PAPER 32: NUMISMATICS—-AN ANCIENT

SCIENCE

Numismatics photo).

and the problems of the universe or of the human
mind and soul, as seen in such works as Georg
Simmel’s Philosophie des Geldes (1

Geld: Eine sozialpsychologische Studie (1921)—are part ol

922), and E. Eppich’s
the philosophy and psychology of money, but, ad-
mittedly, they present only loose ties with numismatt

as such.

The history of art, however, offers a wider and more
pertinent relationship with the field of numismatics—
to the mutual benefit of both areas. In many cases,
so-called applied numismatics enables the art scholar
to use numismatic evidence as a support or invalida-
tion of certain historical conclusions or to supply
entirely new evidence that is unobtainable elsewhere.

To the

trained eye of the archeologist or historian, they may

Coins often are a basic historical source.

reveal aspects of civilizations and races which have
disappeared and left few or no records. A classic
example of such research is the brilliant detective
work accomplished recently by Prof. Andreas Alféldi
of the Institute of Advanced Study at Princeton. Dr.
Alféldi cast light upon the cult of Diana-Hekate-
Selene—a syncretistic threefold divinity venerated in
the sanctuary at Aricia (Italy)—by re-interpreting
the figures (previously identified as nymphs) repre-
sented on a tiny Roman Republican silver coin which
had been struck in 43 B.C.°

In many cases coins can help to date ancient monu-
ments; the composition of hoards may serve as cir-
cumstantial evidence in tracing migrations, army
encampments, trade routes, or tides of colonization
and expansion. Actually, the beginnings of numis-
matics as a scholarly discipline is related to such an
application of old Roman coins in the Renaissance
and pre-Renaissance: Italian historians used these
coins to help identify ancient portrait busts of em-
perors or to interpret passages from classical authors.

THE SOURCES OF ANCIENT COINS

What has brought ancient coins into the hands of
collectors and scholars?

One answer which may seem unusual to modern
man is the fact that, in earlier times, coins often cir-
culated for centuries, defying national borders; the
metallic content was the only guarantee necessary for
their acceptance. One of the most eloquent examples
of such an occurrence was found in southern France,
where copper coins which had been struck during the
reign of Constantine the Great (A.D. 323-337) still
were circulating in remote places during the time of
Napoleon III (1852-1870).! Another instance comes
of the
Emperor Domitian (A.D. 81-96) was found to have

from Spain, where a bronze coin Roman

® “Diana Nemorensis” (1960).
10 FRIEDENSBURG, Die Miinze in der Kulturgeschichte, pes:

circulated until 1636 when it was counterstamped
during the monetary reform of Philip IV."

Another fact which contributed to the increase of
interest in old coins was their special appeal as orna-
ments and jewelery. Many ancient rings, bracelets,
necklaces, and even medieval reliquaries utilized
coins which were considered beautiful, precious, or
miraculous. Lenormant, quoting from contemporary
sources, mentions that ‘‘ancient coins in gold and
silver were used in jewels like gems.’ ”

The main source of coins, however, especially an-
cient Greek and Roman pieces, is the innumerable
hoards which have been uncovered. Entrusted to
safe, deep hiding places in the ground or in a river-
bed in moments of danger, war, fire, or even for
normal safekeeping, these coins often are brought to
the surface, by pure chance, decades or, in many cases,
centuries later. Local legends of a blue flame, a
will-o’-the-wisp, monsters guarding treasures, or
curses protecting pirate hoards have helped to per-
petuate the memory of tremendous wealth hidden in
the earth. Some of the most fantastic folk tales
fade before many extraordinary finds. Treasures of
almost limitless wealth, exquisite beauty, as well as
inestimable value for historian and art-historian are
found continually, the number of coins sometimes
exceeding tens of thousands.

The ancient author Philostratus (c. 170-245) men-
tions a hoard of 3000 Persian gold darics found in
Antioch, Syria, before A.D. 250. In about 1543
peasants discovered, in the streams of the river Streiu
in Transylvania, the famous “treasure” of the Dacian
king Decebalus, consisting of over 40,000 Greek gold
staters.'* The Adriatic coast of the Balkan peninsula
is often the site of large finds of Roman silver denarii—
a Witness sometimes of the misfortunes of a retreating
army which lost its entire pay chest. The devastating

1 Brancuer, “Sur la chronologie établie par les contre-
marques” (1907).

12 La monnaie dans l’antiquité, vol. 1, p. 35. See also Hix1,
The Medallic Portrait of Christ (1920); Zapoxs-Jitta, “Notes and
Questions on Coin Ornaments” (1957), ‘‘Munsieraden”’ (1958);
Grierson, “The Canterbury (St. Martin’s) Hoard of Frankish
and Anglo-Saxon Coin Ornaments” (1955).

8 See BLANCHET, ‘Les rapports entre les dép6ts monétaires et
les événements militaires, politiques et économiques” (1936);
Haevernick, “Welches Material kann die Numismatik zur
Feststellung der Verkehrsgebicte in Deutschland im XII. und
XIII. Jahrhundert liefern” (1936); WeRNER, “Miinzschitze
als Quellen historischer Erkenntnis” (1950-1951).

4 Fora detailed account of this hoard, see Martian, “Comori
ardelene”’ (1921); Nor, Bibliography of Greek Coin Hoards, p. 265.

6 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

marches of armies during the Seven Year's War
(1756-1763) were the source of many of the treasures
found on German territory. Intricate Byzantine and
especially Arab trade routes, confirmed by coin finds
which lead as far north as the Russian and Scandi-
navian territories, or the widespread commercial
transactions of the Vikings are only a few aspects of
the complex life of the Middle Ages which have come
into fuller light through invaluable information drawn
from coin hoards.!

High tides, heavy rainfalls, an axe, or a plough,
by pure accident, will unearth treasures which have lain
for centuries or even milleniums within man’s reach.
Very often, of course, scientifically directed excava-
tions of historic sites yield coins along with the
archeological findings. In many instances these
coins serve to date other artifacts of the site, or, if the
case requires, the coins in turn can be dated with the
help of objects already dated. Studies of coin finds
from archeological excavations have often resulted
in valuable contributions to ancient numismatics.
An example of such, among many, is the work done
in recent years by a number of American scholars.!"

The past eighteen years have produced, by a surpris-
ing coincidence in separate locations, some of the
most extraordinary finds in ancient Greek coins.
Workmen engaged in modern construction on the site
of an ancient Greek sanctuary in the littie Sicilian
town of Gela found almost a thousand silver coins.
This hoard has proven to be one of the greatest ac-
cumulations of archaic Greek coins, containing an
impressive series of some of the best examples of coin
art of the late 6th and early 5th centuries B.C. A few
years earlier, a hoard of Syracusan dekadrachms—
generally considered the most beautiful Greek coins of

dating from the late 5th century B.C., was

antiquity

15 For the Byzantine trade, see Apetson, Light Weight Solidi
and Byzantine Trade (1957) and ‘Early Medieval Trade Routes”
(1960); Grierson “Commerce in the Dark Ages’ (1959).
For the Viking period, see JANKUHN, [aithabu, ein Handelsplatz
der Wikingerzeit (1956); Lewis, The Northern Seas: Shipping and
Commerce in Northern Europe, A.D. 300-1100 (1958). For more
bibliographical information, see BerGuaus, “Die frithmittelal-
terliche Numismatik’ (1961); Scandinavian
Medieval Numismatics” (1961).

16 See BELLINGER, Catalogue of Coins Found at Corinth, 1925
(1930), Teo Roman Hoards from Dura-Furopos (1931), The Third
and Fourth Dura Hoards (1932), The Sixth, Seventh and Tenth
Dura Hoards (1935), and The Coins (1949); THompson, Coins
from the Roman Through the Venetian Period (1954); Cox, Comms
from the Excavations at Curium, 1932-1953 (1959); Burrrey,
“The Morgantina Excavations and the Date of the Roman
Denarius” [in ms., to be published].

RASMUSSON,

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

discovered in the bed of a small creek in southern
Sicily.

half gold staters and a recent discovery of large silver

A find in Tunis of Carthaginian one-and-a-

dekadrachms from Carthage make these exceedinely
rare coins—known heretofore from only a few speci-
mens—accessible now to many collectors. The Boston
Fine Arts Museum recently acquired a hoard of fifteen
late Roman aurei and five gold medallions from one
of the most important finds of Roman gold coins in the
past few decades. Similarly, the hoards of thousands
of Venetian ducats continually being found in the
Near East afford increasing evidence to the historian
of the thriving trade routes which once connected this
Italian maritime republic with the Levant.

In such ways new varieties and even new coin types
and denominations constantly appear, shedding light
on the dim image of events or monuments which are
separated by a long space of time from our own
civilization. Unfortunately, records of these hoards
often are scattered or deliberately distorted despite
the attempt of scholars to register all finds as often
and as faithfully as possible.

The wide possibilities for numismatic research
opened up by expert investigation of coin hoards,
recognized in the past by such scholars as Bror E.
Hildebrand or Kurt Reeling, have led in recent dec-
ades to intensified work in this field. Numerous pub-
The

list of outstanding European scholars involved in this

lications have appeared in the postwar period.

research ranges widely, from Sweden to Spain, from
France to Russia, the countries beyond the Iron
Cur-

rently, a new problem has arisen: to coordinate, on

Curtain participating actively in the effort.

an international basis, all the efforts and methods of
this scientific investigation of coin hoards which has
been done separately by the various national groups.

Some countries try to solve the immense workload
through a systematic scanning of all the data available.
Many publications in this aspect of research come
from: Germany, with Munich as the center for the
Roman hoards found in that country," and Hamburg,
for the German catalog of hoards buried after A.D.
800; England, where James David A. ‘Thompson
published an Inventory of British Coin Hoards, A.D. 000-
1500 (1956); and East European countries, where
Mrs. E. Nohejlova-Pratova in Prague and Mr. Jacek

17 A commission directed by Prof. Konrad Kraft has been
preparing many reports under the general title Die Fundmtinzen
der romischen ett in Deutschland, of which two have been pub-
lished: Kettner, Oberbavern (1960); Franke, Rhetnland- Pfalz:
vol. 1, Rhetnhessen (1960),

Slaski in Poland have tried to summarize in their
publications the numerous but widely scattered data
on coin hoards within their national territories.!®

Extremely active also in this field are many out-
standing scholars such as Nils L. Rasmusson and a
group at the Kungl. Myntkabinettet in Sweden;
James D. A. Thompson, Philip Grierson, Michael
Dolley, Robert A. G. Carson in England; Jean
Lafaurie and a group at the Cabinet des Médailles in
France; J. Lallemand in Belgium; and Felipe Mateu
y Llopis as the leading name in Spain.

Literary information about coin hoards is given due
emphasis in most numismatic publications, but
attempts to make widely dispersed data more easily
accessible have brought forth a new kind of biblio-
graphical publication such as Sydney P. Noe’s Brbli-

ography of Greek Coin Hoards (1925) and Sawyer
Mosser’s Bibliography of Byzantine Coin Hoards (1935).
Both are major attempts to collect all of the biblio-
graphical information pertaining to the coin hoard
material of a specific period.

Similarly, many numismatic monographs devote
special chapters to hoards. An example is Rudi
Thomsen’s recent study, Early Roman Coinage: A
Study of the Chronology (1957), an attempt to review and
revise the controversial problem of the dating of the
so-called Romano-Campanian and early Roman
issues. Mr. Thomsen regards the actual composition
of hoards as essential evidence in establishing the
chronological sequence of different issues and as a

strong clue for their conclusive dating.

BEGINNINGS OF COIN COLLECTING

We probably can assume with safety that coin col-
lecting extends as far back into history as coins
themselves. The incentive to gather coins as well as
any other interesting object is comparable to a re-
fined hunting instinct, which can be found at any
human age level regardless of social or cultural back-
ground; only the motive or goal defines the difference
among collectors. Coins as expressions of the wealth
to be found in gold and platinum, odd coins as curios,
old coins as historical mementos, beautiful coins as
specimens of art, coins as sentimental souvenirs of
special dates, events, or places—these are only a few
of the motives behind coin collecting. Every histor-
ical period or geographical area is characterized by
its peculiar interest. Even collecting as a financial
investment has emerged as a recent trend—something
practically unknown in earlier times when collecting
was determined largely by historical and artistic con-
siderations.'®

Since the days of the Greeks and Romans, the clas-
sical authors, such as Pliny or Plutarch, have written
about famous art collections. Although not specifi-
cally mentioned, these collections probably included
many coins famous for their artistic qualities and even

® Such a probability is

signed by well-known artists.”
18 NoHEJLOVA-PRATOVA, Nélezy minci v. Cechach, na Morave a
ve Slezsku (1955-1958); Staskr and Tapaczynskt, Wezesno§-
redniowteczne skarby srebrne Wielkopolski (1959).
19 As an example, see Bittnsk1, Guide to Coin Investment (1958).
20 See Forer, Notes sur les signatures de graveurs (1906); TUDEER,
Die Tetradrachmenpragung von Syrakus (1913).

8 BULLETIN 229:

CONTRIBUTIONS FROM

supported by the viewpoint that the beauty of ancient
coins and the apparent care used in preparing their
dies demonstrates the high regard in which the esthet-
ically minded Greeks held coins. The issuing of coins
often was a subject of national pride, an incentive for
competition among cities. Western Greeks, especially
in Syracuse, surpassed the rest of the Greek world in
the mastery of coin engraving. An example of ob-
vious contemporary appreciation can be seen in a
cup of black-glazed terracotta from South Italy, a so-
called Calene kylix, of which one is preserved in the
Boston Fine Arts Museum (fig. 2).*!_ This bowl uses,
as a center medallion, the head of the nymph Arethusa,
reproduced from the already famous Syracusan deka-
drachm which had been engraved by Euainetos in
the late 5th century B.C.”

To collect and even reproduce such paragons of
ancient engraving was not an isolated phenomenon
in the ancient world. More than likely, among the
objects of art collected by the royal houses of the
Ptolemies of Egypt and the Seleucids of Syria, or
maintained in the famous collection of King Mith-
ridates VI of Pontus, which was brought in triumph
to Rome after his defeat by Lucullus and Pompey
(65 B.C.), there were rare and beautiful Greek coins.

21 Another specimen from the Metropolitan Museum is re-
produced in Ricuter, “‘A Greek Silver Phiale,”’ p. 386.

22 Additional information is in Evans, ‘“‘Syracusan Medal-
lions” (1891), and especially Ricuter, ‘“Calenian Pottery”
(1959) and “Ancient Plaster Casts’? (1958).

THE MUSEUM OF HISTORY AND TECHNOLOGY

The historians Pliny and Livy as well as Cicero give

accounts of the tremendous

treasures brought to

Rome by her victorious generals. Pliny states that
Servillius ‘removed, in accordance with the rights of
war and his powers as general, from the enemy city
that his strength and valor had captured, statues and

objects of art which he brought home to his country-

deposits in the Heraion in Samos, in the Arternision

in Ephesus Delphi, and

, and in the shrines of Delos,

Olymphia, “the

museums of antiquity Julius

Schlosser aflirms that the treasuries of the eods became,
in fact, public property and that, in a particular sense,

the temple-shrines and their territories could be con-

sidered the oldest public museums.?°

Fig. 2.—SyRAcusAN DEKADRACHM copied on a kylix
from Cales (photos courtesy Museum of Fine Arts,
Boston, above, and American Numismatic Society).

men, displayed them in his triumphal procession, and
had them entered in the official catalog of the public

treasure.” *8 Certainly among such booty was

money—that is, coins.

already had been recorded in earlier times, when

Larger coin accumulations

pious pilgrims deposited precious gifts in the sanc-

turaries of temples.*4 Ernest Babelon called these

23 Cicero, Verrime Orations, i. 21. 57.

44. See the discussion on deposits of coins and precious objects
in the foundations of the Artemision in Ephesus in Rorinson,
“The Date of the Earliest Coins” (1956).

SCIENCE

PAPER 32: NUMISMATICS—-AN ANCIENT

its origin and essence—was a favorite
Greek

an ingot of spe-

Phe coin

subject discussed often by philosophers

Aristotle’s definition of the coin as
cific intrinsic content, with a legal value determined
by the state, ancl Plato’s rejecuon of gold coinage in
favor of copper are theories which have stimulated
deeply the thinking of economists and historians since

ancient times

3aBpeLON, Jrailé, vol. 1, col. 68
Aunst-

Gonnarn, Doctrines monétaires (193

2 SCHLOSSER, ind Wounderkammern,

With the rise of Roman civilization, coins lost
considerably in their esthetic qualities. Shaped by
the more utilitarian character of the Romans—who
revered national glory and family tradition more
than culture and art—coins tended less to be objects
of refined artistic interpretation and were invested,
instead, with the more practical characteristics of a
gazette.”

One of the basic approaches especially favored by
the Roman Emperors was the use of coins as an
important medium of propaganda, with the intention
of diffusing and, at the same time, preserving for
posterity an account of glorious events. This fact
implicitly conferred on coins the character of historical
documents and, indeed, they did prove to be ideal
records for the Romans. Small, easy to store, almost
impervious to mutilation or decay, relatively easy
to obtain, coins could hardly have failed to appeal to
the history-minded Romans as objects which were
immediate witnesses to the past.

It was customary in Rome, as it also had been in
Greece, to present coins as gifts on festive occasions,
a tradition which Ovid has recorded.** The historian
Suetonius (in Augustus 73) records that Emperor
Augustus would distribute on the occasion of the
Saturnalia festiviies, among other precious gifts,
various unknown foreign coins or coins with portraits
of ancient kings: nummos omnis notae, etiam
veteres regios et peregrinos.”” Apparently, Augustus
was following a general trend when he included in
his largess old coins as precious and desirable objects.

Interest in old coins was continued by some of
Augustus’ successors, Titus, Domitian, and especially
Trajan; in fact, the latter reissued some silver and
even a few gold coins of not only his predecessors
but also of the Roman Republic. Such “restitution”
coins, marked clearly as such by the addition of the
inscription REst|rrurr], duplicated exactly the design

and legend of the originals. They furnish signifi-

cant evidence for the existence of some sort of

collection of old coins which could have served as

models for the ‘restitution’? issues—without sup-
porting Robert Mowat’s greatly disputed theory that
the Roman mint had a collection of old dies which

were used in the striking of these special issues.*

28 AtrOutpr, ““Main Aspects of Political Propaganda on the
Coinage of the Roman Republic”’ (1956).

20 Munsterberc, “Uber die Anfainge der Numismatik”
(1914).

30 Mowat, “La reconstitution des collections de coins aux
ler et Ile siécles’’ (1900); see also MUNsTERBERG, op. Cit.

10 BULLETIN 229: CONTRIBUTIONS FROM

At any rate, these “restitution” coins do reveal a
certain “‘numismatic”’ interest which could have been
responsible in part for initiating the issues, although
undoubtedly the chief motivation was the attitude
toward coins as an official chronicle of past glory.*!
Trajan, for example, reissued in A.D. 107, among
other coins, silver denarii struck during the Republi-
can era by the moneyer Quintus Tatius (fig. 3): he also

Fig. 3.—Roman RepusiicaAn DENARIUs, top,
and ‘Trajan’s “restitution” coin (author’s
photo).

reissued the so-called Romano-Campanian didrachm
which had been struck even earlier, sometime between
235 and 220 B.C.
three hundred years old, Trajan not only recognized,
as did his predecessors, the political and religious
importance of coins, but also their historical signifi-
cance. Ina sense it might be said he helped to foster
“numismatic” interests among the Romans.

The rapid expansion of the Empire brought Romans
into contact with strange and hitherto unknown
civilizations. It is reasonable to assume that the

In using coins which were over

enormous booty brought back to Rome by its vic-
torious generals contained, among other objects of
value, innumerable coins which found their way into
private collections, along with gems and cameos—
items related to coins through subject matter and
engraving technique. Even if the discriminating
taste of the art-loving Greeks was not always evident
in the Roman public art “collections,” in the parks,
or in the magnificently adorned villas of patricians,
the Romans certainly tried to imitate the refinement
of Greek culture and to appear as patrons of the arts.
It is a well-known fact, mentioned by Horace, that,

31 Marrincy, ‘The Restored Coins of Trajan” (1926), with
a good bibliography on the subject, and “The ‘Restored’ Coins
of Titus, Domitian and Nerva” (1920): see also BERNHART,
Bibliographischer Wegwetser, p. 57.

THE MUSEUM OF HISTORY AND TECHNOLOGY

during the late period of the Republic, patricians
paid exorbitant prices for statuary works,°* or, in
Pliny’s words: **. there is an almost more violent
passion for works of fine handicraft. the orator
Lucius Crassus had a pair of chased goblets, the
work of the artist Mentor, that cost 100,000 sestertii.”

Augustus himself indulged in the pleasures of the
collector, and it was said that he was exceedingly
fond of fine furniture and Corinthian vessels. His
houses he adorned not so much with statues and pic-
tures as with ‘“‘things which were curious, either for
their antiquity or rarity.” At his retreat in Capri
he had “‘huge limbs of sea-monsters
34

and also

arms of ancient heros.” We can safely assume that
some beautiful coins found their way into the same

collection since they were given occasionally as eifts.

MIDDLE AGES AND

With the decline of Rome’s political might—
undermined by economic chaos and subjected to the
steadily growing pressure of invading peoples from
the East—Roman culture and civilization soon were

on the verge of collapse. The leisure of the “S golden

era’ of Augustus or Hadrian was gone, and retro-
like

Morcover,

spective or contemplative occupations coin
collecting certainly were out of place.
the rise of Christianity, with its strong ascetic spirit,
hardly would help promote investigations into coins,
which reflected a pagan past populated by gods, god-
desses, and heroes, all with a strong emphasis on
ancient coins for

The Middle
Ages, with its houschold-centered economy, with

result,

physical beauty. As a
the most part remained in oblivion.

trade and travel reduced to a minimum, knew little
about coins. While gold circulated freely in’ the
Byzantine Empire, the man in the West seldom saw
more than small silver coins. Under such circum-
stances any collection of coins had only a slim chance
of surviving the great scarcity of mintable metal.
The attitude of the Middle Ages toward works of
art—and implicitly coins—can best be characterized
as follows: ‘‘Some saw in them monuments of idolatry
and as such reproved them; others attributed magic

32 Cf. MinsTernerG, op. cit., p. 271; Ricuter, “A Greck
Silver Phiale,” p. 385.

33 Puiny Natural History xxxiii. liii. 147;
Orations ii. 7. 14.

34 Suetonius, Lives of the Twelve Caesars: Augustus, Ixvili-Ixx.

Cicero Verrine

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Coin collections, even if not specifically mentioned
by the authors, probably had their place of hono:
among many art objects. There is direct comment
on an aspect of coin collecting: Pliny is surprised to
learn that ‘“‘spurious methods are objects of study,
and a sample of a forged denarius is carefully ex-
amined and the adulterated coin is bought for more
than genuine ones.’

In later periods, from the 4th century and far into
the 7th century A.D., large medallions in bronze and
gold were distributed by the emperors on special
oceasions.*” "These tokens of imperial munificence
functionally combined their role as historical records
with their more basic aspect as objects of monetary
value—both of which caused these pieces to be kept
and treasured.

FARLY RENAISSANCE

forces to them: others again were carried away by

admiration inspired by the immensity of Roman
ruins, the wealth of prime material, the perfection of
manufacture.” 7

Very often old pagan representations were assimi-
lated as Christian symbols, and it was not rare for
a Hercules or an Aphrodite to be regarded as Christ,
the Good Shepard, or the Virgin. Ancient gems with
mythological subjects were misinterpreted and often
attributed supernatural Morcover,

were powers.

seldom did ancient coins fail to be regarded as

talismans; ** their inscriptions presented, in most

cases, an additional element of miystification, A
classic example is a tetradrachm of Rhodes, incor-
rectly identified for centuries as one of the * thirty
pieces of silver” for which Judas betrayed the Saviour
(fig. 4).

in the name of Emperor Zeno (A.D. 474-491) was

In another instanee, a gold solidus struck

worshipped in Milan, Italy, as “argento dei tre
magi,’ or the coin offered by the Magi to the infant

Christ.*?

35 Natural History xxxiii. xlvi. 132.

36 ToynBere, Roman Medallions (1944); Gneccut, I medagliont
romant (1912).

3? Mtnrz. Les Précurseurs de la Renaissance (1882), as quoted
in BaBeLton, Traité, vol. 1, col. 75

38 Mery, “Le numisma Lactiense de 1213” (1897)

39 Hirt, Medallic Portraits of Christ, p. 111; BABELON, Traité,

vol. 1, col. 77.

The compelling mysticism which guided pilgrims
toward the Holy Land was extended also to the coins
which pious men brought back from their pilgrimages.
These coins surpassed by far the interest accorded to
the usual souvenir pieces of travelers, and they were
invested with supernatural powers. Occasionally
mounted in reliquaries, these pagan coins—bearing,
for example, the facing head of Sol the sun-god—

became objects of Christian piety.*°

Fig. 4.—TerRADRACHM OF Ruopes, regarded

as one of the “thirty pieces of silver,” as
published in 1553, and the actual coin (photos
from Rouille, above, and courtesy American

Numismatic Society).

Ancient classical tradition, never entirely extinct
even during the darkest hours of history, began to
revive with the aid of enlightened persons about the
turn of the millennium. Earlier, during Charle-
magne’s time, Roman tradition had reappeared as a
stimulus for civic and cultural awakening, but with
Frederick Il of Hohenstaufen (1212-1250) art and
erudition came into a resplendent revival which was
built on an ancient and especially Roman _ back-
ground.

Frederick’s newly created gold coin, appropriately
many reflects

called = augustalis,*! in respects

Por the story of many of these pieces—regarded as the

authenic coins of Judas and worshipped in numerous churches

of the Middle Ages—and their influence on contemporary
siblical interpretations, see HiLt, op. cit., pp. 91 ff. and espe-
cially 104-114.

41 For the “augustalis’, sce: WINKELMANN, “Uber die
Goldpragung Kaiser Friedrichs II’ (1894); Prister, Kaiser

Friedrich IT, pp. 184, 192; Wanr, Wandler der Welt, pp. 258,
271; Wentzex, “‘Der Augustalis Friedrichs II und die abend-
landische Glyptik”® (1952)

12 BULLETIN 229:

CONTRIBUTIONS FROM

Roman coin concepts and designs (fig. 5). The im-
plication again seems unavoidable that there was a
source of inspiration strong enough to determine a
decisive turn from medieval coining traditions back
toward earlier classical forms. The creation of this
coin certainly suggests the presence of Roman coins
from which it drew an apparent inspiration. Can
this factor be considered sufficient evidence for the
existence of coin collections? Due to the lack of
adequate documentation, we may only assume that
it does.

Italy, the classic land of archeological treasures,
constantly revealed evidence of an earlier, superior
inscriptions

culture with sculpture,

which puzzled medieval man and posed intriguing

monuments,
problems. In a sense it was impossible to erect spirit-
ual barriers strong enough to repress the revival of
classical culture. Even the Christian church had to
adjust to the new challenge; Thomas Aquinas pro-
ceeded to complete the integration of classical learning
It is
interesting to note that, among the preoccupations of
these encyclopedic minds of the late 13th and 14th

within the framework of Catholic theology.

centuries, monetary theories were often a cherished

Fig. 5.—AUGUSTALIS OF FREDERICK II (1212—
1250) and gold solidus of the Roman Emperor
Honorius (395-423) (author’s photos).

subject. In De regimine principis Aquinas discusses the
function and evolution of money,*? and Nicholas Ores-
mius (1320-1382), in his Tractatus de origine, iure nec non
et mutationibus monetarum, gives numismatics the serious
consideration of a science.*? Gonnard regards Ores-
mius as the founder of an economic monetary doc-
trine,** and, as Babelon states, *“‘ with Oresmius, there
finally appeared a reformer and a theoretician.”’
During these times, when the spiritual lethargy of

#2 For Aquinas’ economic writings, see ConTzen, Thomas von
Aquino (1861); Jesse, Quellenbuch (1924); Gonnarb, Doctrines
monétaires (1935).

8 For Oresmius, see Wotowskt, Traictie (1864); JoHNson,
The De moneta (1956); Dieuponne, ‘La théorie de la monnaic
a l'époque féodale et royale’’ (1909).

41 Doctrines monétaires, p. 125.

THE MUSEUM OF HISTORY AND TECHNOLOGY

the early Middle Ages seemed to be passing and a
desire for erudition to be awakening, coins proved a
wonderful and direct source of learning. As a result,
the general quest among humanists and art lovers to
collect interesting and beautiful coins spread rapidly,
and soon the pre-Renaissance period was rich with
remarkable collections. An outstanding example of
such art lovers is the great Florentine Petrarch (Fran-
cesco Petrarca, 1304-1374), one of the most brilliant
minds of the early Renaissance, the ‘‘ first modern
as he has been called.

man,”

This greatest amone
Italian humanists owned ancient coins and appreci-
ated them highly. In his Epistolae de rebus familiaribus
he describes with emotion the coins he bought from
peasants during his stay in Rome, coins on which he
could decipher the names and features of Roman

emperors: . sive ut emerem, sive ut insculptos

eorum vultus agnoscerem.” He presented some an-
cient gold and silver coins to Emperor Charles 1V as
a stimulus for the ruler to follow in his reign the ex-
ample of Rome. On this occasion Petrarch confessed
how much he enjoyed collecting coins: aliquot
sibi aureas argenteasque nostrorum principum efligics,
minutissimis ac veteribus litteris inscriptas, quae in
deliciis habebam, dono dedi oa

Petrarch’s interest in Roman antiquities was shared
by many of his friends, among them the famous tribune
of the people and leader of a popular uprising against
the patricians in Rome, Cola di Rienzi (1315-1354).
A listing of collectors in the 14th century would
include numerous other famous names, most of them
Italian.

By a strange irony, Petrarch’s great admiration for
these minute, ancient historic documents initiated
the nefarious custom of ‘“‘counterfeiting’ ancient
coins. From his stimulus, Marco Sesto and Vrancesco
Novello of Carrara began to engrave coins in imi-
tation of ancient pieces. In their eagerness to com-
plete the iconographic series of Roman emperors
they were not aware that they actually were violating
the cardinal requirement in numismatics—authen-
ticity. Such reproductions found ready acceptance
and many collectors followed the example of Duke
John of Berry, who included in his own collection a
number of such portrait coins. In addition to origi-
nal compositions of the sixteenth century, there can
be found also the so-called Paduans, a collective name
which designates a group of ancient coin imitations,

chiefly Roman medallions, begun by the famous

43 BABELON, Traité, vol. 1, cols. 83-84.

PAPER 32: NUMISMATICS

AN ANCIENT SCIENCE

engraver Giovanni Cavino (1500-1570) from Padua.*'
His work found words of appreciation as late as the
18th century, when German numismatists like Johann
David Kohler * or Johann Heinrich Schulze praised
his artistic skill and his sincere intentions in propaga-
ting interest in Greek and Roman art. Currently, as
Prof. Willy Schwabacher has noted,** these pieces are
not regarded any longer as falsifications in the true
sense of the word.

The rise of the Italian maritime republics of Venice
and Genoa, with their far-reaching commercial ties,
brought considerable wealth to the mainland. On
the basis of flourishing ceonomic conditions, an unpar-
alleled ‘The

upper classes of these republics competed against the

upsurge in cultural activities began.
aristocracy and the wealthy bourgeoisie of other
powerful Italian cities like Florence, Siena, Pisa,
Milan, as well as the splendid court of the popes in
Rome. There, Cardinal Barbo, who later became
Pope Paul IT (1404-1471), assembled an outstanding
collection of antiquities which formed the basis for
the St. Mark Museum.

Farnese, ancient coins found their place.

In the art collections of the

Antonius, Cardinal of St. Mark, a nephew of Pope
Eugene IV (1431-1447), was well known for his
collection of ancient coins, which contained 97 gold
and over 1000 silver coins.*" In Florence the great
Cosimo de’ Medici (1389-1464) included, in his col-
lection of famous art objects, Greek and Roman coins,
to which his sons Pietro and Lorenzo the Magnificent
(1448-1492) added many significant pieces. An in-
ventory taken in 1465 shows 100 gold and 503 silver
coins in the Medici cabinet, to which later were added
1,844 copper coins.”

Alfonso V (1416-1458) of Aragon, Ning of Sicily and
Naples, a true son of the Renaissance who read and
admired the classical authors, kept his coins in an
ivory coffer which he carried along on his travels.
It was said that the sight of these pieces was a strong
incentive for him to imitate the virtues of those whose

images they represented.

46 See LAWRENCE, Medals by Giovanni Cavino (1883); Cowen,

“Paduan Forgeries of Roman Coins” (1956); BeRNHARY
“Paduaner” (1912); Kiscu, ““Numismatisches *Kunstfalse her-
tum’ im Urteil der Zeitgenossen”’ (1954).
information, sce BeRNHART, Handbuch, p. 373.

7 Historische Miinzbelustigungen, vol. 18, pp. 102 104

48 “Miinzen des Altertums,” pp. 153-154.

49 Serarint, Le monete del Medaglicre Vaticano, vol. 1,
Munrz, Leys arts a la cour des Papes (1878-1882).

50 See Mintz. Les collections des Médicis, pp. 16, 38, 74,

For bibliographical

introd >

joni
o>)

Cc 2 Das furitlicbe
‘| WS chlog Vmbzas.

Der geofte Saal. E Koznjchulte

< peels oe F Dileokee.
Sommurhaus, dauten der vmblaufferde Tisch

. Bie Kelleres- G. Klepee fall

Kunst Kammer Mf.
Aust KammerN Thitt vnd Luftgasten -
Rom. Antiquiteten

Der Edel Kaoben logement

runbee die yrofienftuck..
0. Hoff kicker.

Fig. 6—AmpBras CasTLe 1N THE Tyro_ where Archduke Ferdinand kept his art treasures

(photo from Schlosser).

Beyond the Alps, the Hapsburgs were prompted to
collect coins in order to complete the portrait galleries
of the Holy Roman emperors by including the Roman
iconographic series. Old documents indicate there
were collections in Hapsburg possession as early as
the 13th century, but not until Emperor Maximilian I
(1493-1519) can we speak of an actual coin collection
at the Vienna court. The first reference to it occurs
in an inventory made by the Imperial ‘“‘ Kammer-
diener” Heuberger in 1547 during the rule of Emperor
Ferdinand I (1531-1564), a great patron of art who
created the Viennese ‘‘ Kunstkammer” in 1563.5! At
King Matthias

Corvinus (1458-1490) assembled a circle of humanists

the Court of Buda in Hungary,

and antiquarians who helped him enrich his collec-

tions of art objects and ancient coins.
! Ferdinand I referred to his collection in his will; see LuscHIN
Von Epencreutnu, Die Miinze als historisches Denkmal, p. 39. For
the inventory, see HouzMartr, ‘Das wiedergefundene Inventar
der Miinzsammlung Terdinands I’ (1961).
14 BULLETIN 229: CONTRIBUTIONS FROM

One of the characteristics of most of the collections
during the 15th and 16th centuries was their hetero-
geneous content. They were planned as accumula-
tions of precious objects—such as jewels and rich
garments—of unusual specimens, and of curios. These
early periods betray little of the refinement reflected
in many of the collections of the later Renaissance,
when genuine esthetic appreciation of art objects and
a scholarly interest in science and history were the
chief criteria. The approach of the pre-Renaissance
collector was less sophisticated; in childlike bewilder-
ment, he yearned mainly for the exotic, the mystic.
In the ‘*Wunderkammern” ® curio cabinets, skeletons
of strange animals, and artifacts of remote peoples
often abounded and even took precedence over real
products of art. Only very slowly was the mysticism
of the Middle Ages dissipated before a realistic ap-

52 See SCHLOSSER’S interesting work Die Runst- und Wunderkam-
mern der Spdtrenaissance (1908).

THE MUSEUM OF HISTORY AND TECHNOLOGY

proach to nature and the childish desire for puzzling
wonders was replaced by a mature pleasure in exquis-
ite art objects or interest in documents of the past.

One of the famous “‘Wunderkammern” of the 16th
century was in the castle of Ambras near Innsbruck
(fig. 6). Here Archduke Ferdinand (1529-1595), a
son of Emperor Ferdinand I, accumulated an ex-
tensive collection of historic objects. During its time
the fame of the Ambras museum spread far among
contemporaries, and many scholars and traveling
nobles considered it a worthwhile attraction. Amone
other things, the Archduke had an excellent collection
of Greek and Roman coins, which apparently he
enjoyed and studied frequently since he had con-
structed two elaborate coin cabinets wherein he could
store his treasures (fig. 7). After his death the coins,
with the rest of the collections, were sold by his son to
Emperor Rudolph II. In 1713, during the reign of
Charles VI, many of the coins were selected by
C. Heraeus for the Vienna cabinet.

During the late 14th century, France could claim
the most famous art collector and patron of the age in
John the Duke of Berry (1340-1416), brother of King
Charles VI.
kept in the castle at Mehun-sur-Yevre, travelled far,

The fame of his art treasures, which he

and even a half century later an Italian scholar
observed that the Duke was well known as an art
lover and no sum of money was too high for him to
acquire an important work of art. The inventory
of his collection, made by Jules Guiflrey between
1401 and 1416, included, in addition to a notable

collection of Roman gold and silver coins, five larve
gold medallions with various scenes on the reverse.
The Duke had purchased these pieces for a large sum

in Italy with the intention of illustrating the history

of Christianity during the Roman Empire.

Fig. 7.—Coin CasineT oF ARCHDUKE FERDI-
Kunsthis-

NAND of ‘Tyrol (photo courtesy

torisches Museum, Vienna).

RENAISSANCE AND CINQUECENTO

When the mysticism of the Middle Ages had faded
and more empirical thinking had set in, the past and
its luminous world of the ancients came to life through
historical and philological research. Classical authors
were studied, interpreted, and imitated. Anything
that could bring quattrocento man nearer to the
ancient sources of knowledge was valued highly, and
coins often were regarded as a key to the mysterious
world of the past. The pre-Renaissance and the
Renaissance itself were, therefore, a golden age for

the development of numismatics—when coins were

53 SCHLOSSER, Op. Cit., Pp. 36-66; NEICKELIO, Miuseographia,
Peels

54 SCHLOSSER, Op. cit., p. 26.
AN ANCIENT SCIENCE

PAPER 32: NUMISMATICS—

collected and studied with increased intensity, in-
terpreted and sometimes misinterpreted. — Because the
outburst of this resplendent, vigorous, and youthful
intellectuality was not limited to a select number of
scholars but flowed in a broader current which broke
through social barriers, the number of devotees grew
rapidly.

Although Petrarch’s broad outlook and. scholarly
approach conferred upon numismaties the dignity ol
a real science and although popular preoccupation
with coins took a more erudite turn, learned absurdi-
With

books containing pictures became popular, and, as a

ties were not rare. Gutenbere’s invention,

result, iconographic studies of ancient rulers and

literal presentations of ancicnt myths were published

I rA XENAISSANCE GENTLEMAN With coin of Emperor Nero in a painting by Hans
Mi hoto courtesy Musée Royal, Antwerp

BUI IN ‘2: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

6 LA PREMIERE PARTIE Dy

N O E, fils de Lamech, a obrenu grace enuets Dicu, quil’a
repurc eftre homme iufte & parfaict.En fon temps eftoyentau
monde aucuns Geans, qui faifoyét beaucoup d’outrages 2 tou
tes nations du monde. Alors Dieu, voyant les grans maux qui
regnoyécen larerre,deliberaen foymefme,de deftruire routes
creatures viuantes,fors Noe & fa famille : fi luy feit Comande-
ment de faire vne Arche, laquelle il acheuaen 100.ans. Apres

Fig. 9.—Section oF Pace from Promptuaire des médailles (1553) by Guillaume
Rouille (Div. of Numismatics photo).

along with the coin illustrations. Only the eagerness
to fill in missing information can explain the amazing
fabrications of some of these early writers. In
Promptuaire des médailles des plus renommées personnes qui

ont esté depuis le commencement du monde, published in

Fig. 10.—River-cop GELAs on a coin from
Sicily,
Rouille, and actual coin (photo from Rouille,

interpreted as the minotaur by

left, and author’s photo).

Lyon in 1553 by Guillaume Rouille, there appear, in
addition to the drawings of real coin images, imagi-
nary portraits of Adam, Noah, Osiris, Agamemnon
(fig. 9). Not only was such fiction mixed with fact
but also the real coins themselves often were inter-

PAPER 32: NUMISMATICS

AN ANCIENT SCIENCE

preted to fit the purposes of the author. For example,

bull,

appears on an ancient coin from the Greek city of Gela

the river-god Gelas, a man-headed which

in Sicily, is identified as the minotaur. Comparison
with the actual coin reveals how the drawing was
changed by addition of the invented legend MINo-
TAvRvs (fig. 10). In another instance, for a coin of
the Thracian king Lysimachus, who used the head of
Alexander the Great on the obverse, Rouille takes
the king’s name from its original Greek on the reverse
and places it, in a Latin spelling, beside Alexander’s

11).

The naive approach of such early publications

head on the face of the coin (fig.

aroused only a limited interest; more mature treatises,
which appeared during the cinquecento, had a wider
Angelo

Miscellaneorum

appeal. ‘The [Italian humanist Poliziano

(1454-1494)
primae in 1489 in Florence.

published his centuriae
In this essav he cliscussed,
among other things, ancient coin images such as the
daggers on Brutus’ coin, regarded generally as an
expression of liberty. After this publication, various

other numismatic monographs followed in France,

55 ROUILLE, Prom
i Ibid., p. 136

iptuaire, p. 43.

and authors *

Holland, Their

often reflected new trends in research, such as attempts

Germany, Spain.
to approach problems of metrology or the value of

ancient coins.
First place among them certainly belongs to the
French (1467-1540),

friend of Francis I. Budé won repute for an excellent

scholar Guillaume Budé a

collection of Greek and Roman coins, which he used

as the basis for De asse et partibus ejus, one of the most

Published

in 1515, it was reprinted in 16 subsequent editions by
1550.

Wilibald Pirckheimer in Germany, with his

famous numismatic works of the period.

Aestimatio priscorum numismatum (1533), Henricus

Mameranus, with his Priscae monetae ad huius nostri
temporis diversas aliquot nationum monetas supputatio (1 550),
and Didacus Covarrubias y Leyva in Spain, with his
Veterum numismatum collatio cum his quae modo expen-
duntur (1556) are only a few of the authors who tried to
explain to contemporaries the significance of ancient
coins. The history of prices, the juridical problems of
false coins, and the technical aspects of coin manufac-
ture are some of the other questions which were dis-
Georg Bauer

the Germans

[Agricola] (De mensuris et ponderthus Romanorum atque

cussed and to which

Graecorum, 1550) and Joachim Camerarius (Historza

ret nummariae Graecorum et Latinorum, 1556) tried to

bring new answers.

Fig. 11.—TETRADRACHM OF LysIMACHUS
Uhrace, as represented by Rouille, and actual

coin (photo from Rouille and author’s photo).

In 1511 Margareta Peutinger, wife of the German

humanist Conrad Peutinger, sent to her brother
Christoph Welser, for publication, a numismatic
paper on the titles of Roman emperors. For the

same period Ernest Babelon ** reports the name of

See listings in LuscHIn von EBENGREUTH, Allgemeine Miinz-
de, pp BERNHART, Hand! , pp. 3-4; BaBELOon, Traité,
vol. 1, cols. 99 ff
S BABELON, 7Jrailé, vol. 1, col. 99
18 BULLETIN 229: CONTRIBUTIONS FR

(

Wolfgang Lazius (1514-1563), a Viennese doctor who,
in his Commentatiorum vetustatorum numismatum (1558),
first conceived the idea of a “‘corpus nummorum,”
compendium of all the coins of antiquity—a gigantic
project which has seemed too ambitious even for mod-

ern numismatists.

Fig. 12.—GuitLaume BupE (1467-1540), Di-

rector of the Bibliothéque Nationale, Paris
(photo courtesy Bibliothéque Nationale).

In Italy Fulvio Orsini (Fulvius Ursinus), called the
“father of ancient iconography,” gained a wide repu-
tation not only through his treatise on ancient por-
traits, Zmagines et elogia virorum aillustrium et eruditorum
ex antiques lapidibus et numismatibus expressa (1570), but
also through his large collection of coins, manu-
books, and through his exceptional

scripts, and

ability to detect false coins. His correspondence and

travels brought him into contact with scholars and
collectors in many countries, who, in turn, approached
him on numerous occasions for his opinion as to the

authenticity of certain pieces.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Portugal, during the 15th century, produced an
outstanding collector in the person of Don Alfonso of
Portugal Count of Ourém (d. 1460) and grandson of
King John I. He collected many antiquities during
his travels to Italy and Germany. His example was
followed by King Manuel I (1495-1521), who pos-
sessed, according to Lyvro da recepla—an “inventory”
of the time—many precious objects which included
gold, silver, and copper coins. In the carly 1600's
Don Alfonso, Bishop of Evora, published the first
Portuguese work on numismatics, 7ractatus de numis-
mate, which, unfortunately, has not
Interest in serious scholarly work in Portugal also is

survived.*”

attested to by the translation in 1535 into Portuguese
of Guillaume Budé’s De asse et partibus ejus.

In Holland a treatise of Erasem van Houwelingens,
Penninghoek (1597), became the basis for later studies
‘The
noteworthy fact in this instance is that a scholar
turned his attention to the coins of his own time and
country.

on the historical significance of Dutch coins.

Greater progress was made, however, in the field
of Roman numismatics. The names of the German
doctor and humanist Adolph Occo (1524-1606) from
Augsburg and of the Dutch scholar Hubert Goltzius
(1526-1583) became landmarks in the evolution of
numismatics into a science. Occo in his publication
Imperatorum Romanorum numismata a Pompejo Magno ad
Heraclium (1579) abandons the grouping of Roman
coins by metal and adopts, instead, a chronological
classification. Goltzius’
published in several parts in Antwerp and Brussels
(1557-1579) and generally known under the title of
the 1708 edition, De re nummaria antiqua opera quae

tractate on Roman coins,

extant universa quinque voluminibus comprehensa, became
the standard reference for Roman coins for over two
centuries. It was a major step in the development
of numismatic science,

One of the factors which contributed to the ex-
cellence of Goltzius’ work was the wide knowledge
which he had acquired through the study of many
collections.
formation, he traveled extensively and visited many

In order to assemble the necessary in-

coin cabinets throughout Europe. It is amazing to

read the list of these collections: 380 in Italy, over

59 BaraLHA Ress, “O primero tratado” (1953) and Cartilha
da numismdtica, vol. 1, p. 53; Lerre pE VasconceLLos, Da
numismatica em Portugal (1923).

6 For further information, see WeriL, “Zur Geschichte des
Studiums der Numismatik,” pp. 252-253; Duranp, Afédailles
el jetons, pp. 80-81, 146-147.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

200 in France, a like number in Holland, over 175
in Germany. Outstanding personalities in European
affairs and the names of the highest nobility were
represented on this list. In the later

commentator, Bimard de La Bastille, “‘there was no

words of a

prince nor lord who did not pride himself in owning
coins, although there sull were many among them
who could not even read.’ &!

Under such circumstances, coins ceased to be merely
historical documents sought by dedicated scholars in
their quest for new evidence and became objects of
value and curiosity: conversation pieces, art in minia-
ture, unusual adornments (for vases, coffers, furni-
ture), jewels, luxuries, or, as Babelon said, ‘une mode
dé bon ton.”

In Augsburg, during the 16th century, the wealthy
banker Hans Jakob Fugger owned, in addition to a
famous library and precious manuscripts, a coin cabi-
net which was rich in ancient gold and silver coins
purchased mostly in [taly by the antiquarian Jacobus
de Strada of Mantua (d.1588).
work on Roman coins, Lpitome thesauri antiquitatum

Author of a famous

(1553), translated into French by Jean Louveau,"
de Strada acted for many years as a_ purchasing
agent for the emperors Ferdinand I, Maximilian I,
and Rudolph If. Other

Roman coins in Augsburg were Dr. Adolph Occo,

well-known collectors of

mentioned above, and Dr. Thomannus. The wealthy
German city of Nuremberg contained the famous art
and coin collections of Christoph Friedrich Imhof
and Paulus Praun."!

In 1571 the library and the coin cabinet of Hans
Fugger were bought by Albrecht the Magnanimous
of Bavaria, founder of the ‘‘Kunstkammer” in Mu-
nich. The Dutch doctor Samuel von Quickelberg,
who organized, at Albrecht’s orders, the Munich col-
lections, also mentions coins as collector’s items in his
treatise Thealrum sapientiae (1505), a book devoted to
such ‘Raritétenkammern.” ‘The Munich collection
increased considerably during the reigns of Wilhelm V
(1579-1597) (1597-1651)
eventually became one of the outstanding coin cabi-

and Maximilian I and

nets in Central Europe," surpassing the collections of

61 Baperon, Trarté, vol. 1, col. 103.

® Tbid., col. 89.

63 Epitome du thresor des antiquitez, Cest & dire,
vrayes medailles des empp. tant Orient que d’ Occident (1553).

6) Neickeio, Afuseographia, pp. 162-165.

65 See RIGGAUER, Geschichte des koniglichen Miinzkabinets (1890);

Miinzsammlungen”

pourtratts des

Bernuarr, “Geschichte der Staatlichen

(1934).

Fig. 13.—Jacospus DE STRADA (1505-1588),
Italian antiquarian, in a painting by Titian
(photo courtesy Kunsthistorisches Museum,

Vienna).

the Saxon Princes in Dresden (which were inventoried
by Tobias Beutel in 1587) and those of the Dukes of
Gottorp in Kassel.

In Brandenburg, according to tradition, the Prince
Elector Joachim IT (1535-1571) established the Berlin
numismatic cabinet, which was later enlarged con-
siderably under Frederick the Great.®* It is possible
that such cultural preoccupation at Joachim’s court
was stimulated by Count Rochus Guerini, an archi-
tect who came from Florence via Paris.

In Italy, especially in Rome and Florence, coin
collections were to be found in the palaces of the
nobility: the Farneses, the Barberinis, the Massimis,
and the Ottobonis. Equally famous were the collec-
tions assembled by nephews of the popes: Antonio

Cardinal of St. Mark’s:

Condulmerio, Alessandro

FRIEDLAENDER and Sarret, Das kéni
pp. 12-18; Menapier, Die Schausi

liche Miinzkabinet,

20 BULLETIN 229

22 : CONTRIBUTIONS FROM

Cardinal Farnese; and Filippo Cardinal Buoncom-
pagni.” The well-known scholar and maecenas
Fulvio Orsini (1529-1600), at his death, left 70 gold,
1,900 silver, and over 500 bronze coins, the majority of
which he bequeathed to Odoardo Cardinal Farnese.
Pope Urban VII in 1628 made a gift of 600 silver
coins to his nephew Francesco Cardinal Barberini.
The beginnings of the numismatic collection of the
Vatican can also be traced to this period—about
1555—during the Pontificate of Marcellus II.**

In Spain, through Philip IT (1556-1598), a noted
art lover, many collections were brought to the
Escorial,®® among them the coins of Antonio Agustin,
Bishop of Lerida and Archbishop of Tarragona, con-
sidered by many as the father of Spanish numis-

70 His fame was based on his work Didlogos de

matics.
medallas, inscripciones y otras antiguédades, published by
Felipe Mey in Tarragona in 1587 and translated a
few years later into Italian—J discorsi del S. Don
Antonio Agostini sopra le medaglie et altre anticaglie (1592).

A Dutch scholar, Abraham van Goorle (1549-1609),

Thesaurus numis-

author of a treatise on Roman coins

matum romanorum sive nummi ad familias romanas
spectantes (1605)—assembled a collection of 4,000 gold,
10,000 silver, and over 15,000 bronze coins. These
eventually came into the hands of Charles I of Eng-
land. The famous ‘“Juxon Medal” handed over to
the Archbishop by Charles on the scaffold is often
mentioned as evidence of the King’s fondness for rare
coins. His collection, after many peregrinations
during the civil wars, ended up in Sweden in Queen
Christina’s cabinet.

In France the coin collection which Catherine de
Medicis (1519-1589), wife of Henry II of France,
brought with her from Italy met a similar fate: these
coins, inherited by her son Charles of France (1560-
1574), were scattered during the religious wars.
Within a few decades, however, an even better collec-
tion was assembled by King Henry IV (1589-1610).
A French gentleman, Pierre Antoine de Bagarris, was
assigned the task of acquiring coins for the royal
collection, which was eventually to become the famous
Paris coin cabinet.

‘7 For the history of the Vatican collections, see SERAFINI, Le
monete del Wedaeliere Vaticano, vol. 1, introd.

68 Ibid., pp. XV-XVIL.

69 GARCIA DE LA FuENTE, Biblioteca de San Lorenzo de el Esco-
rial (1935)

70 For the collection of Father Agustin, see MATEeu y Liopts,
“Un inventari numismatic del segle XVI (1929-1932); for
the life of Father Agustin, see Lopez, “Iconografia di Antonio
Agustin” (1952), and Rivero, Don Antonio Agustin (1945).

THE MUSEUM OF HISTORY AND TECHNOLOGY

AVE j

B NBMRLE AST

S AY EVPANT

Fig. 14.—JEAN VARIN showing a medal to Louis NIV in a painting by Frangois Lemaire (?)

(author’s photo).

An interesting passage in Bagarris’ report to Henry
IV—in which he narrates the history of the collection
of Catherine de Médicis—states that, in France, the
“great king Francis [Francis I], Henry II, the other
subsequent kings and queens, their wives and mothers
and grand princes,”’ and, in Italy, the princes and
lords, especially the Medicis, owned important coin
collections. Apparently it was unnecessary to con-
vince the king of such importance because Henry IV
himself stated that he wanted a collection “to embel-
lish the royal residence, to assist the Crown Prince in
his education, and to offer to contemporary artists

good examples to imitate.’*! This princely educa-

1 BABELON, Trailé, vol. 1, col. 120.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCI

tion can be seen in a contemporary painting, of his
grandson, the young Louis NIV, admiring a medal
which Jean Varin, the director of the Paris mint, is
14).

Undoubtedly, coins and especially ancient coins did

showing him (fig

present a special interest to artists. “Po note just one

Peter Paul

known. to

example, Rubens, the great Flemish

painter, is have bought a collection of
18,000 coins, which he later resold
‘The

Leyden toward the end of the

rench

earliest known coin auction took place in

16th century, when the

collection ol a eentleman Was sold in thi

manner in 1

SEVENTEENTH CENTURY

The enormous upsurge which occurred in numis-
matics during the 16th century—illustrated here
through only a few salient examples—continued to
increase steadily during the 17th century. As a
its childhood.

science, numismatics had

The sometimes naive approach of the early 1500s,

outgrown

with their fictitious representations, tended now to be
replaced. Broader knowledge of numismatic ma-
terial available in hundreds of collections in every
civilized country contributed to more mature and
exact interpretation. The general tendency during
the 17th century was an interest in registering as
much material Thus, the
publication of catalogs of collections was given special

unknown as possible.
attention.

Also during the 1600s, the development of most of
the famous coin cabinets of Europe took a decisive
upward turn. France, through a series of favorable
circumstances, became the leading country in this
At least two famous collections from this
period should be mentioned.

Gaston, Duke of Orleans (d. 1660) and brother of
Louis NIII, owned at his residence, the Palais de

regard.

Luxembourg, an outstanding collection, which he
housed in six cabinets. He spared neither effort nor
expense to obtain rare pieces from Italy and Greece,
and he considered his collection important enough to
bequeath to his nephew, Louis XIV. Surprisingly,
the Sun King found more than transitory interest in
it and, advised by his Finance Minister Colbert, he
built the collection into one of the most outstanding
coin cabinets in Europe.

Adding it to the cabinet previously set up by
Henry IV, Louis increased the collection through
continuous acquisitions. He had the cabinet moved
into the palace of the Louvre, entrusting it to the care
of Pierre de Cracavi, a friend of the philosopher
Blaise Pascal.
in Italy, Greece, and the Orient received special

French missionaries and ambassadors

orders from the king to be on the lookout for ancient
coins. During this time, serving as his chief agent
was Jean Foy Vaillant (1632-1706), a name which
was to remain associated with numismatics for cen-
turies. Commissioned by Colbert to search for coins
in foreign countries, Vaillant visited Italy, Sicily,
Greece, and even Persia and Egypt. Once, bad
fortune brought him into the hands of pirates in
Algeria: in order to save some gold pieces, he did

22 BULLETIN 229:

CONTRIBUTIONS FROM

not hesitate to swallow them; at least, this is the story
he later told a friend.”

Through Vaillant’s profound knowledge of the
subject and his relentless drive, many interesting coins
came into the royal collection. A dedicated scholar,
he also published many works on ancient numismatics
covering a variety of subjects, from the coins of the
Seleucides, Ptolemies, and Arsacides to the popular
field of Roman coins. The most noteworthy among
his publications was Vumismata imperatorum Romanorum
praestantiora (1694).

The French royal collection, thus enriched, became
one of the king’s favorite pastimes. Because he
wanted it always located within his immediate reach,
he had the cabinet transfered in 1683 to Versailles.
Louis had the habit of visiting his collection daily,
devoting much time and enthusiasm to the study
of coins. He remarked that he enjoyed doing it
because he could always find something new to learn.

To be custodian of the coins, the king hired a Swiss
numismatist and engraver André Morell (1646-1705),
who was assigned the task of publishing an inventory
of the collection. Morell, an exceptionally gifted
scholar and an excellent designer, conceived of his
work as a general synopsis (“recueil”’) of all existing
ancient coins in European collections. He intended
to accompany his descriptions with adequate draw-
ings. This plan, a revival of Lazius’ “‘corpus’’ idea,
was doomed to failure, and Morell never succeeded
in fulfilling his dream. Moreover, the treatment
which he received in France was not exactly conducive
to promoting his work. Twice imprisoned in the
Bastille for his religious beliefs, he finally decided to
leave the country. When he was asked by the Prince
of Schwartzenberg and by the Prince Elector of
Brandenburg to arrange their collections, Morell
departed in 1691 and spent the rest of his life in
Germany.

The major collections of the period find their best
descriptions in the prefaces which Vaillant, a contem-
porary of Morell, added to his voluminous work.
In these pages he usually listed the chief cabinets he
had consulted during his trips through various
From them we can obtain a fairly good
Among

countries.
idea of numismatics as a hobby in that age.

72 BABELON, Traité, vol. 1, col. 138.
73 See the list of his works in BABELON, Traité, vol. 1, col. 142.

THE MUSEUM OF HISTORY AND TECHNOLOGY

the outstanding collections which he saw were the
cabinet of Queen Christina of Sweden (at that time
in Rome), the collection of Alessandro Farnese in
Parma,” the collection of the Este in Modena (dating
from the late 1400s), the Savova cabinet in Turin,
the Lavagna Collection in Genoa, and numerous other
collections in the Low Countries, Switzerland, Spain,
and Germany.

In England, Vaillant studied the collection of
James IT, who had built his cabinet around a nucleus
inherited from his predecessors—among them Oliver
Cromwell. Other English cabinets are mentioned
by Vaillant, such as the collections of the Duke of
Buckingham, Henry Hyde, and Count Arundel. In
1677 the antiquarian Elias Ashmole (1617-1692) laid
the foundation at Oxford for a museum that today
houses the famous Heberden Coin Room.

Noteworthy royal coin cabinets in other parts of
Europe were the collection of the king of Denmark
and especially that of Queen Christina of Sweden.

Stimulated by the extensive collection of Ole Worm
(d. 1654), rector of Copenhagen University, Frede-
rick III of Denmark assembled a remarkable group
of coins, chiefly Roman, which was published by
Holger Jacobaeus in 1696.° This group formed the
nucleus for the world-famous Royal Collections of
Coins and Medals of the Danish National Museum
in Copenhagen.”

The core of the collection of Queen Christina in
Sweden can be traced back to her royal ancestors.”
Part of this assemblage of over 15,000 coins (which the
Queen took with her after her abdication in 1654) had
been started during the 16th century. Some of the

74 A catalog of the Farnese gold, silver, and copper coins was
published in 10 vols. by the Jesuit father Peprust, / caesar
b 694-1727).

75 There is a catalog of the collection made in 1540 by
CALCAGNINI.

76 See the history of the Copenhagen Royal Coin Cabinet by
BREITENSTEIN, pp. 5-15 in part 1 of Danish Serics of Splloge
nummorum Graecorum; also Rousset, Danmarks Nationalmusewn,
pp. 18-20.

77 For early catalogs of this cabinet, see Ramus, Catulogus
numorum veterum graecorum et latinoriwn (1816); also the Beskrivelse
over danske mynter og medailler (1791).

78 For Christina’s collection, see Cameui, Nwnmi antigua...
Christinae reginae (1690); Haverkamp, Niummophylacium reginac
(1742); Duranp, AMédailles et jetons, pp. 37-44; Bitpr, Les
médailles romaines de Christine (1908); Garsier, “Die Miinz-
sammlung der Kénigin Christina von Schweden” (1906),
1640, see Rasmusson,

For numismatics in Sweden before

“Mynkunskap och myntsamlande i Sverige f6re ankring
1640 (1933),
PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

coins had come from war booty, others had been gifts
of Kine Charles XN Gustavus (who paid 10,000 taler in
Nuremberg for a collection which he presented to
Christina in 1652), but most of the coins had been
assembled through the Queen’s purchases. During her
journey to Rome many pieces were lost and some had
to be pawned in Brussels because of her debts. In
Rome, where Christina took permanent residence,

the coins and the antiquities, to which she added

15.—Mepat OF QUEEN CHRISTINA of

Sweden (1626-1689) (photo from Bildt).

many important pieces, were accessible to scholars
for study at her home the Palazzo Riario alla Lungara.
Since the collection was especially strong in the Greek
and Roman series, it served as a source of reference
for most of the prominent numismatsts of that period.
At her death, Christina left over 6,000 coins, which
passed into the possession of Prince Livio Odescalchi,
a nephew of Pope Innocent NI.
About the same time, the Berlin
Frederick William I (1640-1688) of Brandenburg,

the Great Elector,” was described by contemporaries

collection of
as “deserving the visit and the attention of all those
who cultivate interesting things.’ *" Already increased

For the history of the
\ftinz-

7 BapeLon, Traité, vol. 1, col. 152.
cabinet sce FrirpLAENDER and SALLET, Das konigliche
kabinet (1877).

tO
&

substantially by Frederick’s predecessor, George

William (1619-1640 this coin cabinet in 1686 ab-
sorbed the famous collection of the Rhinegrave Charles
Louis. The latter assemblage numbered over 12,000
pieces, of which a catalog had been published in
1685 in Heidelberg by Laurenz Beger. By 1690 the

Berlin collection contained over 22,000 coins.

Often mentioned in connection with the Great
Elector of Brandenburg is one of the most significant
names in the field of numismatics in the 17th cen-
(1629-1710).

birth, this eminent scholar spent many years in the

tury—Ezechiel Spanheim Swiss by

capitals of Europe. He joined Queen Christina’s
learned group of friends in Rome and moved in the
diplomatic circles of Paris, where for twelve years he

16) of Frederick William TI.

His encyclopedic knowledge in history, art, geography,

was a spec ial envoy (he.
art history—-all based on a full mastery of the ancient

authors—made him one of the prominent numis-

His chief publication Dvessertatio

matists of his day.

EZECHIEL ™
Limk2 WAKO, SKRENW AC x
. eT NUFEX AD SEREN TIN
AD SERENTAC POTENT M

Fis 16 EZECHIEL SPANHEIM (162Q—1710),
Prussian ambassador to Paris and distin-
uished numismatist (photo courtesy Biblio-

1¢ Nationale, Paris).

BULLETIN 229:

CONTRIBUTIONS FROM

Fig. 17.—Cuar.es Partin, famous French coin

collector of the 17th century (photo courtesy

Bibliothéque Nationale, Paris).

de praestantia et usu numismatum antiquorum (1664) must
certainly be considered the work of a master.

From Spanheim’s notes on his life at the French
court should be quoted a passage which casts vivid
light on the way in which numismatics and coin
collecting were practiced in Paris in the late 1600s.
At the home of the Duke of Aumont, Spanheim
would meet with a group which can be designated a
coin collectors’ club, convening weekly to discuss nu-
mismatic problems. ‘They imposed on themselves
the task of illustrating Roman history through in-
scriptions and ancient coins, and in this connection,
describing the life of the emperors by assembling all
coins struck under their reign. Every member of the
group had to discuss the emperor’s life and to lecture
on it before the gathering in order to benefit from
the advice of those present. 2? 80 Although this
was in the full reign of the ‘“‘siécle des lumiéres’’—
that peak of French cultural life when the brilliant
conversations of the literary circles, ‘‘les salons,’ of

a Mme. de Sevigné, were the model for high society
‘0 See BABELON, 7rarté, vol. 1, col. 154.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 18.—Titte Pace from Jobert’s La Science
des médailles
Nationale, Paris).

(photo courtesy Bibliothéque

it is still surprising to learn of the superior standards

maintained by the members of this group and the

\ chal-

lenging enterprise indeed, since it succeeded in cap-

exacting methods used in their discussions

Uvating for two years a man as learned as Spanheim

In order to broader

promote information of a
nature, certain authors tried to present a synopsis of,
or an introduction to, the entire field of numismatics
A German, Tilemann made a re-

While
the final three books of his Afiintz-Spiege! (Coin Mirror)

Friese, certainly
markable attempt in this direction in 1592.

conventionally presented a description of German
coinages, his first book established them within the
framework of a general theory of coins—an unusual

approach for those times. Alone similar lines the

Jesuit father Louis Jobert’s book on the science of

coins, La science des médailles, served for nearly two

centuries as a_ first-rate reference work (fie. 18).

Published first in Paris in 1692, it was re-edited in
1718 in German, in 1728 in Dutch and Italian, and
sull later in a very popular French edition by Bimard
de La Bastille in Paris in 1739,

Even for 17th- and 18th-century man a general
conspectus of numismatic publications, as today, was
almost impossible. Books and pamphlets of every
sort abounded, confusing the untrained person in
search of information and rendering serious research
difficult. As an

approach to the problem, bibliographical handbooks

for the scholar more and more

which could give a good synopsis of the various
specialized publications were compiled during the
1600s. Philipp Labbé’s Bibliotheca (1664)

found a follower in B. B. Struve’s Bibliotheca numis-

Nummarita

matica antiquorum (1693); both were extensively enlarged
by Johann C. Hirsch’s Bebhiotheca mumismatica, published

almost a century later, in 1760, at Nuremberg.

EIGHTEENTH CENTURY

With the advent of the 18th century which pro-
duced the great cultural revolutions, the French Ency-
Voltaire,

Kant—a new spirit penetrated all the sciences. “The

clopedists, Rousseau and Goethe and
naive curiosity of the past gave way to a more rigorous
approach; the casual treatment of materials, often
haphazardly accumulated, was replaced by more
methodical arrangements: new fields, heretofore com-
pletely disregarded or disdained, came into impor-

tance. The ancient ideals which had inspired the

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

man of the cinquecento faded away in many in-

stances and were replaced by a more immediate

interest in contemporary life. The Elizabethan cul-
tural achievement in Eneland and the brilliant rise
of French art and literature durine the reign of
Louis NIV gave people more confidence in- their
own creauions.

Numismatics, as did so many of the other sciences,
this new trend, and new ficlds were

The old

benefited from

opened for research system of publishing

Fig. 19.—E tas BRENNER (1647-1717), father

of Swedish numismatics, in a painting by
Mikael Dahl (1680) (photo courtesy Kungl.
Myntkabinettet, Stockholm).

catalogs of great collections was continued but, at
the same time, advanced and more specialized studies
The Middle Ages

period furnished novel and

were g@iven increased attention.
and the contemporary
attractive subjects.

‘The

movement in this direction.

late 1600s already had witnessed a strong
In France, Francois Le
Blane’s Traité historique des monnoys de France (1690); in

Elias

vetustus

Brenner’s Thesaurus nummorum Sueco-

(1691); ®! Holland,
Bizot’s Histoire métallique de la République de Holland
(1687

Sweden,

Gothicorum and in Pierre
were all remarkable publications representa-

tive of the new trends. Their example was followed
in practically every leading country in Europe. In
Germany during the 1700s there appeared a cluster
of authors who treated numismatic problems from the

standpoint of individual principalities. An outstand-

Elias Brenner i unga ar’ (1947); Hécgerc

Elias Brenner,” (1955)

6 BULLETIN 229: CONTRIBUTIONS

FROM

ing writer among them was Wilhelm Ernst Tentzel
(1659-1707), whose Saxonta numismatica, published in
four volumes from 1705 to 1714, is still considered a
standard reference for Saxon coinages.

A few names, among the many remarkable writers
of the 18th century, include: in Switzerland, Gottlieb
Haller, author of a work on Swiss
(Schwerzerisches Miinz- und Medaillenkabinet,
1780-1781); in Spain, Enrique Florez (M]edallas de las

colonias, 1757-177

Emanuel von

coins

3): in Italy, Guido Antonio Zanetti
(Nuova raccolta delle monete e zecche d’Italia, 1775-1789),
Prince Gabriele Torremuzza, author of a classic study
on the ancient coins of Sicily (Siciliae populorum et
urbium, 1781), Francesco de’ Ficoroni (Piombi antichi,

FLOREZ

Fig.

20.—ENRIQUE (1702-1773);

Spanish numismaust (photo courtesy Biblio-

théque Nationale, Paris).

THE MUSEUM OF HISTORY AND TECHNOLOGY

:
|

1740), and Lodovico Antonio Muratori,? who
initiated the study of medieval Italian numismatics
(De diversis pecuniae generibus, 1738); in France, Nicolas
Mahudel * (Dissertation historique sur les monnoyes
antiques d’ Espagne, 1725), Joseph Pellerin“! (Recueil
de médailles de rois, 1762, and Recueil de médailles de
peuples et de villes, 1763); and in England, Stephen M.
Leake (Nummi britannict historia, 1726).

In order to be able to master the continuously
growing bulk of contemporary material, with its
never-ending number of coins which must be regis-
tered, classified, and studied, a new and more ade-
quate system than the alphabetical or chronological
arrangement had to be found. The answer to the
problem came from the meticulous and systematic
minds of the German numismatists, who, during this
century, undoubtedly became the leaders in nu-
mismatic research.

Since Germany itself presented a rather entangled
picture with its numerous principalities, archbishop-
rics, bishoprics, cities, and even abbeys —all of them
issuing coins—any attempt to give a general numis-
matic history of this country seemed to be an in-
possible enterprise. A division of —numismatic
material by coin denominations simplified the task
considerably, permitting to expand
geographically by including similar coin denomina-
tions of other countries.

topics often

As a result, a group of
publications appeared in Germany which presented
fairly complete catalogs of specific categories of coins.
Johann Friedrich Joachim’s New eroffnetes Groschen-
Cabinet (1749-1769), on German and other small
denominations, Johann Tobias Kohler’s Vollstandiges
Ducaten-Cabinet (1759-1760), and later J. C. von
Soothe’s Auserlesenes und hochst ansehnliches Ducaten-
Rabinet (1784), became major references on Euro-
pean gold coins. Michael Lilienthal’s Vollstandiges
Thaler-Cabinet (1735), and especially David Samuel
Madai’s Vollstandiges = Thaler-Cabinet (1765-1774),
which included practically all dollar-sized silver
coins of Germany and neighboring countries, are
excellent reference books still used extensively at the
present time.

During the same
dictionaries were published for the purpose of helping
collectors with the

period, various numismatic

become more familiar basic

8 For a biography of Muratori, see Luppt, “Vite di illustri
numismatici italiani: Lodovico Antonio Muratori” (1889).

83 A list of his works is in BABELON, Trailé, vol. 1, col. 172.

8 A list of his publications is in BaBeLon, Traité, vol. 1, cols.
176-177.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

concepts and terminology of the science. Deserving

mention, among others, are Johann Christoph
Rasche’s Lexicon universae rei numariae veterum (1785
1805), in 9 volumes, with a supplement in 1802-1805,
in Leipzig: and the work of the Spanish numismatist
Tomas Andrés de Gusseme, Diccionario numismético
general, which was published in six volumes (1773-

1777) in Madrid.

Fig. 21.—Davip Samvuet Mapat (1709-1780),

German numismatist (Div. of Numismatics

photo).

The early years of the 18th century also saw the
recognition of numismatics as an academic discipline.
In 1738 Professor Johann Heinrich Schulze announced
a collegium privatum at the University of Halle, Saxony,
lecturing tiher die AMiinziwissenschaft und die daraus zu
erlauternden griechischen und romischen Altertiimern (on the
science of numismatics as a source for Roman ancl
Greek antiquities).°° ‘This course was published later
(Halle, 1766) in book form.

From 1729 to 1750, Professor Johann David Kohler

Altdorf published

explanations

of weekly commentaries and

historical and forcien
Historische

Amusement).

on national

coins and medals—in a series he called
Miinz-Belustigung (Historical

Precursors in the late 17th century were ‘Tentzcl’s

Coin

8 Kocu, “Aus der Geschichte des Robertinum” (1944).

+ 10. DAVID KOELERUS
y ALTDORFINA UNIVERSITATE
HIST. ect POLIT.PP et BIBLIO:
THECARIUS.

Fig. 22.—FRONTISPIECI ‘TIr.t

Miinz-Belustigur

AND

Vfonatliche Unterredungen (Leipzig, 1689-1698) and the
Historische Remarques der neuesten Sachen in Europa
Hamburg, 1699-1705). Adorned with artistic en-

cravings of coin and medal designs,

Kohler’s publi-

cation is a real treasure chest of information, and
even today it constitutes delightful reading for the
numismatist and historian (fig. 22). The two-volume

index, compiled by Johann Gottfried Bernhold in

Fohann David Kohlers/ P.P.
mn Gabe 7S _wsdentlid Herausgegebener

Gitforif ifcher
CGHiin3-DWeluftiqung

Sritee Vheil,

Darinnan
allerhand merfivirdige und rare

Thaler / Ducaten/ Sdhauftiden/ Alippen

andere fonderbabre Gold-und SGilber- Wunsgen
Gon manderley Utter, sufammen LXTV. Sticke,

A t in Kupfer aeftoden, befchricben und aus der Hiftorie
es Kuh a fou ele werden, ot

Liner Vorrede von fob, L Luchii Syloge Numismatum
Suet Negi.

Bey Chriftoph sBrigt be8 ben Kunfthandlers feel.
Gebruckt bey re 1729,

Pace from the early numismatic periodical Historische
g, published by J. D. Kohler

(Div. of Numismatics photo).

The Abbot Joseph Hilarius Eckhel (1737-1798),*"

who was director of the Imperial Coin Gabises in

Vienna and, at the same time, taught classical
archeology at the University, devoted his entire life
to the study of ancient coins. No one more deserves
the title of ‘“‘father of ancient numismatics.’? On the

basis of his principles—applied in the arrangement

of his major work, Doctrina nummorum veterum, published

1764-1765, contains a complete key to the 22 volumes. in eight volumes between 1792-1798 in Vienna—
Kohler’s “periodical”? stimulated many imitators in rests the subsequent organization of the entire field
Nuremberg well as other places.“ of ancient numismatics.

A survey of numismatics during the 18th century A merciless critical faculty which weeded out faulty
would be incomplete without mentioning the noted interpretations and apocryphal data, a brilliant ca-
Austrians, Joseph Eckhel and Joseph von Mader. 7o7 nae _— . . . ;

‘7 For a uae of Eckhel, see KENNER in Allgemeine
tsche Biographie, vol. 5; FRANKE in Neue deutsche Biographie,

“6 For further information, LuscHIN vON EBENGREUTH, vol. 4; see also BERGMANN, “‘Pflege der eae EL in Oster-

’ Vii 12 reich” (1857); DurRAND, Médailles et jetons, pp. 60-64.
28 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 23.—Tue Austrian Aggzor Joseph Hilarius

Eckhel (1737-1798), father of ancient numis-

matics (photo courtesy Kunsthistorisches

Museum, Vienna).

pacity for synthesis which visualized the general out-
lines of ancient coinage in its magnitude, a methodical
mind which established the basic principles on which
to build a flawless scientific arrangement—these are
Eckhel’s outstanding characteristics. With him began
a new era in the study of ancient numismatics: rigid

field of
supplanting the casual approach of the amateur with

scientific methods entered the research,
his haphazard search for answers.

“Prolegomena generalia,” the first 24 chapters of
volume one in his Doctrina nummorum, can be con-
sidered a basic introduction to numismatics. For the
first time in its history the basic elements of ancient

Greek

systems, organization of mints, significance of coin-

and Roman numismatics—metals, ponderal

types, coins in their relation to the history of art
are amply discussed. In dealing with ancient Greek
numismatics (in the first four volumes of his work),
Eckhel adopted a geographical arrangement instead of
the alphabetical grouping generally in use up to his
ANCIENT SCIENCE

PAPER 32: NUMISMATICS—AN

time This system, previously advocated | the

French collector and. scholar Joseph Pellerin put

never worked out in detail, remains the foundation of
Greek Modern

scholars also follow Eckhel in other respects:

numismatics to the present day.
Many
of his findings or attributions have never been que

tioned. In the field of Roman numismatics, to which
he devoted the last four volumes of his Doctrina num-

Eckhel

house of information, setting up a scientific, chrono-

morum, systematized an

immense treasure
logical sequence of coin issues in a basic arrangement
which has not essentially altered during a hundred and
fifty years of numismatic work.

Although his fame cannot compare with Eckhel’s,
(1754

University of Prague, must be considered equally a

Joseph von Mader * 1815), professor at the

pioneer in his own field. He succeeded in putting
onto a scientific basis medieval numismatics, which
until then had not progressed beyond the preparatory
phase of random listings. His ‘‘essays’’ on bracteates,
Versuch tiber die Brakteaten (1799), Qweiter Versuch tiber
die Brakteaten (1809), and especially his six-volume
Aritische Beitrage zur Miinzkunde des Afittelalters (A803-
1813) changed the basic approach to this field of

study.

FAMOUS COLLECTIONS OF THE CENTURY

At this point a brief survey of the major cabinets in
Europe during the 18th century will disclose not only

information about the growth of important museum

collections but also facts about numismatics as a

favorite pastime of the intellectual clite.
It is only natural that Italy, the perpetual source of
antiquities, should account for some of the outstanding

collections of coins. Here, as in other leading

countries of Europe, countless personages of renown
in the social pages or in the world of letters and science,
collected, exhibited, stuclied, and discussed coins.
A deeply felt love for art and art objects and a genuine

understanding for historical and scientific problems

inspired Italian collectors. ‘The dukes of ‘Tuscany
and the princely families, the Chigi, the Colonna, the
3Zarberini, the Pamphili, all had their art treasures
Names such as Odescalchi,

Massimi, Cardinal Albani, Prince Borghese,

Prince Livio Cardinal

Prince

§ BABELON, Jrailé, vol. 1, cols. 176-177

' BERGMANN, “Pflege der Numismatik in Osterrei hh? (1863

p 33,
0 Gort, Antiqua niumismat ’ t/ ro Mag dD
Ftruriae adservantur (1740)
29

Torremuzza, Monsignor Stefano Borgia, Ferdinando
Cospi of Bologna, Settala of Milan,
Geronimo Correr, and Honorio Arigoni of Venice,

Manfredo

are only a few among an impressive group of people
who were moved for various reasons to treasure coins.
Many of their collections—varied or highly special-
ized, modest or excessively wealthy—have disap-
peared, their treasures scattered without a trace.
Others were transmitted practically untouched to
later generations, their records in perfect order. As
a result, many famous pieces today can be traced to
their original ownership, some as far back as two
centuries.

Of special interest is the history of the Vatican Coin
Cabinet. After a slow start during the 16th and 17th
centuries, the development of the cabinet took an
unexpected turn upward in the late 1700’s. Pope
Clement XII (1730-1740) envisioned an outstanding
museum which would give artists and visitors to
Rome occasion to see great works of art. As part of
the collections he visualized also a group of Roman
coins. Accordingly, in 1738 he bought from Ales-
sandro Cardinal Albani a remarkable group of 328
Greek and Roman coins and medallions, paying the
‘These coins, highly

impressive sum of 11,000 scudi.
regarded by his contemporaries, were housed in the
north wing of the newly constructed papal library;
they formed substantially the nucleus of the Vatican
Coin Cabinet. His successors, especially Benedict
XIV (1740-1758), Clement XIV (1769-1774), and
Pius VI (1775-1799), spared neither efforts nor
money to add new treasures. In addition to the
Roman coins and the rare medalions in which this
collection was remarkably rich, a very good repre-
sentative series of the Roman popes was added.

Pius VI surpassed his predecessors in enriching the
Vatican Coin Cabinet. In 1794 he bought for 20,000
scudi the famous cabinet of Queen Christina of
Sweden, a collection by then in the possession of the
Odescalchi family. Within the short span of a few
decades the popes succeeded in bringing their collec-
tion to the highest level, equal almost to the Paris
Royal Cabinet.
many of these exceedingly rare pieces were scattered

Unfortunately, within a few years

forever by a turn in history.
In 1799, during the French occupation of Rome,
innumerable coins were seized by individual soldiers
1 Numismata . . . Musei Honorit Arigoni Veneti ad usum juventutis
ret nummartae studiosae (1741).
ex museo Alexandri S.R.E.
. (1739-1744).

% VENUTI, Antiqua numismata ...

Card. Albani in Vaticanam Bibliothecam . .

30 BULLETIN 229: CONTRIBUTIONS FROM

of the French revolutionary army. Only a part of
the original Vatican Cabinet could be transported to
Paris according to the plans of the Directoire in Paris.
Count Camillo Serafini gives a detailed account of
these events and concludes the story of the regrettable
happenings with the observation that “it could be
truly said that the cabinet did not exist anymore.” %
The Vatican collections, however, were rebuilt in
later years.

It was only natural during this period of enlighten-
ment, when art and science were benefiting greatly
from the impulses emanating from France, that most
of the potentates of Europe would pay attention to
one of the most intellectual of aristocratic pastimes.
Indeed, Frederick the Great of Prussia, Louis XV of
France, Maria Theresa of Austria, her husband
Charles VI, Duke Anthon Giinther of Schwarzenberg,
and Frederick II of Saxe-Gotha competed among
themselves for the acquisition of entire collections or
of famous single pieces. Charles VI carried his numis-
matic fervor so far that he did not want to be separated
even during military campaigns from some of his
favorite coins. Accordingly, he had a portable coin
case made which accompanied him on to the battle-
fields of Spain.

This period holds a special importance for the
growth of the Vienna Coin Cabinet, which by 1663
numbered over 15,900 pieces. Numismatics was cul-
tivated at the Viennese court during the reign espe-
cially of Joseph I, Charles’ older brother. In 1709
the emperor brought the Swedish scholar Carl Gustav
Heraeus (1671-1725) from the court of the Princes of
Schwarzenberg. After Joseph’s death in 1711,
Heraeus continued his services with Charles VI, who
entrusted him with the task of integrating the rather
scattered coin holdings of the Viennese ‘‘Schatzkam-
mer.” Heraeus not only organized the Vienna coin
cabinet but also substantially increased its treas-
ures. Enjoying the financial and moral support of
the numismatically inclined emperor, Heraeus pur-
chased many rarities on his numerous travels. In
1713 he added to the Vienna Cabinet 1,200 select
pieces from the Ambras collection in the Tyrol.
About the same time, the scholarly dissertations on
ancient coins by Father Erasmus Froehlich (1700-
1758),” librarian and professor of archeology, added

3 Monete del Medagliere Vaticano, vol. 1, pp. L-LI.

% BeRGMANN, “Pflege der Numismatik in Osterreich” (1856),
pp. 32-34.

% For a bibliography of his works, see BABELON, Traité, vol. 1,
cols. 169-170.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 24.—“CABINET

Louis NV” at the Cabinet des Meédailles in

Paris (photo courtesy

Bibliotheque Nationale)

to the prestige of Austrian numismatics. Another
collection of repute, during the reign of Charles VI,
was the coin cabinet of Apostolo Zeno of Venice,
historian to the Emperor. This famous collection of
ancient Greek and Roman coins passed in 1747 to the
monastery of St. Florian in Upper Austria, where it
remained for over two hundred years until it was sold
at auction in Vienna after World War II. During
the Napoleonic era, the Austrian chancellor Metter-
nich built a comprehensive collection of coins and
medals in his Kénigsberge Castle.

In France, Louis XV continued only half heartedly
the interest which the Sun King had shown for coins

After 1720 the royal cabinet *° was transferred from

96 J. BABELON, Les trésors du Cabinet des antiques ( 1927); see also

Cabinet des médailles . . . guide du visiteur (1924; 1929)

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Versailles to Paris and set up in a lavish arrangement
in the library of the king in the ancient palace of the
Marquise de Lambert, where it can be seen in its
original setting to this day (figs. 24, 25).

The little principality of Saxe-Gotha could claim an
important collection which had been a sembled by

Frederick II (1691-1732) pro-

claimed that he created this cabinet “for the reputa-

its princes (fig. 26).

tion of Our Princely House, and for the good of the
public.”

Among the instructions given in 1744 by his suc
cessor Frederick ITI to Prot

following

Schlaeger, curator of the

collection, the ecems perfectly to define

curatorial duties: “lhe curator is supposed t

Miinzkabinett« (1920); see also the contem

f Lirse, Gotha numaria (1730)

7 Pick, “Dic

porary catalog

Fig. 25.—Co1n Casinet of the time of Louis XV, preserved at the Cabinet des Médailles,

Paris (photo courtesy
I

he collections in a courteous manner, without asking
for any remunerations, to all strangers who can view
them profitably; he should also entertain them with

elpful lectures and bring forward everything which

in Our intention and what he might
consider of interest to the public.”

I nt ing to note that already at this time
Ger I vere anxious to give general directives to
collector n | inn David Kohler published,
for ( 1 sci instructions on profitably

( lleric eu {7 r fur
\ t JA ~py > } her
( useums also
i his Da
Z I ELI \ >: CONTRIBUTIONS FROM

sibliothéque Nationale).

tried to define a triple scope in coin collecting. He
advised collectors to gather only “‘genuine originals,”
avoiding copies, to select specimens of perfect striking,
and, as the ultimate goal, to assemble coins and medals
in such a manner that they could tell a story.*°
Across the Channel, the first catalog of the British
Museum’s collection was published by an Italian,
Nicola Francesco Haym, under the title Del tesoro
annico (1719-1720). This

appeared at the same time in Latin and English, as

brit 7 two-volume work
well as Italian.

A few decades later the British cabinet was enlarged
considerably by the addition of the collection of Sir
Hans Sloane, an Irish physician to Queen Anne and

King George I.

The collection of over 32,000 pieces

) NEICKELIO, Alu raphia, p. 3.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Fe 1D. Schilbach. dod a Prawt face 4727
pe NVMISMATOPHYLACIVM FRIDERICIANVM.
k

Fig. 26.—THe Coin Capinet of Frederick II (1691-1732) of Saxe-Gotha (photo courtesy
Bibhothéque Nationale).

Fic. 27.—Sir Hans SLoane (1660-1753), famous Irish coin
collector, and Dr. William Hunter (1718-1783), founder
of the coin cabinet at the University of Glasgow (drawings
from Durand).

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

was added to an earlier bequest from Sir Robert

Cotton which had been donated to the state in 1710.
Both formed the nucleus of what was to become the
most This

collection and others, such as the substantial bequest

famous coin collection in the world.?©

of Dr. William Hunter to the University of Glasgow 1
or the coins of Dr. Richard Mead (which were listed
in a sale catalog, Museum Meadianum, 1755), of John
Swinton, and of Horace Walpole, helped place Eng-
land among the leading nations in numismatics.

EARLY NINETEENTH CENTURY

The turbulence and insecurity created by the French
Revolution and the Napoleonic wars left little leisure
and understanding for any kind of diversion, and, as
a result, coin collecting declined for a brief period of
Yet,

from this dormant situation an awakening soon came,

the new century in many European countries.

generated in France by Napoleon’s own grandiose
plans. Deliberate pursuit of ancient ideals and art
concepts, as conveyed in the art of David and Canova,
combined with a strong feeling for national grandeur,
found expression in innumerable medals which were
struck during Napoleon’s time.
literature in the subsequent

Numismatic years

clearly reflected these tendencies. Two imposing
works of French medallic art, Michel Hennin’s two-
volume Histoire numismatique de la révolution frangaise
(1826) and the twenty-volume Trésor de numismatique
et de glyptique (1834-1858), both devoted largely to
the Revolution and to Napoleon, were published
Related to

Gerard van Loon’s Histoire métallique des XVII provinces

within these decades. such works was
des Pays-Bas, which had been published almost a
century earlier (1732-1737) and now was reedited in
the early 1800s.

A remarkable figure in numismatics at the turn of
‘Theodore-Edme

the Cabinet des

Strongly influenced by the clas-

the century was the Frenchman
Mionnet (1770-1842), who joined
Meédailles in 1795.
sical tendencies of his age, he pursued ideals of dissemi-
nating knowledge of ancient coins among wider circles
as Well as assisting artists in their work by giving them
the opportunity to obtain relief reproductions of
artistic coins. His sulphur-paste copies of the latter
found a wide acceptance; at the same time, he pub-
lished descriptions of the type, history, and rarity of
these coins. Eventually the publications grew into
a considerable work, Description des médailles antiques
grecques et romaines avec leur degré de rareté et leur estima-

® Martincty, “British Museum” (1949); Wacker, “Early
History of Department of Coins and Medals” (1953): Bout TON,
l ish Museum (n.d.).

34 BULLETIN

290°

Fig. 28.—Tueopore-EpMe MuIonnet (1770-
1842) of the Cabinet des Médailles, Paris
(photo courtesy Bibliothéque Nationale).

tion, published between 1806 and 1813 in six volumes
The Supplément,

in nine volumes, was issued between 1819 and 1837.

with an additional volume of plates.

In this largest publication (up to that time) on Greek
coins, Mionnet succeeded in describing over 52,000
pieces. Although the work is not flawless and _ its
scholarly standards are lowered by a continuous pre-
occupation with establishing the commercial value of
coins, it still remains, through its wealth of informa-
tion, an invaluable reference.

Italian Abbot
Domenico Sestini (1750-1832), a well-known traveler

Mionnet’s contemporary, — the

01 For the history of the Glasgow collections, see Mac-
DONALD’s catalog Greek Coins in the Hunterian Collection, vol. 1,
pp. ix-Ixvi; for an earlier catalog, see Compe, Nummorum
veterum (1782).

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

{
|

and naturalist from Florence, published, among many
titles, catalogs of various coin collections which he had
visited during his travels, such as Lettere e dissertazioni
numismatiche (1813-1820) and Descrizioni d’alcune meda-
glie greche (1822-1829). Although his numerous works
do not achieve the high standard of Eckhel’s pub-
lications, they
numismatists. !°”

remain useful to — present-day

The trend toward publishing catalogs of large pri-
vate and public collections became more widespread.
For the beginning of the century we should note a few
significant publications in this field, such as ‘Taylor
Combe’s catalog of the British Museum collection,
Veterum populorum et regum numi qui in Museo Britan-
nico adservantur (1814), and especially Christian Ramus’
catalog of the Copenhagen collection, published in
two volumes, Catalogus numorum veterum Graecorum et
Latinorum muset regis Daniae (1816). In addition,
Louis Haller published in 1829 in Bern the catalog
of the numismatic collection of the Bern museum:
Catalogus numismatum veterum, Graecorum et Latinorum .. .
quae extant in museo civitatis Bernensis.

While the growth of many public collections in
central Europe was hindered by wars and revolutions,
Italy, and especially southern Italy, succeeded in
increasing the number of its collections. The coin
cabinet of Naples,!* formed in 1757, grew rapidly—
due in part to the archeological excavations in the

surroundings of Naples—to an inventory of about
10,000 Greek and over 16,000 Roman coins. In the
same city at the same time the Santangelo Collection
could claim an equal number of ancient coins. In
1865 this collection was purchased by the city of
Naples and added to its own coin cabinet in the na-
tional museum. Between 1866 and 1871 the impor-
tant holdings in ancient and medieval coins of this
museum were cataloged by Giuseppe Fiorelli. In
numismatics, Naples by this time had developed a
ereat tradition, which has remained unchanged to the
present day. Here, in 1808, Maria
Avellino began the publication of a numismatic

Francesco

periodical, Giornale numismatico, which followed only
a few years behind Friedrich Schlichtegroll’s earlier
attempt, Annalen der gesammten Numismatik (issued in
Leipzig and Gotha between 1804 and 1806).

102 For a list of his works, see BABELON, 7raité, vol. 1, cols.
195-197; Leirazmann, Bibliotheca numaria, pp. 129-130.

103 Brecuia, “Le collezioni monetali del Museo Nazionale di
Napoli” (1960).

10) FIORELLI, Catalogo del Museo Nazionale di Napoli (1866-
1871).

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

In 1822 Archduke Maximilian donated to the city
of Modena—from whence the Renaissance cabinet
of the Dukes of Este ! had disappeared—a collec-
tion which, by 1845, could claim over 35,000 pieces
Venice, with one coin cabinet in the library of St.
Mark and another in the Museo Correr, Parma with
a coin cabinet founded in 1740, the Brera Collections
in the Castel Sforzesco in Milan,!"" large and small

public coin 107

collections in) ‘Turin, Florence,!
Padua, Palermo, Catania, and Syracuse, all bear
evidence of the tribute generally paid to numismatics
in Italy not only by rulers but also by private citizens.
Such interest was no less intense on the Iberian
peninsula. Spain possessed a coin cabinet which had
been formed in Madrid under King Philip V (1700
1746).

pieces. It was increased substantially through acqui-

By 1716 this collection numbered over 20.000

sitions made because of the personal initiative of
Ferdinand VI (1746-1759) and especially of Charles
III (1759-1788), who was instrumental in bringing
many antiquities from Naples to Madrid. ‘The royal
collection later was transfered to the Museo Ar-
queoldégico in Madrid. Another collection in Madrid,
in the Real Academia de la Historia, which had been
gathered during the 18th century, two important coin
cabinets in Barcelona, one at the University of
Valencia, as well as many important private collec-
tions—all attest to the importance accorded to numis-
matics in Spain.

In Portugal, the creation of the Academia Portu-
guesa da Historia in 1720 designates a new era in
Portuguese numismatic research. Under the stimulus
of an increased interest in archeological and historical
studies, coins collected and studied

were more

systematically. Many major Portuguese coin collec-
tions were formed, or were mentioned as already
existing, in the late 1800s. Of such were the Museu
Maynense, begun by the Jesuit José Mayne (d.1792),
the collection of the royal palace of Ajuda, mentioned
in a Lisbon Almanac for 1795, and especially the
Museu da Casa da Moeda, organized in 1777 by a
decree from the famous Portuguese statesman Marquis
de Pombal. His instructions to the mint to keep one
specimen of each issue brought the mint museum into
existence.

Other collections, especially those per-

105 Panvint Rosati, ‘Il riordinamento del Medaglicre Estense
di Modena” (1956).

106 Bectont, “Il Medagliere di Milano al Castello Sforzesco”
(1955).

107 Fapretti, Regio Museo di Torino (1881-1888).
108 Supino, Ll medagliere mediceo (1899).

to ¢ vere formed, probably as
1 ries and universities

: ( Oporto
» i the impressive collections

H é tablished during the reign of

( [] — ) Earlier, Peter the Great

een known for his cabinet of

ich included numerous ancient coins

medals. 12°

undred contemporary
to raise Russia to the cultural level
of other European countries, Peter encouraged the

historic and artistic objects. By per-

collection of

er of the Tsar in January 1722 all Russian
col prior to his reign were to be confiscated from
church monasteries, and wealthy noblemen and

(Only the

Kiev-Petcher monastery remained

mncorpor ited into the palace collection
treasures of th
hidden from Peter; they were discovered in the late
nineteenth century.) In 1728, after Peter’s death,
his collection was desposited
the Aunstkamer,

}

left in earlier years by

for safekeeping with
where it was added to collections
Russian noblemen, such as
the early Russian coins of the boyar Peter S. Saltykov,
Governor of Kazan. In 1742 the holdings of over
28.000 coins of the Aunstkamer were described in

in illustrated catalog written in both Russian and
German

Many other important coin collections were as-
sembled in Russia during the late 18th and early

19th centuries. The well-organized cabinet of Count

Andrei |

Russian statesman during the first half of his century,

Osterman (1686-1747), the most famous

contained, in addition to outstanding Russian rari-
This
h ur stkamer
Volynsk, which

European

ties, an important series of Chinese coins.

collection was

incorporated Into the
hile the ibinet of Count A. P.

included numerous Asiatic and coins,

ve n 1/40 to the \cademy of Science.!!

During the middle of the 19th century, a German,

Ber I on Koehne 1817-188 who acted as a

Or ol the Hermitage. pu lished a journal,

Wen 1. ! Arcl y fad Vumism wique
St. P. 5 2 Hi pecial field of atten-
the cient coinage of the Black Sea region.
G. Spasskii. in | ‘Notes on the History of Russian
I I M Oo tblicas’’ (1946).
S 'o) t ru lnu izmatiki, pp
1G BULLETIN ; CONTRIBUTIONS FROM

Fig. 29. —ALEKSANDR DMITRIEVITCH CHERTKOV

(1789-1858), Russian numismatist (photo

courtesy the Hermitage, Leningrad).

Numismatics” '' asserts that Aleksandr D. Chertkov’s
earlier drevnikh
Russkikh monet (1834-1842), can be considered the

first scientific publication in the field of Russian

work on Russian coins, Opzsante

numismatics. In the same period, Baron Stanislav

de Chaudoir published a three-volume handbook of

cu sur les monnaies

Russian coins which is still used, A;

ry j
LSSES €

a,
LUSSLE

Many rare pieces, especially in the ancient field,

sur les monnaies élrangéres qui ont eu cours en
(1836-1837).

were purchased for the Russian cabinets. Large and
widely diversified collections, containing local finds of
ancient coins from the Greek colonies on the shores of
the Black Sea, sprang up in southern Russia. Espe-

cially noteworthy were the cabinets in the Odessa

THE MUSEUM OF HISTORY AND TECHNOLOGY

arly methods, 1 wide knowlecdee, vwnd th tut

scientifically trained mind Due to their influ
even the o-called dilettante ind) amateur l
held were induced to folloy 1ore careful meth

can be seen in the pap published at the time

trend of channeling numismatic interest alone morc

scientific lines reached its full development toward th

end of the century, but, it poradic beginning

Pact
already been registered in the first half of the 1800

Usually 1836 is considered a slgnificant date in the
development of numismatic se LCTICe In that vear two
periodicals were started which for over a century
attracted the most distinguished numismatists of the
time and set the hiehe l tandard in research In
Paris Revue numismalique Was founded by Etienne
Cartier and Louis de La Saussaye, who intended
chiefly to publish articles on Gallic coinages but
eventually included ancient and modern numismatic
in their program. In London appeared the Viwmnis-
matic Journal; begun by John Yonge Akerman, it
name was changed in 1838 to Nwmismatic Chronicli

four years later, Belgium followed with the Ree

de la numismatique belge, founded by R. Chalon. (
] g

Piot, and C. P. Service, a periodical which in 18
changed its name to Revue helee di numismatique.
These three periodicals had, in fact, been preceded
by several German publications of a less permanent
character. J. Leitzmann’s Numismatische Zeitung was
issued in Weissensee, Thuringia, from 1834 to 1863.
Hermann Grote’s Blatter fiir Mfiinzkunde: Hannoversche
numismatische Qeitschrift was published in Leipzig from
1835 to 1844 and continued as Afiinzstudien from 1857
to 1877

Fig. 30.—Baron STANISLAV DE CHAUDOIR

(1791-1858), Russian numismatist (photo '
In Berlin, Bernard von Koehne published

Qcutschrift fiir Miinz-, Stegel- und Wappenkunde from 1841

courtesy the Hermitage, Leningrad).

to 1846 and from 1859 to 1862: it was continued from

museum, in Kerch, and at the University of Kiev. 1863 to 1873 as Berliner Blatter fiir Afiinz-, Siegel- und
Another university collection could be found as far Wappenkund \lthough their pages carried interesting
east as Kazan! contributions, these earlier German periodicals were
The early decades of the 19th century can be con- of arather limited influence Phe leadine German and
sidered a preparatory phase for the increasingly scien- Austrian revues Zeilschrift fiir Namismatik and Numis
tific direction which numismatics took in the later matische Zeitschrift—followed within a few years.
1800s. More and more, renowned private collections Associated with these periodicals were some of th
were incorporated, by donation or purchase, into the most renowned names in numismati In France,
large collections of the public museums, where they which retained its place among the leading nation
were tended by skilled specialists. From the distin- in the field, there were: Baron Pierre-Philipps
guished ranks of the latter came many of the out- Bourlier d’Auly (1793-1877), whose Roman Re
standing contributions to numismatic research. Often publican coins, the largest collection of its kind in
associated with learned circles of universities, thes existence. went to the Paris Cabinet des Médaill

men brought into numismatics the accuracy of schol-

13 BERESINE, Cabinet numismatique de UU l mipe le Wop Atty, Rechere/ ’ , r ron 1
; e rusqu r mort d 1864-18609)
Casan (1855). jusqua la LA ( (

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Fig. 31.—Honore£ p’ALBerT, Duc pE LuyNeEs

(1802-1867), famous French collector and
author (photo courtesy Bibliothéque Na-

tionale, Paris).

Duc Honoré de Luynes (1802-1867), one of the
founders of the Institut d’Archéologie in Rome and
an outstanding scholar, whose collection of almost
7,000 Greek coins, which he gave to the Paris cabinet,
vas later published by Jean Babelon;' Louis Charles,
Duc de Blacas, who translated Theodor Mommsen’s
history of Roman coinage into French between 1865
and 1875; and Henri Cohen (1806-1880), librarian
at the Cabinet des Médailles, who produced in his

handbook on Roman imperial pieces.

impertales (1859-1868) the most popular
The latter’s
simple method of arranging the coins alphabetically
by reverse legends under their respective emperors
made this catalog very easy to use by a wide public,
even to the present day.

By midcentury, France produced scores of col-
lectors and scholars well versed in ancient and
Sauley (1807—

1880), author of Numismatique des croisades (1847) and

medieval numismatics. Félicien de

of various studies on Byzantine and Gallic numis-
matics, was also known as a collector; his 7,000 Gallic
donated to the Paris Cabinet. Faustin
P Cy d’Avant,

coin were

with Les monnaies féodales de la France

ecques (1924

38 BULLETIN 229:

CONTRIBUTIONS FROM

(1858-1862), became the leading authority on the
feudal coinage of France; Justin Sabatier (1792-1870),
in Monnaies byzantines (1862), produced what still is
an indispensable work on Byzantine numismatics.
Following similar traditions, but with a special
emphasis on medieval and modern times, Belgium
and the Netherlands produced names like Constant
Antoine Serrure (1835-1898), Raymond C. Serrure
(1863-1899), Prosper D. Mailliet (1808-1886) (with
the best publication on obsidional coinages, Catalogue
déscriptif des monnaies obsidionales et de nécessité, 1868-
1873), (1802-1867),
director of the coin cabinet of the University of
Leyden (with his De munten der Nederlanden, 1851—

Pieter Otto van der Chijs

1866), and P. Verkade (with a numismatic history of
the Netherlands, Munthoek bevattende de
afbeeldingen van munten, 1848).

namen en
The coin cabinet in
Brussels, founded in 1830, within a few decades
In the Netherlands the
group of coins at the University of Leyden and

claimed outstanding rarities.

especially the cabinet in The Hague 1° were the
major collections.

Fig. 32.—PreTter Orro vAN DER Cnys (1802-

1867), Dutch numismatist and director of
the cabinet at the University of Leyden (Div.
of Numismatics photo).

116 See the catalog by DompterRE, Choix de monnaies et médailles
(1910); also GeLper, ‘“‘Les fonctions externes du Cabinet des
Médailles de La Haye” (1957).

THE MUSEUM OF HISTORY AND TECHNOLOGY

In England Reginald S. Poole (1832-1894), keeper
of the cabinet in the British Museum, initiated its
great series of coin catalogs. At the
Col. William M. Leake (1777-1860),
Greek coins were purchased by the University of
1864, published the
collection under the title Nwmismata Hellenica (1856)."7
In 1883 (1846-1937

studies in art and mythology as

Same time

whose 12.000

Cambridge in catalog of his

Percy Gardnet1 promoter of

related to ancient
coins, published Types of Greek Coins, a valuable
work for the student. Other representative British
collectors and scholars of the century were Edward H.
Bunbury, Arthur J.
(author of an interesting study on more recent coins
of England: The Copper, Tin, and Bronze Coinage and
Patterns for Coins of England, 1893),

Rogers Ruding, noted for his earlier publication of

Evans, Hyman Montagu

and espe ially

documentary material from various archives entitled
Annals of the Coinage of Great Britain (2nd ed., 1819).

In Denmark the leading name was Ludvig Miller
(1809-1891),!45 in charge of ancient

Royal Coin Cabinet and author of basic studies on

coins in the

the coinages of Philip II of Macedon, of Alexander
the Great (Numismatique d’ Alexander le Grand, 1855)
of Lysimachus, King of Thrace (Dre MMiinzen des
1858),
numismaties of Carthage and North Africa (Nwmis-

thrakischen Rénigs Lysimachus, and on the
matique de Pancienne Afrique, 1800-1874).

In Germany, worth noting among many famous
names, are Julius Friedlaender (1813-1884), director
of the steadily growing coin cabinet in Berlin, Karl
Alfred Sallet,

Grote, and

Ludwig Grotefend, von Heinrich
Dressel,}!9 Emil Max

Bahrfeldt,!”” and Johannes Brandis, noteworthy for

Hermann von
his metrological studies Das Miinz-, Mass- und Ge-
wichtswesen in Vorderasien bis auf Alexander den Grossen
(1866) which opened the way for the later treatise
of Friederich Hultsch (see p. 45).

In Italy there were: Count Bartolomeo Borghesi
(1781-1860), epigrapher and

numismatist, Whose
complete works—of which his Oeuvres numismatiques
(1862-1864) was a part—were published in France
under the auspices of Napoleon III; Abbot Celestino
Cavedoni, with many publications on ancient numis-
matics and especially on the coinages of the Roman

117 See also Fitzwilliam Museum: Leake and General Collections
(1940-1951).

18 For his biography, see JORGENSEN (1891): Pick (1891)

19 For his biography, see FRANKE (1959)

10 For Grote, see BerGHaus (1952); for Emil and Max
Bahrfeldt, see Jesse (1953).
PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Fig. 33.—Lupvic Miter (1809-1891), Danish

numismatist (photo courtesy Kongelige Mgn-

tog Medaillesamling, Copenhagen).

Republic; Giuseppe Fiorelli, with the still very useful
catalog of the Naples collections; Antonino Salinas,

with Le monete delle antiche citta di Sicilia (1867); and

Luisi Sambon, with his. still valuable works on
southern Italian issues, Recherches sur les anciennes
monnaies de Ultalie méridionale (1863) and Recherches
sur les monnaies de la pre squtle it alique (1870)

In Spain an outstanding name in addition to the
noted A. Campaner y Fuertes and A. Delgado
is Alois Heiss (1820-1893), author of uch standard
works on ancient and modern Spanish numismat

FEDOROVICH SCHUBERT

FEODOR

(1789-1865), noted Russian collector and

author (photo courtesy the Hermitage,

Leningrad).

as Descriptién general de las monedas hispano-cristianas
(1865-1869) and Description monnates

intiques de Espagne (1870). A still useful reference

oénérale de §

book which should be mentioned is the huge Catalogo

}

le la coleccién de monedas y medallas (1892). representing

the important cabinet of Manuel Vidal QOuadras
Ramon.

Most of the basic reference books on Russian

numismatics were written during the later part of the
th century. Fedor Fedorovich Schubert (1789

6 issued a detailed catalog of his collection in

1857 and republished it later in two separate works:
Vfonna r les dernier ty stecles (1857), and
Vfonr t méda russes (1858). A few decades
later, another outstanding collector, Count Ivan

Tolstoi, covered the early periods of the Russian

principalities in such works as Drevneishi

russkee

/ Ky 2 1 hievskogo (1882) and Monet)

Pskouskie (1886 [he great specialist in ancient and
lieval numismatics, Aleksei V. Oreshnikov. pro-
duced in Russ} 54 Ja (1896) the classic
ork on early Russian coinages. Chaudoir’s Ipercu

LO BULLETIN 229:

CONTRIBUTIONS FROM

sur les monnaies russes and Schubert’s works (mentioned
earlier), published in French, are, even to the present
day, the most popular reference books outside of
Russia on general Russian numismatics. Because
of the language barrier, Christian Giel’s compact
list Tablitsy russktkh monet doukh poslednikh stoletit
(1898) and Ilyin and Tolstoi’s publication on Russian
1801, Russkve

chekanennie 5 1725 po 1SO7 g. (1910), are referred to

coins struck from 1725 to monet}
only occasionally. The monumental publication of
Grand Duke Georgii Mikhailovitch, cousin of Tsar
Nicholas II, represents Russia’s outstanding con-
tribution to modern numismatics: Afonety tsarstvovanii
(1888-1914) describes in 12 documented volumes
his extensive collection of Russian coins, which
cover the period from the reign of Peter the Great to
1890.

Fig. 35.—ALEKSEI VASILIEVITCH ORESHNIKOV

(1855-1933), famous Russian historian and
numismatist (photo courtesy the Hermitage,

Leningrad).

THE MUSEUM OF HISTORY AND TECHNOLOGY

Among the prominent numismatists in Poland
should be mentioned the great medievalist Joachim
Lelewel (1786-1861),!! who left his homeland after
the 1831 Revolution and chose first France and then
Belgium as places of asylum. Most significant of his
works is Nwmismatique du moyen-dge (1835). His con-
temporary Edward H. Raczynski (1787-1845), with

a publication on Polish historical medals, Le médailler
de Pologne (1838), as it appeared under its French title,
and later Count Emeric Hutten-Czapski (1829-1896),
with his large Catalogue de la collection des médailles et
monnaies polonaises (1871-1916), helped to establish

Poland’s prestige in numismatics,

MODERN TRENDS AND ACCOMPLISHMENTS

Since numismatics from the beginning of the 19th
century presents such a complex picture, it has seemed
more advantageous to view the science in three distinct
and consecutive periods: the early e7ghteen-hundreds (pp.
34-37), a relatively dormant span, still strongly tied
to its preceding century, but with a slow, steady
awakening; the (pp. 37-41), charac-
terized by a conscious drive toward higher standards,

midcentury

a preparatory interval for subsequent accomplish-
ments; and finally, the modern era, which has seen the
most advanced work in the history of numismatics.
In this last period, the science has followed an un-
broken line of evolution, extending from the final
quarter of the 19th century to the present day.
While an approach along geographical lines within
each historical period has been useful until now in the
present study—permitting a clearer picture of numis-
matic evolution within each country—the complexity
of modern research makes it necessary, from this point
on, to proceed on the basis of specialized fields
in the science. Increased
facilitated through modern ways of life—which later
on, in the 20th century, developed into genuine inter-

international contacts,

national cooperation through congresses, mectings,
and exhibitions—opened a new era in numismatics.
Although national barriers have never impeded col-
lectors from exchanging specimens heretofore, scholars
still were tied strongly to local or national traditions.
This pattern changed toward the end of the 19th cen-
tury, and very often new trends or methods which had
been developed in one country found immediate
response in related circles abroad.

Simultaneously, the attitude of scholars toward
numismatics took a drastic turn. The time of the
“Miinzbelustigungen,”’ a leisurely game with old andl
puzzling objects, was gone. Gone also was the spirit
of Humbold, the universal genius who approached

1 Haisic, “J. Lelewel’s Importance in European Numismat-
ics” (1961).

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

all fields for the enjoyment of a continuous accumu-
lation of knowledge. Numismatics had reached the
point wherein the bulk of collected data, spotty as it
may have been, needed to be utilized for wider con-
structive scholarship. ‘The deeply penetrating mind
of the specialist who is thoroughly familiar with
aspects of specific historical periods and who can
comprehend the function of coins within a multi-
plicity of phenomena had to replace the well-versed
but often superficial amateur. “To be a ereat gen-
eral numismatist is beyond the powers of one man,”
was stated as early as 1885 by Stanley Lane-Poole:!””
yet this British scholar believed that his generation had
produced numisimatists who could dignify the “science
as being no longer servile but masterly... Numismat-
ics-no longer a mere auxiliary to archeology and
history—was a science in its own right and, as such,
had to be defined as to scope and method.

Another characteristic of numismatic research,
which has emerged in the last 30 years, is the increas-
ing number of special subjects that are being embraced
by the constantly expanding range of numiusmatics.
New approaches-such as the study of technical and
esthetic aspects of coins, the laboratory methods of
metallurgical research applied to coins, the study of
falsifications, the increasing emphasis on photography
as a major instrument in numusmatic studies and as
an educational factor in popularizing coins, the
reinforcement of more traditional subjects like
metrology and epigraphy —are finding wider and
deeper application. ‘The related studies of primitive
media of exchange and especially the theory of the
origin of money, a pet subject with German economists
and numismatists during the past century, are produc-
ing new and original interpretations. Paper Curren-
cies and various other documents of value have

entered the focus of modern research.

122 Coins and Medals, p. 2.

er O ing he course ol ancient

nu I Wa\ and pointing out
new pe 1 1 research—fell to two men,
Friedri | ; er in the Greek field and

vw )
Theodor M« n the Koman

GREEK NUMISMATICS

Blum«e ime trails like a comet across the
field of Greek numismatic Born at Winterthur,
S C1 d, in 18 into a family of wealthy indus-
trialists, he decided in his midthirties to devote his
life to Greek numismati Seldom, if ever, has an

imateur’’—if this word could ever apply to Imhoof-
Blumer ittained uch a level of perfection in his
researcl eldom has a numismatist brought about
uch significant innovations. The study of Greek
numismatics ha always exerted a strong attraction on
collector because of the highly esthetic quality ol
Greek coins and because of the intriguing fact that

these coins seldom bear more than the name of a city

or a ruler—thereby posing challenging problems of
identification. Imbhoof-Blumer started as a collector
of Greek coins, but very soon he began to publish

his own observations as he discovered many entirely

unknown or erroneously attributed coins \ long
series of articles and publications was the result,
of which Monnaies grecques (1883), Griechische Miinzen
1890), and Adler utiscl Vitinzer 1901-1902) are

major works. No problem seemed too difficult for
him to solve His inquisitive spirit and his critical
approach in using documentary and material evidence
make most of his publications models of research.

Macdonald rightly has called him 7

Su Creore'

mpressed by certain die similarities of some staters

in the Greek province of Acarnania—coins which
previously had been attributed to various cities on
the b of the obverse monograms—lImhoof-Blumer
( ( ign them all to the same mint. ‘This
reco on of the existence of identical dic arising
compal 1ve Luc ol coin and the resultant

l ( ol dl link equences Wa a master
T opene ( perspectives for the entire

lL} pproach became a basi

the relative chronology of

I iographical data, sec

ilso I EI

CONTRIBUTIONS FROM

-FriepRICcH IMHOOF-BLUMER (1838-

Fig. 36
1920), great Swiss collector and author in a
portrait by Wilhelm v.

Sulzer-Weber, Winterthur,

Kaulbach (photo
courtesy Mrs. L.

Switzerland)

Since

stylistic considerations had

series such as Greek coinages.

undated
Winckelmann’s time
been a major clue in delineating the time factor, but,
as noted by Sir George Macdonald, “‘classification by
style can hardly take us beyond a grouping into
periods, whereas die-study may carry us a stage
further and enable us to determine sequences within
the periods with certainty and precision.’’ 1
Imhoof-Blumer’s principles, employed by the Ger-
mans—as in Kurt Regling’s monograph on the coins
of Jerina (1906)
most brilliant application, however, across the ocean

Newell, in 1912,

chronology and attributions of

and by British scholars, found the

in America, where Edward T.

revolutionized the

certain coinages of Alexander the Great. It is
See Cau \nalyse et interprétation du style” (1953);

1 pecially the basic work of ReGcuinc, Die antike Miinze
A (1924)

THE MUSEUM OF HISTORY AND TECHNOLOGY

interesting to note that, as early as the
Sylvester S.

tainly unaware of Imhoof-Blumer’s new methods

1870s, an

American numismatist, Crosby —cer-
had tried, in his work The Early Coins of America
ry »ete- 74 . - . S
(1875), to establish a chronological arrangement in
early American coins by studying their die combina-
tions. At the time, die-studies are the
Greek

attempts have been made recently

present

common procedure in numismatics and
to apply it to
Roman as well as modern coinages.

Inspired by Theodor Mommsen’s idea of creating
an extensive work on Greek coins as a companion to
the “Corpus of Latin Inscriptions,” the Prussian
Academy of Sciences in Berlin assigned to Imbhoof-
Blumer the direction of Die Antiken Miinzen Nord-
Griechenlands. Such a corpus was intended to super-
sede all publications on the subject by describing
every known coin type of each city or province within
a chronological sequence, with full attention given to
all available material. ‘This dream of a
of all Greek

haunted numismatists since the early 16th century,

source
corpus ancient coins seems to have
when Wolfgang Lazius first proposed such a work.
But it proved too ambitious even for the late 1800s,
and despite competent scholars, this gigantic German
work progressed very slowly until it finally came to a
halt in the late 1930s.1**

In 1939 new plans were made to proceed on a
basis of international cooperation. Under the direc-
ton of Prof. Gerhard Rodenwaldt, scholars such as
Paul M. Strack, Achim Hundt, Theodor Gerassimoff,
and Vladimir Clain-Stefanelli were assigned to con-
tinue the work, but the enterprise died out during
World War II.

At the turn of the century France began producing
noteworthy numismatic works. Almost single-hand-
edly, Ernest Babelon (1854—1924),'* director of the
Cabinet des Médailles in Paris and author of many
authoritative works on Greek numismatics, under-
took the task of publishing comprehensive works
on the coinages of the eastern Greeks with such titles
as Les rois de Syrie (1890) and Les Perses Achéménides
(1893). Traité des

grecques et romaines (in five volumes, published between

But his greatest work, monnaves

the years 1901 and 1932), in which he tried to chal-
lenge the largest publications, unfortunately remained
only a torso,

127 For complete, individual titles, sce literature cited. Sce
also ImHoor-BLuMER, “‘Bericht iiber das Griechische Miinzwerk
der Preussischen Akademie” (1910).

128 DiEUDONNE, L’oeuvre numismatique d’ Ernest Babelon (1924).

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

Fig. 37.—Ernest Baseton (1854-1924), di-
Médailles and

works in

rector of the Cabinet des

author of many outstanding

numismatics (photo courtesy American

Numismatic Society).

At the British Museum a group of first-rate numis-
matists established what was to become a venerable
tradition in the field of ancient numismatics: Reginald
Stuart Poole (1832-1894), keeper of the coin cabinet;
Percy Gardner (1846-1937); George TF. Hill
1948), who published a excellent
Handbook of Greek and Roman Coins (1899), Historical

( 1867-

series of works,

Greek Coins (1906), Historical Roman Coins (1909); and
especially Barclay V. Head (1844-1914), Poole’s
successor at the Museum.!*" With his //istor
nummorum (1887), Head produced, in compact but
excellently documented form, an indispensable guide
book on Greek coinages. Fle described his purpose:
“One of the distinctive features of the present work
129 For additional information, see Head’s obituary in

schrift fiir Numismattk (1915)

Fig. 38.—Barciay V. Heap (1844-1914) of
the British Museum coin cabinet and author

of Historia nummorum (photo from Corolla

Numismatica).

is. . . to build up in outline the history of the ancient
world as it existed from the seventh century before
our era down to the closing years of the third century
et Ehis

task Head accomplished masterfully within his 964

A.D., a space of nearly a thousand years.

pages.

At Reginald Poole’s instigation, the British Museum
in 1873 began the publication, in catalog form, of its
collection of Greek coins. During a span of over fifty
years a work of impressive quality has been achieved;
by 1927

Maintaining

twenty-nine volumes had

Eckhel’s

titles include the ancient Greek coinages of Italy,

been issued.

geographical sequence, the
Greece, the Islands, Asia Minor, Egypt, and Cyre-
naica; still to be covered are Gaul, Spain, and
While the first

Poole and Gardner collaborated, adhered strictly to

Mauritania. volumes, on which
the form of a catalog, the later volumes, written by

1899 Preface to the first edition, p. xvii.

44 BULLETIN 229: CONTRIBUTIONS FROM

B. V. Head, G. F. Hill, and more recently E. S. G.
Robinson—with extensive introductory studies on
the monetary history of each geographical entity—
come closer in their concept to a genuine corpus.
Today this fine tradition is being continued by
Kenneth G. Jenkins, Keeper of Greek coins in the
Museum.

In addition to the catalogs, the British Museum in
1932 published a selection of the most outstanding
Greek coins in the museum. A Guide to the Principal
Coins of the Greeks (reprinted in 1959 in its 4th edition)
was compiled by G. F. Hill on the basis of B. V.
Head’s earlier Coins of the Ancients (1880).

Contrary to the opinion of some who consider a
catalog a waste of effort, unworthy of any scholar,
such publications are invaluable. No corpus or
monograph could be completed without the aid of
accurate descriptions of countless specimens. Con-
sequently, an increasing number of collections,
public and private, are made accessible to research
through such catalog publications. Largest and most
impressive is Splloge nummorum Graecorum, the title of
British,
more recently, American

an international series of publications:

Danish, German, and,

catalogs published separately in those countries.
This multi-volume work, which tries to apply to
numismatics the principles of the Corpus Vasorum,
stresses especially the importance of excellent photo-
graphic reproductions of every specimen. Begun in
1931, it is still being published.

Another outstanding work which contains numerous
photographs of coins is the catalog of the AfcClean
Collection of Greek Coins (1923-1929), compiled by
S. W. Grose for the Fitzwilliam Museum of Cambridge
University and used often as a reference book. In
the United

Boston, which possesses some of the finest examples

States, the Museum of Fine Arts in

of Greek coins (most of which came from the E. P.
Warren Collection and were published earlier by
Kurt Regling in Die griechischen Miinzen der Sammlung
Warren, 1936), published in 1955 their own Catalogue
of Greek Coins, compiled by Agnes Baldwin Brett.
Also, the J. Ward Collection, housed in the Metro-
politan Museum, was published by Sir George F.
Hill in 1901.

One of the most interesting phenomena in classical
numusmatic research is the transformation through
which the idea of a corpus has gone. Initially con-
ceived in the 16th century as a publication which
would encompass the entire classical world, it has been
confined in modern times, by the Prussian Academy

THE MUSEUM OF HISTORY AND TECHNOLOGY

of Sciences, to ancient Greek coinages, but even this

was never completed. Instead, monographs of single

Greek cities or provinces—in other words, subjects of

more restricted scope—were given preference, and

within the last few decades a considerable number of

first-rate publications of this sort have appeared.
They present the numismatic material in a well-
rounded historical picture, scrutinized and analyzed
from a variety of viewpoints. Metrological as well as
art elements are given maximum consideration, and
the coins are viewed in the context of economic
trends and art products of each period.

Some outstanding monographs are: in Germany,
Willy Schwabacher, ‘*Die Tetradrachmenpragung von
Selinunt” (1925), Erich Boehringer, Die Afiinzen von
Syrakus (1929): in Switzerland, Herbert Cahn, Die
Miinzen der sizilischen Stadt Naxos (1944); in France,
Oscar Ravel, Les **Poulains’ de Corinth (1936-1948):
in Belgium, Jules Desneux, Les tétradrachmes d’ Akanthos
(1949); in England, Charles T. Seltman, Athens, Its
History and Coinage (1924): in the United States, Sydney
P. Noe, The Coinage of Afetapontum (1927-1931) and
The Thurium Di-staters (1935).

Works of signal importance in ancient Greek numis-
matics, introducing new viewpoints in the problem of
dating the earliest Greek coinages, have been pub-
lished in the last decade. W. L. Brown's article
(1950), in
which he attempted to establish the date of the earliest

*Pheidon’s Alleged Aeginetan Coinage”

coinage in continental Greece, was followed shortly
after by E. G. Robinson’s basic discussion on the date
of the first Greek coinage in Asia Minor, *“Phe Coins
from the Ephesian Artemision Reconsidered” (1951),
and continued in 1956 under the title ‘*The Date of
the Earliest Coins.”
in the dating of coinages of the Persian kings have

In addition, important changes

been brought about almost simultaneously by two
publications, Sydney P. Noe’s Two Hoards of Persian
Sigloi (1956) and E. G. Robinson’s ‘“The Beginnings
of Achaemenid Coinage” (1958).

A further development in the field of classical
numismatics is that publications which give full con-
sideration to special problems are becoming increas-
ingly popular. Metrology, the science of weights and
measures and a favorite subject since the early 15th
century, has received excellent treatment in the
studies of Friedrich Hultsch (Griechische und romische
Metrologie, 1882), Johannes Brandis, Erich Pernice,
Prince Michel GC. Soutzo (Spstémes monétaires primitifs,
1884), Walther Giesecke (Antikes Geldwesen, 1938;
Sicilia numismatica, 1923; Italia numismatica, 1928), and

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

Oskar Viedebantt (Antcke Gewichtsnormen und
fiisse, 1923).

“Epigraphical Notes on Greek Coins” (1945-1960)
by Marcus Tod, Brbliography of Greek Coin Hoards
(1925 and 1937) by Sydney P. Noe, the studies on
falsifications by Hugo Gaebler (Falschungen makedoni-
scher Miinzen, 1931-1942) and Oscal Ravel (‘Notes
techniques pour reconnaitre les monnaies greeques
1933)

Joannes Svoronos and Sir George Hill '! on the

\ fain e=

fausses,”’ ‘continuing the classic works of
famous counterfeiters Constantine Christodoulos and

Carl Wilhelm Becker

areas.

‘cast new light onto other
Problems connected with the minting process
were the subject of studies by Sir George Macdonald
(‘Loose and Fixed Dies,’ 1906), Charles T. Seltman,
Carol H. V. Sutherland, Oscar E. Ravel, Willy
Schwabacher, Ettore Gabrici (with his controversial
Tecnica e cronologia delle monete greche dal VII al V

Kraay.

New and challenging possibilities emerge from labo-

secolo a.C.., 1951), and, more recently, C.

ratory tests: michrochemical analyses, specific gravity
tests, spectrographic analyses, and the application of
x-rays and gamma rays to the study of coins. In
Belgium Paul Naster, in the United States Earle R.
Caley (Chemical Composition of Parthian Coins, 1955), and
in Canada Prof. William P. Wallace (“Impurities in
1954) are

only a few scholars who have been instrumental in

Euboean Monetary Silver,” the names of
broadening the way for a more exact knowledge of
the metallic composition of ancient coins—a field of
research opened up by the work of B. V. Head, J.
Hammer, and Kk. B. Hofmann before the turn of the
century. Fresh viewpoints on the metallic supply of
the mints, on economic phenomena such as the de-
basement of currencies, and on new and_ positive
methods in the detection of authentic, false, or altered
specimens, are the perspectives revealed by these
methods.!”

The esthetic perfection of Greek coins has always
appealed to collectors and scholars. Perey Gardner,
Reginald Poole (“On Greek Coins as Illustrating
Greek Art,” 1864), George I’. Hill (Select Greek Coins,
1927), and Sir Arthur Evans have suggested the
relation between the history of art and_ classical
numismatics, but it is due to Kurt Reeling that the
Greek coin has come to be generally accepted as a

131 Svoronos, Synopsis des mille coins faux du faussaire C, Chris-
todoulos (1922); Hii, Becker the Counterfeiter (1924).

132 An excellent bibliography on the subject is in Nasrrr,
“ Numismatique et méthodes de laboratoire’ (1953); see also the

journal Archaeometry.

Fig. 39.—Kurrt Recwine (1876-1935), director
of the Miinzkabinett in Berlin (photo
courtesy Staatliche Museen, Berlin).

work of art, a manifestation of the highly esthetic
mind of the ancients and an equal to major works

His book Die antike Miinze als RKunstwerk

1924) has found many enthusiasts, with the result
that it has become a tradition among wider circles
of collectors and art students to consider Greek coins
almost exclusively from the esthetic point of view.
Giulio |

Greek

Rizzo’s monumental publication on the
coinage of Sicily, Monete greche della Sicilia

ind especially Charles T. Seltman’s work,

Vf t f Greek Coinage (1949), with its excellent
photographic enlargements taken from outstanding
pecimen ind accompanied by explanatory text,
have contributed greatly to the diffusion of this
Recently, Prof. W. Schwabacher has pub-
ished excellently written monograph devoted to
yn yf the yreat_ masterworks in ancient Greek
tics, the mareteion of Svracuse Das

+ BULLETIN 229: CONTRIBUTIONS FROM

Demareteion (1958) has found wide appeal with non-
specialists as well as scholars.

In the late thirties, the Germans Max Hirmer and
Kurt Lange initiated, almost simultaneously, a new
kind of publication with Hirmer’s Die schénsten
Griechenmiinzen Siziliens (1940) and Lange’s Gétter
Griechenlands (1940), Herrscherkopfe des Altertums (1938),
Antike Miinzen (1947), and Charakterkipfe der Welt-
(1949),

amateurs and the public in general, these books

geschichte Intended for wider circles of
accentuated the esthetic aspect of coins by reproduc-
ing enlarged and artistically executed photographs of
beautiful specimens. Many of the volumes carry
very little text. A few notes or a brief introductory
study gives the reader necessary information and
entrusts to pictures the function of telling the story.
These very attractive publications, which usually do
not limit themselves to the Greek period but freely
roam the entire span of history, have had a highly
educative result and certainly contribute more than
any other kind of publication to the familiarization
of the uninitiated with the world of numismatics.

Outstanding publications of this kind are: Herbert

Cahn’s Monnaies grecques archaiques (1947), Friih-
hellenistische Miinzkunst (1945); Leo and Maria

Lanckoronski’s Das rémische Bildnis in Meisterwerken
der Miinzkunst (1944), Mythen und Miinzen (1958);
Leopold Zahn’s Schénes Geld aus zwei Jahrtausenden
(1958); and Jean Babelon’s Dauwernder als Erz, das
Menschenbild auf Miinzen und Medaillen (1958)
English as Great Coins and Medals (1959)

-also in
-with excel-
lent photographs by Jean Roubier.

ROMAN NUMISMATICS

Based on the preliminary works of Count Bartolo-
meo Borghesi and Celestino Cavedoni, Theodor C.
Mommsen (1817—1903),!* the famous historian of
ancient Rome, issued in 1860 in Berlin his master
Isolated

historical phenomena and loose chronological ele-

work Die Geschichte des romischen Miinzwesens.

ments which had puzzled many of his predecessors
were solved by Mommsen and built into a single
logical structure which attempted to define the evo-

lution of a highly organized institution, the Roman

183 For additional biographical and bibliographical informa-
tion, see Mommsen’s obituaries: DresseL in Zeitschrift fiir
NVumismatik (1904); Gasrict in Revista italiana di numismatica
(1903).

THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 40.—TuHropor C. Mommsen (1817-1903),
noted German historian (Div. of Numis-
matics photo).

mint. Seeking the basic principles which governed
the mint and at the same time considering the pro-
gressive development in the organization of previous
Asiatic and Greek mint systems, Mommsen tried to

explain the legal aspects of Roman coinage as part of

the fundamental state laws and to solve the difficult
problem of chronology within the Republican coinage.

After Joseph Eckhel’s earlier enlightening work,
Mommsen’s approach seemed to be the logical direc-
tion of development for Roman numismatics. Never-
theless, for decades to come, the erudition of both men
had to yield in popularity to Henri Cohen’s un-
scholarly but extremely practical manuals on Roman
coins. The latter’s methods in his Description générale
des monnaies de la république romaine (1857) stood for

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

almost three decades until they were revised partly
by Ernest Babelon, who tried to use Mommsen’s
chronological system but ended up maintaining
Cohen’s unscientific alphabetical arrangement of the
Babelon’s Description his-

torique et chronologique des monnaies de

so-called *‘family coins.”
la république
romaine (1885-1886) was challenged later by Herbert
Grueber’s chronological

arrangement based = on

Count de Salis’ work—which Grueber followed in his
excellent catalog and study Coins of the Roman Republic
in the British Museum (1910).

Max von Bahrfeldt’s corrections and additions to these

Also indispensable were

listings, published over a period of twenty-two years
in his three-volume
(1897-1919).

During the first three decades of the present century,

Nachtrage und Berichtigungen

interest in Roman numismaties has centered mainly
around the imperial coinage.!! Special attention
must be given in Italy to Francesco Gnecchi with his
excellent publications of Roman medallions and
coins, I medagliont romani (1912) as well as Afonete
romane (1896), and Lodovico Laffranchi, who, in a
great number of studies, covered many historical
Remarkable are his
monographs on the organization of the Roman mint

aspects of the Roman Empire.

and on the coinages of Augustus and Magnentius.™*

Representative of German research in the same field
are Max Bernhart and Paul Strack. The former
produced a very systematic and useful handbook on
the imperial coinage, Handbuch zur Miinzkunde der
romischen haiserzeit (1926), while the latter attempted
to apply the corpus idea to the coinages of the second
century A.D., with strong emphasis on the historical
interpretation of numismatic material, in his C’nfer-
suchungen zur romischen Reichspragung des zweiten Jahr-
hunderts (1931-1937).

The dean of Roman numismatics, however, is
Harold B. Mattingly (1884-1964), who has been as-
sociated for many years with the British Museum. A
score of important publications scattered over a period
of fifty years suggest his extensive knowledge, his
deep understanding of a civilization long past, and
his ability to bring that era to vivid life for the reader.

184 For bibliographies of this period, sce BeERNUART, Bibliogra-
phischer Weeweiser (1922); Carson, “A Report on Research in
Roman Numismatics” (1953). For the latest developments, see
Haroip and Haroip B. Marrinciy, “The Republic and the
Early Empire’ (1961); Kenr, “The Late Roman Empire”
(1961).

135 For a list of his works, see PAGAN in Rivtsta italiana dt

numismatica (1955).

“The life of the Empire,’ writes Mattingly, “is, in
many ways, so like our own that we can read of it
without often feeling shock or surprise.” 8° The Coins
of the Roman Empire in the British Museum, a large publi-
cation of which six volumes have been issued since
1923, and The Roman Imperial Coinage, a comprehensive
work still in process of publication, which Mattingly,
in collaboration with Sydenham, began to publish in
the same year, constitute basic references for the im-
perial series. Not to be overlooked also are Matting-
ly’s comprehensive studies, his earlier Roman Coins
from the Earliest Times to the Fall of the Western Empire

(1928) and his more recent work Roman Imperial

Civilization (1957).

Fig. 41.—Harorp Martincry (b. 1884),

famous British scholar (photo from Essays in

Roman Coinage).

The two catalogs with their high scholarly stand-
ards—reflected in the chronological arrangement of
the coin material, in detailed descriptions, in profuse
historical notes, and especially in elaborate studies of
the respective coinages which precede every volume—
should have supplanted Cohen’s handbook on im-
perial coins with the general public, as it has with
scholars, but this has not been the case.

“The Date of the Roman
Denarius and Other Landmarks in Early Roman

An article entitled

Roman Imperial Civilization, pp. 2-3

For Mattingly’s pub-
iography (1956).

lications, sce CopINGER,

48 BULLETIN 229: CONTRIBUTIONS FROM

Coinage,’ which Mattingly and E. S. G. Robinson
published in 1933 in the Proceedings of the British
Academy, brought on one of the liveliest disputes in
numismatics. The British scholars, using consider-
able material evidence, proposed to move the date
of the beginning of the Roman Republican denarius
from 269 B.C. to 187 B.C. This thesis, or as Rudi
Thomsen called it, ‘the Mattingly revolution,’’ found
ready support in England, France, and Germany.
The Rev. E. A. Sydenham, applying these premises,
wrote a handbook, The Coinage of the Roman Republic
(1952), the first of its kind in the twentieth century
and a book which should replace Ernest Babelon’s ob-
solete In Germany Walther
Giesecke, the best modern specialist in ancient me-

Monnaies consularres.

trology, discussed the problem on a corresponding
basis in his book Antikes Geldwesen (1938) and arrived
at similar conclusions which invalidated the old,
traditional date.

In direct opposition to this stand, there arose an
Italian school under Ettore Gabrici, Lorenzina Cesano,
Such a dispute
could hardly fail to bring numismatics of the Roman

Laura Breglia, and Attilio Stazio.!%"

Republic to the center of scholarly attention, and a
considerable number of more or less authoritative
handbooks and articles have appeared in recent years,
taking various strong positions in the controversy.

In 1952 the Austrian numismatist Karl Pink stepped
into the debate with his publication Triumvir? Mone-
tales and the Structure of the Coinage of the Roman Repub-
lic. Pink is renowned as the representative of the
Viennese school of research, which attempts to estab-
lish, on the basis of data yielded by the coins, the
fundamental system of the organization of the Roman
mint. On this premise, he outlined the structure of
the coinage, explaining its chronological sequence as
This ‘‘Aufbau,”’ as it is called,
was used by Pink in his study “Der Aufbau der
romischen Miinzpragung in der Kaiserzeit’’ (1933+)

well as its evolution.

and by other Viennese numismatists, such as Robert
Go6bl and Georg Elmer, to determine the organiza-
tion of the mint in the late 3rd and 4th centuries A.D.

The emphasis placed by Prof. Pink on a closer
study of the legal aspects of coinage as an expression
of the Roman state finds a counterpart in Prof.
Andreas Alféldi’s proposal to give more considera-
tion to stylistic elements as a clue in establishing

‘87 See the excellent outline in THomsen, Early Roman Coins
(1957) ; also Srazio, ‘‘Progressismo e conservatorismo negli studi
sulla pid antica monetazione romana” (1955).

THE MUSEUM OF HISTORY AND TECHNOLOGY

related series. The latter’s views can be seen in his
article “Studien zur Zeitfolge der Miinzpragung der
rémischen Republik” (1954).!5 In addition to stylis-
tic considerations, Alf6ldi also proposed the compara-
tive study of dies as a possible key to solving problems
of relative chronology in certain coinages. He at-
tempted to apply this in his article ‘The Portrait of
Caesar on the Denarii of 44 B.C. and the Sequence
of the Issues’? (1958). Similar methods were used by
the British scholar Colin M. Kraay in his studies of
the Roman imperial series. Mr. Kraay was able to
cast new light on the operation of the Roman mint
by virtue of his research on the copper coinage of
Emperor Galba in the book The Aes Coinage of Galba
(1956),

It is obvious that the numismatic history of the first
Roman emperors is especially popular with British
scholars. In order to complete our survey of Roman
numismatics we should not fail to mention Robert
A. G. Carson, in charge of Roman coins at the British
Museum, who has made many contributions to the
history of Roman coinage in general and of Roman
Britain in particular. Michael Grant is the author
of a recent handbook, Roman Imperial Money (1954),
as well as studies on the coinages of Augustus and
Tiberius, such as From Imperium to Auctoritas (1946)
and Aspects of the Principate of Tiberius (1950). The
great specialist in the history of Roman Britain is
Carol H. V. Sutherland, who has produced, in addi-
tion to many studies on Roman numismatics, a history
on Coinage and Currency in Roman Britain (1937).""

The history of the coinage of the late Roman
Empire has proven to be a very attractive field of
research for scholars in many countries. In surveying
the past few decades we should mention, in addition
to the work of the above-noted Austrians Karl Pink,
Robert Gébl, and Georg Elmer, many additional
studies coming from other countries. To the monu-
mental but partly obsolete work of Jules Maurice,
Numismatique constantinienne (published in 3 volumes
between 1908 and 1912), have been added recently
a series of signal contributions to the study of the
coinage of Constantine the Great, by Patrick Bruun,
Andreas Alféldi, and Maria Alféldi. Other periods of

Roman history have been investigated in numerous

138 A list of his works is in BOcu1, “Ocuvre littéraire d’André
Alféldi”? (1959-1960).

139 For a bibliography of other works by Grant and Sutherland,
see Carson, “A Report on Research in Roman Numismatics”
(1953), and especially the recent report of Matrincty, “The
Republic and the Early Empire’ (1901).

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

studies which range from coin hoards, through the
history of the late Roman mints, to such diversified
themes as the metrology and technique of late Roman
coins. ‘The British scholars Robert A. G. Carson,
Carol H. V. Sutherland, J. P. GC. Kent, Philip Hill,
the Germans Konrad Kraft, Maria R. Alféldi, and
the Austrian Guido Bruck, the French Pierre Bastien,
and the Scandinavian Patrick Bruun are onlv a few
of the outstanding scholars who have made sub-
stantial contributions in this field,

BYZANTINE AND NEAR EASTERN
NUMISMATICS

In Byzantine numismaties recent scholarly attention
has been concentrated chiefly on specialized subjects.
Works on metrological problems, on the monetary
policy and currency reforms of Byzantine emperors,
as well as publications of hoard material can be
recorded for the past few decades!”

In Israel the research of Adolf Reifenbere (1899-
1953)! into his nation’s old coinages (Ancient Jewish
Coms, 1940) is being continued at present by many
scholars at the Hebrew University in Jerusalem and
Many

important contributions are to be found in the publi-

at Kadman Numismatic Museum in Tel Aviv.

cations of the Israel Numismatic Society and in Leo
Kadman’s monographs on ancient sites in the series
“Corpus nummorum Palaestinensium.”

The coinages of the Islamic world have been one
of the favorite subjects for British scholars. ‘To
William Marsden’s Nwmnismata orientalia illustrata
(1823-1825) and Oliver Manual of
Afusulman Numismatics (1904) many useful references

Codrineton’s

have been added during the closing years of the 19th
and the beginning of the 20th centuries.!? Stanley
Lane-Poole’s great work in 10 volumes, Catalogue of
Oriental Coins in the British Mfuseum, was issued between
1875 and 1890. Recently John Walker has published
two volumes of the Catalogue of Muhammadan Coins in
the British Museum (1941; 1956) which cover the Arab-
Sassanian and the Arab Byzantine coinages. His

40 For more details on recent developments, sec CARSON, op.
cit.; Kent, “The Late Roman Empire” (1961); Mercacr,
“The Byzantine Empire’ (1961).

1 See CassuTo-SALZMANN, “Bibliography of A, Reifenberg”
(1954).

42 For a survey, sce Mies, “Islamic and Sasanian Numis-
matics” (1953) and ‘Islamic Numismatics” (1961). Sce also

Mayer, Bibliography of Moslem Numismatics (1954),

works, as well as the studies of the American George
C. Miles (The Coinage of the Umayyades of Spain, 1950,
Early Arabic Glass Weights and Stamps, 1948, 1951) are
real accomplishments in the field of Oriental numis-
matic research. Also noteworthy is G6bl’s attempted
Aufbau’? of the Sassanian coinage.

Still useful as references are the old catalogs of
major Islamic collections such as Carl J. Tornberg’s
Numi cufici (1846) for the Stockholm Royal Cabinet
or Aleksei K.
manskikh monet (1896) for the Hermitage collections.

Markov’s IJnventarnit katalog musul-

The catalog of the Berlin cabinet, Aatalog der orien-
talischen Miinzen, compiled by H. Niitzel between
1898 and 1902, is of less permanent value.

The picture of modern Islamic research would be
incomplete without mentioning the names of Paul
Balog, author of many works on technical problems;
Marcel Jungfleisch, specialist in metrological prob-
lems; Dominique Sourdel in France; Ulla S. Linder
Welin in Sweden; A. Bykov and E. A. Davidovitch
in Russia; or Felipe Mateu y Llopis in Spain, who
has been publishing, among other specialized studies,
a listing of Islamic coin hoards found in Spain.

MEDIEVAL NUMISMATICS

Whereas in ancient and, in particular, Greek
numismatics the emphasis falls very often upon
esthetics, in the medieval and modern periods
historical and economic factors seem to prevail.
Many complex problems connected with the turbulent
events of the migrations and their ensuing periods—
trade relations, trade routes, economic expansion,
penetration of foreign ethnic elements, sovereign
rights, and other questions—often find an unexpected
answer in coin hoards. Thus, major attention is
given to the exact historical attribution of coin finds
and to a sound, comprehensive interpretation of hoard
materials. German, French, Scandinavian, and Brit-
ish scholars lead in the field of interpreting medieval
finds.

After the noted Austrian scholar Arnold Luschin
von Ebengreuth,'® the study of medieval numismatics
was pursued by many German scholars such as
Arthur Suhle, Wilhelm Jesse, and Walter Haevernick.
Since 1947, Haevernick and a group of younger
numismatists like Peter Berghaus and Gert Hatz,
who have centered around the periodical Hamburger

43 For his obituary, see Lornr, ‘‘Das numismatische Lebens
werk Arnold von Luschins” (1933).

Beitrage zur Numismatik, have begun systematically to
numismatic material of the
territories. Recently Prof. Haevernick,
in collaboration with Suhle and E. Mertens, attempted
to collect the hoard material for Thuringia in Die
mittelalterlichen Miinzfunde in Thiiringen (1955).
Stimulated by this intensive work on medieval finds,

enormous
l44

mine the
German

many scholars have produced first-rate studies such as
monographs on single mints or entire regions as well
as comprehensive works of a more general character.
lor example, Karl Kennepohl published the history
of the coinage of Osnabritick, Die Miinzen von Osnabriick
(1938), and Friedrich Wielandt included in his Badische
Miinz- und Geldgeschichte (1955) the monetary history
of Baden from the 14th century to modern times.
The history of economics and especially the history of
medieval trade centers have benefited greatly from
such preliminary studies of hoards.
of the latter,

As an illustration
Herbert Jankuhn’s Hazthabu: Ein
Handelsplatz der Wikingerzeit, which went into its third
edition in 1956, attempts to bring into focus the full
picture of medieval trade in the Germanic north, while
economic historian Emil Waschinski’s main preoccu-
pation is the history of prices and the buying power
of money.''® Other works of exceptional merit in
Germany which draw strongly upon hoard material
are Vera Jammer’s study of the beginning of the
coinage in Saxony (Die Anfange der Miinzpragung im
Herzogtum Sachsen, 1952), Wilhelm Jesse’s Wendische
Miinzverein (1928) and more recently his Miinz- und
Geldgeschichte Ntedersachsens (1952). Jesse is also the
author of an invaluable publication of source material
on German numismatics: Quellenbuch zur Miinz- und
Geldgeschichte des Mittelalters (1924).

France has had a well-established tradition in this
field since the past century, a tradition which has been
kept alive through such authoritative studies as Traité
de numismatique du moyen age (1891-1905), by Arthur
Engel and Raymond Serrure, and through such pub-
lications as those by Maurice Prou on the coinages of
the Merovingians and the Carolingians (Les monnaies
merovingiennes, 1892; Les monnaies carolingiennes, 1896),
by Gustave L. Schlumberger on the period of the
Crusades (Numismatique de l’ Orient Latin, 1878-1882),
and by Adrien Blanchet and Adolph Dieudonné,

44 Good bibliographical surveys on medieval numismatics are
in BerGuaus, “Die frithmittelalterliche Numismatik’’ (1961);
Harz, ‘‘Deutschland” (1961).

Preisentwicklung und Kaufkraft' des Geldes in
Schleswig-Holstein von 1266-1864 (1952) and Die Miinz- und
Wahrungspolitik des Deutschen Ordens (1952),

45 Wahrung,

50 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

authors of a handbook on French coinages, \fanuel de
numismatique francaise published in 4 volumes between
1912 and 1936." In recent times the late Pierre Le
Gentilhomme (1910-1947), Jacques Yvon, and espe-
cially Jean Lafaurie are the leading names in numis-
matic research of the early and late Middle Ages in
France. Although no major work on French feudal
coinage has been issued within the past few decades,
there have been many specialized studies on regional
issues, ON various coin types, or on coin finds and their
Quite often
spersed with interesting discussions on the monetary
history of France.’

importance. these studies are inter-

In Great Britain efforts have centered on a publi-
‘The first
two volumes of the Sy//loge of Coins of the British Isles—
Ancient British and Anglo-Saxon Coins in the Fitzwilliam

cation similar to the sylloge of Greek coins.

Museum (1958) by Philip Grierson, and Anglo-Saxon
Coins in the Hunterian and the Coats Collections (1961) by
Anne Robertson—are a very promising beginning.
Numerous other studies related to the coinages of the
early kingdom are evidence of the excellent results
being achieved in Great Britain by such scholars as
Michael Dolley, Philip V. Hill, and Ian A. Stewart.
As Grierson stated, “In the detailed study and analysis
of privy marks. . . in the identification and even the
reconstruction of the history of individual dics
English scholars have pushed their study to a higher
point than has been attained elsewhere.” "

A leading scholar of numismatic research on the
Middle Ages is
With a fine, synthesizing mind, possessing an impressive

Philip Grierson from England.
store of numismatie and historical data, he has covered
in numerous studies almost the entire continent of
Europe. Within the wide range of his research, which
begins with the late Roman and Byzantine periods
and comes up to the late Middle Ages, he encloses a
multitude of geographical areas: Mediterranean,
Central European, and Scandinavian countries, as
well as the Arabic world. The monetary relations
between East and West (especially the Byzantine
Empire and the Arabs), the origin and evolution of
certain coin denominations, the legal aspects of special

monetary problems, the interpretation of coin hoards,

46 For further bibliographical information, sec GRIFRSON,
Select. Bibliography, pp. 30-40; BLANcHET and Diruponnr,
Manuel de numismatique frangaise, vol. 4, pp. 1-4.

447 See Yvon, “France, Italie et Orient Latin” (1961).

48 Report on Medieval Numismatics,” pp. 80 81.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

the identification of counterfeits are only a few of the
manifold subjects probed by Grierson.!"

Also prominent in the field of medieval numismatics
are the Scandinavian countries,!” especially Sweden,
with intensive research centered chiefly around finds
of the migration period. Scholars such as Benet
‘Thordeman and Nils Ludvig Rasmusson in Sweden,
Hans Holst in Norway, Georg Galster ©! in Denmark,
and Helmer Salmo in Finland have contributed greatly
to defining the role played by the Scandinavian region
in the monetary evolution of Europe.

Currently, medieval numismatics also finds wide
recognition Curtain in

beyond the Tron eastern

European countries. Recent reports, especially from
Czechoslovakia, Poland, and Rumania, show that a
very active effort is being directed toward excavations
and toward classification of hoard material.!°”
of the

Some

representative names include: Emanuela
Nohejlova-Pratova in Czechoslovakia, author of an
extensive publication on hoard material in Bohemia,
Moravia, and Silesia from ancient times up to the
19th century, Nalezy mince v Cechach, na Morave a ve
Slezsku (1955-1958); Bucur Mitrea and Octav Floca
in Rumania, with research on treasures found within
the ancient Dacian territory; Stanislaw Suchodolski,
Tadeusz Lewicki, and Ryszard Wiersnowski in
Poland; V. L. Janin and J. V. Sokolova in Russia;
Lajos Huszar in Hungary; and T. Gerassimou in
Bulgaria.

Interest in the medieval period has been traditional
in these eastern European countries. ‘The publica-
tions of Marian Gumowski in Poland (Podrecznik
numizmatykt polskie), 1914, and Corpus
Poloniae, 1939), of CG. Moisil and ©. Iliescu in Ru-

nummorum

49 For some bibliographical information sec GRIERSON,
“Report” (1953); Mrrca.r, “The Byzantine Empire” (1961);
Bercuaus, “Die friihmittelalterliche Numismatik’ (1961).

150 See Rasmusson, “Scandinavian Medieval Numismatics”
(1961).

151 For a list of his publications, see GALsTER, Couns and [istory,
pp: 7-13:

1822 For a bibliographical survey, sce NonrytovA-PRAToOvVA,
“La numismatique en Tc héchoslovaquie depuis 1945” (1953).
For reports on Polish numismatics, see Lerwick, “Scientific
Activity of the Numismatic Centre’ (1961); SucHoporskt,
“Review of the Bibliography of Polish Numismatics, 1958
1960” (1961); Kirrsnowskl, **
Europe de Est’? (1961).
sprezece ani de activitate numismatica in Republica Populara
Romina: Bibliografie’ (1960). Vor a general
Eastern Europe, see Numismatische Literatur Osteuropas und des
Balkans (1959; 1963).

La numismatique médiévale en

For Rumania, sce Mirrea, *Cinci-

survey of

Fig. 42.—Lauri O. Tuprer (1884-1955), Finnish numismatist (photo courtesy Kongelige
Megnt- og Medaillesamling, Copenhagen).

mania, of Nicolas A. Moushmov in Bulgaria, of Ivan
Rengjeo,’ Milan ReSetar, and R. Mari¢ in Yugo-
slavia, although often difficult to use becuase of
language barriers, are significant contributions to
the general history of coinage.

MODERN NUMISMATICS

Moving into the field of modern numismatics, we
would expect to find a strong trend toward the history
of money. The emphasis placed upon coins within
a framework of historical, economic, and_ legal
functions in the growth of a nation should be the
final stage of any specific study dealing with the
evolution of a national coinage. Many of the modern
publications, in fact, aim at these higher levels;
however, many others still adhere to purely descriptive
methods, almost entirely eliminating any historical
interpretation.

The idea that, because modern coins are a part of
our time, when documentary evidence is abundant,
they do not need to be exploited as historical source
material is chiefly responsible in contemporary
numismatics for the scores of works which limit

der mittelalterlichen Miinzen von Kroatien, Slavonien
Dalmatien und Bosnien (1959).

52, BULLETIN 229: CONTRIBUTIONS FROM

themselves to a listing of denominations, dates, and
rulers. Also, since the publication of such works
requires less effort and time, many catalogs of this
kind have been published.

Good examples of situations demanding such treat-
ment are found in Italy and Germany, two nations
which possess extremely intricate monetary histories.
King Victor Emmanuel III solved the problem of
describing Italian coinages by publishing, between
1910 and 1940, a huge catalog in twenty volumes,
the Corpus nummorum Italicorum. This work lists an
impressive number of the coins struck by Italians
or on Italian territories since the eighth century.
A briefer work attempting to give a comprehensive
history limited to modern Italian currencies was
published in 1915 by Giovanni Carboneri: Monete e
biglietti in Italia dalla Rivoluzione francese ai nostri giorni.

The Germans, who have numerous and excellent
studies on various periods and local issues, cannot
claim a single comprehensive work on their entire
coinage. Mention should be made, however, of
noteworthy publications in the form of a corpus
which place numismatic material within a historical
framework, like the studies of Alfred Noss on the
coinages of Cologne, Treves, Jiilich, and Berg, or
of Friedrich von Schrétter on the coinages of Prussia.

THE MUSEUM OF HISTORY AND TECHNOLOGY

Recent German such as

publications, Friedrich
Wielandt’s Badische Miinz- und Geldgeschichte (1958) or
Miinzgeschichte der Stadt Dortmund

(1958), have tried to depict the monetary history of

Peter Berghaus’
single cities or principalities. Beyond these it would
be dificult to enumerate the many authors of German
monographs. The bibliographies provided in Geb-
hart’s Die deutschen Miinzen des AMfittelalters und der
Neuzett (1929) and in Grierson’s Select Bibliography
cover the most important titles. A major German
publication which should be mentioned, however,
Worterbuch der

Edited by Friedrich von Schrot-

is the encyclopedia of numismatics,
Miinzkunde (1930).
ter, this book is the most complete work of its kind,
providing authoritative information in every field
of the science.

Although Schrétter’s book is the most acclaimed.
there are some other useful works of this kind
Albert R. Dictionary of

(1917) gives a less extensive coverage of numismatics

Frey’s Numismatic Names

in general. More recently, Humberto I’. Burzio
produced in his Diccionario de la moneda hispano-ameri-
cana (1956-1958) an excellent reference book for
Spanish-American coinages. Similar titles concerned
mostly with national subjects are Edoardo Martinori’s
La moneta (1915) or Felipe Mateu y Llopis’ Glosario
hispanico de numismatica (1946).

Neighboring Austria presents interesting features in
the publications of the Viennese numismatists August
von Loehr and Eduard Holzmair. Continuing the
trend established by Viktor von Miller zu Aichholz
(1845-1910), they can be classed among the most
advanced representatives of the practically applied
Miller zu Aichholz’s compendious
(1920)—

was one of

history of money.

publication Osterreichische Miinzpragungen
revised in 1948 by Loehr and Holzmair

the first national catalogs to include paper money and
other documents of value. The same trend can be
seen in Loehr’s work on the history of money in

Austria, Osterreichische Geldeeschichte (1946), and in the
coin exhibits of the Vienna cabinet prepared by Prof.
Loehr and Dr. Holzmair.

the basic approach of the Swiss collector and numisma-

Alone similar lines was

tist Julius Meili, who included Brazilian paper money
in his Das Brasilianische Geldwesen (1897-1905).

The concept of including paper currencies in the
general study of numismatics is developing also in
France, where R. Habrekorn and Jean Lafaurie, in
the Bulletin de la Société d Etude pour U Histoire du Papier-

Monnaie, have published many articles on the history

PAPER 32: NUMISMATICS-

AN ANCIENT SCIENCE

of French bills from the late t8th century to. the
present

Lafaurie, the leading French numismatist. also ha
in process of publication the best reference book on

the royal coinage of his nation, Les monnaies des rois di

France, two volumes of which have appeared already
(1951; 1956) covering the period up to 1610

In Italy, although research in ancient numismatics
dominates the other fields, attention must be called to
an impressive group of studies on medieval and
modern Italian numismatics. Franeesco and Ercole
Gnecchi published an excellent work on the coins
of Milan, Le monete di Afilano (1884-1894), while
Nicolo Papadopoli made a similar contribution on
the coins of the Venetian Republic, Le
Venezia (1893-1919). An excellent
was published by Count Camillo Serafini, who pro-
duced, in Le monete e le bolle plumbee del Afedag

Vaticano (1910-1928), an outstanding catalog of the

monele di

reference work

coinages of the popes. Also noteworthy are Ernesto
Jernaregei’s recent publication on Italian Renaissance
coins, Afanete d@oro con ritratto del Rinascimento ttaliano
(1954). anda greatly needed study on Sicilian coins
by Rodolfo Spahr, Le monete siciliane daglh Aragonest ai
Borbont. (1959). value are Afoney,
Prices and Civilization in the Mediterranean World (pub-

lished in America, 1956), and Le aveenture della lira

Of exceptional

(1958), in which the Italian economist Carlo M.
Cipolla brilhantly uses coins to guide him through the

CAMILLO SERAFINI. (1864-

Fig. 43.—Count

1952) at work in the Vatican Coin ¢ abinet

(author’s photo).

tn
Ww

economic evolution of Italy and the entire Mediter-
ranean world.

During the last century, numismatics of the [berian
Peninsula continued its centuries-old tradition, and
many important works were published, as can be seen
in the voluminous Spanish and Portuguese bibli-
ography recently issued by Felipe Mateu y Llopis.**
The tradition of penetrating deep into the history of
a coinage and studying it in connection with con-
temporary documents was established during the
19th century by Alois Heiss (1820-1893), with excel-
lent handbooks like Descripcién general de las monedas
hispano-cristianas (1865-1869). This scholarly tradi-
tion was followed by many outstanding Spanish
numismatists such as Antonio Vives y Escudero,
Casto Maria del Rivero, José Amoros, Antonio Bel-
tran Martinez, Adolfo Herrera (El duro: Estudio de los
reales de a ocho espatoles, 1914), and Tomaso Dasi, who
added to his eight volumes entitled Estudio de los
reales de a ocho (1950-1951) documents pertaining to
the monetary legislation of each period. At present
Spain can claim among its experts Prof. Felipe
Mateu y Llopis, who has covered in a masterly way
the entire field of Spanish numismatics, from the
earliest periods of its history up to the present day.
He has published a series of basic studies that include
such titles as La moneda espatola (1946), Glosario
hispanico de numismdtica (1946), and more recently the
Bibliografia de la historta monetaria de Espana (1958),
mentioned above.

In 1959 Octavio Gil Farrés published Historia de la
moneda espatola, a handy reference book on general
Spanish numismatics which is annotated with an
excellent bibliography. Also noteworthy are the ex-
tensive studies by the American George Miles on the
period of the Visigoths and Moors in Spain: The
Coinage of the Umayyads of Spain (1950) and The Coin-
age of the Visigoths of Spain (1952).

Modern numismatic research in Portugal is repre-
sented chiefly by Dr. Augusto Carlos Teixeira de
Aragao (1823-1903), author of the standard hand-
book on Portuguese coinages, Descripgdo geral e
historica das moedas cunhadas em nome dos reis, regentes e
Portugal (1874-1880). Teixeira de
Aragao organized, with the support of King Louis I,

governadores de
the numismatic collection in the royal palace of Ajuda.

154 Bibliografia de la historia monetaria de Espanta (1958); see
also his ‘‘Bibliograffa numismatica de Espafia y Portugal
referente a los siglos VIII a XVI” (1961).

155 Sec BATALHA Res, ‘‘Histéria bibliografica da numismAtica
portuguesa”’ (1946).

54 BULLETIN 229: CONTRIBUTIONS FROM

Other men who have contributed greatly to the
development of Portuguese numismatics are José Leite
de Vasconcellos (1858-1941), a famous archaeologist
and teacher of numismatics, Manuel Joaquim de
Campos (Numismdtica Indo-Portuguesa, 1901), Joaquim
Ferraro Vaz, author of a very handy reference on
Portuguese coins (Catalogo das moedas portuguesas,
1948), and Damido Peres. With a study on the
coinage of Alfonso V, Moedas de Toro (1933), and a
major publication in two volumes entitled Cartilha da
numismdtica portuguesa (1946; 1955), Pedro Batalha
Reis introduced the highest standards into Portuguese
numismatic research.

Studies of similar merit can be found in South
America, which can claim a series of outstanding
publications on Spanish-American numismatics.
Many of these works were written by the Chilean

José Toribio Medina (1852-1930) under such titles

as Las monedas chilenas (1902) and Las monedas coloniales
hispano-americanas (1919). More recently, works of
exceptional merit have been Humberto F. Burzio’s
competent studies on the mints of Potosi and Lima,
La ceca de la villa imperial de Potosi (1945) and La ceca de
Lima, 1565-1824 (1958), and his already-mentioned
dictionary; F. Xavier Calic6’s Aportacién a la historia
monetaria de Santa Fé de Bogotd (1953); and Francisco
Pradeau’s publications on Mexican coinages (1950
and 1957-1961). The latter scholar, an American,
first published his study in English in 1938 under
the title Numismatic History of Mexico from the Pre-
Columbian Epoch to 1823.

Numismatic interests are widespread in Latin
America. Argentina leads with a series of organiza-
tions, where coins are studied and collected, such as
the Instituto Bonaerense de Numismatica y Antigtie-
dades (with a Boletin published since 1942), the
Museo Histérico Nacional,’ the Academia Nacional
de la Historia, and the faculty of philosophy at the
University of Buenos Aires. Other Spanish-American
countries have various organizations formed by
collectors or students: in Chile, with a tradition
dating back to Medina’s time, the Junta Chilena de
Numismatica and the Circulo de Amigos Numis-
maticos de Santiago; in Paraguay, the Instituto de
Numismatica; in Peru, the Sociedad Numismatica; in
Mexico, the Sociedad NumismAatica de Mexico, which
has published its Boletin since 1958. In Brazil, Rio de

Janeiro houses an important collection of coins in the

150 See Roperts, José Toribio Medina (1941).
187 See El Gabinete Numismatico del Museo Histérico Nactonal
(1949).

THE MUSEUM OF HISTORY AND TECHNOLOGY

Museu Historico and at the Sociedade Numismatica,
which was founded in 1945. Since 1933, the Socie-
dade Numismatica Brasileira in Sado Paulo has pub-
lished the Revista Numismatica.

In Canada, modern numismatics is viewed often
as a delightful hobby of collecting national coins
and tokens in numerous varieties and the current
trend seems to emphasize handy catalogs for collectors.
No major study can be found which can compete
with the classic works on Canadian numismatics
published in the past century by Joseph Leroux,
The Canadian Coin Cabinet (1888), and by P. Napoléon
Breton, Illustrated History of Coins and Tokens Relating
to Canada (1894).
collections of documentary sources relating to the
financial history of Canada and of Nova Scotia,

Of ereat significance are the two

published in 1925 and 1933, respectively, by Adam
Shortt.
Association was founded, The C. .N. A. Bulletin (later

Since 1950, when the Canadian Numismatic

The Canadian Numismatic Journal) has carried many
interesting contributions to the national monetary
history.

NUMISMATICS IN ASIA AND AUSTRALIA

In order to complete the overall picture in our
survey, we should mention the Philippines, Australia,
New Zealand, India, and a few other countries in
the Far East.

The Philippine Numismatic and Antiquarian So-
ciety, with such members as Gilbert S. Perez, Pablo I.
de Jestis, José P. Bantug, since 1948 has published
many interesting contributions on the numismatic
history of the island in a series called Philippine
Numismatic Monographs.

Very active numismatic centers are in Australia:
the Australian Numismatic Society, founded in 1913,
and the South Australian
founded in 1926. Both organizations publish con-
An informa-

Numismatic Society,
tributions in their respective journals.
tive bulletin is issued also in New Zealand by the
Royal other
worthy contributions Australian
numismatics are Australasian Tokens and Coins (1921)
by Arthur Andrews, The ‘‘ Ingots” and ~* Assay Office”
Pieces of South Australia [1952] by James Hunt Deacon,
and the Foundation of the Australian Monetary System
(1953) by S. J. Butlin.

Although India presents an extremely intricate
monetary pattern, it has attracted the attention of

Numismatic Society. Among note-

concerned with

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

scholars since the beginning of the 19th century.
British,
tried to master the extremely wide and diversified

These researchers, the majoritv of them
field of Indian coins through numerous publications
of coin material. The seven volumes of the Catalogue
of Indian Coins in the British Museum (1884-1936) find
their parallel in the catalogs of the Indian Museum in
Calcutta, of the Panjab Museum in Lahore, or of the
Central Museum in Madras, all of these books
published by specialists such as Stanley Lane-Poole,
Richard B. Whitehead, E. Thurston, and J. Allan."
More recently, Indian authors have contributed
actively to the Journal of the Numismatic Society of
India.

Since coins played an important part in China’s
development, Chinese historians realized at an early
stage the importance of numismatic study. ‘The
earliest coin catalog (by Lin Chien) is dated as far
back as the 6th century A.D., but, unfortunately,
it has been lost as also were the works of the next
few centuries. During the Sun dynasty (960-1279),
numismatists, trying to interpret the early coinage,
often indulged in mythological explanations which
prevailed in Chinese numismatics for many centuries.
The Manchu period (1644-1911) raised this practice
to a more scholarly approach, but we can hardly
speak of scientific numismatic research until the
publication in 1859 of Li Tso-hsien’s catalog Aw
cl tian hur (Collection of Old Coins), a work profusely
annotated with historical notes.

Chinese numismatics in the past two centuries has
been described by Mr. Wang Yt-ch’tian: ‘On the
one hand, the collector-numismatists studied the
coin specimens but were unable to contribute sub-
stantially in deciphering the legends: on the other
hand, the epigraphical scholars studied their inscrip-
tions but neglected all other aspects of the coins.
Neither group possessed the knowledge of the other,
but both contributed toward the advancement of
ancient Chinese numismatics. If the knowledge and
the interest of both had been combined, numismatic
studies in China might have advanced further.”*!"
Despite this, serious numismatic studics were pro-
duced in the first half of the present century: in
1938 Ting Fu-pao published his Aw ch’ven ta (2u-lien
(Encyclopedia of Old Coins) in 20 volumes; Kalean
Shih published Afodern Coins of China in 1949; and
the excellent studies of Wane Yiti-ch’tian on early

U8 For additional bibliography, see SiIncuar, Bibliography of
Indian Coins (1950-1952)
10 Waneo Yt-cu’tian, Early Chinese Coinage, pp. 4-5.

Chinese coins were published in English in 1951 and
in Chinese in 1957. Collecting also was widespread
and in 1940 the Chinese Numismatic Society was
established in Shanghai, where it published a_bi-
monthly periodical until 1945.

In Japanese numismatics, E. de Villaret’s ““Numis-
matique Japonaise”’ (1892) and Neil Gordon Munro’s
Coins of Japan (1904) are sources which are extensively
used to the present day. They were joined in later
years by The Old and New Coins of Japan, a study by
Toyojiro Tsukamoto, translated into English in 1930
by Saichiro Itami, The recent publications of the
Asahi Shimbunsha (1954), of Masajiro Watanabe
(1955). and of Atsushi Kobata (1958), as well as
Toyosaburo Araki’s works on Japanese paper money,
illustrate the intense work done in numismatics by
Japanese collectors and scholars.

In the West serious preoccupation with Far Eastern
numismatics goes back to the end of the 19th century,
when Albert Terrien de Lacouperie, with his Cata-
logue of Chinese Coins... of the British Museum
(1892), and Sir James Lockhart, with The Currency
of the Farther East (1895-1898), produced not only
excellent handbooks for the western world but also
contributions to Chinese numismatics in
In more recent times these have included

serious
particular.
the Chinese catalog of the Numismatic Cabinet in
Oslo, published in 1929 by Frederik Schjéth, the
studies of Arthur Braddan Coole, A Bibliography on
Far Eastern Numismatics (1940) and Coins in China’s
History (1936), and the excellent contribution of
Howard F. Bowker, American author of an extremely
useful bibliography. More recently, handy reference
books on the modern coinages of both China and
Japan have been published by Americans: Edward
Kann’s Illustrated Catalog of Chinese Coins (1954), and
Japanese Coinage (1953) by Norman Jacobs and
Cornelius Vermeule.

Also worth mentioning are excellent publications
by Désiré Lacroix (Numismatique annamite, 1900),
Albert Schroeder (Annam, études numismatiques, 1905),
as well as the work by Reginald Le May, The Coinage
of Stam (1932).

MEDALS

The medal, through its implicit artistic character,
has never failed to attract collectors and students alike.

After the voluminous accumulation of material pub-

lished by Van Loon and Hennin or gathered in the
Trésor de numismatique, a more discriminating research
set in during the final decades of the 19th century.
The national medal and especially the medal of the
Renaissance, with its exquisite artistic qualities, drew
the interest of scholars. With the classic work of
Alfred Armand, Les médailleurs italiens des XVe et XVIe
sitcles, published in 1879, the Renaissance medal
became a popular subject. Julius Friedlaender’s
study of Italian medals from 1430 to 1530, as well as
Georg Habich’s excellent work Die Medaille der
italienischen Renaissance (1924) were followed by Sir
George Hill’s classic Corpus of Italian Medals of the
Renaissance Before Cellini (1930).

About the same time, the German medal and espe-
cially the medal of the period of Diirer found due

appreciation. The studies Die deutsche Medaille in
kunst- und kulturhistorischer Hinsicht (1907) by Karl
Domanig, based on the Vienna Imperial Coin

Cabinet, and Die deutsche Schaumiinze des XVI. Jahr-
hunderts, published in 1929-1934 by Georg Habich
in Miinich, were great achievements which defined
not only the artistic excellence of the German medal
but also its historical importance.

This tradition, well established in Paris and Munich,
continues to the present day. In France many re-
markable publications have came from the pens of
Alfred Armand, Ernest Babelon, Ludvig Bramsen,
and Fernand Mazerolle. Currently, Jean Babelon is
contributing, through his publications (e.g., La
médaille et les médailleurs, 1927) and exhibitions, to the
artistic and historic appreciation of medals. At the
coin cabinet in Munich, Max Bernhart (1883-1952),
who published the useful handbook Medaillen und
Plaketten (1919), and Prof. Paul Grotemeyer, still
active, have continued the excellent tradition estab-
lished there by Georg Habich.

Interest in medals is equally high in other countries.
Among the outstanding scholars in this field are
H. Enno van Gelder in the Netherlands, a country
with an appreciation for medals that dates back
several hundred years, Eduard Holzmair in Vienna,
and Antonio Patrignani in Italy. As a work of
unusual merit should be mentioned the Bibliographical
Dictionary of Medallists (1902-1930), published in eight
volumes by Leonard Forrer in London.

Public exhibitions of medals emphasizing historical
or artistic subjects have been arranged temporarily
in Paris (under the direction of the Paris mint), in

Madrid, and in Barcelona. The Coin Cabinet in

56 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Vienna and the Royal Coin Cabinet in Stockholm
illustrate in their excellent permanent exhibits the
historical and esthetic evolution of medals.

MAJOR COLLECTIONS

Major changes have taken place during the last

half century in the development and organization of

public collections. Two world wars and the ensuing
political tensions could not occur without deeply
affecting a discipline which depends so much on inter-
national collaboration. While the leading cabinets
in London and Paris needed only a brief period for
readjustment after the war, the German collections,
which had suffered great losses, had to be entirely
reorganized. ‘Iwo major coin collections, the cabinets
of Gotha and Dresden, for all practical purposes
ceased to exist. The coins of the former were scat-
tered widely, while the treasures of the latter were
melted down in great part by Russian occupation
troops.

These heavy losses seemed only to spur German
scholars on to an intensified activity, and new and
modernized exhibits are the result. The Berlin Gabi-
net, only recently reincorporated into the muscum
collections after a temporary journey to the Soviet
Union, now has a new exhibition, illustrating the
history of money, which was arranged in six halls by
Arthur Suhle.!%? In Munich, at the
Miinzsammlung, Dr. Paul Grotemeyer is engaged in

Staatliche

a similar process of reorganizing the collections and
modernizing the exhibits.

The list of major German coin cabinets would be
incomplete without adding at least the names of a few
museums which have given special attention to ancient
and medieval coins: the Rheinisches Landesmuseum
in Bonn and in Trier, the R6misch-Germanisches
Zentralmuseum in Mainz, the R6misch-Germanisches
Museum in Cologne, the Altesschloss Museum in
Stuttgart, the Landesmuseum in Miinster, and the
very active Museum fiir Hamburgische Geschichte
in Hamburg.

In Austria, August von Loehr and Eduard Holzmair
continued to direct the activities of the Vienna Cabinet
with a first-rate collection of over 400,000 items and a
comprehensive exhibit that illustrates paper money

160 For a guide to the Berlin collection, see Sunie, Luhrer
durch die Schausammlung des Miinz kabinetts (1957).

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

and other media of exchange, as well as coins and
medals. !"!

In central Europe, Switzerland with important
public collections in Bern, Basel, Ziirich, Winterthur.
and Lausanne, gives evidence of an intensive activity
in the field of scholarly research, as well as in a
remarkable increase of outstanding private collections.

Similar trends can be noted in Belgium, the Nether-
lands," and in the Seandinavian countries. Re-
cently, Paul Naster in Belgium published the catalog
of a famous collection of ancient coins, La collection
Lucien de Hirsch (1959), which is part of the Cabinet
des Médailles in the Bibliotheque Royale de Belgique.
The Statens Historiska Museum in Stockholm, after
World War II, opened several halls dedicated to
medallic art (fig. 44) and to the history of money in
Sweden.!* Nils L.

accompanied the exhibit panels with graphic repre-

Rasmusson, the director, has

sentations of the history of money and prices in
Sweden—a striking innovation which illustrates the
general tendency to widen considerably the scope of
numismatics. Similar in its range is the numismatic
research being done in Denmark under the leadership
of the Galster. The
Kongelige M@nt og Medaillesamling of the Na-
tionalmuseet in Copenhagen has made an outstanding

senior numismatist Georg

contribution to numismatics in the museum's catalog
of Greek coins published within the Sp//oge nummorum
Graecorum, a monumental work initiated in 1941 by
Dr. Niels Breitenstein and Prof. Willy Schwabacher.!°?

In the Mediterranean area, Italy follows the general
trend and, although the museum activity there
gravitates more toward scientific research done by
staff members, many new coin exhibits have been
opened or planned for the near future. This activity,
which can be followed in the columns of the sAlnnalz,

published by the Istituto Italiano di Numismatica

11 See Lorne, Fithrer durch die Ausstellung der Bundessammlung
(1935); also Aunsthistorisches Museum: Fiihrer durch die Sammlungen
(1958), pp. 33-39. For the activities of the coin cabinet in the
second quarter of this century, sce Lorur, “Ein Vierteljahr-
hundert Wiener Miinzkabinett” (1958).

ne? MarTIN, ‘Suisse’? (1961).

16 Kugk, Geschiedenis van het Kon. Kabinet van Afunten (1946);
Gevper, Aoninklijk kabinet van munten (1954; 1957) and ‘Les
fonctions externes du Cabinet des Médailles de La Haye”
(1957).

IM HECKSCHER and Rasmusson, Sveriges mynthistoria (1958).
See also Scuwapacuer, “Die Neucinrichtung™ (1950).

165 See also the guidebook to the Copenhagen Coin and Medal
Cabinet, Mlonter og medailler, middelalder ag nyer tid (1950),

z |
/
4

Pig. 44.—O.Lp ELEGANCE AND MOopERN SimPLiciTy IN Coin Exutsits—the Mint Mu-
seum in Paris and, opposite, the Royal Mint Cabinet in Stockholm (Div. of Nu-
mismatics photo, left, and photo courtesy Kunglig Myntkabinettet, Stockholm).

in Rome under the title “‘ Vita dei medaglieri,” not
only involves major museum centers such as Naples
and Rome, but also it spreads far out to Gela, Syra-
cuse, or Palermo in Sicily, and to Milan or Modena
in the north.

Spain reaffirms its reputation in numismatics with
a series of important publications, outstanding peri-
odicals, and excellent coin exhibits. Numisma, pub-
lished since 1951 in Madrid, and Numario Fispanico,
issued from the same city since 1952, are only two
examples of excellent journals which devote their
pages to scholarly research in Spanish and Latin
American numismatics. Among the numerous Span-
ish public coin collections, one should mention at
least the old and wealthy accumulation of ancient
and medieval coins in the Museo Arqucolégico
Nacional in Madrid '*° and the Gabinete Numis-
matico de Catalufia in Barcelona, with its very in-

166 For earlier publications of the muscum, see MaTeu y
Luiopis, Catdlogo ponderales (1934) and Catdlogo de las

monedas previsigodas (1936); also Rivero. “El Gabinete numis-

roy

matico del Museo Arqueolégico de Madrid” (1957).

formative exhibit on the history of Spanish and world
currencies.” At the present time, the Fabrica
Nacional de Moneda y Timbre in Madrid is prepar-
ing, under L. August and Fernando Gimeno Rita, a
grandiose exhibit on the history of money and
medallic art in Spain.

In Portugal, the numismatic tradition of the past
centuries finds its expression in a continued interest
in building up the public collections. A nation of
only a little over eight million people, Portugal can
claim the honor of having a national coin museum.
Since 1933, the Museu Nacional de Numismatica,
housed in the Casa de Moeda in Lisbon, has con-
solidated most of the outstanding coin collections.!®*
In the provinces, the Museu Nacional de Soares dos
Reis in Oporto," the coin cabinet at the University of

107 For the guide to the collection, see AMorés, Noticia acerca
del Gabinete Numismético de Cataluna (1949).

108 BaTALHA Reis, “‘Museus e colec6es publicas” (1946).

109 For a catalog, see Peres, Relagdo das moedas gregas, romanas
(1942).

58 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Coimbra, the collection at the library in Funchal
(Madeira), and a collection even in Nova Goya
(Goa) are evidence of the interest in and affection for
coins in this relatively small Latin nation.

In Israel, the Kadman Numismatic Museum of Tel
Aviv, under Arie Kindler, presents a series of exhibits
illustrating the monetary history of that nation.

The general upsurge in numismatic interest which
took place after World War II can be noted also in
countries beyond the Iron Curtain—C2zechoslovakia,
Poland, Romania, Hungary. The trend there finds
expression in several publications centered chiefly
around national academies or leading muscums and
in the general tendency to reorganize public collec-
tions," often the major repositories for private
collections.

In the United States equal attention has been given
to the increase of study and reference collections and
to public exhibitions. Many small and large coin
exhibits fill show rooms in museums, universitics,

cultural institutions, and even banks. ‘The American

170 Cf. Krersnowskt, ““The More Important Public Numis
matic Collections of Poland” (1961).

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

Numismatic Society, with a large specialized. staff
concentrates mainly on building up its collections, !!
whereas other organizations, such as the Chase Man-
hattan Bank or the Money Museum of the Detroit
National Bank, place their emphasis on exhibitions
The oldest public collection in’ the country, the
cabinet of the Philadelphia Mint, was transferred in
1923 to the Smithsonian Institution in Washington
and became part of one of the largest coin collections
on exhibit in the United States and perhaps in the
entire world. Located in the United States National
Museum of the Smithsonian, this exhibit is arranged
to illustrate not only the evolution of money in the
world but also history as it is reflected in coins. ‘The

exhibit is visited yearly by millions of people.
NUMISMATICS IN THE UNIVERSITIES

academic discipline, numismatics had an

As an

early beginning in 1738 in Halle, Germany, with
Johann H. Schulze’s “collegium privatum.” For a

lone time afterward, however, the discipline found

171 See ApDELSON, American Numismatic Si y (1959)

only scattered acceptance, due in part to the lack
of teachers in this field. Occasionally, professors of
history or the history of art, such as F. Creutzer in
Heidelberg, J. Overbeck in Leipzig, and especially
Theodor Mommsen at the University of Berlin,
would use coins extensively in their courses. ‘Today
Germany continues to lead in this academic tradition.
The Universities of Berlin, Hamburg, Munich,
Heidelberg, Gottingen, Miinster, and Braunschweig
offer courses in numismatics.

In most of the other European countries, including
eastern Europe and Russia, it is taught at least at
the major universities, often as an adjunct of arche-
ology and history, or at the national libraries, along
with diplomatics and epigraphy.’ The history of

coins has been taught since 1795 at the Bibliotheque
Nationale in Paris, which has had among its professors
such men as Millin, Raoul Rochette, and the famous
Frangois Lenormant. Portugal introduced the study
of numismatics in 1801 at the University of Coimbra,
and the Biblioteca Publica in Lisbon, from 1844 to
1911, offered numismatics as a compulsory course for
librarians and archivists. The outstanding historian
and epigraphist José Leite de Vasconcellos taught
there trom 1888 to 1911. In Spain, the Escuela
Superior de Diplomatica in Madrid, since the late
19th century, and the Universities of Madrid and
Barcelona, since the early 20th century, have offered
courses in numismatics. Their example has been
followed by twelve other Spanish universities.

NUMISMATICS IN THE UNITED STATES

We can assume that preoccupation with coins in
the American colonies did not differ greatly from that
in Europe. Certainly the attention given to classical
education in the 18th century would have
stimulated an interest in antiquities. Despite scant
documentation for the beginning of numismatics in
this country, scattered information from the second
half of the century helps us to construct a reasonably
accurate picture of an ancient science in a young
nation.

A certain Swiss gentleman, Pierre Eugene Du
Simitiere (1736-1784), who settled in New York and
later moved to New Jersey, deposited his collection
of about 135 coins with a tradesman as collateral
security.? It is probable that John Smith, who
accepted it, must have heard of or seen similar col-
lections; otherwise, one doubts the good Quaker
merchant would have considered obsolete coins as a
trustworthy investment.

Another early piece of information is supplied by
the diary of the Rev. William Bentley of Salem,
Mass., who in 1787 presented to Judge Winthrop of
Cambridge some Swedish coins and medals. The
diary suggests that Rev. Bentley was one of the early
coin enthusiasts in this country; under the year 1791
we find the following entry: ‘‘I entertained myself

"2 BABELON, “Les origines et histoire de l’enseignement de
la numismatique”’ (1908); BaTatna Res, “‘O ensino da
numismatica em Portugal’? (1946); BurckHarpT, “Die
Numismatik an der Universitat Basel”’ (1958).

3 GILLINGHAM, “
(1934).

An Eighteenth Century Coin Collector”

with his [Winthrop’s] curious cabinet of coins and
medals. It was large and not with any antiques
but it had a great variety of small pieces and may be
deemed the best we have in this part of the country.”*!*
The same minister obtained some Chinese coins from
a sea captain named West and coins of other nation-
alities from a Captain Elkins and a Captain Hodges.

It is evident that collecting among intellectuals was
not limited to a few isolated cases. By midcentury
the ‘‘collector-donor”’ type, the person interested in
disseminating knowledge of coins, already had ap-
peared. In 1765 a tutor at Harvard, William Moly-
neus, donated 250 French coins to the college.!”

In 1752 the Library Company in Philadelphia
received a donation of coins, and later the American
Philosophical Society in the same city became the
recipient of various collections. An entry in the
Early Proceedings of the society states, under the date
May 15, 1801, that ‘““Mr. Vaughan presented 32
copper coins or medallions from the Soho mint
[England] invented by Mr. Boulton with a list and
card describing the principles.” “° More interesting
are the entries of May 3, 1805, and July 18, 1806, men-
tioning donations by President Thomas Jefferson.
The earlier entry reports that a group of 150 Roman

The diary is discussed in an unsigned article, ‘Oldest
Coin Collection Recorded in the U.S.” (1907).

5 Storer, ““The Harvard Collection of Coins and Medals”
(1922); see also the same title of an unsigned article in The
Numismatist (1922).

176 P, 312.

60 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

bronze coins, ranging from Augustus to Theodosius,
which were given to Jefferson by Weinwich, the
Secretary of the Danish Royal Society of Heraldry
and Genealogy, was deposited at the American
Philosophical Society by the President, who believed
“them well worthy its acceptance.” 1" Brief entries
of such gifts can be found in subsequent years in the
Early Philosophical
Society up to 1837, when a committee was assigned to

Proceedings of the American
arrange the society’s coins and medals.!*

Coins came to be discussed even in the United States
Congress. On March 9, 1822, the Joint Comittee
for the Library submitted a report on a collection of
France
pertaining to events in the American Revolution—

French medals—including some coined in

which a certain George William Erving had wanted
to present to the Library of Congress. ‘This group of
medals apparently had been lost at sea with the brig
Factor. The interesting point here is that the report
recommends the purchase of other medals which had
been struck in France and which related to events in
the Revolution.!”"

In New York the American Museum of the T’am-
many Society purchased coins in 1793 and 1796,
By 1811 the museum possessed about 300 ancient
coins—which, unfortunately, were stolen a few years
later.

From these years date the beginnings of the mint
Philadelphia. Eckfeldt,
coiner at the mint, ‘‘lead as well by his own taste as

collection in Adam chief
by the expectation that a conservatory would some day
be established, took pains to preserve master-coins
of the different issues of the mint and to retain some
of the finest specimens, as they appeared in deposit
for recoinage.” 8° This same Eckfeldt in 1825 de-
posited at the Franklin Institute in Philadelphia
forty medals which had been struck at the mint.

Philadelphia was proving to be a leading cultural
center also in numismatics. In that city, in 1788,
James Hall (1773-1861) from Allentown, Pa., made
an early start as a collector, expanding his activities
in later years by corresponding with numismatists in
the old world and by sponsoring the creation of the
first numismatic association in America.

177 Tbid., p. 374.

178 Tbid., pp. 387, 464, 659, 670, 705; see also Putiuipes, .Votes
Upon the Collection of Coins . . . Deposited by the Numismatic and
Antiquarian Society (1885).

179 U.S. Concress, “Report of the Library Committee”
(1822).

180 Du Bors, Brief Account of the Collection of Coins, p. 6.

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

Jr., on

In January 1858, eight citizens from Philadelphia
“who had lone felt the want of such an association,
organized a society for the purpose of prosecuting
their favorite study in a more systematic and. satis-
factory manner. The mania for coin collecting was
then raging fiercely, and desires had arisen with very
many persons to become better acquainted with the
one of the

Anti-

science.” *! This is a statement from

Numismatic ancl

quarian Society of Philadelphia.

founding members of the
It is surprising to
note the serious trend which coin collecting took in
those early days, with people exhibiting such enthu-
slasm and a tendency to approach numismatics as a
science. The diversified interests of this Philadelphia
circle are demonstrated clearly in the papers read at
the meetings by its members, such as Henry Phillips,
classical and American numismatics, or
Richard Davids, on medieval issues.

Shortly after the Philadelphia society was organized,
a second association was formed in April 1858 in
New York by a group of collectors under the leader-
ship of Augustus Sage, a well-known coin dealer.
The New York American Numismatic Society, which
temporarily changed its name in 1864 to American
Numismatic and Archaeological Society, was repre-
sented by an extremely active group of people ** promi-
nent in civic affairs’ like Edward Groh, Dr. J. H.
Gibbs, and H. Whitmore.

Joseph N. T. Levick (1831-1908), supported by a
few others, promoted the idea of a periodical, and
in 1866 he initiated the publication of the American
Journal of Numismatics. The purpose of this journal
was defined by one of its founders as resung on the
fact that “‘all this time there has been no publication
attempted which, besides being of historical value,
should act as check upon all nefarious and improper
acts, either in the manufacture, collecuon, or sale of
coins and medals.”* '”

A series of similar organizations sprang up—in
1860, the Boston Numismatic Society; in 1864, the
Rhode Island Numismatic Association in Providence,
followed by the Vermont Numismatic Society in
Montpelier, and the Western Pennsylvania Numuis-
matic Society in Pittsburgh. ‘The respective constitu-
tions and bylaws were published as follows: Boston,
1867; Providence, 1865; Montpelier, 187
burgh, 1883. All of these groups attest to the steadily

7; and Pitts-

increasing interest in coin collecting in the eastern

181 Proceedings (1867), p. 3.
182 Issue of May, 1866, p. 1.

states. To them might be added the Numismatic and
Antiquarian Society of Montreal, established in 1863
in Canada.

Intense activity in collecting and studying the
most diversified categories of coins from all over the
world now set in. Still very strong was the interest
in early coinages, with special preference given to the
Roman. At the same time, however, there could be
observed a growing preoccupation with the national
coinage. The reports of the meetings of the numis-
matic associations accurately reflect this general trend.
We learn, for example, that in the Boston circle, one of
the most traditional and representative groups on the
East Coast, William Sumner Appleton (1840-1903),
possessed a remarkable collection which was well-
defined both in the classical and in the American field.
This collection today is housed in the Massachusetts
Historical Society. Jeremiah Colburn (1815-1891),
editor of the American Journal of Numismatics after 1871,
F. G. Seavy of Boston, and Robert C. Davis of Phila-
delphia, all had authoritative collections of American
coins.

A distorted picture of numismatics in the United
States would be given if the implication emerged that
Con-
from Fort Wayne,

interest was limited only to the eastern coast.
temporary accounts in the 1860s
Ind., concerning a miscellaneous collection of 2,000
pieces; from Bellevue, Ohio, where a collector was
robbed of his ‘‘copperheads’; from Omaha, Neb.,
where Byron Reed assembled an outstanding collec-
tion of ancient, modern, and American coins; and a
report of J. Henry Applegate on the situation in col-
lectors’ circles in California—indicate the extent of
numismatic interest in the central and western states,
which until recently was not channeled into well-
organized efforts as in the East.

Throughout the country, at the same time, scores of
handbooks and publications on a variety of other
numismatic subjects were started, reflecting research
of the midcentury which often centered around the
paper currencies of colonial times. Such efforts prob-
ably were motivated, in part, by a desire to evaluate
the unfortunate financial experiences of the preceding
century.

Among other publications of the period should be
mentioned William M. Gouge’s Short ENstory of Paper
Money and Banking in the United States (1833), William
Sumner’s History of American Currency (1874), and
especially Joseph B. Felt’s Historical Account of Massa-

chusetts Currency (1839), which was developed from two

lectures given before the Massachusetts Historical
Society. In a few decades, Henry Phillips published
his excellent Historical Sketches of the Paper Currency of
the American Colonies (1865-1866), which is still an
indispensable reference.

middle of the century, research
on coins was largely dominated by people connected
with the national mint: Jacob R. Eckfeldt (1803—
1872)! and William E. Du Bois (1810-1881),!**
assayers, and later in the sixties, James Ross Snowden
(1809-1878), director of the Mint in Philadelphia.
The Manual of Gold and Silver Coins of All Nations
Struck Within the Past Century, published in Philadelphia
in 1842 by Eckfeldt and Du Bois, is, in spite of omis-
sions, an outstanding handbook. Although not pur-
suing high scholarly standards, this book, which

Around the

contains detailed descriptions of the coinage of every
country with useful accompanying tables on the
metallic fineness of coins resulting from their own
assays, was an invaluable aid for collectors.

In 1846 Du Bois published A Brief Account of the
Collection of Coins Belonging to the Mint of the United
States, in which he gives, in addition to a conspectus
of the various groups of coins represented, a short
history of the national collection. Later, in 1860,
James R. Snowden published a more detailed report
under the title Description of Ancient and Modern Coins
in the Cabinet Collection of the Mint of the United States °°
The collection of the Mint was established officially
in June 1838 although, as we have seen already, its
early beginnings can be traced to the 1790s. Du
Bois’ book mentions the provenance of certain pieces:
a few ancient coins were given by Jacques G. Schwarz,
U.S. Consul in Vienna; some Byzantine and Greek
pieces were donated by John P. Brown, dragoman for
the U.S. Embassy in Constantinople; and a number
of Greek and Bactrian coins came from the East India
Company.

In 1845, John L. Riddell, melter and refiner at the
U.S. Branch Mint in New Orleans, published in that
city A Monograph of the Silver Dollar, Good and Bad, a
book which reflects the preoccupations of the period
with actual monetary problems.

183 See Du Bors, “‘A Brief Sketch of Jacob R. Eckfeldt’” (1872).

4 See obituary of William E. Du Bois in American Journal of
Numismatics (1881).

185 For other catalogs of the Philadelphia Mint collection see

Jounston, A Visit to the Cabinet (1876); Smrru, Visitor's Guide

(1885); McCrure, An Index to the Coins (1891; 1895); U.S.
BuREAU OF THE Mint, Guide to the Collection (1913), Catalogue of
Coins (1912; 1913; 1914) and Catalogue (1928).

62 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

The Manual by Eckfeldt and Du Bois, mentioned
above, found a parallel work in Montroville W.
Dickeson’s The American Numismatic Manual (1859),
which, despite the criticism it received, went through
three editions by 1865. As faulty as much of the
information was, the basic concept of the book helped
it to achieve a standard which was never equaled in
later publications of this kind.

The New York group claimed as its leading men
Charles I. Bushnell (1826-1883), a well-known col-
lector and author of a book on tokens, An Arrangement
of Tradesmen’s Cards, Political Tokens, etc. (1858), and
John Howard Hickcox, author of An Historical Account
of American Coinage (1858).

But the classic work on American numismatics was
In 1875 The Early Coins of America and
the Laws Governing Their Issue was published in Boston

yet to come,

by Sylvester S. Crosby, a jeweler from New Hamp-

shire who had established his business in Boston.
This work can be regarded as the most outstanding
the United States to

research in general.

contribution of numismatic

In this book one of the thorniest problems in the
history of American coinage, the issues of the Colonies,
found an authoritative presentation which has never
been surpassed. The basic concept of the work was
to consider coins as essentially an expression of their
time. They were thoroughly examined in the light
of contemporary documents and their sequence was
established through detailed die studies. Crosby's
system of submitting the coin image to a painstaking
examination, noting the minutest changes in the die
as a clue to assigning the sequence within a given
group of coins not otherwise datable, proved in-
valuable in many instances and frequently was used
by other numismatists. Unfortunately, from a means
his system has very often become an end in itself, its
use degenerating into a senseless pursuit, as can be
seen in recent publications which promote research
into the progression of die cracks as an exclusive aim
of numismatics—-an activity which entirely neglects
Crosby’s historical approach.

A strong interest in medals toward the end of the
century emerged again; they were studied from the
historical rather than the artistic point of view. None-
theless, Joseph F. Loubat’s Afedallic History of the
United States of America, 1776-1876 (1878) cannot fail
to impress the reader with its artistically executed
plates. A few years later, William S. Baker published
the results of his research on portraits of the first

American president in his AMedallic Portraits of

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

Fig. 45.—Sy.vester Sacre Crospy (d.
from The

1914),

American numismatist (photo

Numismatist).

Washington (1885).
Betts (1845-1887) achieved a solid reputation with his
American Colonial History Illustrated by Contemporary
Medals (1894).
and

In the same period Charles W.

Large highly specialized collections were

formed near the close of the century, and many
rarities sold in Europe found their way to this country.
The collections of classical coins of Frank S. Benson,
Clarence S. Bement, and J. Pierpont Morgan were a
challenge to the best collections on the continent.
Enrico Caruso’s cabinet of gold coins and Waldo C
Newcomer's collection of South American gold and
silver coins were among the largest of their kind ever
assembled.

In the field of American coins the number of cabi-

nets grows to such an extent it would be tmpossible to

give more than a selection. The sale catalogs of the
period, such as those published by the Chapman firm
in Philadelphia, disclose many collectors who built
significant cabinets. In 1889 there were over four
hundred American collections which were known in
Europe, as reported in Guida numismatica universale
by Francesco and Ercole Gnecchi. Among the early
collections should be mentioned the coin cabinets of
Joseph J. Mickley '’ of Philadelphia and of Matthew
A. Stickney of Salem, Massachusetts.

Of special interest are the donations made to cultural
institutions, colleges, and public libraries. Emmanuel
J. Attinelli’s Numisgraphics, or List of Catalogues (1876)
and a recent report (1960) from the International
Numismatic Commission, include many such _ re-
cipients, among which are historical societies in New
York, Philadelphia, Massachusetts,
Missouri, and Wisconsin, the Mercantile Library
Association in St. Louis, the New York State Library
in Albany, the Hartford Connecticut State Library,
the Omaha Public Library, as well as many universi-

Long Island,

ties and colleges.

Through donations of entire, well-rounded collec-
tions or single groups of coins, many colleges have
Harvard’s
more select ancient coins have been published by
George Hanfman and Miriam S. Balmuth in a very
attractive booklet entitled The Fogg Art Museum
of Harvard University: Ancient Coins (1956). In Wash-
ington, Dumbarton Oaks, under the trusteeship of

accumulated excellent study material.

Harvard, has an outstanding collection of late Roman
and Byzantine coins and gold medallions, which were
1958 by Prof. Alfred Bellinger.!5*
Bryn Mawr College has a remarkable collection of

published in

Greek coins which have been cataloged by Cornelius
Vermeule and reported in his “Greek Coins in the
Elizabeth Washburn King Collection” (1956). The
Numismatist of 1927 in a brief note mentions the
collection of 10,000 coins which the Rev. W. H. Owen
gave to Yale. Earlier accounts of such donations at
Yale can be found in Roman Family Coins in the Yale
College Collection (1860) by Fisk P. Brewer and es-
pecially in the Catalogue of the Cabinet of Coins in the
Yale Collection, published anonymously in 1863 and
reissued by Jonathan Edwards in 1880 as the Catalogue

186 Second edition, pp. 419-454.

87 Por a biography, see Du Bors, 7. Mickley: The Interesting
Career of a Linguist, Antiquarian, and Musician (1878).

188 See BELLINGER, ‘“‘Roman and Byzantine Medallions in the
Dumbarton Oaks Collection” (1958).

of the Greek and Roman Coins in the Numismatic Collection
of Yale College. The collection in Yale’s Sterling
Memorial Library is exceptionally well represented
in classical coins, including also many rarities in the
United States series from the Francis P. Garvan col-
lection. Recently, Margaret Thompson and Alfred
Bellinger published an account of a hoard of Alexander
drachms from the Yale collections.’s* Dartmouth
College has had two recent numismatic publications
on Roman and on Byzantine gold coins.'’? Johns
Hopkins University (which received the famous
J. W. Garrett Collection), Princeton, Columbia,
Vassar, St. Louis, the University of Wisconsin, the
Oriental Institute of the University of Chicago, the
Berkeley branch of the University of California,
the University Museum in Philadelphia,!! all are
in possession of old and important collections.

Often, universities sponsor numismatic studies in
connection with their publications in economics or as
a part of the reports on archeological expeditions.
Since the late 19th century, Johns Hopkins University
has issued many interesting studies in economics—
some of which relate to the history of money and
prices—in two series: Studies in History and Political
Sciences, and Ancient Economic Studies. Many
reports on coin finds from archeological excavations
under the direction of colleges and universities have
been published by such authors as Edward T. Newell
(for the excavation at Dura-Europos), David M.
Robinson (Olynthus), Margaret Thompson (Corinth
and Athens), Dorothy H. Cox (Curium and Gordion),
and especially Prof. Alfred Bellinger (Corinth and
Dura-Europos, among many others).

American universities sometimes make use of numis-
matics—if only tangentially—especially in the classical
area. In the United States, the general subject is
not part of the regular curriculum, but some institu-
tions of higher learning occasionally offer lectures on
numismatic problems, as Columbia University did
in 1908, when Prof. T. Whittemore presented a
course on coins as they are related to classical art.
Since history professors sometimes are involved per-
sonally in numismatic research, coins and medals

189 THomMpson and BeEtiincer, “A Hoard of Alexander
Drachms”’ (1955).

199 See STEARNS and Hatt, Byzantine Gold Coins from the
Dartmouth College Collection (1953); TERRACE, Some Historical
Roman Coins . . . at Dartmouth College (1958).

191 See, for example, Mires, Fatimid Coins in the Collection of
the University Museum, Philadelphia (1951).

64 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

occasionally are used in history and art classes. In
recent years the American Numismatic Society has
provided annual summer seminars for university
graduates who are interested in numismatics as an
independent discipline or as an area related to their
historical research.

Toward the latter part of the 19th century the
number of new periodicals increased noticeably. A
general list should include the Coin Collector's Journal,
founded by J. W. Scott and E. Frossard in New
York City in 1875 and continuing until 1954, and
Numisma, issued from Irvineton, N.Y., from 1877 to
1891. Most of
short-lived: Numismatic Pilot to Ancient Coins and Thet
Uses (La Grange, Ky., 1876-1877), Coin and Stamp
Journal (Kansas City and New York, 1875-1877),
The Numismatic Journal (North Adams, Mass., 1877
1878), Coin Journal (Lancaster, Pa., 1878-1882), and
Mason’s Coin and Stamp Collector's Magazine (Phila-
1867-1872). With

American Journal of Numismatics, a more advanced

these periodicals, however, were

delphia, the exception of the
periodical—edited first by the Boston Numismatic
Society and later by the American Numismatic
Society in New York from 1866 to 1924-—the purpose
of most of these journals was to serve the collector
in his basic need for communication and exchange of
information.

Proceeding on this premise, a small journal called
The Numismatist was started in 1888 by Dr. George
F. Heath of Mich. His

create closer contacts among collectors materialized

Monroe, ambition — to
in an organization called the American Numismatic

Association. numbering today over
20,000 members, was begun in Chicago on October
7, 1891, by six men. Its official publication, The

Numismatist, with a widely diversified content, is the

This society,

most important periodical for the American collector

who is interested in field of collecting.

Enjoying a wide distribution is another very popular

Every

magazine, The Numismatic Scrapbook, issued since 1935
from Chicago.

Although interest in collecting United States coins
has been extremely keen in the past eighty years,
numismatics as a science seems to have been for-
gotten or confined to the work of economists. De-
scriptive catalogs of various denominations and their
varieties, such as Martin L. Beistle’s Register of the
Half Dollar Die Varieties and Sub-Varieties (1929) or
Howard Newcomb’s United States Copper Cents, 1816
1857 (1944), outnumbered the more historical studies
like Bauman Belden’s Indian Peace Medals (1927).

PAPER 32: NUMISMATICS-

AN ANCIENT SCIENCE

More prevalent, however, were studies on ancient
Aenes” Brett's
Electrum Coinage of Lampsakos (1914), and Albert Frey's
Dictionary of Vames (1947), as well as
comprehensive works on the general currencies of the
United States, such as A. Barton Hepburn’s History of
Comage and Currency in the United States (1903) or
C. Nettel’s Money Supply of the American Colonies Before
1720 (1934).
reflected in Raphael P. Thian’s very rare Register of
Issues of Confederate States Treasury Notes, published in

and foreign numismatics, such as

Numismatu

The study of Confederate currency as

the late 19th century, again became popular in 1915
with William W. Bradbeer’s Confederate and Southern
State Currency. ‘The subject was reexamined in 1947
by Philip H. Chase in Confederate Treasury Notes: The
Paper Money of the Confederate States of America and in
1954 by Richard C. Todd in his excellent historical
study Confederate Finance.

Fig. 46.—A.pert R.

FREY

(1858-1926),
) )
American author of Dictionary of Numismatu

Names (photo from The Numismatist).

In the early decades of the twentieth century
emerged a man who succeeded in establishing the
prestige of American research in the field of scientific
numismatics Newell (1886-1941), Yale
eraduate and, from 1916 until his death, president

Edward T.
of the American Numismatic Society. A distinguished
student of outstanding reputation in the numismatic
world, he revolutionized the field of ancient Greck
numismatics by regrouping and_ redating certain
coinages of Alexander the Great on an entirely new
and scientific basis.

At the same time he set in motion a publishing

trend which helped to place the United States among

Fig. 47.—Epwarp T. Newer (1886-1941),

leading American authority in ancient

numismatics (Div. of Numismatics photo).

the leading nations in numismatic research. On his
initiative the American Numismatic Society began to
publish in 1920 various studies in a series called
Numismatic Notes and Monographs. To this title
subsequently were added others: 1n 1938, Numismatic
Studies, a series devoted to works of larger size; in
1946, Museum Notes, an annual confined to_ brief
articles written chiefly by the museum staff; in 1947,
Numismatic Literature, an excellent bibliographical
review; and in 1950, the Hispanic Numismatic Series,
a joint publication in cooperation with the Hispanic
Society of America.”

As a result, in subsequent decades many outstanding
works in the field of ancient and foreign numismatics
have been published. Newell's classic studies, The
Coinage of Demetrius Poliorcetes (1927), The Coinage of
the Eastern Seleucid Mints (1938), and The Coinage of
the Western Seleucid Mints (1941), ! were followed by a
series of excellent monographs by Sydney P. Noe,
Alfred Bellinger, Samuel R. Milbank, and Louis
In order to
complete the picture, one should add a few representa-

West in the field of ancient numismatics.

12 For more detailed information, see ADELSON, American
Numismatic Society (1958).

18 For his bibliography, see The Numismatist (1941), pp.
268-269.

tive names in various other specialties: George C.
Miles on Islamic and Ibero-Hispanic coinages, How-
land Wood and Robert Nesmith on Central and South
American problems, Harrold E. Gillingham and

James C. Risk on orders and decorations, William

H. Dillistin and Kenneth Scott on bank notes and
counterfeiting, and Sydney P. Noe and Eric Newman
on American numismatics.

In reviewing the past few decades of numismatic
research in this country, one cannot escape the im-
pression that almost all scholarly activity has been
centered around the publications of the American
Numsimatic Society. Even in the field of national
numismatics only sporadic and unsystematic attempts
have been made by other groups to direct research
toward higher scholarly standards. Walter Breen’s
many contributions to various topics of American
interest have not yet been channeled into a major
historical study.

On the other hand, the United States has produced
excellent handbooks which are a genuine asset to
general numismatics on the collector’s level. Wayte
Raymond has published a series of guidebooks on
modern world coinages of the 19th and 20th centuries
as well as on United States coins.!* His tradition has
been continued by Richard S. Yeoman with a yearly
edition on the United States series,!*° and now ex-
tended by Yeoman to modern foreign coinages (A
Catalogue of Modern World Coins, 6th ed., 1964). Robert
Friedberg’s Gold Coins of the World (1958) and espe-
cially his handbook Paper Money of the United States (5th
ed., 1964) present many useful features for collectors.
Worldwide acceptance has been accorded to John
S. Davenport’s handbooks on the dollar-sized silver
coins of Europe and Germany since 1700."

More scientifically significant contributions have
come from the Economics Department of the Univer-
sity of Pennsylvania, with such works as Anne Bezan-
son’s Prices and Inflation During the American Revolution
(1951), and from the Harvard Department of Eco-
nomics, as reflected in the series Harvard Economic
Studies. Both have published special studies con-
cerned with historical aspects of monetary and price
problems and with banking in Europe as well as in
the early periods of this country.

194 Coins of the World: Nineteenth Century Issues (1953), Coins of
the World: Twentieth Century Issues (1955), Standard Catalogue of
United States Coins (1957).

195 Guidebook of the United States Coins (1963).

198 European Crowns Since 1800 (1947), German Talers Since 1800
(1949), German Talers 1700-1800 (1958), European Crowns 1700-
7800 (1961).

66 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

For new perspectives on research into American
numismatics we have to turn to the Numismatic Notes
and Monographs series of the American Numismatic
Society. Sydney P. Noe’s studies on the early coinages
of Massachusetts and on the Castine hoard ! and
the brilliant studies of Eric Newman on other topics
of colonial numismatics '* have opened a new and
promising era for scientific research into American
currency.

Numismatics as the science of money viewed within
the multiplicity of historical phenomena appears to
be successfully established. The words written a
century ago by James Ross Snowden seem best to
express our thoughts:

In giving a history of the coins of the United
States we shall not go so far into the details of the
subject as to take notice of the different “varieties”

197 New England and Willow Tree Coinage of Massachusetts
(1943), Oak Tree Coinage of Massachusetts (1947), Pine Tree
Coinage of Massachusetts (1952), The Castine Deposit: An American
Hoard (1942).

198 Coinage for Colonial Virginia (1956) and Secret of the Good
Samaritan Shilling (1959).

PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

caused by cracked dies, the addition or omission
of a leaf in the laurel, a larger or smaller letter
in the legend or inscription, and the countless
other minute and scarcely definable differences
which are found, upon close inspection, to exist
in the coins of nearly every year in which they
have been issued. These little technicalities may
be important to those collectors of coins who pay
more regard to the selfish desire of having some-
thing which no one else possesses than to the
historic or artistic interest which attaches to a
coin. We therefore confine ourselves to an illus-
tration of those changes in the types of the coins
which are of material and definite character, and
which are produced by design and not by acci-
dent, introducing, as we proceed, other facts in
regard to the coinage which are more purely
historic than the description, and which may be
of interest or tend to throw some light upon

controverted points.!"

199 Description of Ancient and Modern Coins, p. 101.

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’

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PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE tl

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BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

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PAPER 32: NUMISMATICS—-AN ANCIENT SCIENCE

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BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

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Addenda: Vienna, 1826,
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Epwarps, JONATHAN. Catalogue of Greek and Roman coins in the numismatic collection of
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Encer, Artuur, and Serrure, Raymon. Traité de numismatique du moyen ase. 3
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Enceui, Apoir. Friedrich Imhoof-Blumer, 1838-1920. Winterthur, 1924.

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Latin edition: De plumbeis antiquorum numismatibus. Rome, 1750.

FIORELLI, GuIsEPPE. Catalogo del Afuseo Nazionale di Napoli. 4 vols. Naples, 1866-
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FLOREz, Enrique. Afedallas de las colonias, municipios y pueblos antiguos de Espana. 3
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Forrer, LEonarp. Biographical dictionary of medallists, coin- gem-, and seal-engravers.
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———. Joseph Hilarius Eckhel. Pp. 302-303 in vol. 4 of Neue Deutsche Biographie,
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see Die Fundmiinzen der romischen Zeit in Deutschland.

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——. Paper money of the United States. 5th ed. New York, 1964.

FRIEDENSBURG, FERDINAND. Die Miinze in der hulturgeschichte. 2nd ed. Berlin, 1926.

FRIEDLAENDER, JuLius. Die italienische Schaumiinze des fiinfzehnten Jahrhunderts (1430-
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FRIEDLAENDER, JULIUS, and SALLET, ALFRED VON. Das konigliche Munzkabinet. 2nd
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PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Friese, TILEMANN. Miinz-Spiegel, d.i. ein neu u. wohlausgefiihrter Bericht von der Miintz,
deren Anfang, Materie, Form, Korn, Schrot, Wehrt, manicherl: Art, Sorten und Namen
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El Gabinete Numismatico del Museo Histérico Nacional. Buenos Aires, 1949.

Gasrici, Errore. Tecnica e cronologia delle monete greche dal VII al V secolo a.C. Rome:
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Teodoro Mommsen. Rivista italiana di numismatica (Milan, 1903), vol. 16,

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Gagp.er, Huco. Die antiken Miinzen von Makedonia und Paionia. 2 parts. (Vol. 3
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Die Miinzsammlung der K6nigin Christina von Schweden. Pp. 368-386

in Corolla numismatica: Numismatic essays in honour of Barclay V. Head, London, 1906.

Félschungen Makedonischer Miinzen. 8 parts. Berlin, 1931-1942.

GatsteR, GeorG. Coins and history. Aarhuus, 1959.

GarciA pe LA Fuente, Arturo. Catdlogo de las monedas y medallas de la Biblioteca de
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Garpner, Percy. The types of Greek coins. | Cambridge, 1883.

Gazette numismatique suisse—see Schweizer M iinzblatter.

Grepnart, Hans. Die deutschen Miinzen des Mittelalters und der Neuzeit. Berlin, 1929.

Numismatik und Geldgeschichte. Heidelberg, 1949.

Von der Numismatik zur Geldgeschichte. Pp. 233-237 in Centennial
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Getper, Henprik ENNo van. Koninklijk kabinet van munten, penningen en gesneden

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New edition: 1957.
Les fonctions externes du Cabinet des Médailles de La Haye. Pp. 597-
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Rapport sur la numismatique moderne, 1500-1800. Pp. 103-107 in vol. 1
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Gervorr, WitnELM. Die Entstehung des Geldes und die Anfinge des Geldwesens. 3rd ed.
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Gresecke, WALTHER. Antikes Geldwesen. Leipzig, 1938.
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Sicilia numismatica. Leipzig, 1923.

Git Farrts, Ocravio. Historia de la moneda espanola. Madrid, 1959.

Gituincuam, Harrotp Epcar. An eighteenth century coin collection. The Numis-
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Gnreccut, Francesco. I medaglioni romani. 3 vols. Milan, 1912.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

PAPER 32:

Monete romane. Milan, 1896,
Third edition: Milan, 1907,

Gneccul, FRANcEsco and Erco.e. Guida numismatica universale. 2nd ed. Milan.
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Le monete di Milano da Carlo Magno a Vittorio Emanuele II. 3 parts + suppl.
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Gorrzius [Huperr Gourz]. Huberti Goltzii de re nummaria antiqua opera quae extant

uniwersa quingue voluminibus comprehensa. 5 vols. Antwerp and Brussels, 1557-1579,
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GOoNNARD, RENE. Histoire des doctrines monétaires. Vol. 1. Paris. 1935.

Goor.e, ABRAHAM VAN. Thesaurus numismatum romanorum sive nummi ad familias
romanas spectantes. Amsterdam, 1605.

Gort, Anronius FRANCISCUS. Antiqua numismata aurea et argentea praestantiora et
aerea maximi moduli quae in regio thesauro Magni Ducis Etruriae adservantur cum observa-
tionibus. Florence, 1740.

Gouce, WittiaMm M.A short history of paper money and banking in the United States:
Including an account of provincial and continental paper money. Philadelphia, 1833.

Grant, MICHAEL. Aspects of the principale of Tiberius: Historical comments on the colonial
coinage issued outside Spain. (No. 116 in Numismatic Notes and Monographs.)
New York: American Numismatic Society, 1950.

From imperium to auctoritas: A historical study of aes coinage in the Roman Empire,
49 B.C.-AD. 14. Cambridge University Press, 1946.

Roman history from coins. Cambridge and New York, 1958.

Roman imperial money. Edinburgh: Thomas Nelson, 1954.

Grierson, Prinip. Ancient British and Anglo-Saxon coins. (Vol. 1 of Sylloge of coins
of the British Isles.) London, 1958.

Cos and medals: Select hibliography. (No. 56 in Helps for Students of History.)
London: The Historical Association, 1954.

Commerce in the Dark Ages: A critique of the evidence. Transactions of
the Royal Historical Society (London, 1959), ser. 5, vol. 9, pp. 123-140.

Numismatics and history. London, 1951.

Report on medieval numismatics. Pp. 55-101 in vol. 1 of Congrés Inter-
national de Numismatique, Paris, 1953.

-. The Canterbury (St. Martin’s) hoard of Frankish and Anglo-Saxon coin

ornaments. British Numismatic Journal (London, 1955), ser. 3, vol. 7, pp. 39-51.

Grose, S. W. AfeClean collection of Greek coins. 3 vols. Cambridge: Fitzwilliam
Museum, 1923-1929.

GrRuEBER, Herbert Appoip. Coins of the Roman Republic in the British Museum. 3
vols. London, 1910.

Gumowsk!, MARIAN. Corpus nummorum Poloniae. Vol. 1. Cracow, 1939.

. Podrecznik numizmatyki polskie, Cracow, 1914.
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Hasicu, Georc. Die deutsche Schaumiinze des NVI. Jahrhunderts. 4 vols. Munich,
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Harvernick, Watrer. ‘Cooperation’: Some thoughts and suggestions for the
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NUMISMATICS—AN ANCIENT SCIENCE

———. Welches Material kann die Numismatik zur Feststellung der Verkehrsgebiete
in Deutschland im XII. und XIII. Jahrhundert liefern. Pp. 305-307 in Trans-
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HarvERNICK, WALTER; MERTENS, EBERHART; and SUHLE, ARTHUR. Die mittelalter-
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Haisic, Martian. J. Lelewel’s importance in European numismatics. Wiadomosei
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Hatter, Gorrums EMANUEL von. Schwetzerisches Miinz- und Medaillenkabinet. 2
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Hanrmann, Georce, and BatmuTH, Miriam S. The Fogg Art Museum of Harvard
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Harz, Gert. Deutschland. Pp. 261-281 in vol. 1 of Congresso internazionale di
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HAVERKAMP, SYVERT. Nummophylacium reginae Christinae, quod comprehendit numismata
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Heap, Barciay VINCENT. Coins of the ancients. London, 1880.

Fourth edition: 1895.
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Heckscuer, Evr F., and Rasmusson, Nirs Lupvic. Sveriges mynthistoria: Statens Histo-
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Hennin, MicHeL. Histoire numismatique de la révolution frangaise. 2 vols. Paris, 1826.

Heppurn, A. Barron. History of coinage and currency in the United States. New York,
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Second edition: 1915; third edition: 1924.

Herrera, Apoiro. El duro: Estudio de los reales de a ocho espanoles. 2 vols. Madrid.
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Hickcox, Joun Howarp. An historical account of American coinage. Albany, 1858.

Hini, Sir GrorGe Francis. A corpus of Italian medals of the Renaissance before Cellini.
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——. A guide to the principal coins of the Greeks. London, 1932.
Fourth edition: 1959.
Becker the counterfeiter. 2 parts. London, 1924.
Reprinted: London: Spink & Son, 1955.
—. Handbook of Greek and Roman coins. London, 1899.
Flistorical Greek coins. London and New York, 1906.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

——. Historical Roman coins. London, 1909.
J. Ward's Greek coins and their parent cities. London, 1901.

—-—. The medallic portraits of Christ: The false shekels; the thirty pieces of silver. Ox-
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———. Select Greek coins: A series of enlargements illustrated and described. Paris and
Brussels, 1927.

Hirmer, Max. Die schonsten Griechenmiinzen Siziliens. Leipzig, 1940.

Hirscu, JOHANN Curistopn. Bibliotheca numismatica, exhibens catalogum auctorum qui
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Hispanic Numismatic Series. (New York: American Numismatic Society and
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Fiistorische Miinz-Belustigung—see KGuLER, JOuUANN Davin.

Die hastorischen Remarques tiber die neuesten Sachen in Europa (Hamburg, 1699-1705.)
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Hocperc, T. Elias Brenner—den svenska myntkunskapens fader. Héghergs
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Horizmatir, Epuarp. Das wiedergefundene Inventar der Miinzsammlune Ferdi-
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Miinzkunst in Osterreich. Vienna, 1948.

HouweELInGENs, ERASEM VAN. Penninghoek: Inhoudende alle figuren van silvere en goude
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Huttscn, Frrepricn. Griechische und romische Metrologie. 2nd ed. Berlin, 1882.

Hurtren-Czapski, Count Emeric. Catalogue de la collection des médailles et monnaies
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Iryin, A., and Torsro1, Count Ivan. Russkie monety chekanennye s 1725 po I8OT g.
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Imnoor-BLuMER, FRiepricn. Bericht tiber das griechische Miinzwerk der Preus-
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Kleinasiatische Miinzen. 2 vols. Vienna, 1901-1902.

Monnaies grecques. Paris and Leipzig, 1883.

Imhoof-Blumer, Friedrich. [Obituary.] Reawe suisse de numismatique (Geneva, 1920),
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Israel Numismatic Journal (Tel Aviv: Israel Numismatic Society, 1963+).

Jacoss, Norman, and VERMEULE, CorneLius C. Japanese coinage. New York:
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Jahrbuch fiir Numismatik und Geldgeschichte (Munich, 1949-+). [A journal. ]

Jammer, VERA. Die Anfange der Miinzpragung im Herzogtum Sachsen. (Nos. 3-4 in
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Janxunn, Hersert. Haithabu: Ein Handelsplatz der Wikingerzeit. 3rd ed. Neu-

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———. Miinz- und Geldgeschichte Niedersachsens. Braunschweig, 1952.
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———. Quellenbuch zur Miinz- und Geldgeschichte des Mittelalters. Halle, 1924.
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Joacuim, JOHANN Friepricu. Neu erdffnetes Groschen Cabinet. 7 vols. Leipzig, 1749-
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Jounson, Cares. The De Moneta of Nicholas Oresme and English mint documents.
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Jounsron, EvizaBeTH Bryant. A visit to the cabinet of the United States Mint at Phila-
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Jones, A. H. M. Numismatics and history. Pp. 13-33 in Essays in Roman coinage
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JORGENSEN, Curistian. C. Ludwig Miiller. Revue numismatique (Paris, 1891), ser. 9,
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Journal of the Numismatic Society of India (Bombay, 1939+).

K. Akademie der Wissenschaften, Sitzungsberichte der philosophisch-historischen Klasse (Vienna,
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Kacan Sun. Modern coins of China. In Chinese and English. 2 vols. Shanghai,
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Second English edition: Shanghai, 1951.

Kann, Epwarp. Jllustrated catalog of Chinese coins. Los Angeles, 1954.

KeLiner, Hans-JORG. Oberbayern—see Die Fundmiinzen der romischen Xeit in Deutschland.

KENNEPOHL, Karu. Die Miinzen von Osnabriick. Munich, 1938.

KENNER, Friepricu. Eckhel. Pp. 633-635 in vol. 5 of Allgemeine Deutsche Biographie,
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Kent, J. P. C. The late Roman Empire: 284-491. Pp. 159-177 in vol. 1 of Con-
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KiersNowskt, Ryszarp. La numismatique médiévale en Europe de l’Est. Pp.
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——. Historische Miinz-Belustigung. 22 vols. Nuremberg, 1729-1750. [A serial
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Ko6uLer, JOHANN Tostas. Vollstandiges Ducaten-Cabinet. 2 vols. Hannover, 1759-
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80 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Kraay, Corin M. The aes coinage of Galba. (No. 133 in Numismatic Notes and
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Kuyjk, J. vAN. Geschiedenis van het honinklyk Kabinet van Munten, Penningen en Gesneden
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Funsthistorisches Museum: Fiihrer durch die Sammlungen. Vienna, 1958.

Lazssf, Puivippe. Bibliotheca bibliothecarum: Accedit bibliotheca nummaria. 2nd ed.
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Lacrorx, DEsirE. Nwmismatique annamite. 2 vols. Saigon, 1900.
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LEAKE, STEPHEN Martin. Nummi Britannici historia: or, An historical account of English
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—— —. Ein Vierteljahrhundert Wiener Miinzkabinett. Pp. 429-451 in Centennial
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———. Fiihrer durch die Ausstellung der Bundessammlung von Medaillen, Miinzen und
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LuscHIN VON EBENGREUTH, ARNOLD. Allgemeine Miinzkunde und Geldgeschichte des
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avec atlas. 2 vols. Brussels, 1868-1873.
Mameranus, Henricus. Priscae monetae ad huius nostri temporis diversas aliquot nationum
monetas supputatione. [Place ?] 1550.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Markov, ALeKser KonstantINovIrcH. Inventarnii— katalog
Imperatorshavo Ermitazha. 2 vols. St. Petersburg, 1896.

musulmanskikh monet

Marspen, Wintiam. Numismata orientalia illustrata. 2 vols. London, 1823-1825,

Martian, I. Comori ardelene. Buletinul Sacietagii Numismatice Roman (Bucharest,
1921), vol. 16, nos 37-40, pp. 13-21.

Martin, Corin. Suisse. Pp. 375-378 in vol. 1 of Congresso internazionale di numisma-
tica, Rome, 1961.

Martinori, Epoarpo. La moneta. Rome, 1915.

Afason’s Coin and Stamp Collector's Magazine (Philadelphia, Pa., 1867-1872: 1882 1891),

Mateu y Liopis, Fevipe. Bibliografia de la historia monetaria di Espana. Madrid:
Casa de Timbre, 1958.

Bibliografia numismatica de Espafia y Portugal referente a los siglos VIII
a XVI. Pp. 383-394 in vol. 1 of Congresso internazionale di numismatica,
Rome, 1961.

Catalogo de las monedas previsigodas » visigodas del Cabinete Numismético del
Museo Arqueolégico Nacional. Madrid, 1936.

Catalogo de los ponderales monetarios del Museo Arquealogico Nacional. Madrid,
1934.

———. Glosario hispanico de numismética. Barcelona, 1946.

La moneda espanola. Barcelona, 1946.

Un inventario numismatico del segle XVI. Boletin Arqueolégico (Varragona,
1929-1932), no. 40, pp. 75-86.

Martincty, Harotp. The British Museum. ew Zealand Numismatic Journal
(1949), vol. 5, no. 3, pp. 73-83.

Coins of the Roman Empire in the British Museum. 6 vols. London,
1923-1962.

Roman coins from the earliest times to the fall of the Western Empie. London,
1928.

Second edition: 1960.

Roman imperial civilization. London, 1957.

The “restored”? coins of Titus, Domitian and Nerva. .Vimismatic Chronicle
(London, 1920), ser. 4, vol. 20, pp. 177-207.

The restored coins of Trajan. Nwnismatic Chronicle (London, 1926), ser. 5,
vol. 6, pp. 232-278.

Martinciy, Haroitp and Haroitp B. The Republic and the early Empire. Pp.
147-157 in vol. 1 of Congresso inlernazionale di numismatica, Rome, 1961.

MarttincLy, Harotp; SypENHAM, Epwarp A.; and others. The Roman imperial
coinage. Vols. 1-5; 9. London: Spink & Son, 1923-1949; 1951.

Marttinciy, Haroip B., and Ropinson, Epwarp 8S. G. The date of the Roman
denarius and other landmarks in early Roman coinage. London: H. Milford, 1933.
[Reprinted from Proceedings of the British Academy (London, 1933), vol. 18.)

Maurice, JULES. Numismatique constantinienne. 3 vols. Paris, 1908-1912.

Mayer, Leo Ary. Bibliography of Moslem numismatics (India excepted). 2nd ed.
London 1954.

McCviure, Roperr A. An index to the coins and medals of the cabinet of the Mint of the
United States at Philadelphia, Philadelphia, 1891.

Second edition: 1895.
Meap, Ricuarp. Afusewm Meadianum. London [1755].
Mepina, José Torisio. Las monedas chilenas. Santiago, 1902.
Las monedas coloniales hispano-americanas. Santiago, 1919.
Mei, Junius. Das Brasilianische Geldwesen. 3 vols. Zurich, 1897-1905.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Mitty, F. pe. Le numisma Laetiense de 1213. Revue numismatique (Paris, 1897),
ser. 4, vol. 1, pp. 382-385.

Mémoires de la Société d’ Archéologie et de Numismatique de St. Petersbourg (St. Petersburg
and Berlin, 1847-1852). [A journal.]

Menapier, Juttus. Die Schausammlung des Miinzkabinetts im Raiser-Friedrich Museum.
Berlin, 1919.

Menapier, Kart. Die Miinzen und das Miinzwesen bei den Scriptores Historiae
Augustae. Zeitschrift fiir Numismatik (Berlin, 1914), vol. 31, pp. 1-144.

Mercatr, D. Micuaet. The Byzantine Empire. Pp. 233-245 in vol. 1 of Con-
gresso internazionale di numismatica, Rome, 1961.

MikHarLovircu, GRAND Duke Georocu. Monety tsarstvovani .. . . 12 vols. St.
Petersburg, 1888-1914.

Mies, GeorGce C. Early Arabic glass weights and stamps. (No. 111 in Numismatic
Notes and Monographs.) New York: American Numismatic Society, 1948.

Supplement: NNM 120, New York, 1951.

———.. Fatimid coins in the collections of the University Museum, Philadelphia, and the
American Numismatic Society. (No. 121 in Numismatic Notes and Monographs.)
New York: American Numismatic Society, 1951.

Islamic and Sasanian numismatics: Retrospect and prospect. Pp. 129-
144 in vol. 1 of Congrés International de Numismatique, Paris, 1953.

Islamic numismatics: A progress report. Pp. 181-192 in Congresso Inter-
nazionale di Numismatica, Rome, 1961.

——. The coinage of the Umayyads of Spain. 2 vols. (No. 1 in Hispanic Numis-
matic Series.) New York: American Numismatic Society, 1950.

The coinage of the Visigoths of Spain. (No. 2 in Hispanic Numismatic Series.)
New York: American Numismatic Society, 1952.

MiLter zu AICHHOLZ, VIKTOR VON; LOEHR, AuGUsST von; and Houzmair, EpuARD.

Osterreichische Miinzpragungen. 2nd ed. Vienna, 1948.
First edition: 1920.
Mionnet, PHEOpORE-EpME. Description de médailles antiques, grecques et romaines avec

‘

leur degré de rareté et leur estimation: Ouvrage servant de catalogue @ une suite de plus de
vingt mille empreintes en soufre prises sur les piéces originales. 7 vols. Paris, 1806-
1813.

Supplement: 9 vols. Paris, 1819-1837.

Mirrea, Bucur. Cincisprezece ani de activitate numismatica in Republica Popu-
lara Romina: Bibliografie. Studit si Cercetari de numismatica (Bucharest, 1960),
vol. 3, pp. 603-620.

Mitteilungen der Bayerischen Numismatischen Gesellschaft (Munich, 1882-1937). [A
journal.]

Mitteilungen des Instituts fiir Osterreichische Geschichtsforschung (Vienna, 1880+). [A
serial publication. ]

Mommsen, Tureopor. Die Geschichte des roémischen Miinzwesens. Berlin, 1860.

French version: Histoire de la monnaie romaine. Transl. and edit. Louis
Duc de Blacas. 4 vols. Paris, 1865-1875.
Reprinted: Graz: Akademisshe Druck- und Verlagsanstalt, 1956.

Monatsblatt der Numismatischen Gesellschaft in Wien (Vienna, 1883-1918.) [A journal.]

Montacu, Hyman. The copper, tin, and bronze coinage and patterns for coins of England
from the reign of Elizabeth to that of Her present Majesty. 2nd ed. London, 1893.

Mont- og medaillesamlingen: Mnter og medailler, middelalder og nyere tid. Copenhagen:
Nationalmuseet, 1950.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Mosser, SAWYER McArruvr. A bibliography of Byzantine coin hoards. (No. 67
T a . + a 7 + = > .
Numismatic Notes and Monographs.) New York: American
Society, 1935.

in
Numismatic

Mowat, Rosert. La reconstitution des collections de coins aux Ter et Ile siécles.
Pp. 210-226 in Congrés International de Numismatique, Paris, 1900,

Miter, Lupvic. Die Miinzen des thrakischen Ahonigs Lysimachus. Copenhagen, 1858,

———.. Numismatique d’ Alexander le Grand: Suivie dun appendice contenant les monnaies
de Philippe Het HI. 1 vol.+-atlas. Copenhagen, 1855.

Reprinted: plates only, Basel and Stuttgart, 1957.
———. Numismatique de Pancienne Afrique. 3 vols. Copenhagen, 1860-1874.
Supplement: Copenhagen, 1874.

Munro, New. Gorpon. Coins of Japan. In Japanese and English. Yokohama. 1904.

Minsrerserc, Ruporr. Uber die Anfange der Numismatik. Afonatshlatt der
Numismatischen Gesellschaft in Wien (December 1914), pp. 269-273; (January
1915), pp. 2-4.

MUtntz, Eucene. Les Arts a la cour des papes pendant le NVe et le NVIe sitcles. 3 parts.
Paris, 1878-1882.

——. Les Collections des Médicis au XVe sitcles. Paris and London, 1888.

— . Les Précurseurs de la Renaissance. Paris and London, 1882.

Miinzstudien—see Blatter fiir Miinzkunde.

Murarorr, Lopovico Antonio. De diversis pecuniae generibus quae apud veteres in usu
fuere. [Place?] 1738.

Museum Notes (New York: American Numismatic Society, 1946-+). [An annual. ]

Naster, Paut. La collection Lucien de Hirsch. 2 vols. Brussels: Bibiothéque Royale
de Belgique, Cabinet des Médailles, 1959.

———. Numismatique et méthodes de laboratoire. Pp. 171-192 in vol. 1. of
Congres International de Numismatique, Paris, 1953.

NEIcKELIO, Kaspar Friepricu. Museographia oder Anleitung zum rechten Begriff und
nutzlicher Anlegung der Museorum oder Raritaten-hammern. Leipzig and Breslau,
1727.

Netrets, C. The money supply of the American Colonies before 1720. | Madison, Wis.
1934.

Newcoms, Howarp Rounps. United States copper cents: 1S16-1857. New York, 1944,

Second edition: 1950.

Newe.tit, Epwarp THEeopore. The coinage of Demetrius Poliorcetes. Oxford, 1927.

——. The coinage of the Eastern Seleucid mints from Seleucus I to Antiochus HT. (No.
1 in Numismatic Studies.) New York: American Numismatic Society, 1938.

———. The coinage of the Western Seleucid mints from Seleucus I to Antiochus IT. (No.
4 in Numismatic Studies.) New York: American Numismatic Society, 1941.

Newell, Edward Theodore. [Bibliography.] The Nwmismatist (1941), pp. 208-209.

Newnan, Eric P. Coinage for Colonial Virginia. (No. 135 in Numismatic Notes and
Monographs.) New York: American Numismatic Society, 1956.

———. The secret of the Good Samaritan shilling. (No. 142 in Numismatic Notes and
Monographs.) New York: American Numismatic Society, 1959.

Nor, Sypney Putuie. A bibliography of Greek coin hoards. 2nd. ed. (No. 78 in Nu-
mismatic Notes and Monographs.) New York: American Numismatic So-
ciety, 1937.

First edition: NNM 25, New York, 1925.

———. The Castine deposit: An American hoard. (No. 100 in Numismatic Notes and

Monographs.) New York: American Numismatic Society, 1942.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

The coinage of Metapontum. 2 parts. (Nos. 32, 47 in Numismatic Notes
and Monographs.) New York: American Numismatic Society, 1927; 1931.

- —. The New England and Willow Tree coinage of Massachusetts. (No. 102 in
Numismatic Notes and Monographs.) New York: American Numismatic
Society, 1943.

———. The Oak Tree coinage of Massachusetts. (No. 110 in Numismatic Notes and
Monographs.) New York: American Numismatic Society, 1947,

———. The Pine Tree coinage of Massachusetts. (No. 125 in Numismatic Notes and
Monographs.) New York: American Numismatic Society, 1952.

———. The Thurium di-staters. (No. 71 in Numismatic Notes and Monographs.)
New York: American Numismatic Society, 1935.

Two hoards of Persian sigloi. (No. 136 in Numismatic Notes and Mono-
graphs.) New York: American Numismatic Society, 1956.

NonrytovA-PrArovA, EManueLta. La numismatique en Tchéchoslovaquie depuis
1945. Pp. 627-631 in vol. 2 of Congrés International de Numismatique, 1953,
Paris, 1957.

Nélezy minci v Cechdch, na Moravé a ve Slezsku. 4 vols. Prague: Ceskoslo-
venskaé Akademie Ved., 1956-1958.

Nordisk Numismatisk Arsskrift (Copenhagen, and elsewhere, 1936+). [A journal.]

Numdario Hispanico (Madrid: Instituto ‘Antonio Agustin” de Numismatica, 1952-1957).
[A journal.]

Numisma (Irvington, N.Y., 1877-1891). [A journal.]

Numisma (Madrid: Sociedad Iberoamericana de Estudios Numismaticos, 1951-++).
[A journal.]

Numismata quaedam cujunque formae, et metalli Muset Honor Arigoni Veneti ad usum
Juventutis ret nummartae studiosae. 4 vols. Tarvisio, 1741.

Numismatic Chronicle (London, 1st ser., 1838-1858; 2nd ser., 1861-1880; 3rd ser.,
1881-1900; 4th ser., 1901-1920; 5th ser., 1921-1940; 6th ser., 1941++).

Former title: \Vumismatic Journal (London, 1836-1838).

Numismaticheskti Sbornik (Moscow, 1955+). [A journal.]

Numismatic Journal (London)—see Numismatic Chronicle.

Numismatic Journal (North Adams, Mass., 1877-1878).

Numismatic Literature (New York: American Numismatic Society, 1949+). [A
bibliographical review.]

Numismatic Notes and Monographs (New York: American Numismatic Society,

. 1920+). [A series]

Numismatic Pilot to Ancient Coins and Their Uses (La Grange, Ky., 1876-1877). [A
journal.]

The Numismatic Scrapbook Magazine (Chicago, 1935+). — [A journal.]

Numismatic Studies (New York: American Numismatic Society, 1938+-). [A serial
publication. ]

Numismatic Studies and Research (Jerusalem: Israel Numismatic Society, 1954+).
[A serial publication. ]

Numismatische Literatur Osteuropas und des Balkans—see Probszt, Gtinther.

Numismatische Zeitschrift. (Vienna, 1869-1937; 1946+). [A journal founded by
Christian Huber and J. Karabacek.]

Numismatische Zeitung (Weissensee, 1834-1874). [A journal.]

Numismatiska meddelanden utgivna af Svenska numismatiska foreningen (Stockholm, 1874-1).
[A journal.]

86 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

The Numismatist (Monroe, Mich., Federalsburg, Md., and other places, 1888+).
[A journal.]
Ntrzevr, H. Aatalog der orientalischen Miinzen, 2 vols. Berlin: Konigliche Museen,
1898-1902.
Occo, ApoLpH. Jmperatorum romanorum numismata a Pompejo Magno ad Heraclium.
Antwerp, 1579.
Revised edition: Edit. Filippo Argellati. Milan, 1730.
Oldest coin collection recorded in the U.S. The Nwnismatist (1907), pp. 10-12.
Oresunikoy, ALEKsEI Vasttevicu, Russkie monety do 1547 goda. Moscow, 1896,
Oresmius, NicHonas. Tractatus de origine, iure nec non et mutationibus monetarum. (Vol,
9 of Sacra Bibliotheca sanctorum Patrum, by Margarinus de la Bikne.) Paris, 1589.
Orsini, Futvio. Imagines et elogia virorum illustrium et eruditorum ex antiques lapidihus
et numismatibus expressa cum annotationibus ex bibliotheca Fulvii Ursini. Rome, 1570.
Republished: 1598; 1606.
Reedited: In Prench. 1710.
Ovip. Fast. In Latin and English. Transl. Sir James George Frazer. Tondon
and New York: G. P. Putnam’s Son, 1931.
Owen collection of coins given to Yale library. The Numismatist (1927), p. 279.
Pacant, Antonio. Ludovico Laffranchi. Rivista italiana di numismatica (Milan,
1955), pp. 148-150.
Panvint Rosati, Franco. I] riordinamento del Medagliere Estense di Modena.
Annalt: Istituto Haliano di Numismatica (Rome, 1956), vol. 3, pp. 191-196.
Papapopoui, NicoLo. Le monete di Venezia. 3 vols. Venice, 1893-1919.
Peprusi, PAoLo. Tf caesart in oro raccolti nel Farnese Museo e pubblicati colle loro congrue
interpretazionl. Parma, 1694.
———. I caesari in argento.... 7vols. Parma, 1701-1721.
———. I caesari in metallo mezzano e piccolo. . . . 2 vols. Parma, 1724-1727.
PELLERIN, JosepH. Recueil de médailles de peuples et de villes. 3 vols. Paris, 1763.
—. Recueil de médailles de rovs qui nont point encore été publices ou qui sont peu connues.
Paris, 1762.

Peres, DamtAo. Relagdo das moedas gregas, romanas, hizantinas, barbaras e arabes. Porto:

Museu Nacional de Soares dos Reis, 1942.

PristER, Kurt. Aaiser Friedrich IT. Munich, 1942.

Philippine Numismatic Monographs (Manila, 1948-+). [A serics.]

Purturrs, Henry, Jr. Historical sketches of the paper currency of the American Colonies prior
to the adoption of the Federal Constitution. 2 vols. Roxbury, Mass., 1805-18006.

Numismatics: Notes upon the collection of coins and medals deposited by the Numis-
matic and Antiquarian Society of Philadelphia. Philadelphia, 1885.

Puiturs, Henry, Jr.; Vaux, Winiiam S.; and Taytor, ALrrep B. Preface. Pp.
3-4 in Proceedings of Numismatic and Antiquarian Society of Philadelphia, Philadel-
phia, 1867.

Pick, BEHREND. C. Ludwig Miiller. edtschrift fiir Numismatik (Berlin, 1891), vol. 18,
pp. 349-351.

Das Herzogliche Miinzkabinett, mit einem Anhang, das Gothaer Miinzwesen.
Gotha, 1933. [A reprint from Gotha, das Buch einer Stadt, by various authors,
Gotha, 1933.]

Die antiken Miinzen von Dacien und Moesien. (Vol. 1 of die antiken Miinzen
Nord-Griechenlands, by various authors.) Part 1. Berlin, 1898.

Die Miinzkabinette. Blatter fiir Miinzfreunde (Dresden, 1920), pp. 33-42.

Republished: Pp: 217-226 in Aufsdtze zur Numismatik und Archaeologie, by
Pick, Jena, 1931.

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE 87

Pick, BEHREND. Die Miinzkunde in der Altertumswissenschaft. Gotha, 1922.
Republished: Pp. 135-155 in Aufsdtze zur Numismatik und Archaeologie, by
Pick, Jena, 1931.

Pick, Benrenp, and Reciinc, Kurt. Die antiken Miinzen von Dacien und Moesien.
(Vol. 1 of Die antiken Miinzen Nord-Griechenlands, by various authors.) Part 2.
Berlin, 1910.

Pink, Karn. Der Aufbau der rémischen Miinzpraégung in der Kaiserzeit [Septimius
Severus through Aemilianus]. .Nwmismatische Zeitschrift (Vienna, 1933), vol. 66,
pp. 17-54; (1934), vol. 67, pp. 3-17; (1935), vol. 68, pp. 12-34; (1936), vol. 69,
pp. 10-28.

——-. The triumviri monetales and the structure of the coinage of the Roman Republic.
(No. 7 in Numismatic Studies.) New York: American Numismatic Society, 1952.

PIRCKHEIMER, WILLIBALD. Aestimatio priscorum numismatum ad monetae Norimbergensis
valorem. Tiibingen, 1533.

Later edition: Nuremberg, 1542.

Puy. Natural history. In Latin and English. Transl H. Rachham. 10 vols.
Cambridge: Harvard University Press, 1938-1963.

Pory p’AvantT, Faustin. Les monnaies féodales de la France. 3 vols. Paris, 1858-1862.

Reprinted: 2 vols. Graz, 1960.

Polish Numismatic News—see Wiadomosei numizmatyczne.

PouiziAno, ANGELO AmBroGINi. Angeli Politiani miscellaneorum centuriae primae.
Florence, 1489.

Poote, Recinatp S. On Greek coins as illustrating Greek art. .Vumismatic Chronicle
(London, 1864), new ser., vol. 4, pp. 236-247.

PrapEAu, ALBERTO FRANCISCO. Numismatic history of Mexico from the pre-Columbian
epoch to 1823. Los Angeles, 1938.

Spanish edition: Historia numismatica de Mexico desde la epoca precortesiana
hasta1823._ Mexico City, 1950.
Historia numismatica de Mexico de 1823 a 1930. 4 vols. Mexico City, 1957—
19061.

Probst, Giinther (ed.). Numismatische Literatur Osteuropas und des Balkans. 2 parts.
Graz, 1959; 1963.

Proceedings: Numismatic and Antiquarian Society of Philadelphia (Philadelphia, 1865-
1935?).

Prou, Maurice. Les monnaies carolingiennes. Paris, 18906.

———. Les monnaies merovingiennes. Paris, 1892.

QuICKELBERG, SAMUEL VON. Theatrum sapientiae. Munich, 1565.

Raczynsk1, Epwarp H. Gabinet medaléw polskich. 4 vols. Poznan and Berlin, 1841—
1845.

Earlier French edition: Le médaillier de Pologne. 2 vols. Breslau, 1838.

Ramus, Curistian. Catalogus numorum veterum Graecorum et Latinorum musei regis Daniae.
3 vols. Copenhagen, 1816.

Rascue, JouANN Curistopu. Lexicon universae rei numariae veterum. 6 vols. Leipzig,
1785-1795.

Supplement: 3 vols. Leipzig, 1802-1805.

Rasmusson, Nirs Lupvic. Myntkunskap och myntsamlande i Sverige fore ankring

1640. Numismatiska meddelanden (Stockholm, 1933), vol. 27, pp. 116-141.
Scandinavian medieval numismatics. Pp. 291-335 in vol. 1 of Congresso
internazionale di numismatica, Rome, 1961.

Raver, Oscar E. Les ‘‘ Poulains’? de Corinth. 2 vols. Vol. 1, Basel, 1936; vol. 2,

London, 1948.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Numismatique grecque: Falsifications, moyens pour les reconnaitre. London:
Spink, 1940. [Reprint from Revue Numismatique (Paris, 1933) under another
tite: Notes techniques pour reconnaitre les monnaies grecques fausses. |

Raymonp, WaytTe. Coins of the world: Nineteenth century issues. 2nded. New York,
1953.

———.. Coins of the world: Treentieth ce niury issues. 5th ed. New York ,1955.

———. The standard catalogue of United States coins. 18th ed. New York, 1957.

Recuine, Kurr. Die antike Miinze als Kunstwerk. Berlin, 1924.

———. Die griechischen Miinzen der Sammlung Warren. Berlin, 1936.

———. Terina. Berlin, 1906.

REIFENBERG, ADOLF. Ancient Jewish coins. Jerusalem [1940].

Third edition: 1963,

Renaissance papers. By various authors. (Report of 13th Annual Renaissance Meet-
ing in the Southeastern States, University of South Carolina.) Durham: Duke
University Press, 1956.

REnG]EO, Ivan. Corpus der mittelalterlichen Miinzen von hroatien, Slavonien, Dalmatien
und Bosnien. Graz, 1959.

Revista. Numismatica (Sio0 Paolo: Sociedade Numismatica Brasileira, 1933-4).
[A journal.]

Revue belge de numismatique (Brussels, 1875+). [A journal. Former title: Reoue de
la numismatique belge (Tirlemont and Brussels, 1842—-1875).]

Revue de la numismatique belge—see Revue belge de numismatique.

Revue numismatique [francaise] (Paris, 1836-1870; 18744-). [A journal.]

Revue suisse de numismatique—see Schwerzertsche Numismatische Rundschau.

Ricuter, GiserA M. A.) A Greek silver phiale in the Metropolitan Museum.
American Journal of Archaeology (Concord, N.H., 1941), vol. 45, pp. 363-389.

Ancient plaster casis of Greek metalware. American Journal of Archacology
(Princeton, N.J., 1958), vol. 62, pp. 369-377.

———. Calenian pottery and classical Greek metalware. American Journal of
Archaeology (Princeton, N.J., 1959), vol. 63, pp. 241-251.

Rippet1, JoHN L. A monograph of the silver dollar, good and bad. New Orleans, 1845.

RicGauver, Hans. Geschichte des konighichen Miinzkabinets. Bamberg, 1890.

Rivero, Casto Maria DEL. Don Antonio Agustin, principe de los numismaticos espanoles.
Madrid, 1945. [Reprinted from Archivio Espanol de Arqueologia (Madrid, 1945),
pp» 97-123.]

EI gabinete numismAtico del Museo Arquelégico de Madrid. Pp. 611-021

in vol. 2 of Congrés International de Numismatique, 1953, Paris, 1957.
Rivista italiana di numismatica (Milan, 1888-1929; 1941+4-). [A journal.]
Rizzo, Giutio EMANUELE. Afonete greche della Sicilia. 2 vols. Rome, 1946,
Roperts, S. R. José Torihio Medina: His life and works. New York, 1941.
Rosertson, ANNE S. Anglo-Saxon coins: Hunterian and Coats Collections, University of
Glasgow. (Unnumbered vol. of Sylloge of coins of the British Isles, by various
authors.) London, 1901.
Rosinson, Epwarp Stanitey G. The beginnings of Achaemenid coinage. .\u-
mismatic Chronicle (London, 1958), ser. 6, vol. 18, pp. 187-193.
The coins from the Ephesian Artemision reconsidered. Journal of Hellenic
Studies (London, 1951), vol. 71, pp. 156-167.
The date of the earliest coins. Numismatic Chronicle (London, 1956), ser. 6,

vol. 16, pp. 1-8.

SRA 89
PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Roume, GuittAume. Promptuaire des médailles des plus renommées personnes qui ont
esté depuis le commencement du monde, avec briéve description de leurs vies et faicts, recueillie
des bons auteurs. 2 vols. Lyon, 1553.

Rousset, AAGE. Danmarks Nationalmuseum. Copenhagen, 1957.

Rupinc, Rocers. Annals of the coinage of Great Britain and its dependencies. 4th ed. 3
vols. London, 1840.

SABATIER, JUSTIN. Description générale des monnaies byzantines frappées sous les empereurs
Orient depuis Arcadius jusqwa la prise de Constantinople par Mahomet II. 2 vols.
Paris, 1862.

Reprinted: Leipzig, 1930; Graz, 1955.

Sauinas, ANTONINO. Le monete delle antiche citta di Sicilia. Palermo, 1867.

Sampon, Luci. Recherches sur les anciennes monnaies de UTtalie méridionale. Naples,
1863.

———. Recherches sur les monnaies de la presqwile italique depuis leur origine jusqwa la
bataille d’Actium. Naples, 1870.

Saucy, Louis FELICIEN DE. .Vumismatique des croisades. Paris, 1847.

ScuaLk, Kari. Nationalékonomie und Numismatik in ihren Wechselbeziehungen.
Numismatische Zeitschrift (Vienna, 1891), vol. 23, pp. 321-332.

ScuyjOTH, FREDERIK. The currency of the Far East: The Schgoth collection in the Numis-
matic Cabinet at the University of Oslo, Norway. London and Oslo, 1929.

ScHLossEr, JuLtus von. Die Aunst- und Wunderkammern der Spatrenaissance. Leipzig,
1908.

ScHLUMBERGER, Gustave Lton. Numismatique de (Orient Latin. Paris, 1878-1882.

Reprinted: Graz, 1954.

SCHROEDER, ALBERT. Annam, études numismatiques. Paris, 1905.

Schrétter, Friedrich von (ed.). Worterbuch der Miinzkunde. Berlin and Leipzig, 1930.

Scuupert, Fepor Feporovircu. Afonnaies et médailles russes. Leipzig, 1858.

Monnayes russes des derniéres trois siécles depuis le Czar Joan Wasiliewicz Groznyr
jusqw a Vempereur Alexandre IT, 1547-1855. 1 vol. + atlas. Leipzig, 1857.

Scuutze, JoHANN Hetricu. Uber die Miinzwissenschaft und die daraus zu erlduternden
griechischen und romischen Altertiimern. Halle, 1766.

ScHWABACHER, WILLY. Das Demareteion. Bremen, 1958.

Die Neueinrichtung des kéniglichen Miinz- und Medaillenkabinetts im
Staatlichen Historischen Museum. Aunstchronik (Nuremberg, 1950), vol. 3,
pp. 54-57.

Die ‘Tetradrachmenpragung von Selinunt. Mitteilungen der Bayerischen
Numismatischen Gesellschaft (Munich, 1925), vol. 43, pp. 1-89.

Miinzen des Altertums. Pp. 131-162 in vol. 2 of Aunst- und Antiquitaten-
buch, by various authors, Heidelberg and Munich, 1959.

Schweizerische Numismatische Rundschau (Bern, 1925+). [A journal. Former title:
Revue suisse de numismatique (Geneva, 1891—1924).]

Schweizer Miinzblatter (Basel, 1949+). [A journal. Also called Gazette numismatique
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Scuwinkowskl, WALTER. Numismatik und Geldwissenschaft. .Vumismatische Zeit-
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SELTMAN, Cuarves T. Athens: Its history and coinage before the Persian invasion. Cam-

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Masterpieces of Greek coinage. Oxford, 1949.
SERAFINI, Count Camitto. Le monete e le bolle plumbee pontificie del medagliere Vaticano.
4 vols. Milan, 1910-1928.

90 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

PAPER 32:

Sestini, Domenico. Descrizioni d’alcuni medaglie greche. 3 vols. Florence, 1822-1829.

Lettere ¢ dissertaziont numismatiche le quali servir possono di continuazione ai nove

tomi gia editi. 9 vols. (Vol. 1, Milan, 1813; vol. 2, Pisa, 1817: vol. 3, Milan,
1817; vols. 4-9, Florence, 1818-1820.) Milan, Pisa, Florence, 1813-1820.

SHortr, ADAM. Documents relating to Canadian currency, ex hange and finance during the
French period. 2 vols. Ottawa, 1925,

Documents relating to currency, exchange and finance in Nova Scotia. Ottawa, 1933.

SmimMeL, Georc. Philosophie des Geldes. Munich, 1922.

SINGHAL, CG. R. Bibliography of Indian coins. 2 parts. (Part 1, Non-Afuhammadan series:
part 2, Afuhammadan and later series.) Bombay, 1950; 1952,

Svask1, JACEK, and TABAGZYNsKI, STANISLAW. Wezesnofredniowieczne skarby srebrne
Wielkopolski (The early medieval silver hoards of greater Poland). Warsaw
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Pa. Philadelphia, 1885.

SNOWDEN, JAMES Ross. Description of ancient and modern coins in the cabinet collection of
the Mint of the United States. Philadelphia, 1860.

SootHe, J. GC. von. Auserlesenes und hochst ansehnliches Ducaten-habinett. Wambure,
1784.

Soutzo, Prince Micuer C. Systemes monétairs primitifs. Bucharest, 1884.

Spaur, Ropoiro. Le monete siciliane dagli Aragonesi ai Borboni. Palermo, 1959.

SPANHEIM, EZECHIEL VON. Dussertatio de praestantia et usu numismatum antiquorum.
Rome, 1664.

Second edition: Amsterdam, 1671.
Third edition: 2 vols. London, 1706-1707.

Spasskil, I. G. Ocherki po istorii russkoi numizmatiki (Notes on the history of
Russian numismatics). Nwmismaticheskit: Sbornik (Moscow, 1955), pp. 34-108,

Strazio, Arrinio. Progressismo e conservatorismo neeli studi sulla pith antica
monetazione romana. <Annali: Istituto Italiano di Numismatica (Rome, 1955),
pp. 233-241.

Stearns, JoHN Barker, and Harr, Vernon, Jr. Byzantine gold coins from the Dart-
mouth College collection. Hanover, N.H., 1953.

Srorer, Matcotm. The Harvard collection of coins and medals. Harvard Alumni
Bulletin (January 1922), vol. 24, no. 15, pp. 339-341.

Strack, Max L. Die antiken Afiinzen von Thrakien. (Vol. 2 of Die antiken Miinzen
Nord-Griechenlands, by various authors.) Part 1. Berlin, 1912.

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Strapa, Jacopus DE. Lpitome thesauri antiquitatem, hoc est Impp. rom. orwentalium et
occidentalium iconum, ex antiquis numismatibus quam fidelissime delineatur: Ex miseo
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French edition: /pitome du thrésor des antiquitez, Cest a dire pourtraits des vrayes
medailles des empp.tant d’ Orient que d’ Oceident. "Vransl. Jean Louveau. Lyon, 1553.

StrOmBoM, SIXTEN. Elias Brenner iunga ar. Nordish Numismatisk Arsskrift, (Gopen-
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Srruve, B. G. Bibliotheca numismatica antiquorum. Jena, 1693.

Studit si cercetari de numismatica (Bucharest, 1957--)¢ [A journal.]

SucHopoLskI, STANISLAW. Review of the bibliography of Polish numismatics for
the period 1958-1960. Wiadomosci numizmatyczne (Warsaw, 1961), pp. 132-137.

SueTonius, TRANQUILIIUS. The lives of the tewelve Caesars. ‘Vransl. Alexander ‘Thomson.
Philadelphia, 1885.

NUMISMATICS—-AN ANCIENT SCIENCE

Sunrte, Artuur. Berlin, Staatliche Museen: Geld, Miinze und Medaille: Fiihrer durch
die Schausammlung des Miinzkabinetts. Berlin, 1957.
Sumner, WittiaM GRAHAM. A history of American currency. New York, 1874.
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SuTHERLAND, Carot Humpurey VIVIAN. Ancient numismatics: A brief introduction.
New York, 1958.
Coinage and currency in Roman Britain, London, 1937.
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1922.
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British Series. 5 vols. incl. var. fascs. London: British Academy, 1931+.
German Series. 8 parts. Berlin: German Archaeological Institute, 1957-+-.
American Series. 2 parts. New York: American Numismatic Society, 1961+-.
Sylloge of coins of the British Isles. London, 1958+-. [A multi-volume work by
various authors. ]

Trerxeira De AracAo, Aucusto Cartos. Descripgdo geral e histérica das moedas
cunhadas em nome dos reis, regentes e governadores de Portugal. 3 vols. Lisbon, 1874-
1880.

TrentzeL, WILHELM Ernst. Monatliche Unterredungen einiger guten Freunde von aller-
hand Biichern und anderen annehmlichen Geschichten. 10 vols. Leipzig, 1689-1698.

Saxonia numismatica oder Medaillen-Cabinet von Gedachnis-Miintzen und Schau-
Pfennigen. 4 vols. Dresden, Frankfort, and Gotha, 1705-1714.

Terrace, Epwarp Lee. Some historical Roman coins: From the Henry Fairbanks collection
of Greek and Roman coins at Dartmouth College. Hannover, N.H., 1958.

TERRIEN DE LACOUPERIE, ALBERT. Catalogue of Chinese coins, from the seventh century
B.C. to A.D. 621, included in the collection of the British Museum. London, 1892.
Tuan, RAPHAEL P. Register of issues of Confederate States treasury notes: Together with
tabular exhibits of the debt, funded and unfunded, of the Confederate States of America,

1861-1865. Washington, 1880.

Tuompson, JAMES Davin AntHony. Inventory of British coin hoards, A.D. 600-1500.
London: Royal Numismatic Society, 1956.

Tuompson, MARGARET. Coins from the Roman through the Venetian period. (Vol. 2 of
Athenian Agora, by various authors.) Princeton: American School of Classical
Studies at Athens, 1954.

Tuompson, MarGaret, and BELLINGER, ALFRED. Greek coins in the Yale collection,
part 4: A hoard of Alexander drachms. Yale Classical Studies (New Haven, 1955),
vol. 14, pp. 3-45.

Tuomsen, Rupr. Early Roman coinage: A study of the chronology. 3 vols. Copenhagen,
1957; 1961.

Tuurston, E. Catalogue of coins in the Government Central Museum, Madras. 4 vols.
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Tinc Fu-pao. Ku chien ta tzt-tien (Encyclopedia of old coins). In Chinese. 20
vols. [No place of publication,] 1938.

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1945), vol. 5, pp. 108-116; (1946), vol. 6, pp. 47-62; (1947), vol. 7, pp. 1-27;
(1960), vol. 20, pp. 1-24.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

PAPER 32:

Topp, RicHarp Cecit. Confederate finance. Athens, Ga.: University of Georgia Press,
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Totstoy, Count Ivan Ivanovitcn. Drevneishie russkie monety velikogo kniaszhestva
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Monety Pskovskie. St. Petersburg, 1886.
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5 tin aacpaee a an rewne " :
TORREMUZZA, PRINCE GABRIELE LANCILOTTO. Siciliae populorum et urbium, regum quoque
et tyrannos veleres nummi. Palermo, 1781.
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Trésor de numismatique et de glyplique. Vdit. Paul Delaroche, Henriquel Dupont, and
Charles Lenormant. 20 vols. Paris, 1834-1858.
Tsukamoto, Toyoyrro. The old and new coins of Japan (Nihon Kaheishi). Transl.
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Aiinstler. Berlin, 1913. [Reprint from Zeitschrift fiir Numismatik, vol. 30.]

U.S. BurREAU OF THE Mint. Catalogue of coins of the United States. Washington, 1928"
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United States at Philadelphia, Pa. \Washington, 1912.
Second edition: 1913; third edition: 1914.
Guide to the collection of the Afint of the United States at Philadelphia, Pa. \Nash-
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VAILLANT, JEAN Foy. Numismata imperatorum Romanorum praestantiora a Julio Caesare

ad Postumum et tyrannos. 2 vols. Paris, 1694.

Van Loon, Gerarp. Histoire métallique des NVIT provinces des Pays-Bas depuis Vabdica-
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1732-1737.

Earlier Dutch edition: Beschrywing der nederland. historipenningen. 4 vols.
s’Gravenhagen, 1723-1731.

VenuTi, RIoLPHINO CorTONENSI. Antiqua numismata maximi moduli aurea, argentea,
aerea ex museo Alexandri S.R.E. Card. Albani in Vaticanam Bibliothecam a Clemente
NII. Pont. Opt. Max. translata. 2 vols. Rome, 1739-1744,

VERKADE, P. Afunthoek bevattende de namen en afbeeldingen van munten, geslagen in de
zeven voormalige Vereenigde Nederlandsche Provincen, sedert. den vrede van Gent tot op
onzen tyd. Schiedam, 1848.

VERMEULE, Corneuius CG. Greek coins in the Elisabeth Washburn King collection
at Bryn Mawr College. Numuesmatic Chronicle (London, 1956), ser. 6, vol. 16,
pps 9=41.

Vicror Emmanuer ILI—see Corpus niummorum Italicorum.

VIEDEBANTT, Oskar. Antike Gewichtsnormen und Miinzfisse. Berlin, 1923.

Vittaret, E. pe. Numismatique japonaise. Revue Numismatique (1892), ser.
vol. 10, pp. 125-147, 217-240, 309-412.

Wau, Rupotpen. Wiandler der Welt: Friedrich IT, der sizilische Staufer. Munich, 1948.

WALKER, JOHN. Catalogue of the Muhammadan coins in the British Museum. 2 vols.

London, 1941; 1950.
The early history of the Department of Coins and Medals. British Museum

Quarterly (1953), vol. 18, no. 3, pp. 76-80.

NUMISMATICS—-AN ANCIENT SCIENCE

Watiace, WituraAm P. Greek coins and Greek history. Canadian Numismatic Journal
(Ottawa, 1958), vol. 3, pp. 330-336.

Wattace, Wiittam P., and Ati, E. J. Impurities in Euboean monetary silver.
Museum Notes (New York, 1954), vol. 6, pp. 35-67.

Wane Yt-cuUan. Early Chinese coinage. (No. 122 in Numismatic Notes and
Monographs.) New York: American Numismatic Society, 1951.

Later edition: Wo kuo tai huo pi tu ch’i yuan huo fa chan (The origin and
development of ancient Chinese coins). In Chinese. Shanghai, 1957.

Watanabe, Masajiro (ed.). Nihon tsuka hensen zukan (Illustrated album of the
development of Japanese currency). In Japanese. Tokyo, 1955.

Wascuinskt, Emin. Die Miinz- und Wahrungspolitik des Deutschen Ordens in Preussen, thre
historischen Probleme und seltenen Geprage. Géttingen, 1952.

Woahrung, Preisentwicklung und Kaufkraft des Geldes in Schleswig-Holstein von
7226-1864. Neumiinster, 1952.

Wei, Ruporr. Zur Geschichte des Studiums der Numismatik. eitschrift fiir
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WentzeL, Hans. Der Augustalis Friedrichs II und die abendlandische Glyptik des 13.
Jahrhunderts. Zeitschrift fiir Kunstgeschichte (Berlin, 1952), vol. 15, pp. 183-185.

Werner, Joacim. Miinzschatze als Quellen historischer Erkenntnis. fahrbuch fir
Numismatik und Geldgeschichte (Munich, 1950-1951), vol. 2, pp. 137-138.

WuitEHEAD, RicHarD BerTRAM. Catalogue of coins in the Panjab Museum, Lahore.
3 vols. Oxford, 1914-1934.

Wiadomosci numizmatyczne [Polish Numismatic News] (Warsaw, 1957+). [A journal.]

WIELANDT, FriepricH. Badische Miinz- und Geldgeschichte. Karlsruhe, 1955.

WINKELMANN, EDUARD. Uber die Goldpragungen Kaiser Friedrichs II. Afittezlungen
des Instituts fiir Osterreichische Geschichtsforschung (Vienna, 1894), vol. 15, pp. 485-
487.

Wotowskt, M. L. Traictie de la premiére invention des monnoies de Nicole Oresme. Paris,
1864.

Worterbuch der Miinzkunde—see Friedrich von Schrotter.

Yeoman, Ricuarp S. A catalogue of modern world coins. 6th ed. Racine, Wisconsin,
1964.

—, Guidebook of the United States coins. 18th ed. Racine, Wisconsin, 1964.

Yvon, Jacques. France, Italie et Orient Latin. Pp. 337-358 in vol. 1 of the
Congresso internazionale di numismatica, Rome, 1961.

Zapoxs-Josepuus Jirra, A. N. Notes and questions on coin ornaments. Pp. 453-459
in vol. 2 of Congrés international de numismatique, 1953, Paris, 1957.

Muntsieraden. Pp. 169-177 in Antiquity and survival: Honderd eeuwen
Nederland, by various authors. [No place of publication, 1958.]

ZaAuNn, Leopoitp. Schénes Geld aus zwei Jahrtausenden. Frankfort, 1958.

ZANETTI, Guipo ANTONIO. Nuova raccolta delle monete e zecche d'Italia. 5 vols. Bolo-
ena, 1775-1789.

Leitschrift fiir Miinz-, Siegel- und Wappenkunde. (Berlin, 1847-1852; 1859-1862).
[A journal. Later title: Berliner Blatter fiir Miinz-, Siegel- und Wappenkunde (Berlin,
1863-1873).]

Reitschrift fiir Numismatik (Berlin, 1874-1935). [A journal founded by Alfred von
Sallet.]

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Index

Academia Nacional de la Historia, Buenos Aires, 54

Adelson, Howard L., 7n, 59n, 66n, 68

Agricola (Georg Bauer) (1494-1555), 18, 68

Agustin, Antonio, 20, 20n, 68, 82

Ajuda, collection of the royal palace of, Lisbon, 35, 54

Akerman, John Yonge (1806-73), 37

Albani, Alessandro Cardinal (1692-1779), 29, 30, 30n

Albrecht V, Duke of Bavaria, 19

Alf6ldi, Andreas (b. 1895), 6, 6n, 10n, 48, 49, 49n, 68, 71

Alféldi, Maria Radnoty, 49

Alfonso, Don, Bishop of Evora, 19

Alfonso, Don, of Portugal, Count of Ourém, 19

Allan, John (1884-1955), 55

Allin, E. J., 94

Alphonso V, Ning of Sicily and Naples, 13

Altesschloss Museum, Stuttgart, 57

Ambras, Castle of, 14, 15, 30

American Museum of the Tammany Society, New York City, 61

American Numismatic Association, 65

American Numismatic Society, New York City, 9, 12, 43, 59,
61, 65, 66, 67, 85

American Philoscephical Society, Philadelphia, 60, 61

Amoros, Barra José, 54, 58n, 68

Andrés de Gusseme, Tomas, 27, 68

Andrews, Arthur, 55, 68

Anthon, Giinther, Duke of Schwarzenburg, 30

Antonius, Cardinal of St. Mark, 13

Antwerp—see Musée Royal

Applegate, J. Henry, 62

Appleton, William Sumner, 62

Aquinas, Thomas (1226-74), 12, 12n, 69

Araki, Toyosaburo, 56, 69

Aristotle, 9

Armand, Alfred (1805-88), 56, 69

Arrigoni, Honorio, 30

Arundel, Count (Thomas, 2nd Earl of Arundel and Surrey)
(1586-1646), 23

Asahi Shimbunsha, 56, 69

Ashmole, Elias, 23

Attinelli, Emmanuel Joseph, 64, 69

Auguet y Duran, Luis, 58

Augustus, Emperor, 10, 11

Aumont, Duke of, 24

Australian Numismatic Society, 55

Avellino, Francesco Maria (1788-1850), 35

Babelon, Ernest Charles Frangois, 2, 3n, 9, 9n, 11n, 12, 13n,
18, 18n, 19, 19n, 21n, 22n, 23n, 24n, 27n, 29n, 30n, 35n,
43, 43n, 47, 48, 56, 60n, 69, 74

Babelon, Jean (b. 1889), 31n, 38, 46, 56, 69

Bagarris, Pierre Antoine de, 20, 21

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Bahrfeldt, Emil (1850-1929), 39, 39n

Bahrfeldt, Max von (1856-1936), 39, 39n, 47, 69

Baker, William Spohn (1824-97), 63, 69

Balmuth, Miriam S., 64, 78

Balog, Paul, 50

Bantug, José Policarpio (b. 1884), 55

Barberini family, 20, 29

Barberini, Francesco Cardinal (1597-1679), 20

Barbo, Cardinal (Pope Paul IT), 13

Barcelona—see Gabinete Numismatico de Catalufia

Basel, coin collection in, 57

Bastien, Pierre, 49

Batalha Reis, Pedro, 19n, 36n, 54, 54n, 58n, GOn, 69

Beger, Laurenz (1653-1705), 24

Beistle, Martin Luther (d. 1935), 65, 69

Belden, Bauman Lowe (1862-1931), 65, 70

Bellinger, Alfred (b, 1893), 7n, 64, 64n, 66, 70

Belloni, Gianguido, 35n, 70

Beltran Martinez, Antonio (b. 1916), 54

Bement, Clarence Sweet (1843-1923), 63

Benedict NIV, Pope, 30

Benson, Frank Sherman (1854-1907), 63

Bentley, Rev. William, 60

Beresin, Ilia Nikolaevich (1818-96), 37n, 70

Berghaus, Peter, 7n, 39n, 50, 50n, 51n, 53, 70

Bergmann, Josef, 28n, 29n, 30n, 70

Berlin—see Miinzkabinett

Bern, coin collection in, 35, 57

Bernareggi, Ernesto, 53, 70

Bernhart, Max (1883-1952), 10n, 13n, 18n, 19n, 47, 47n, 56, 70

Bernhold, Johann Gottfried, 28

Betts, Charles Wyllys, 63, 70

Beutel, ‘Tobias, 20

Bezanson, Anne, 66, 70

hibliothéque Nationale, Paris, 18, 24, 25, 26, 33, 60 (see also
Cabinet des Médailles)

Bibliothéque Royale de Belgique, Brusscls~ sce Cabinet des
Médailles

Bieljaev, Osip, 36n, 70

Bildt, Baron de, 23, 23n, 70

Bilinski, Robert, 8n, 70

Bimard de La Bastille, Baron Joseph, 19,

Bizot, Pierre (1630-96), 26, 70

Blacas, Louis Charles (Pierre Casimir, Duc de Blacas d’Aulps),
(1815-66), 38, 84

Blanchet, Jules Adrien (1866-1957), On, 50, 51n, 71

Bloesch, Hansjérg, 3
Bogli, H., 49n, 71
Bochringer, Erich, 45, 71

Bonn—see Rheinisches Landesmuscum

Borghese, Prince, 29

Borghesi, Count Bartolomeo, 39, 46, 7

Borgia, Monsignor Stefano, 30

Boston—see Museum of Fine Arts

Boston Numismatic Society, 61, 65

Boulton, William Henry, 71

Bowker, Howard F., 56, 71

Bradbeer, William West, 65, 71

Bramsen, Ludvig (b. 1847), 56

Brandis, Johannes (1830-74), 39, 45, 71

Braun von Stumm, Gustav (1890-1963), 3n, 71

Breaden, Richard P., 3

Breen, Walter H., 66

Breglia, Laura, 35n, 48, 71

Breitenstein, Nils Jacob, 23n, 57, 7

Brenner, Elias, 26, 71

Brera Collections, Castel Sforzesco, Milan, 35, 58, 70

Breton, Pierre Napoléon (1858-1917), 55, 71

Brett, Agnes Baldwin (1876-1955), 44, 65, 71

Brewer, Fisk Parson, 64, 71

British Museum, London, Department of Coins and Medals,
32, 34, 34n, 35, 39, 43, 44, 47, 49, 55, 56, 57, 71, 78, 83, 93

Brown, John P., 62

Brown, W. Llewellyn, 45, 71

Bruck, Guido, 49

Brussels— see Cabinet des Médailles

Bruun, Patrick, 49

Bryn Mawr College, coin collection of, 64, 93 (see also King,
Elizabeth Washburn, Collection)

Buckingham, Duke of, 23

Budé, Guillaume, 18, 19, 7

Buenos Aires—see Academia Nacional de la Historia; Instituto
Bonaerense; Museo Histérico Nacional

Bunbury, Edward H., 39

Buoncompagni, Filippo Cardinal, 20

Burckhardt, Felix, 60n, 72

Burzio, Humberto F., 53, 54, 72

Bushnell, Charles Ira, 63, 72

Butlin, S. J., 55, 72

Buttrey, Theodore V., 7n, 72

Bykov, Aleksei Andreevich (b. 1896), 50

Cabinet des Médailles, Bibliothéque Royale de Belgique, Brus-
sels, 38, 57

Cabinet des Médailles, Bibliotheque Nationale, Paris, 30, 31,
32, 34, 37, 38, 43, 57; 69

Cahn, Erich, 72

Cahn, Herbert Adolph (b. 1915), 42n, 45, 46, 72

Calcagnini, Celio, 23n, 72

Calecutta—See Indian Museum

Caley, Earle Radcliffe (b. 1900), 45, 72

Calicé, F. Xavier, 54, 72

California, University of, at Berkeley, 64

Cameli, Francesco, 23n, 72

Camerarius, Joachim (1500-74), 18, 72

Campaner y Fuertes, Alvaro (d. 1894), 39

Campos, Manuel Joaquim de (1848-1908), 54, 72

Canadian Numismatic Association, 55

Carboneri, Giovanni, 52, 72

Carson, Robert A. G., 8, 47n, 49, 49n, 72, 75

Cartier, Etienne, 37

Caruso, Enrico, 63

Cassuto-Salzmann, Milka, 49n, 72

Castel Sforzesco—see Brera Collections

Catania, coin collection in, 35

Catherine IT, Tsarina of Russia, 36

Cavedoni, Celestino (1795-1865), 39, 46

Cavino, Giovanni, 13, 81

Central Museum, Madras, 55

Cesano, Secondina Lorenzina, 48

Chalon, Renier Hubert, 37

Charles I, King of England, 20

Charles III, King of Spain, 35

Charles 1V, Roman Emperor and King of Bohemia, 13

Charles VI, Emperor of the Holy Roman Empire, 15, 30

Charles IX, King of France, 20

Charles X Gustavus, King of Sweden, 23

Charles Louis, Rhinegrave, 24

Chase Manhattan Bank, New York, Museum of Moneys of
the World, 59

Chase, Philip H., 65, 73

Chaudoir, Baron Stanislav de, 36, 37, 40, 73

Chertkov, Aleksandr Dmitrievich, 36, 73

Chigi family, 29

Chijs, Pieter Otto van der, 38, 73

Chinese coin catalog, Numismatic Cabinet, Oslo, 56

Chinese Numismatic Society, Shanghai, 56

Chowen, Richard H., 13n, 73

Christina, Queen of Sweden, 20, 23, 23n, 24, 30, 76

Cicero, 9, 9n, 11n, 73

Cipolla, Carlo M., 53, 73

Circulo de Amigos Numismaticos de Santiago, 54

Clain-Stefanelli, Vladimir (b. 1914), 3, 43

Clement XII, Pope, 30

Clement XIV, Pope, 30

Coats Collection, 51

Codrington, Oliver (d. 1921), 49, 73

Cohen, Henri, 38, 47, 48, 73

Coimbra, University of, coin cabinet at, 36, 59

Colbert, Jean Baptiste, 22

Colburn, Jeremiah, 62

Cologne—see Rémisch-Germanisches Museum

Colonna family, 29

Columbia University, New York City, 64

Combe, Charles (1743-1817), 34n, 73

Combe, Taylor (1774-1826), 35, 73

Condulmerio, Antonio, Cardinal ef St. Mark, 20

Connecticut State Library, Hartford, 64

Contzen, Heinrich C. W., 12n, 73

Coole, Arthur Braddan (b. 1900), 56, 73

Copenhagen—see Kongelige Mgnt og Medaillesamlig

Copinger, H. S. A., 48n, 73

Correr, Geronimo, 30

Cospi, Ferdinando, 30

Cotton, Sir Robert (1571-1631), 34

Covarrubias de Leyva, Didacus (1512-1577), 18, 74

Cox, Dorothy Hannah, 7n, 64, 74

Cracavi, Pierre de, 22

Creuzer, Georg Friedrich (1771-1858), 3, 60

Cromwell, Oliver, 23

Crosby, Sylvester Sage, 43, 63, 74

D’Ailly, Baron Pierre-Phillipe Bourlier, 37, 37n, 74

96 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Dartmouth College Collection, 64, 64n,

Dasi, Tomas, 54, 74

Davenport, John S., 66, 74

Davidovitch, E. A., 50

Davids, Richard, 61

Davis, Robert Coulton, 62

Deacon, James Hunt, 55, 74

Delaroche, Paul, 93

Delgado y Hernandez, Antonio, 39

Desneux, Jules (1885-1962), 45, 74

Detroit National Bank, Money Museum, 5°

Dickeson, Montroville Wilson (1813-82), 63, 74

Dieudonné, Adolphe Edmond (1868-1945), 12n, 43n, 50, 51n,
71, 74

Dillistin, William H., 66

Dolley, R. H. Michael, 8, 51

Domanig, Karl (1851-1913), 56, 74

Domitian, Roman Emperor, 10

Dompierre de Chaufepié, Henri Jean de (1861-1911), 38n, 74

Dresden, loss of coin cabinet, 57

Dressel, Henrich (d. 1920), 39, 46n, 74, 75

Du Bois, William Ewing, 61n, 62, 62n, 63, 64n, 74, 75

Dumbarton Oaks, Washington, D.C., coin collection at, 64

Dupont, Henriquel, 93

Durand, Anthony, 19n, 23n, 28n, 33, 74

Du Simitiere, Pierre Eugéne, 60

Du Verdier, Monique, 3

Eckfeldt, Adam (1769-1852), 61

Eckfeldt, Jacob Reese, 62, 62n, 63, 74, 75

Eckhel, Joseph Hilarius, 28, 28n, 29, 35, 44, 47, 75, 80

Edwards, Jonathan, 64, 75

Elmer, Georg (d. 1943), 48, 49

Engel, Arthur (b. 1855), 50, 75

Engeli, Adolf, 42n, 7

Eppich, E., 5, 75

Erving, George William, 61

Eugene IV, Pope, 13

Evans, Sir Arthur John (1851-1941), 8n, 39, 45, 75

Fabretti, Ariodante (1816-94), 35n, 75

Fabrica Nacional de Moneda y ‘Timbre, Madrid, 58

Farnese, Alessandro Cardinal (1468-1549), 20, 23

Farnese, Odoardo Cardinal, 20

Farnese family 13, 20

Felt, Joseph Barlow (1789-1869), 62, 75

Ferdinand, Archduke of Tyrol, 14, 15

Ferdinand I, Emperor of the Holy Roman Empire, 14, 15, 19

Ferdinand VI, King of Spain, 35

Ferraro Vaz, Joaquim, 54, 75

Ficoroni, Francesco de’, 26, 75

Fiorelli, Giuseppe (1823-95), 35, 35n, 39, 75

Fitzwilliam Museum—see McClean Collection

Floca, Octay, 51

Florence—see Medagliere Medicco

Flérez, Enrique, 26, 75

Forrer, Leonard (1870-1954), 8n, 56, 75

Francis I, King of France, 21

Franke, Peter Robert, 7n, 28n, 39, 75, 76

Franklin Institute, Philadelphia, 61

Frederick II, Duke of Saxe-Gotha, 30, 31, 33

Frederick II of Hohenstaufen, Emperor, 12

Frederick III, Duke of Saxe-Gotha, 31

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Frederick II], King of Denmark, 23

Frederick the Great, King of Prussia, 20, 30

Frederick William I, Prince Elector of Brandenburg, 23, 24
Frey, Albert Romer, 53, 65, 75

Priedberg, Robert, 66, 75

Fricdensburg, Ferdinand (1858-1930), 6n, 75
Friedlaender, Julius, 20n, 23n, 39, 56, 75

Friese, Tilemann, 25, 75

Fritze, Hans von (1869-1919), 68, 75
Fréhlich, Erasmus, 30

Frossard, Edouard (1838-99), 65
Fugger, Hans Jakob, 19

Funchal, library of, coin collection at, 59

Gabinete Numismatico de Catalutia, Barcelona, 35, 58

Gabinete Numismatico del Musco Arqucolégico Nacional,
Madrid, 35, 58n

Gabrici, Ettore (1868-1962), 45, 46n, 48, 76

Gaebler, Hugo (1868-1947), 23n, 45, 68, 76

Galster, Georg (b. 1889), 51, 51n, 57, 76

Garcia de la Fuente, Arturo, 20n, 76

Gardner, Percy, 39, 43, 44, 45, 76

Garrett, J. W. (1872-1942), Collection, 64

Garvan, Francis P. (1875-1937), 64

Gebhart, Hans (1900-60), 3n, 53, 76

Gela, museum activity at, 58

Gelder, Hendrik Enno van (b. 1916), 4n, 38n, 56, 57n, 76
Genoa—see Lavagna Collection
George William, Prince Elector of Brandenburg, 24
Gerassimoy, Theodor, 43, 51
Gerloff, Wilhelm (1880-1954), 4, 76
Gibbs, James H., 61
Giel, Christian, 40, 76
Giesecke, Walther (1864-1949), 45, 48, 76
Gil Parrés, Octavio, 54, 76
Gillingham, Harrold Edgar (1864-1954), 6On, 66, 76
Gimeno Rua, Fernando, 58
Glasgow, University of —see Hunterian Collection
Gnecchi, Ercole (b. 1850), 53, 64, 77
Gnecchi, Francesco (1847-1919), 11n, 47, 53, 64, 76, 77
Gobl, Robert, 48, 49, 50
Goltzius, Hubert, 19, 77
Gonnard, René, 9n, 12, 12n, 77
Goorle, Abraham van, 20, 77
Gori, Antonio Francesco, 29n, 77
Gotha, loss of coin cabinet, 57
Gottorp, Dukes of, 20
Gouge, William M., 62, 77
Grant, Michael, 3n, 49, 77
Grierson, Philip, 3n, 6n, 7n, 8, 51, 51n, 53, 77
Groh, Edward (1837-1905), 61
Grose, Sidney William (b. 1886), 44, 77
Grote, Herman (1802-95), 37, 39, 39n, 70
Grotefend, Karl Ludwig (1807-74), 39
Grotemeyer, Paul, 3, 56, 57
Grueber, Herbert Appold (1846 1927), 47, 77
Guerini, Count Rochus, 20
Guiffrey, Jules, 15
Gumowski, Marian (b. 1881), 51, 77
Habich, George (1868-1932), 56, 77
Habrekorn, Raymond, 53
97

Havernick, Walter, 3, 4n, 6n, 50, 77, 78

Hague, The—see Koninklijk Kabinet van Munten

Haisig, Marian, 41n, 78

Hall, James, 61

Hall, Vernon, 64n, 91

Haller, Gottlieb Emanuel von (1735-86), 26, 78

Haller, Louis, 35, 78

Hamburg—see Museum fiir Hamburgische Geschichte

Hammer, J., 45

Hanfmann, George, 64, 78

Harvard University Collection, 60n, 64, 78, 91

Hatz, Gert, 50, 50n, 78

Haverkamp, Syvert (1648-1742), 23n, 78

Haym, Nicola Francesco (1679-1730), 32, 78

Head, Barclay Vincent, 43, 43n, 44, 45, 74, 76, 78, 82

Heath, George Francis (1850-1907), 65

Heberden Coin Room, Oxford University, 23

Heckscher, Eli F., 57n, 78

Heiss, Aldis, 39, 54, 78

Hennin, Michel (d. 1865), 34, 56, 78

Henry IT, King of France, 20, 21

Henry IV, King of France, 20, 21, 22

Hepburn, Alonzo Barton (1846-1922), 65, 78

Heraeus, Carl Gustav, 15, 30

Hermitage, coin collection of, 36, 37, 40, 50

Herrera y Chiesanova, Adolfo, 54, 78

Heuberger, ‘‘Kammerdiener,” 14

Heyde, Henry, 23

Hickcox, John Howard (1832-97), 63, 78

Hildebrand, Bror Emil (1806-84), 7

Hill, Sir George Francis, 6n, 11n, 12n, 43, 44, 45, 45n, 56.
78,79

Hill, Philip V., 49, 51

Hirmer, Max, 46, 79

Hirsch, Johann Christoph (1698-1780), 25, 79

Hirsch, Lucien de (1856-87), 57

Hogberg, T., 26n, 79

Hofmann, K. B., 45

Holst, Hans (1891-1956), 51

Holzmair, Eduard (b. 1902), 14n, 53, 56, 57, 7

Horace, 10

Houwelingens, Erasem van, 19, 7

Huber, Christian, 86

Hultsch, Friedrich Otto (1833-1906), 39, 45, 79

Hundt, Achim, 43

Hunter, William, 33, 34

Hunterian Collection, University of Glasgow, 33, 34, 34n,
51, 82, 89

Husz4r, Lajos (b. 1902), 51

Hutten-Czapski, Count Emeric, 41, 79

Iliescu, Octav, 51

Ilyin, A. A., 40, 79

Imhoof, Christoph Friedrich, 19

Imhoof-Blumer, Friedrich, 42, 43, 43n, 79

Indian Museum, Calcutta, 55

Ingholt, Harold, 73

Instituto Bonacrense de Numismatica y Antiguédades,
Buenos Aires, 54

Instituto de Numismatica, Paraguay, 54

Isracl Numismatic Society, 49

Itami, Saichiro, 56, 93

Jacobaeus, Holger (1650-1701), 23

Jacobs, Norman (b. 1924), 56, 79

James TI, King of England, 23

Jammer-Hatz, Vera, 50, 79

Janin, V. L., 51

Jankuhn, Herbert (b. 1905), 7n, 50, 79
Jefferson, Thomas, 60

Jenkins, G. Kenneth, 44

Jesse, Wilhelm (b. 1887), 3n, 4, 4n, 5n, 12n, 39n, 50, 79, 80
Jestis, Pablo J. de, 55

Joachim, Johann Friedrich (1713-67), 27, 80
Joachim IT, Prince Elector of Brandenburg, 20
Jobert, Louis (1637-1719), 25, 80

Johns Hopkins University, collections at, 64
Jorgensen, Christian, 39n, 80

John, Duke of Berry, 13, 15

John I, King of Portugal, 19

Johnson, Charles, 12n, 80

Johnston, Elizabeth Bryant (1833-1907), 62n, 80
Jones, A. H. M., 3n, 80

Joseph I, Emperor of the Holy Roman Empire, 30
Jungfleisch, Marcel (1879-1958), 50

Junta Chilena de Numismatica, Santiago, 54

Kadman, Leo (1893-1963), 49

Kadman Numismatic Museum, Tel Aviv, 49, 59

Kann, Edward (1880-1962), 56, 80

Karabacek, J., 86

Kazan, University of, collection at, 37

Kellner, Hans Jorg (b. 1920), 7n, 76, 80

Kennepohl, Karl (d. 1958), 50, 80

Kenner, Friedrich (1834-1922), 28n, 80

Kent, J. P. C., 49, 49n, 80

Kerch Museum, cabinet of, 37

Kerkwijk, A. O. van, 74

Kiersnowski, Ryszard, 51, 51n, 59n, 80

Kiev, University of, collection at, 37

Kindler, Arie, 59

King, Elizabeth Washburn, Collection, 64, 93

Kisch, Guido, 13n, 80

Kobata, Atsushi, 56, 80

Koch, Herbert, 27n, 80

Kohler, Johann David (1684-1755), 13, 27, 28, 32, 79, 80

Kohler, Johann Tobias (1720-78), 27, 80

Koehne, Bernard de, 36, 37

Koninkhjk Kabinet van Munten, The Hague, 38, 57n

Kongelige M¢nt og Medaillesamling, Copenhagen, 23, 23n,
35, 39, 52, 57, 57n, 71, 84

Kraay, Colin M., 45, 49, 80

Kraft, Konrad, 7n, 49, 76

Kunglig Myntkabinettet, Stockholm, 26, 50, 57, 58, 59

Kunsthistorisches Museum, Vienna, 15, 20, 29

Kuyk, J. van (d. 1949), 57n, 81

Labbé, Philippe (1607-67), 25, 81
Lacroix, Désire (b. 1860), 56, 81
Lafaurie, Jean, 8, 51, 53, 81

Laffranchi, Ludovico (1875-1952), 47, 87
Lahore—see Panjab Museum

Lallemand, Jacqueline, 8

Lanckoronski, Leo and Maria, 46, 81

Landesmuseum, Miinster, 57

98 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Lane-Poole, Stanley (b. 1854), 41, 49, 55, 81

Lange, Kurt (1898-1959), 46, 81

Lanzone, Ridolfo Vittorio, 75

La Saussaye, Louis de, 37

Laum, Bernhard (b. 1884), 4, 81

Lausanne, coin collection in, 57

Lavanga Collection, Genoa, 23

Lawrence, R. Hoe, 13n, 81

Lazius, Wolfgang, 18, 22, 43, 81

Leake, Stephen Martin (1702-83), 27, 81

Leake, William Martin, 39, 81

Le Blanc, Francois (d. 1698), 26, 81

Le Gentilhomme, Pierre, 51

Leite de Vasconcellos, José, 19n, 54, 60, 81

Leitzmann, J. J. (d. 1877), 35n, 37, 81

Lelewel, Joachim, 41, 41n, 78, 81

Le May, Reginald Stuart (b. 1885), 56, 81

Lenormant, Charles (1802-59), 93

Lenormant, Frangois (1837-83), 6, 6n, 60, 81

Leroux, Joseph, 55, 81

Levick, Joseph N. 'T., 61

Lewicki, Tadeusz, 51, 51n, 82

Lewis, Archibald Ross, 7n, 82

Leyden, University of, coin cabinet at, 38

Library Company, Philadelphia, 60

Liebe, Christian Sigismund, 31n, 82

Lilienthal, Michael (1686-1750), 27, 82

Lisbon—see Ajuda; Museu da Casa da Moeda; Museu
Maynense |

Li Tso-hsien, 55, 82 |

Liu Ch’ien, 55

Livy, 9

Lockhart, Sir James Haldane Stewart (1858-1937), 56, 82

Loehr, August Oktav von (b. 1882), 3n, 4, 50n, 53, 57, 57n, 82

Long Island Historical Society, 64

Lopez, Sarrano Matilda, 20n, 82

Loubat, Joseph Florimond, Duke of (b. 1831), 63, 82

Louis I, King of Portugal, 54

Louis XIV, King of France, 21, 22

Louis XV, King of France, 30, 31, 32

Louveau, Jean, 19, 91

Luppi, C., 27n, 82

Luschin von Ebengreuth, Arnold (1841-1932), 5n, 14n, 18n,
28n, 50, 50n, 82

Luynes, Honoré d’Albert, Duc de, 38

Macdonald, Sir George (1862-1940), 34n, 42, 45, 82

Madai, David Samuel, 27, 82

Mader, Joseph von, 28, 29, 82

Madras—see Central Museum

Madrid—see Fabrica Nacional de Moneda; Gabinete Numis-
matico; Real Academia de la Historia

Mahudel, Nicolas (1673-1747), 27, 82

Mailliet, Prosper D., 38, 82

Mainz—see Rémisch-Germanisches Zentralmuseum

Mameranus, Henricus, 18, 82

Manuel I, King of Portugal, 19

Marcellus IT, Pope, 20

Maria Theresa, 30

Maric, Ratislav (d. 1962), 52

Markov, Aleksei Konstantinovitch (b. 1858), 50, 83

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Marsden, William (1754
Martian, I., 6n, 83
Martin, Colin, 57n, 83

1836), 49, 83

Martinori, Edoardo, 53, 83
Massachusetts Historical Society, 62, 64
Massimi, Cardinal, 29

Massimi family, 20

Mateu y Llopis, Felipe (b. 1901), 3, 8,

Matthias Corvinus, King of Hungary, 14

20n, 50, 53, 54, 5

Mattingly, Harold, 10n, 34n, 47, 47n, 48, 48n, 73, 75, 80, 83

Mattingly, Harold B., 47n, 49n, 83

Maurice, Jules (d. 1939), 49, 83

Maximilian, Archduke of Modena, 35

Maximilian I, Elector and Duke of Bavaria, 19

Maximilian I, Emperor of the Holy Roman F mpire, 14

Maximilian II, Emperor of the Holy Roman Empire, 19

Mayer, Leo Ary (1895-1959), 49n, 83

Mayne, José (d. 1672), 35

Mazerolle, Fernand (1868-1941 ), 56

McClean Collection, Fitzwilliam Museum, Cambridge, 39,
39n, 44, 51, 75, 77

McClure, Robert A., 62n, 83

Mead, Richard (1673-1754), 34, 93

Medagliere Estense, Modena, 23, 35, 35n

Medagliere Mediceo, Florence, 35, 3

Medici, Cosimo de’, 13

Medici, Lorenzo de’ (11 Magnifico), 13

Medici, Pietro de’, 13

Medici family, 21

Medicis, Catherine de, 20, 21

Medina, Jose Toribio, 54, 54n, 83

Mehun-sur-Yévre, castle at, 15

Meili, Julius, 53, 83

Mély, F. D., 11n, 84

Memling, Hans, 16

Menadier, Julius (1854-1939), 20n, 84

Menadier, Karl, 84

Mercantile Library Association, St. Louis, 64

Mertens, Eberhart, 50, 78

Metcalf, D. Michael, 49n, 51n, 84

Metropolitan Museum—see Ward Collection

Metternich, Prince Klemens Wenzel, 31

Mexico—see Sociedad Numismatica de Mexico

Mey, Felipe, 20

Mickley, Joseph J. (1799-1877), 64, 64n, 74

Mikhailovich, Grand Duke Georgii (1863-1919), 40, 84

Milan— see Brera Collections

Milbank, Samuel Robbins (b. 1906), 66

Miles, George Carpenter (b. 1904), 49n, 50, 54, G4n, 66, 84

Miller zu Aichholz, Viktor von, 53, 84

Millin, Aubin Louis (1759-1818), 60

Mint Museum, Paris, 58

Mionnet, Vheodore-hdme, 34, 84

Missouri Historical Society, 64

Mithridates VI, Kine of Pontus, 8

Mitrea, Bucur, 51, 51n, 84

Modena

Modena, museum activity at, 58

Merkholm, Otto, 3

Moisil, Constantin (1876-1958), 51

Molyneus, William, 60

sec Medaglicre Estense

Mommsen, Theodor Christian Matthias, 38, 42, 46, 47, 60,
76, 84

Montagu, Hyman, 39, 84

Montreal—see Numismatic and Antiquarian Society

Morell, André, 22

Morgan, John Pierpont (1837-1913), 63

Mosser, Sawyer McArthur (b. 1905), 3, 8, 85

Mowat, Robert Knight (1823-1912), 10, 10n, 85

Miiller, Ludvig, 39, 85, 87

Miinster—see Landesmuseum

Miinsterberg, Rudolf (1864-1926), 10n, 11n, 85

Mintz, Eugéne Louis, 11n, 13n, 85

Miinzkabinett, Berlin, 39, 46, 50, 57n

Munro, Neil G., 56, 85

Muratori, Lodovico Antonio (1672-1750), 27, 27n, 82, 85

Musée Royal, Antwerp, 16

Museo Arquelégico Nacional, Madrid—see Gabinete Numis-
matico

Museo Correr, Venice, 35

Museo Histérico Nacional, Buenos Aires, 54

Museo Nazionale, Naples, collection of, 35, 35n, 39, 58, 71

Museu da Casa da Moeda, Lisbon, 35, 58

Museu Historico, Rio de Janeiro, 54, 55

Museu Maynense, Lisbon, 35

Museu Nacional de Soares dos Reis, Oporto, 36, 58

Museum fiir Hamburgische Geschichte, Hamburg, 57

Museum of Fine Arts, Boston, 7, 8, 9, 44

Mushmov, Nicolas A., 52

Naples—see Museo Nazionale; Santangelo Collection

Naster, Paul, 45, 45n, 57, 85

Neickelio, Caspar Friedrich, 15n, 19n, 32, 32n, 85

Nesmith, Robert I., 66

Nettels, Curtis Putnam, 65, 85

Newcomb, Howard Rounds (d. 1945), 65, 85

Newcomer, Waldo C. (1866-1934), 63

Newell, Edward Theodore, 42, 64, 65, 66, 85

Newman, Eric P., 66, 67, 85

New York Historical Society, 64

New York—see American Numismatic Society; Chase Man-
hattan Bank

New York State Library, 64

New Zealand Royal Numismatic Society, 55

Noe, Sydney Philip, 6n, 8, 45, 66, 67, 85, 86

Nohejlova-Pratova, Emanuela (b. 1990), 7, 8n, 51, 51n, 86

North, Geoffrey H., 3

Noss, Alfred, 52

Nova Goya (Goa), coin collection in, 59

Novello, Francesco, 13

Numismatic and Antiquarian Society of Montreal, 62

Numismatic and Antiquarian Society of Philadelphia, 61

Niutzel, Heinrich, 50, 87

Occo, Adolph, 19, 87

Odescalchi, Prince Livio, 23, 29

Odescalchi family, 30

Odessa Museum, cabinet of, 36

Omaha Public Library, 64

Oporto—see Museu Nacional de Soares dos Reis
Oreshnikov, Aleksei Vasilevitch, 40, 87
Oresmius, Nicholas, 12, 12n, 80, 87, 94

Oriental Institute, University of Chicago, 64

100

Orleans, Gaston, Duke of, 22

Orsini, Fulvio, 18, 20, 87

Oslo, Numismatic Cabinet, 56

Osterman, Count Andrei I., 36

Ottoboni family, 20

Overbeck, Johannes Adolf, 60

Ovid, 10, 87

Owen, W. H., 64, 87

Oxford University—see Heberden Coin Room

Padua, coin collection in, 35

Paduans, ancient coin imitations, 13

Pagani, Antonio, 47n, 87

Palermo, coin collection in, 35, 58

Pamphili family, 29

Panjab Museum, Lahore, 55, 94

Panvini Rosati, Franco, 35n, 87

Papadopoli, Nicolo (1841-1922), 53, 87

Paraguay—see Instituto de Numismatica

Paris—see Bibliothéque Nationale; Cabinet des Medailles;
Mint Museum

Parma, coin cabinet in, 35

Patin, Charles, 24

Patrignani, Antonio, 56

Paul II, Pope, 13

Pedrusi, Paolo (1644-1720), 23n, 87

Pellerin, Joseph (1684-1782), 27, 29, 87

Peres, Damiao, 54, 87

Pérez, Gilbert Somers (1874-1959), 55

Pernice, Erich, 45

Peru—see Sociedad Numismatica

Peter the Great, 36

Petrarch, 13,15:

Peutinger, Conrad, 18

Peutinger, Margareta, 18

Pfister, Kurt, 12n, 87

Philadelphia—see Numismatic and Antiquarian Society

Philadelphia Mint Cabinet, 59, 61, 62, 62n

Philip II, King of Spain, 20

Philip V, King of Spain, 35

Philippine Numismatic and Antiquarian Society, 55

Phillips, Henry (1838-95), 61, 61n, 62, 87

Philostratus, 6

Pick, Behrend (1861-1940), 3, 3n, 4, 31n, 32n, 39n, 68, 87, 88

Pink, Karl, 48, 49, 88

Piot, C., 37

Pirckheimer, Willibald (1470-1530), 18, 88

Pius VI, Pope, 30

Plato, 9

Pliny the Elder, 8, 9, 11, 11n, 88

Plutarch, 8

Poey d’Avant, Faustin (1792-1864), 38, 88

Poliziano, Angelo, 17, 88

Pombal, Sebastiao Jose de Carvalho e Mello, Marquis de, 35

Poole, Reginald Stuart, 39, 43, 44, 45, 88

Pradeau, Alberto Francisco (b. 1894), 54, 88

Praun, Paulus, 19

Prieur, P., 81

Princeton University, collection at, 64

Probszt, Giinther, 86, 88

Prou, Maurice (1861-1931), 50, 88

Prussian Academy of Sciences, 43

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Quickelberg, Samuel von, 19, 88

Raczynski, Edward H., 41, 88

Ramus, Christian (1765-1832), 23n, 35, 88

Rasche, Johann Christoph (1733-1805), 27, 88

Rasmusson, Nils Ludwig, 2, 7n, 8, 23n, 51, 51n, 57, 57n,
78, 88

Ravel, Oscar E. (1877-1949), 45, 88, 89

Raymond, Wayte (1886-1956), 66, 73, 89

Real Academia de la Historia, Madrid, coin collection in, 35

Rebelo, Antonio de Andreade, 3

Reed, Byron, 62

Regio Museo cabinet. ‘Turin, 3

Regling, Kurt Ludwig, 7, 42, 4

Reifenberg, Adolf, 49, 89

Rengjeo, Ivan (d. 1962), 52, 89

Resetar, Milan (d. 1943), 52

Rheinisches Landesmuseum, Bonn, 57

Rheinisches Landesmuseum, ‘Trier, 57

Rhode Island Numismatic Association, Providence, 61

Richter, Gisela M. A., 8n, 11n, 89

Riddell, John Leonard (1807-067), 62, 89

Rienzi, Cola di, 13

Riggauer, Hans (1849-1907), 19n, 89

Rio de Janeiro—sce Museu Historico; Sociedade Numismatica

Risk, James Charles, 66

Rivero, Casto Maria del, 20n, 54, 58n, 89

Rizzo, Guilio Emanuele (1866-1950), 46, 89

Roberts, S. R., 54n, 89

Robertson, Anne S8., 51, 89

Robinson, David Moore (1880-1958), 64

Robinson, Edward Stanley G., 9n, 44, 45, 48, 83, 89

Rochette, Raoul, 60

Rodenwaldt, Gerhard, 43

Rome, museum activity at, 58

5, 35n
2n, 4

4, 45, 46, 68, 88, 89

Roémisch-Germanisches Museum, Cologne, 57
Roémisch-Germanisches Zentralmuseum, Mainz, 57
Rossi, Francesco (b. 1827), 75

Roubier, Jean (b. 1896), 46

Rouille, Guillaume (1518-89), 17, 17n, 18, 90

Roussel, Aage, 23n, 90

Rubens, Peter Paul, 21

Ruding, Rogers (1751-1820), 39, 90

Rudolph 1, Emperor of the Holy Roman Empire, 15, 19

Sabatier, Pierre Justin, 38, 90

Sage, Augustus B., 61

St. Florian, coin collection of, 31

St. Louis—see Mercantile Library Association

St. Louis University, collection at, 64

St. Petersburg—see Société d*Archéologie

St. Mark, library of, coin cabinet in, 35

St. Mark Museum, 13

Salinas, Antonino (1841-1914), 39, 90

Salis, Count de, 47

Sallet, Alfred Friedrich von (1842-97), 20n, 23n, 39, 75, 94

Salmo, Helmer, 51

Saltykov, Peter S., 36

Sambon, Luigi (d. 1873), 39, 90

Santangelo Collection, Naples, 35, 39

Santiago—see Circulo de Amigos Numismaticos; Junta Chilena
de Numismatica

PAPER 32: NUMISMATICS—AN ANCIENT SCIENCE

Sauley, Louis lélicien de, 38, 90

Savoya cabinet, ‘Purin, 23

Saxe-Gotha, coin cabinet of, 31, 33

Schalk, Karl, 5n, 90

Schjéth, Frederik (b. 1846), 56, 90

Schlaeger, Prof., 31

Schlichtegroll, Friedrich, 35

Schlosser, Julius von, 9, 9n, 14, 14n, 15n, 90

Schlumberger, Gustave Léon (1844-1929), 50, 90

Schroeder, Albert (b. 1851), 56, 90

Schroetter, Friedrich von (1862-1944), 52, 53, 90, 94

Schubert, Fedor ledorovich, 40, 90

Schulze, Johann Heinrich (1687-1744), 13, 27, 59, 90

Schwabacher, Willy, 2, 13, 45, 46, 57, 57n, 90

Schwarz, Jacques G., 62

Schwarzenberg, Prince of, 22

Schwinkowski, Walter (d. 1938), 3n, 90

Scott, J. W., 65

Scott, Kenneth, 66

Seavy, F. G., 62

Seltman, Charles Theodore (1886-1957), 45, 46, 90

Serafini, Count Camillo, 13n, 20n, 30, 53, 90

Serrure, Constant Antoine, 38

Serrure, Raymond Constant, 38, 50, 75

Service, C. P., 37

Sestini, Domenico, 34, 35, 91

Sesto, Marco, 13

Settala, Manfredo, 30

Shanghai—sce Chinese Numismatic Society

Shih, Kalgan, 55, 80

Shortt, Adam, 55, 91

Simmel, Georg, 5, 19

Singhal, C. R., 55n, 91

Slaski, Jacek, 7, 8n, 91

Sloane, Sir Hans, 32, 33

Smith, Andrew Madsen, 62n, 91

Smithsonian Institution, Washington, D.C., Division of Numis-
matics, 4, 5, 27, 28, 38, 47, 59, 66

Snowden, James Ross, 62, 67, 91

Snyderman, Isadore, 3

Sociedad Numismatica, Peru, 54

Sociedad NumismA&tica de Mexico, Mexico City, 54

Sociedade Numismatica, Rio de Janeiro, 55

Sociedade Numismatica Brasileria, Sao Paulo, 55

Société d’Archéologie et de Numismatique de St. Petersbourg,
36

Sokolova, I. V., 51

Soothe, J. C. von, 27, 91

Sourdel, Dominique, 50

South Australian Numismatic Society, 55

Soutzo, Prince Michel C., 45, 91

Spahr, Rodolfe, 53

Spanbeim, Ezechiel von, 24, 91

Spasskii, I. G., 3, 36, 36n, 91

Staatliche Miinzsammlung, Munich, 56, 57

Stazio, Attilio, 48, 48n, 91

Stearns, John Barker, 64n, 91

Stewart, lan A., 51

Stickney, Matthew Adams, 64

Stockholm—see Kunglig Myntkabinettet

Storer, Malcolm (b. 1862), 60n, 91

101

Strack, Max Lebrecht (1867-1914), 91

Strack, Paul M. (1904-41), 43, 47, 91

Strada, Jacobus de, 19, 20, 91

Str6mbom, Sixten, 26n, 91

Struve, B. B., 25, 91

Stuttgart see Altesschloss Museum

Suchodolski, Stanislaw, 51, 51n, 91

Suetonius, 10, 11n, 91

Suhle, Arthur (b. 1898), 50, 57, 57n, 78, 92
Sumner, William Graham (1840-1910), 92
Supino, Igino Benvenuto (b. 1859), 35n, 92
Sutherland, Carol Humphrey Vivian, 3n, 45, 49, 75, 92
Svoronos, Joannes N., 45, 45n, 92

Swinton, John, 34

Sydenham, Edward Allen (1873-1948), 48, 83, 92
Syracuse, coin collection in, 35, 58

‘Tabaczynski, Stanislaw, 8n, 91

‘Teixeira de Aragao, Augusto Carlos, 54, 92
‘Tel Aviv—see Kadman Numismatic Museum
Tentzel, Wilhelm Ernst, 26, 27, 92

‘Terrace, Edward Lee, 64n, 92

‘Terrien de Lacouperie, Albert, 56, 81

Thian, Raphael P., 65, 92

Thomannus, Dr., 19

‘Thompson, James David Anthony, 7, 8, 92
‘Thompson, Margaret, 7n, 64, 64n, 92
Thomsen, Rudi (b. 1918), 8, 48, 48n, 92
Thordeman, Bengt (b. 1893), 51

Thurston, Edgar (1855-1935), 55, 92

Ting Fu-pao, 55, 92

‘Titus, Roman Emperor, 10

‘Tod, Marcus N., 45, 92

Todd, Richard Cecil, 65, 92

Tolstoi, Count Ivan Ivanovitch (1853-1916), 40, 79, 93
‘Tornberg, Carl Johan (1807-77), 50, 93
Torremuzza, Prince Gabriele Lancilotto (1727-94), 26, 30, 93
‘Toynbee, Jocelyn M. C., 11n, 93

Trajan, Roman Emperor, 10

‘Trier—see Rheinisches Landesmuseum
‘Tsukamoto, Toyojiro. 56, 93

Tudeer, Lauri O., 8n, 52, 93

‘Turin—see Regio Museo

University Museum, Philadelphia, 64, 64n, 84
Urban VII, Pope, 20

Vaillant, Jean Foy, 22, 23, 93

Valencia, University of, coin cabinet at, 35

Van Loon, Gerald (1683-1758), 34, 56, 93

Varin, Jean (1604-72), 21

Vassar College, 64

Vatican Coin Cabinet (Medagliere), 20n, 30, 30n, 53, 90
Venice—sce Museo Correr; St. Mark, library of

Venuti, Ridolphino, 30n, 93

Verkade, P., 38, 93

Vermeule, Cornelius C., 56, 64, 79, 93

Vermont Numismatic Society, Montpelier, 61

Victor Emmanuel IIT, King of Italy, 52, 74, 93

Vidal Quadras y Ramén, Manuel, 40, 72

Viedebantt, Oskar, 45, 93

Vienna—see Kunsthistorisches Museum

Vienna (Imperial Coin) Cabinet, 30, 56, 57

Villaret, E. de, 56, 93

Vives y Escudero, Antonio (1859-1925), 54

Volynsk, Count A. P., 36

Wahl, Rudolph, 12n, 93

Walker, John (1900-64), 49, 93

Walker, John, 49, 93

Wallace, William P., 3n, 45, 93, 94

Walpole, Horace, 34

Wang Yi-ch’tian, 55, 55n, 94

Ward Collection, Metropolitan Museum, New York City, 44, 78

Warren, E. P., 44

Waschinski, Emil, 50, 94

Washington, D.C.—see
Institution

Watanabe, Masajiro, 56, 94

Weil, Rudolf, 19n, 94

Welin, Ulla S. Linder, 2, 50

Welser, Christoph, 18

Wentzel, Hans, 12n, 94

Werner, Joachim (b. 1909), 6n, 94

West, Louis C. (b. 1882), 66

Western Pennsylvania Numismatic Society, Pittsburgh, 61

Whitehead, Richard Bertram, 55, 94

Whitmore, H., 61

Whittemore, 'T’., 64

Wielandt, Friedrich, 50, 53, 94

Wilhelm V, Duke of Bavaria, 19

Winkelmann, Eduard, 12n, 94

Winkelmann, Johann Joachim, 42

Winterthur, coin collection in, 57

Wisconsin Historical Society, 64

Dumbarton Oaks; Smithsonian

Wisconsin, University of, 64
Wolowski, M. L., 12n, 94

Wood, Howland (1877-1938), 66
Worm, Ole (d. 1654), 23

Yale University, coin collections at, 64
Yeoman, Richard S., 66, 94

Yvon, Jacques, 3, 51, 51n, 94
Zadoks-Josephus Jitta, A. N., 6n, 94
Zahn, Leopold, 46, 94

Zanetti, Guido Antonio (1741-91), 26, 94
Zeno, Apostolo, 31

Zurich, coin collection in, 57

U.S. GOVERNMENT PRINTING OFFICE: 1965

For sale by the Superintendent of Documents, U.S. Government Printing Office
Washington, D.C. 20402 Price $1.00

CONTRIBUTIONS FROM
THe Museum or History anb TECHNOLOGY:

Paper 33

ITALIAN Corin ENGRAVERS
SINCE 1800
Elvira Eliza Clain-Stefanelli

INTRODUCTION 2

TURIN 3

MILAN, VENICE, AND GENOA 6
FLORENCE ge

PARMA iS

PAPAL ROME 17

NAPLES 30

ROME SINCE I8O6I 44
SUMMARY 62

LITERATURE CITED 63

ITALIAN COIN ENGRAVERS SINCE 1800
By Elvira Eliza Clain-Stefanelli

INTRODUCTION

Un phénoméne qui est d’abord économique puis
qui s‘élargit dans le domaine de lesthétique.
—Jean Babelon, La médaille et les médailleurs

This study is concerned with coins as works of art.
It may seem unusual to approach such objects of
daily use—regarded popularly as the quintessence of
crudest materialism—in esthetic terms. Nevertheless,
coins are a direct and sincere expression of their time
and are often true reflections of the artistic concepts
of a period as they filter through the personality of an
artist.

It is customary to regard only coins from earlier
periods of history as creations of art and to deny this
characteristic to contemporary productions. Essen-
tially, however, there is little difference between an
ancient and a modern coin. Both are frank expres-
sions of their age. But there is some weight to the
former view.
beauty formed an integral part of everyday life, in
the modern world a more utilitarian ideal predom-
With

technical progress and its emphasis on mechanical

inates—a fact which is often reflected in coins.
processes there has come a neglect of spontaneity in
expression. Despite this, however, many modern coin

engravers have succeeded in giving an_ artistic
interpretation to even the coldest and most official
pattern, and their work must be considered in terms
of genuine art.

The modern coinage of Italy presents many in-
teresting problems, among them the investigation of

how a country in which a strong art tradition had
\ g

While in classical times the ideal of

existed since ancient times met the challenges which
its own period presented and how that country com-
peted with the contemporary art of other nations,
especially France. It is interesting to observe also
how tradition, that sometime beneficent guide for
new generations, can become a merciless tyrant which
annihilates spontaneity, one of the most desirable
qualities in art. A related problem lies in discovering
how Italian artists tried to satisfy the quest for inno-
vation, how they attempted to get away from es-
tablished patterns, and where they directed their
attention for new inspiration.

To appreciate the creative process of each coin
engraver, to understand his personality, his problems,
and to evaluate his creations as esthetic reflections
within a historical framework is the theme of the
present study. This primary motif is shifted at times
to a more detective-like process of trying to identify,
along lines of stylistic peculiarities, the various artists
who worked anonymously on a certain coinage.

For reasons of space this is necessarily a selective
study. It is not a complete series of the artists of the.
period nor is it a complete listing of each man’s work,
but rather it presents the major figures and their more
representative productions. In general, the large
silver and gold coins are given preference, with atten-
tion centered on portraits, since the latter, in fact, are
considered the ultimate test of a coin engraver’s per-

2 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

ception and skill in transmuting esthetic and human
values into harmonious creations. Medals as a rule
are neglected because their wide variety surpasses the
limits of this study; they are occasionally included to
cast light upon certain aspects of a particular artist,
and many times only one side is necessary for this
purpose. In the discussion of Neapolitan medals,
illustrations are drawn from publications by Ricciardi
and Siciliano and not from the famous collections
in the Naples Museum since these are only now in

the process of being published. Unless otherwise

noted, the illustrated coins and medals are actual
size. Many of the coins are in the national collection
of the Smithsonian Institution. Sources of the photo-
graphs are indicated with each legend. The author
is grateful to the American Numismatic Society for
supplying many photographs and to Mr. Joseph
Bowen and Mr. James Duggins of the Smithsonian

photographic division for their work.

TURIN

At the beginning of the nineteenth century, Italy,
then only a group of independent states governed by
local and foreign dynasties, was on the threshold of
a tumultuous era. New political ideals had arisen,
inspired in part by the ferment of the French Revo-
lution and the Napoleonic wars. In a few decades
dedicated men like Mazzini, Garibaldi, Victor Em-
manuel IT, and Count Camillo Cavour proclaimed,
on the basis of these ideals, the politcal credo of their
generation and after many battles welded Italy into
a united kingdom.

The cultural development, as a reflection of the
political destinies of these various Italian states,
followed a tradition often determined only by dynastic
interests and usually antagonistic to the nationalistic
spirit. Artistic creations, and among them the work
of the coin engravers, followed the general spiritual
trend, each monarchy with its own groups of artists
working independently. Until Victor Emmanuel IT,
assisted by Count Cavour, succeeded in forging the
political unity of the country with Rome as the
capital, at least four major intellectual centers were
discernible: Turin, Milan-Venice, Rome, and Naples.

Turin, because of its geographical position, drew
its inspiration from Paris, where for centuries the
art of engraving had been cultivated and where it had
been brought to a high degree of perfection. ‘The
cult of personality cherished by Louis NIV and
Napoleon Bonaparte had found able proponents in
engravers like Augustin Dupré, Jean Pierre Droz, and
Pierre Joseph Tiolier. The portraits of each ruler,
distant and imposing in their godlikeness, assumed
During Louis NIV’s

time the pomp of the exterior adornment on the

various forms of expression.

figure gave majesty to the rather impersonal and
remote likeness of the king, while, later, ‘Tiolicr’s art
succeeded in expressing an exalted image of the ruler

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

with the simplicity of neoclassicism and the psycho-
logical insight of the post-Rousseau period.

This direction in art, along with all the other neo-
classical tendencies of Napoleon I, found a ready
acceptance beyond the Alps,
perfection of form, with its noble simplicity, already
existed in a tradition filtered through the Renais-
sance During the
period Italian engravers rivaled their French col-

where the cult. of

from classical times. Empire

leagues in rendering homage to Napoleon, and _ his
portrait was the subject of many outstanding Italian
artists. Manfredini’s bust of Napoleon (Fig. 7)
can be considered a real challenge to ‘Violier’s por-

trait of his Emperor (Vig. 8).

FOOTNOTES
Single citation in footnote indicates supporting
reference. Plural citations indicate the standard
sources for description of the coin or information
about the artist.
All footnotes are in shortened form. Complete

references are cited at the end of this paper.
Book abbreviations

BDM= Biographical dictionary of medallists by Leonard
Forrer
CN1= Corpus nummorum Italicorum
R= Relazione della Reale Qecca
CagS= Supplemento alle monete del Reame delle Due Steilre
da Carlo I d’Angio a Vittorio Emanuel IT by Memmo
Cagiati
Periodical abbreviations
BOCNN= Bollettino del Circolo Numismatico Napoletano
IN=Italia numismatica
NCtre
NumR
RasN
RIN= Rwwista italiana dit nwmismatica

= Numismatic Circular
Vumismatica (Rome)

Rasscgna numismatica (title varics)

Among the group of distinguished artists working
during that time in Turin were the Lavy brothers.

Amedeo Lavy! (1777-1864) was descended from
a French family of engravers and sculptors who had
been established since the early seventeen-hundreds
in Piedmont. His father Lorenzo, who studied in
Paris with Pierre Germain, the goldsmith of the
Royal Court, worked later as coin and medal engraver
at the Turin mint. He left an impressive series of
dies for a medallic history of the Savoy family,
Storia metallica della Real Casa di Savoia. The older
son Carlo Michele? (1765-1813) after studying a
few years in Paris, also worked, after 1789, at the
Turin mint. Amedeo Lavy, the younger and more

Well
known as a sculptor of portrait busts, statues, and

fortunate brother, led a highly diversified life.

terra cottas (for the church in Castagnola), as an
engraver of coin and medal dies, and as a designer
of stamp and currency vignettes and of playing
cards, his renown remained widespread and _ his
popularity constant even during the changing regimes
of the Savoy kings and Napoleon.

Lavy started at the age of thirteen as an apprentice
in the Turin mint, later completing his studies at the
Academy of Fine Arts. One of his first works was a
copy of a portrait of Queen Christina of Sweden
(1794). Two years later he engraved the dies for the
coinage of Charles Emmanuel IV of Savoy. The
vicissitudes of the Napoleonic wars brought him into
close contact with opposing factions, and he put his
art at the service of them all. During the War of the
Second Coalition (1799-1801) against France, he had
the opportunity to see the Russian Commander
Alexander Suvaroff and to model Suvaroff’s portrait
in wax. A year later (1800) the French general André
Massena had his portrait done by Amedeo Lavy. In
the same year Lavy engraved the portrait of the
First Consul on a medal celebrating Bonaparte’s
decisive victory at Marengo. The 20-franc piece
issued by the Subalpine Republic in commemoration
of the same victory (fig. 3) was also engraved by
Lavy, who mentions it in his diary.’ In 1801 he was
elected member of the Subalpine Academy of History

1 BDM, vol. 3, pp. 347-349, and vol. 7, pp. 538-539; THEME
and Becker, Allgemetnes Lexikon, vol. 22, p. 480; BoLZENTHAL,
Skiz ichte, p. 304; AssanpRia, Atti della Societa
Piemontese di Archeologia e Belle Arti (1916), vol. 8, fasc. 4, pp.
209-274.

2 BDM, vol. 3, p. 349; THieme and Becker, vol. 22, p. 480;
BOLZENTHAL, pp. 303-304.

2 zur Aunstgese

and Fine Arts and in 1805 he left for Rome to perfect
his technique in sculpture and engraving.

In Rome Lavy worked under the direction of
Antonio Canova * for over a year, but a pulmonary
disease forced him to return to Turin. During the
subsequent years he continued unabated his work as a
sculptor and especially as a portraitist. After the
return of Victor Emmanuel I, Lavy devoted his
entire activity to the glory of the Savoy king. A
continuous succession of coin dies, medals, seals—he
engraved the great seal of the state in 1815—were the
result of these fruitful years. In 1817 he prepared
drawings and projects for the proposed decimal
system. In 1821, with the restoration of Charles Felix,
he modeled the new king’s portrait (fig. 5) in only two
sittings, preparing all the dies for the new coinage.
This prodigious activity brought Lavy widespread
fame, and in 1823 he was appointed a member of the
Accademia diS. Luca inRome. But the recognition
given to him by the world apparently was not the
same which he received at home in Piedmont. From
his diary we gather that he had administrative
difficulties at the Turin mint. He was forced to ask
for his retirement in 1825. One year later he obtained
an annual pension of 2,400 lire and discontinued his
activity at the mint, where, he noted with bitterness
in his diary, members of his family had held the
position of chief engraver for almost a hundred years.°

Fig. 1.—Sarpinta, Vicror EmManuev I, 5 lire, 1819 °

(Photo courtesy American Numismatic Society)

. . e loscudo di L.5
uniformandomi al sistema decimale come quello della Francia”
—ASSANDRIA, p. 247.

3 “Ho inciso la pez

a in oro Marengo .

4 “Canova veniva sovente a corregermi’’—ibid., p. 249.

5 Ibid., p. 260.

6 CNT, vol. 1, p. 441, coin 14; PAGANI, Monete italiane, coin
321;

4 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

the genius of Antonio
Canova and by the neoclassical stvle, as well as by the

Inspired in his work by

art of the engravers of Greek antiquity, Amedeo Lavy
achieved a mastery of form necessary to express his
concepts in nobleness and simplicity.

a ¥ ec 7 ] } }
or 20-franc piece of Eridania (fig. 3) is the best

example.” The well-balanced composition of this

coin may be encountered also in another creation of

the same year, the 5-frane piece of Eridania (fig. 4)

Fig. 2.—Sarpinia, Victor Emmanuet I, half scudo, 1814 7
(Photo courtesy American Numismatic Society)

Works from the earlier period of his life can be
judged as some of Italy’s best coin dies. The portrait
coin of Victor Emmanuel I of Savoy (fig. 1) and
especially the bust represented on the half scudo of
1814 (fig. 2) achieve excellence through the majesty
of their conception. The subtlety of details in render-
ing the character of the aged monarch, as well as the
sense of proportion expressed in the entire composi-
tion, confer distinguished beauty on one of the most
remarkable Italian coins of the 19th century. A
Canova portrait medal engraved in 18105 expresses
this same simplicity and purity of form.

Fig. 3.—Eripania, SUBALPINE RepuBLIC, 20 francs or
9

Marengo, year 10 [1802]
(Div. of Numismatics photo)

As a complement to Lavy’s portrait achievements
may be mentioned his allegorical compositions, of
which the Liberty bust on the so-called “Marengo”

7 CNI, vol. 1, p. 440, coin 2.

8 ComanpinI, L’/tatia net cento anni, vol. 1, p. 452.

9 CNI, vol. 2, p. 415, coin 3; PaGant, Monete italiane, coin 2.

10 This coin, the first decimal coin issued in Italy, was struck
in accordance with the decree of March 13, 1801 (22 Ventoso,
year 9). It commemorated the victory of Napoleon Bonaparte
against the Austrians under General Melas at Spinetta in the

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

Fig. 4.—Eripanta, Suspacpine Repusric, 5 francs, year 10
[1802] ™
(Div. of Numismatics photo)

On this coin the vertical arrangement of the compo-
sition is strengthened by the massive group of two
allegorical figures in opposition to the circular motif
of the reverse.

Fig. 5.—Sarpinia, CHares FPerix, 5 lire, 1828, Genoa

mint

(Div. of Numismatics photo)

Regrettably, Lavy’s artistic devotion did not con-
tinue with time, and in later years his style, clinging
faithfully to old patterns of composition, declined to-

ward mannerism. His portrait of Charles Pelix of
Savoy (fig. 5) is only a pale reflection of his one-time
vicinity of Marengo (near Alessandria). See also CarBonert,
Monete e bialietti, pp. 91-95; Bosco, RIN (1919), p. 113.

For this first silver decimal coin, sce: Carponeri, pp. 92
95: CNT, vol. 2, p. 415, coin 4: PAGANI, Monete ttaliane, coin 4;
Davenport, Lurapean Crowns, coin 197,

RONI, vol. 1, p. 448, coin 65; PAGANI, Monete italtane, coin
379: Spaziani-Tesra, Casa Savoia, coin 112; DAVENPORT,

European Crowns, coin 135, CARBONERL, p. 263.

keenness of psychological finesse. This bust denotes
common traits which identify it as a Lavy creation,
but it seems that a tired hand could no longer inspire
with life the conventional lines of an official portrait.
One can speculate that this lack of insight may be
attributed to a weariness from the excessive amount
of work which he had been forced to master during
those years—when, overcrowded with commissions, he
could have lost spontaneity and adopted instead the

more convenient forms of routine—or perhaps to a

deeper cause of personal discontent with his em-
ployers, but this is only surmise. With Amedeo Lavy’s
departure, the Turin mint was deprived of the crea-
tions of a master, and the products of the mint plunged
for decades into a discouraging mediocrity.

Lavy’s successor at the Turin mint was Giuseppe
Ferraris, but we will discuss his work later, since his ac-
tivity developed chiefly after 1861, during the reign
of Victor Emmanuel II.

MILAN, VENICE, AND GENOA

The first half of the 19th century was a stormy
period for both Milan and Venice, already united by
a common destiny. Governed by an Austrian arch-
duke, each city was part of the Austrian Empire.
Later, during Napoleon’s regime, they exchanged
Austrian domination for rule by the French. Then
in 1815 the Congress of Vienna restored to Austria
the Lombardo-Venetian Kingdom from the debris of
Napoleon’s Italian possessions. Almost fifty years
would pass before Lombardy and then Venice would
join the other Italian provinces in forming the King-
dom of Italy. During the long Austrian and_ the
French regimes, however, the mints of Milan and
Artists like Luigi

Venice continued to function.

Manfredini, Guiseppe Salvirch, and Gerolamo
Vassallo worked in these tormented years, celebrating
the glory of the Austrians as well as of the French.
Despite foreign domination, the coinage these artists
created often reflects the eternal aspirations for
freedom which they shared with other nationalistic
Italians. The group of coins produced during the
days of the ephemeral national republics of the period
1797-1805 in ‘Turin, Milan, Genoa, or Venice form
their most outstanding creations.

Luigi Manfredini ® (1771-1840) was hired in his
early youth by the Milan mint, where he worked for
over thirty years, 1798-1830. He became a well-
known sculptor and cast-iron worker and was en-
trusted with the casting of the Victory quadriga which
ornaments the Arco della Pace in Milan. His activity
as an engraver of medals embraced a large group of

commemorative medals celebrating important events

8 BDM, vol. 13, pp. 552-555; Tureme and Becker, vol. 24,
p- 10; BotzentrHaL, p. 304; Comanpini, L’/talia nei cento anni,
vol. 1, p. 344.

during the reigns of Napoleon and Francis. Many
portrait medals of famous Italians, past and contem-
porary, complete his long series of works.

Fig. 6.—Kincpom or Iraty, NAPoLeon I, medal
(“Encelado”’), 1809
(Photo from Comandini)

One medal, engraved jointly by Manfredini and
Vassallo, which celebrated the victory of Napoleon at
Ratisbon in 1809, was the subject of much contro-
versy. The reverse, Manfredini’s work, representing
a giant crushed under an enormous rock (fig. 6),
Was misinterpreted by his contemporaries as a political

4 For some of his Napoleon medals, see: Epwarps, Napoleon
Medals, pls. 7, 9, 14, 17, 18, 24, 26, 31, 32, 39; BRaMsEN, Médail-
lier Napoléon; PATRIGNANI, NumR (1948), vol. 14, pp. 116-118.

15 ComanpINI, L’Italia nei cento anni, vol. 1, p. 344.

6 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

allusion to Napoleon’s absolutistic regime and was
mockingly called ‘‘Encelado” (Enchained). It al-
legedly caused serious trouble for Manfredini.!® He
was accused also of being the author of the defama-
tory inscription NATOLEONE on the lira piece of 1810.
Gnecchi says that contemporary investigators were
unable to discover the author and that only later was
it known that Manfredini was responsible for it.!7

In his medals, as in his coins, Manfredini gives
evidence of an outstanding artistic sensitivity, and,
in addition, among his contemporaries he excels
through a classical simplicity of form. In his portrait
of Napoleon (fig. 7) he comes close to the perfect

Fig. 7.—Kincpo oF Irary, Napoveon I, 5 lire, 1811, Milan
mint !6
(Div. of Numismatics photo)

equilibrium of concept and expression that is char-
acteristic of ancient art. The features of Napoleon,
however impassive and remote in expression, are
not lifeless in their statuesque beauty. The well-
modeled relief suggests far more inner life than
Tiolier’s famous portrait of the Emperor (fig. 8).
The proportion between head and inscription also
finds a much happier solution in Manfredini’s
coinage than it does in Tiolier’s. Remarkable ver-
satility helped Manfredini change his style according
to subject. The portrait of Maria Louisa of Parma
(fig. 9), classical in its simplicity and purity of
form, follows a line that is suffused with feminine
grace, in contrast to the rocklike massiveness of Na-
poleon’s head.

Following a long-standing Manfredini

concentrated chiefly on the main die-work, the cutting

custom,

of the obverse design, which consisted of the ruler’s

portrait or a composition, while the more pattern-

Fig. 8.—France, Napovron I, 5 francs, year 13
[1804-1805] by ‘Tiolier !™
(Div. of Numismatics photo)

bound work on the coat of arms of the reverse was

entrusted to another, less important artist. In

fact, the Italian coinage of Napoleon was almost

Fig. 9.—Parma, Maria Louisa, 5 lire, 1815 *!

(Div. of Numismatics photo)

always the work of Manfredini in association with
two other artists, either Salvirch or Vassallo.*!
Giuseppe Salvirch ** (originally Franz Joseph
Salwirk or Sallwuerk) was born in Mollenberg near
Lindau, in Wurttemberg, in 1762. At the age of
seventeen he came to Milan, where he started work-
ing at the mint as an apprentice of his uncle Chris-
toph Wocher, chief engraver. Within a few years

he succeeded in establishing his position at the mint:

16 CoMANDINI (op. cit., p. 427) indicates that he was forced to
leave Italy and that he returned only in 1814 with the Austrians.

17 F, and E. Gneccut, Le monete di Afilano, p. 216. See also:
Carponert, p. 117; PatTRiGNANI, Ras.V (1931), vol. 28, pp. 11—
21; NumR (1948), vol. 14, p. 57; NumR (1949), vol. 15, pp. 107-
108.

18 GNI, vol. 5, p. 428, coin 82; PaGani, Monele italiane, coin
98; Davenport, European Crowns, coin 202.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE. 1800

W DAVENPORT, European Crowns, coin 83.

2 CNI, vol. 9, p. 553, coin 4; PAGANt, Monete italiane, coin
278; Davenport, European Crowns, coin 204; CARBONERI, pp
247-249, 251n.

21 PaGani, Monete italiane, coins 75-219.

2 BDM, vol. 5, pp. 320-321, and vol. 8, p. 186; “‘THieMe
and Becker, vol. 29, p. 369, BoLzeNTHAL, p. 304.

in 1789 he was nominated third engraver; in 1801, of the many subjugated Italian principalities as

first engraver; and in 1803, chief engraver. During center design and the surrounding inscription look-
these years he collaborated with Manfredini. ing like a forgotten detail pressed in later, is too

Most of Salvirch’s works were unsigned, and only cumbrous for the limited field of the coin. Never-
on medals may we find his initials 1.s.F. (Josephus theless, the project won Napoleon’s approval and
Salvirch fecit)—or sc (Salvirch Giuseppe) on the for eight years this reverse, joined to Manfredini’s

pattern of a 40-lire piece of Napoleon. The patterns — obverse, was the emblem of the French Emperor’s
Italian coinage.

In his earlier years Salvirch used a more balanced
arrangement in his compositions. A good example
is the scudo of 6 lire of 1800 engraved for the epheme-
ral Cisalpine Republic (fig. 12). The allegorical

Fig. 10.—ITaLian Repup ic, pattern scudo of 5 lire, year 2
[1803] 3
(Photo from Pagani)

for the coinage of the Italian Republic struck be-
tween 1803 and 1804 (fig. 10), though unsigned,
are mainly his work.**

An excellent feeling for ornamentation, for those
little details which fill the field in counterbalance
to the surrounding inscription, distinguishes his
work. Harmoniously designed, these patterns some- Fig. 12.—Cisatpine Repustic, scudo, year 8 [1800] **
(Div. of Numismatics photo)

times show, especially in the medium-sized coins,
a distinct tendency to oppose compactly filled ob-
verses with sparsely inscribed reverses. group of the obverse excels not only in its medal-
like treatment of the relief but in the classical
arrangement of the two figures. The seated figure
of France is counterbalanced harmoniously by the
standing figure of the Cisalpine Republic while
the surrounding field is encircled by an unobtru-
sive but compact inscription.

The reverse, however, even though impressive in
its well-rounded line, already shows his growing
aversion for empty space. ‘The large letters of the
inscription are narrowly enclosed within the wreath,
contrasting unpleasantly with the uncluttered com-

Fig. 11.—Kincpom oF Iraty, NAPOLEON I, pattern 4o lire,
1807 25
(Photo from Pagani)

From 1806 and 1807 date his patterns for the re- position of the obverse.
verse of Napoleon’s gold coinage of 40 and 20 lire In association with Salvirch worked his disciple and
(fig. 11). The massive coat of arms, with the shields successor Gerolamo Vassallo.2* Born in Genoa in

°3 CNT, vol. 5, p. 416,coin 4; PAGANI, Prove ¢ progetti, coin 436. 490-492; PAGANI, Prove e progetti, coins 467-471.

24 CN], vol. 5, pp. 415-418, coins 1-28; F. and E. Gneccm, 26 CNI, vol. 5, p. 415, coin 1; F. and E. Gneccui, p. 222,
pp. 203-206; Comanpin1, L’/talia nei cento anni, vol. 1, pp. 96-97; coin 1; RINALDI, coin 129; Davenport, European Crowns. coin
CARBONERI, p. 116; Rinacpi, Rivoluzione Francese, coins nO):

131-150; PaGant, Prove e progetti, coins 433-466. 27 BDM, vol. 6, pp. 204-206; Tureme and Becker, vol. 34,
2°. and E, Gneccni, p. 209, coins 1-2; RINALDI, coins p. 132; BotzenTuar, p. 304; Avicnone, Medaglie dei Liguri.

5 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

1773, he had a very active life that kept him in the
service of the Hapsburgs and of Napoleon at the
mints in Genoa and Milan. Antoine Guillemard,
the senior engraver of the Milanese mint, and also
Salvirch advised him in the art of coin engraving.
In his independent position as chief engraver at the
Genoa mint, he could develop his own artistic
personality, uninhibited by official directions.

The coinage of the Ligurian Republic (Genoa)
between 1797 and 1805 is entirely his work.

The political changes had a repercussion in_ his
life. In 1808 he was transferred by the French
Government to the Milanese mint, where he spent
the remainder of his days. His work developed
with
Salvirch in serving two masters, Napoleon and Francis
of Austria.

chiefly as a collaboration Manfredini and
He engraved many medals in commem-
oration of their victories. The entry of Napoleon
into Genoa is the subject of one of his medals in 1805,”
while the battle at Ratisbon was commemorated on
a medal of 1809, for which Manfredini engraved
the reverse. Most of Vassallo’s works are signed
with his complete name or with his initials, H.vas.r.,
H.V.F., sometimes only v.

An active spirit, Vassallo surprises us with his
inventiveness in arranging purely heraldic patterns.
The coinage of the Ligurian Republic shows two
versions of an emblematic pattern used on the reverse
of the gold and silver coinage. The composition of
Very

conventional in its conception, for example, is the

the obverse, on the contrary, is less inspired.

allegorical figure on the gold 906-lire piece (fg. 13).

Fig. 13.—Licurtian REPuBLic, 96 lire, 1805 7

(Div. of Numismatics photo)

A well-balanced composition, it cannot be compared,
however, with the classical distinction of Mantredini’s
groups or with the plasticity of Salvirch’s figures.

28 Comanpins, L’/talia nei cento anni, vol. 1, p. 144.
2 CNI, vol. 3, p. 506, coin 2; Drsimont, Alt della Societa
Ligure di Storie Patria (1890), vol. 22, pp. 248-249; CARBONERI,

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

Vassallo was not skillful in adapting the plastic
relief of figures to the flat surface of a coin, and the
more linear treatment of his engravings proved inade-
quate to the wear of circulation. Very often we
find Ligurian gold 96- or 48-lire pieces with a shadow’
figure in the center, reduced to an unclear silhouette,
whereas the surrounding inscription shows little wear.

Of unquestionable value instead is the allegorical
group represented on the obverse of the silver 8-lire

piece of 1804 (fig. 14). Conceived in the spirit of

Fig. 14.—Licurian Repustic, 8 lire, 1804 %°

(Div. of Numisinatics photo)

the time, this neoclassical theme, with its respresenta-
tion of Liberty and Equality clad in Roman gar-
ments, betrays a strong influence of Lavy and Sal-
virch. Despite this, Vassallo must: be credited with
a masterful execution; the well-rounded relief and
the harmonious arrangement of the composition
contribute a representative coin-image of the interval
between Directoire and Empire.

The simplicity of ancient Roman ideals found
expression not only in his conception and arrange-
ment of a composition but also in his interpretation
of a portrait. The head, bared of any external
adornments, became the subject of intensive study,
which resulted in) the expression of truly human
characteristics. Napoleon’s dominating personality
had found a timeless image in Lavy’s and Manfredint’s

portraits, and Vassallo tried to follow their example.

p. 100.
0 CNT, vol. 3, p. 505, coin 7; Rinatpr, coin 86; DAVENPORT,

European Crowns, ¢ oin 198.

His interpretation of Napoleon’s head on the new
coinage of the copper soldo (fig. 15) and the 3 cen-
tesimi of 1811 strongly betrays the influence of Lavy.
In portraying the head of the Emperor in 1811
Vassallo closely followed the youthful portrait of the
First Consul engraved almost eight years before by
Lavy (fig. 16).

Fig. 15.—Kincpom or Irary, Napo.eon I, soldo, 1811,
Milan mint *!
(Div. of Numismatics photo)

Vassallo’s active and vivid personality continually
shaped his style with the passing of time, and in later
years he is amazing in his audacity of composition,
wherein the emphasis is placed upon the plasticity
of the relief, so much neglected in his earlier work.
A pattern 100-franc piece of 1807 (fig. 17) shows
Napoleon’s head facing partly to the right. This

Fig. 16.—FrReNcH Repusiic, NAPOLEON First Consut,

obverse of pattern, 40 francs, year XI [1803] #
(Div. of Numismatics photo)

three-quarter profile, a challenge to every artist as
far back as the master engravers of ancient Greece,
found a happy solution in this pattern. Ineffective

for any actual coinage, where daily wear in a short

time would deface the unprotected high points of

the features, this pattern, nevertheless, is an interesting

experiment in modern coin engraving.

1 CNT, vol. 5, p. 428, coin 88; PAGANi, Monete italiane, coin
180; Comanpini, L’Italia net cento anni, vol. 1, p. 605; Car-
BONERI, p. 118.

32 PaGANl, Prove e progetti, coin 419.

8 ONT, vol. 3, p. 506, coin 1; PAGANI, Prove e progetti, coin

424; RINALDI, coin 110.

But Vassallo’s real test lay in another coin pattern,
this time in the name of Napoleon’s opponent,
Francis I of Austria. The pattern for the 6-lire piece,

1816, for Lombardy and Venice (fig. 18) is positive

77,
Utes

Fig. 17.—GENOA AS PART OF THE FRENCH EMPIRE,
NaPoLeon I, pattern 100 francs, 1807 %
(Photo courtesy American Numismatic Society)

Fig. 18.—LompBparpy-VENICE UNDER AusTRIA, FRANcIs I
6 lire, 1816, Milan mint 34

(Author’s photo)

Fig. 19.—Lomparpy-VENICE UNDER AusTRIA, Francis I,
obverse of prize medal, 1815 *

(Photo from Comandini)

34 CNI, vol. 5, p. 432, coin 3; PaGani, Prove e progetti, coin
509; F. and E. Gneccm, pl. 50, coin 1; CarBonert, p. 167;
Comanpini, L’Italia nei cento anni, vol. 1, p. 918. FORRER
(BDM, vol. 3, p. 553) assigns this pattern to Manfredini
and in another place (BDM, vol. 6, p. 205) to Vassallo.

35 CoMANDINI, L’Jtalia nei cento anni, vol. 1, p. 827.

10 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

evidence of his artistic capabilities as an engraver.
As late as 1815, Vassallo had engraved a similar por-
trait of Emperor Francis I on a prize medal celebrat-
ing industries and manufactures (fig. 19), but in the
coin the expressive features of the sovereign, chiseled
by a master’s hand in a very low relief, are perfectly

set in the field of the coin, while the same exquisite
proportion dominates the arrangement of the reverse.

It is tragic that Vassallo put a premature end to
such varied and prodigious activity. Financial wor-
ries and ill health drove him to commit suicide in
March 1819.

PLORENGE

No other Italian state reflected the turbulent events
of the eighteen hundreds as much as Florence, strong-
hold of Italian culture. After 1737, when its national
dukes ceased to come from the Medici family,
Tuscany had a rapid change of rulers. “The subse-
quent domination by the Austrian Hapsburgs was
overthrown by the new spirit of liberty flowing from
France. But the free and restless years of 1799 and
1800 led only to another foreign domination. Backed
by Napoleon, the newly created Kingdom of Etruria
was ruled by the Spanish Bourbons until 1807, when
Napoleon’s sister Elisa Bacciocchi took over and gave
Tuscany and Lucca a peaceful but short rule. The
downfall of the Napoleonides brought the Hapsburgs
back to the throne of Florence, and only the growing
tides of the national liberation movement finally freed
Tuscany, which in 1860 became part of the United
Kingdom of Italy.

The — political
decades found only a pale reflection in ‘Tuscany’s

vicissitudes of these momentous

coinage. The series of silver francesconis or gold
rusponis show little if any change in the basic design
during the various reigns. The crowned shield of
Tuscany is invariably the one reverse type used, and
only the small inserted escutcheons with the arms of
the Lorraine-Hapsburgs or of the Bourbons unob-
trusively indicate the passing of rulers and dynastics.

The influence of Vienna as well as Paris alternately
played a leading part in the development of the en-
graving art of Florence. But no outstanding artistic
personality distinguished himself during the period
between 1800 and 1860 and no artistic school or
tradition took shape at the Florentine mint. In brief,
the art of coin engraving had an even flow, undis-
turbed by daring, new ideas. The only challenge

36 BDM, vol. 6, pp. 403-404; Tureme and Broker, vol. 35,
p: 219.

37 BoLzENTHAL (p. 245) characterizes as remarkable his
portrait of Vincenzo Bellini.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

offered to the artists was in portraits. Here they
could show the quality of their work.

The names of the various coin engravers denote
the varied influences: the Austrian Zanobio Weber,
the French Louis Siries, the Swiss Giuseppe Niderost,
the Tyrolian Luigi Pichler—more actually than the
Italian influence of Antonio Fabris, Pietro Cinganelli,
and Luigi Gori.

Giovanni Zanobio Weber *° (1761-1805), son of an
Austrian officer in the Corps of the Guards and pupil
of the Viennese engraver Anton Franz v. Widemann,
worked chiefly during the late seventeen hundreds.”
Only the die of an early gold ruspone (1803-1807)
and a zecchino (‘“‘Zecchino Zanobino’’) that was
ordered by the Jewish banker Lampronti for the
to Weber.*> The
artistic execution of both coins, using old established

Levantine trade are attributed

types, shows no personal character.
More renowned was the Siries dynasty of French
engravers, who included among the members of their
family a famous woman painter, Violante Beatrice
(1709-1783), and her father, Louis Siries *° (d. 1754),
the well-known engraver of gems at the court of Louis
XV of France. The prestige of French engraving
assured Louis Siries the support of Grand Duke
Francis If of Tuscany, who appointed him director
of the Grand Ducal Gallery in 17
at the mint in this same period.
(1743-1811), his

work was often mistaken for that of the older man,

49 and engraver

Luigi Siries erandson, whose
had developed a prodigious output by the time of his
death. As engraver at the mint he cut the dics for
the coinages of the Grand Dukes Peter Leopold and

Ferdinand III, and for King Louis [ and his son

38 CNT, vol. 12, pp. 459-460, coins 33-34: Rinaupr, p. 103

coins 745—-746.
9 Teme and Becker (vol. 31, p. 102) and BDA (vol. 5,

pp. 535-540) inc lude information on the entire Siries family,

Charles Louis. He also designed the portraits of
Elisa and Felix Bacciocchi of Lucca although the dies
for the actual coinage were cut by Domenico Bentelli.
Most of Luigi’s works are signed with L.s.F., $.F., or
s & L in monogram, and some are unsigned. (The
dies signed only with an s are attributed to Carlo
Siries, his son.)

The coin dies in the first part of Luigi’s activity
show little artistic quality although they mark a
positive progress in comparison with his erandfather’s
work. The esthetic effect of his early engravings is
achieved by an intricate arrangement of hair locks
and draperies, while the artistic finesse of portraiture
is completely neglected.” In later years the depth

Fig. 20.—Tuscany, Louis I as Kinc or Erruria,

francescone, 1803 4!
(Div. of Numismatics photo)

of the relief gained considerably, and the simplicity
of design and inscription added other salient qualities
to his work. The francescone of Louis I (fig. 20) can
be considered one of his better creations although the
portrait remains barren of any spiritual expression.

The succeeding coinage of Charles Louis and his
mother Maria Louise is evidence that in later years
Siries’ talent did not improve. The apparently attrac-
tive 10-lire piece or dena of the Regent and her son
(fig. 21) shows, on closer study, only modest qualities

49 See CNI, vol. 12, pls. 30, 31, and Davenport, European
Crowns, coin 156.

" ONI, vol. 12, p. 454, coin 12var.; GALEort1, Le monete dt
Toscana, p. 436, coin 5; DAVENPORT, European Crowns, coin 151.

Fig. 21.—Tuscany, CuHartes Louis anp Marte Loulse,
dena or 10 lire, 1803 #
(Div. of Numismatics photo)

of portraiture. Although the balance between the
figures and the surrounding inscription is much better
resolved than it is on the overcrowded francescone of
1806 with its separated busts (fig. 22), the portraits

Fig. 22.—Tuscany, CHartes Louis anp Marte Loultse,
francescone, 1806 *
(Div. of Numismatics photo)

#2 CNI, p. 455, coin 2; Gateorti, pp. 441, 447, coin 1;
Davenport, European Crowns, coin 152.

% CNI, vol. 12, p. 458, coin 22; Gateortt, p. 447, coin 5;
DAVENPORT, European Crowns, coin 155.

a BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

are cut on the same pattern. No individual expression
distinguishes one head from another. ‘The same
stereotyped treatment of individual traits is obvious in
Siries’ dies for the 5 franchi of Elisa Bacciocchi of

Lucca and her husband (fig. 23). Here the faces

Fig. 23.—Lucca, EvisA Bonaparte AND FELIX Baccioccnt,
5 franechi, 1807 4
(Div. of Numismatics photo)

could be easily interchanged without altering the
general impression.*°

The work of Carlo Siries *° (d. 1854) is so inter-
related with his father’s activity that it is somewhat
difficult to keep them apart. Only after Luiei’s death
can we determine Carlo’s dies with certainty. Most
of these dies were cut for coins bearing only a heraldic
type, such as the ruspone, zecchino, or soldo. In
the portrait coinage of the restored Grand Duke

sensitivity and depth of expression in a perfectly
modeled relief.

This exquisite image finds a rival only in the die
of an almost unknown artist,

Pictro Cinganelli.’’

who signed with p.c. the portrait of Grand Duke
Leopold I on the latter’s coinage of 1826-1828 (fie.

25);

Fig. 25.—Tuscany, Leopowp II, fiorino, 1828 +"
(2x actual size)
(Div. of Numismatics photo)

The only other quoted work of Cinganelli is a medal
commemorating Galileo Galilei; his coin dies have
been completely ignored. Nevertheless, with the
energetic features of his Leopold II, he created one
of the most brilliant portrait coins in the entire

‘Tuscany series.

Fig. 24.—Tuscany, Ferptnanp ITI, half francescone, 1823
(Div. of Numismatics photo)

Ferdinand III, even if Carlo did follow the paternal
tradition very closely in the same neat arrangement
of figure and legend within the coin field, his exe-
cution of details denotes higher artistic qualities. “The
portrait of the aging monarch (fig. 24) reflects great

Fig. 26.—Tuscany, Leopotp IT, francescone, 1830 °°
(Photo from C.\7)

Antonio Fabris,*! who in his early years came from
Udine to Florence as a goldsmith, worked for the mint
from about 1830. His 1830
francescone of Leopold II (fig. 26) is not devoid of

portrait coin, the

4 CNI, vol. 11, p. 200, coin 10; Pacant, Monete italiane,
coin 232; Davenport, European Crowns, coin 203,

45 For the decree concerning this issue, sec
pp. 132-133.

46 BDM, vol. 5, p. 535; Trieme and Becker, vol. 31, p. 102.

47 CNI, vol. 12, p. 464, coin 27; GaLeorti, p. 467.

4 BDM, vol. 1, p. 434, and vol. 7, p. 182; BoLzeNnruaL,

CARBONERI,

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

p. 307.
“ CNT, vol. 12, p. 468, coin 22; GaLrorti, p. 479, coin 3.
50 GNI, vol. 12, p. 469, coin 31; GaLrorri, p. 477; Daven-

port, European Crowns, coin 158,
51 BDM, vol. 2, pp. 64-65, and vol. 7, p. 286; Theme and
Becker, vol. 11, p. 168; BoLzentuaL, p. 306; GALEorri,

p. 474.

_—
wo

a certain robust expressiveness even if the relief
modeling is very inferior. The work on a series of
medals ** during subsequent years gave him a better
understanding of relief and design. Certainly his dies

for the gold and silver coinage (fig. 27) of the Vene-

graver who is accustomed to minuteness of detail,
results in an excellent portrait of the Grand Duke, the
fragility of which contrasts obviously with the robust-

ness of previous portraits of the same ruler by
Cinganelli and especially Fabris.

Fig. 27.—VENICE, PROvIsIONAL GOVERNMENT, 5 lire, 1848
(Div. of Numismatics photo)

tian Republic (1848-1849) display a more subtle sense
of decorative arrangement in addition to a delicate
plasticity of relief. The old symbol of Venice, the
Lion of St. Mark,®* used in a new style, dominates
the field of the obverse, while a slightly oval wreath
adds grace to the reverse of the coin.

Another engraver, Luigi Pichler * (1773-1854)
was better known as a gem engraver and as a painter.
His talents as a cutter of precious stones gave him
renown as a master of this art and his work was highly
appreciated at the Austrian court. Elected an hon-
orary member of the Viennese Academy of Fine Arts,
he was later invited by Count Metternich to teach
He spent several years
in Vienna where in 1821 he was given the opportunity

Emperor Francis I.
antiquity guided
him in the choice of subjects for his numerous gems.

engraving at the institution.
to make a_ portrait of
Inspiration from classic often

He was also well known for a large number of fine
portrait medals, but as a coin engraver he produced
very few dies. The francescone of Leopold II (fig.
28) presents a well-proportioned coin design with an
impressive portrait. The clean line and the extreme
delicacy of execution, characteristic of a gem en-

52 Monpini (Spigolando tra medaglie, p. 23) published a medal
(1848) of Daniele Manin by A. Fabris.

8 CNT, vol. 8, p. 661, coin 2; PaGani, Monete italiane, coin
299; DAVENPORT, European Crowns, coin 207; CARBONERI, pp.
173-174.

5 See also PAPADOPOLI, Alcune notizie sugli intagliatori.

55 BDM, vol. 4, pp. 522-530, and vol. 8, p. 127; Rotiert,

Fig. 28.—Tuscany, Leopotp II, francescone, 1841 *
(Div. of Numismatics photo)

More devoted to coin engraving than Pichler was
Giuseppe Niderost *” (1804-1856), descendent of an
old family of engravers from Brunnen, Switzerland.
He came to Italy to learn die engraving and within
a short while was working at the mint in Pisa and
later at the one in Florence, where he became chief
engraver in 1836. Assisted by Edoardo Gori in 1837
and later by Pasquale Santini, Niderost developed a
large output at the mint, and many dies for the gold
and silver coinage of Leopold II were produced by
him or under his direction. Contemporaries consid-
ered his art inferior to Carlo Siries’, but this opinion
was based on the circumstance that most of his dies
were made for coins of a purely heraldic type; exe-
cuted in the traditional way with few if any changes,
they gave him little opportunity to demonstrate skill.
A neat workmanship was about all that was expected
from an artist. Nevertheless, Niderost adapted the
old Florentine lily and the crowned shield of arms to

Die drei Meister der Gemmoglyptik; BOLZENTHAL, p. 318; GALEOTTI,
p. 474.

56 CNI, vol. 12, p. 473, coin 71; Gateorri, p. 478, coin 6;
Davenport, European Crowns, coin 159.

57 BDM, vol. 4, p. 263, and vol. 8, p. 96; THreme and Becker,
vol. 25, p. 459; GaLEorTl, p. 474.

14 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

a new coin denomination, the 80 fiorini in gold (fig.
29), and the result is one of Italy’s most striking gold
coins of the period.

Fig. 29.—Tuscany, Leopotp II, 80 fiorini, 1827 58
(Div. of Numismatics photo)

Fig. 30.—Tuscany, Leopotp IT, francescone, 1856 5°
(Photo courtesy American Numismatic Society)

The coin which best shows his art, however. is the
francescone of 1856 (fig. 30). Here he created a new
portrait of Leopold IL ™ which presents a completely
different aspect of the aging Grand Duke. The fea-
tures are full of life and expression in a relatively low
but excellently modeled relief,

From the hand of Luigi Gori ® (b.1838 in Florence),
the last engraver at the Florentine mint in the late
have another coin

fifties, we portrait of the old

Fig. 31.—Tuscany, Leopotp II, 10 quattrini, 1858 "
(Div. of Numismatics photo)

monarch (fg. 31). A good style, leaning slightly

toward conventionalism, distinguishes these final

productions of ‘Tuscany’s engraving art. Gori’s
workmanship is good, his elaborate style enhances an
acute sense of realism, and his fine modeling adds
depth to the low but effective relief. His dies for the
gold so-called “‘ruspone del Ricasoli’’ and the other
coins struck by the Provisional Government in 1859

are the last coins of independent Tuscany.

PARMA

Parma, for 32 years under the rule of Maria Louisa
of Austria, second wife of Napoleon, was returned in
1847 to the former Dukes of Bourbon-Parma, but
the remaining 13 years of this Duchy’s independence
were agitated by political disturbances and insurrec-
tions. The tides of the Revolution of 1848 were
strongly felt in Parma; the reigning Duke Charles
II had to abdicate in favor of his son Charles IIT,

who was. assassinated in 1854. Charles’ infant

son Robert ascended the throne under the regency
of his mother, but six years later Parma was absorbed
into the united Italian Kinedom.

The little principality had an old tradition in
coin ‘The gold
quadruplas of the Farnese princes are judged to be

engraving. silver scudi and_ the
among Italy’s most remarkable coin products during
the 16th and 17th centuries.

After 1800 very few coins were struck for Parma,

58 CNI, vol. 12, p. 467, coin 13; GaLeorti, p. 475, coin 1.
For the law concerning this issue, see CarBonert, p. 201.

59 CNI, vol. 12, p. 476, coin 106; GaLrorti, p. 478, coin 3;
Davenport, European Crowns, coin 160.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

60 A similar portrait of Leopold II can be seen on a medal
engraved by Niderost in 1849—cf. Monpin1, p. 79.

6) BDM, vol. 2, pp. 295-298, and vol. 7, p. 377; Tuieme and
Brecker, vol. 14, p. 401; Gatrorri, pp. 474, 494.

82 CNT, vol. 12, p. 477, coin 119; GaLrortt, p. 484,

but some should be singled out for their charm and
technical perfection. The portrait of Maria Louisa
on the silver and gold coinage by Manfredini (fig.
9) was considered by contemporaries as one of the
most graceful coin images of the time.

With this coin is associated the name of Giovanni
Antonio Santarelli ® (1759-1826), an excellent gem
cutter and die sinker, who reportedly engraved the
dies for the coin from designs by Manfredini. In-
spired by the same portrait of Maria Louisa, he also
cut a medal of the Duchess commemorating her
arrival in Parma (1816). In addition, he engraved
the coinage of Eliza and Felix Bacciocchi of Lucca,
designed by Luigi Siries (fig. 23), and two medals
dedicated to the same princely couple.”

After Santarelli moved to Florence, he was suc-
ceeded at the mint by Domenico (Donnino) Bentelli."®
Born in Piacenza in 1807, Bentelli moved in 1844 to
Parma, where he worked as engraver at the mint and
later as professor of engraving at the Academy of
Fine Arts. He died in 1885 at the age of 78. His
art studies as well as his training as mechanical engi-
neer ™ enabled him to participate effectively in the
1853. His

work discloses a neat but somewhat mediocre con-

reorganization of the Parma mint in

An impressive number of official and
In 1852
Bentelli prepared the dies for the coinage of Charles

cept of art.
private medals ® came from his workshop.

ILL of Bourbon, but the Duke’s assassination in 1854
made the issuance of the coins impossible. Dies were
cut only for the 5 centesimi 1852 and the 1, 3, and
5 centesimi 1854 in copper.® Bentelli also prepared
drawings for a group of six coin projects, which
included the 10 and 20 centesimi, and the \-, 1-,
5-, and 20-lire pieces.”

These coin projects betray a strong influence on
Santarelli by the English mint masters, especially
William Wyon.

on the reverse of the 20-centesimi piece (fig. 32) is

The arrangement of the escutcheons

practically an adaptation of a similar arrangement in

6% BDM, vol. 5, p. 334, and vol. 8, p. 187
Becker, vol. 29, p. 428.

64 ComanpinI, L’/talia nei cento anni, vol. 1, p. 892.

65 Ibid., pp. 143, 342.

66 BDM, vol. 1, p. 164, and vol. 7, pp. 67
Becker, vol. 3, p. 353; JurrteraT pu Rosay, NCire (1915),
pp. 669-672.

TuteMe and

70; THremMe and

‘7 Some of his inventions, e.g., a new safety catch for guns,
found practical application; he also invented special coin
scales and a device for detecting counterfeit coins.

68 In 1872 he also engraved a Verdi medal, which was issued

by the Municipality of Parma to commemorate the success

use in England since the days of Queen Anne. St.
George killing the dragon on the 20-lire gold piece
(fig. 33) can be regarded only as a clumsy copy of

Fig. 32.—Parma, Cuartes III, project for 20 centesimi,
1852 7
(Photo from BDM])

Fig. 33.—Parma, Cuartes III, project for 20 lire, 1852 ”
(Photo from BDM)

Fig. 34.—Parma, Ropert AnD Marie Loulse, 5 lire, 1858 7
(Photo from CNI)

the famous Pistrucci model for the coinage of George
III of England.

Far superior in concept and especially in workman-
ship is the silver 5-lire piece (fig. 34) struck in 1858

of the opera Aida—Naracett1 and PaGanti, Le medaglie dt
Giuseppe Verdi, p. 9.

89 CNI, vol. 9, p. 556, coins 1-4; PaGani, Prove e progetti,
coin 552; CaRBoneRI, p. 252.

7 BDM, vol. 7, p. 69. Published previously by JumLERAT
pu Rosay, NCirc (1915), cols. 669-672.

71 Loc. cit.

72 Loc. cit.

73 CNI, vol. 9, p. 557, coin 2; Pacani, Monete italiane, coin
92; Davenport, European Crowns, coin 205; CARBONERI, pp.
5

292
250-251.

16 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

for the young Duke Robert and his regent mother,
Maria The otherwise in-
significant portraits of the two rulers is coupled with
an exquisite reverse, in which skill in harmoniously

Louisa. graceful but

balancing composition and detail adds charm and

PAPAL

At the opening of the 19th century, the papacy,
symbol of an age-old tradition of spiritual power,
was conservatively defending the legacy of political
autocracy against a constantly growing tide of liber-
alism and nationalism. The principles of the French
Revolution, combined with the imperialistic tend-
encies of Napoleon Bonaparte, inflicted the first
blow to the prestige of the papacy. Pope Pius
VII, as a captive among the splendors of the French
court at Fontainbleau, lost all freedom and retained
only his dignity. After Napoleon’s downfall, how-
ever, the papacy emerged once more victorious.

The new ideals of liberty propagated by the French,
which initiated in Italy an era of political liberalism
and nationalistic tendencies, found strong opposition
in the head of the Roman Church. Pius IX fought
for the perpetuation of an absolutist regime of both
spiritual and political power instead of guiding
the movement of unity which was inspiring all
Italians. A bitter example of political anaciironism,
he proclaimed himself a captive within the walls
of his own palace in order to symbolize his antago-
nism when Rome was made the capital in 1870
of the recently proclaimed Kingdom of Italy.

In the art of coinage, papal Rome has had an
unrivaled tradition. A number of engraving mas-
terworks have emerged from the workshops of artists
like Benvenuto Cellini, Gasparo Molo, and _ the
Hamerani ‘dynasty,’ embellishing the coins and
medals of popes since the early fifteen hundreds.
Christian devotion (mixed with memories of imperial
world supremacy) inspired a magnificent series of
portraits of the pontiffs as spiritual and worldly
leaders.

ishing example of an art in steady, organic evolution

In its coinage Rome has given an aston-

over hundreds of years of unbroken tradition.

74 BDM, vol. 2, pp. 273-274, and vol. 7, p. 376; Tuieme and
Becker, vol. 14, p. 189; BorzenrHar, p. 305; Marrinort,
Annali della zecca di Roma, fascs. 23-24, p. 22n.

For his medals, see: Maz1o, Medaglie pontificie; also Descriptive
Catalog of Papal Medals; Camozzt and Vrrtova, Medaglicre del

Risorgimento; Biancut, Le medaglie del ter 20 Risorgimento.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800
600-851 °—65 2

With

pattern because only

brilliance. this coin (considered in fact a
470 specimens were struck),
the century-long series of Parma coinages came to

an end.

ROME

From this tradition the work of the die engravers
of the 19th century emerges as an almost compact
group, only slightly colored by personal qualities
of the various artists. This is especially true for the
first part of the century when artists like Gioacchino
Hamerani, “Tommaso

Mercandetti, the Cerbara

brothers, the Pasinati and

Zaccagnini worked for the papal mint.

brothers, Bonfiglio
With Carl
Voigt, however, in the second half of the century,
a new concept came to light and cleared the way
for the vigorous artists of the 20th century.

The history of Roman glyptics and die engraving
would be incomplete without the names of Giuseppe
Girometti 7 (1779-1851) and his son Pietro 7 (1812-
1859), both famous engravers of medals and gems.
Giuseppe, already well known for four pieces of
sculpture in the cathedral at Foligno, was forced by
financial difficulties to concentrate chiefly on the
cutting of cameos, a remunerative work which soon
brought him worldwide repute. Guided by Canova’s
neoclassicism and by the unfailing models of the
ancient Greeks, his works displayed artistic sensitivity
and technical perfection.

In 1822, on the recommendation of Canova, he

was hired at the Roman mint, where he worked

under five pontiffs. During his long activity there

he concentrated largely on medals. His portrait

medals of Michelangelo, Benvenuto Cellini, Antonio

Canova, and Cardinal Consalvi are judged to

be among his best works. Bolzenthal in) Skizzen

cur hunstgeschichte considered his medal of Gio-
vanni Battista Nicolini as one of the perfect works
of that time. Other creations of Guiseppe Girometti
76

include a portrait cameo of George Washington.

So widespread was Girometti’s fame that foreign

For his activity as a gem cneraver, sce: Kin, Handbook of En-
graved Gems; Bet B, prrres fines;
Datton, Catalogue of Engraved Gems,

3 BDM, vol. 2, p. 274; vol. 7, p. 368: vol. 8, p. 350.

99:

Bapeton, La gravure en

76 MARTINORI, fascs. 23-24, p. 22n.

rulers such as the tsar of Russia and the kings of
England and Sardinia sought his services.

His medals, like his cameos, show a_ perfection
obtained only through a mastery of form combined
with deep artistic insight. His portrait of Pope
Gregory XVI (fig. 35) is a good example of his
ability to impart majesty to a realistic likeness of a
high dignitary; the features seem to be suffused with
an inner glow of spirituality.

Fig. 35.—PapaL Rome, Grecory NVI, medal, year XI
[1842]: view of Claudian aqueduct 77
(Div. of Numismatics photo)

Pietro Girometti, who died in London in 1859 at
the age of 47, was praised by Bolzenthal for the
excellence of his medallic work. Pietro contributed
little to coin engraving, but many fine works like
the medals of Bembo and Bruneleschi are his contri-
butions to the iconographic series of famous Italians,
an enterprise undertaken by his father with Nicolo
Cerbara. Umani thinks that Pietro, an excellent gem
cutter, might have been better than even his father,
who was credited with many of Pietro’s works since
both often signed only their last name.7$

During the Pontificate of Pius VII (1800-1823),
two brothers from the Hamerani dynasty of cele-
brated coin engravers devoted their activity to the
Roman mint. Their names were linked to a glorious
tradition which went back to the sixteen hundreds,
when the Hermanskircher family of goldsmiths came
from Bavaria to Rome to place their professional
skill at the service of the popes. Among the many
cifted artists in the family were two women, Anna
Cecilia” (1642-1678), who executed some Biblical
scenes for gold candelabra in St. Peter’s, and Beatrice *°
(1677-1704), a talented engraver who produced
during her short life many dies for seals and medals.

The two brothers Gioacchino and Giovanni added
little to the renown of their ancestors* possibly
because their choice of career was determined by a
rigid family tradition and not by individual talent.

Gioacchino,” the older brother (1761-1801), served
from 1789 as engraver at the Roman mint, achieving
in 1794 the title of ‘‘cameral”? engraver in charge of
all coin and medal dies. Forrer states that his
work was ‘“‘unfortunately poor,” * while Thieme and
Becker are of the opinion that Gioacchino, like his
father Ferdinand, did very little work himself.** Many
coin dies during Pius VI’s and Pius VII’s pontificates
bear the complete signature G. HAMERANI, obviously
designating in later years only the younger brother
Giovanni Hamerani.

Giovanni * (1763-1846) studied architecture at
the Academy in Parma, and in 1784 won the first
award with his plan for the library. After he and
his brother Gioacchino in 1796 sold the collection
of the Hamerani dies to the papal administration,
he decided to devote his time more to coin engraving
than to architecture. Following the death of his
brother, he took over the position of coin engraver
at the papal mint. His activity was divided between
the Roman mint and the Accademia di S. Luca,
where he served after 1810 as a professor of medallic
art.

The artistic capacity of the two brothers was
limited to copying long-accepted coin types apparently

77 PATRIGNANI, Gregorio XVI, medal 71.

78 Umant, WumR (1943-1945), vols. 9-11, p. 62.

7? THteme and Becker, vol. 15, p. 548.

80 Loc. cit.; also Keary, British Museum Guide, p- 87, item 343.

1 Cf. J. BABELON, Médaille et médailleurs, p. 189: ‘‘Leur mérite
artistique n’est pas transcendant.”

* Tureme and Becker (vol. 15, p. 549) and Marrinori
(fasc. 19, p. 169; fasc. 21, p. 21) indicate that Gioacchino
Hamerani died in 1797 and that it was his brother Giovanni
who signed the later works with “‘c.u.”’ Both SERAFINIand FORRER

consider Gioacchino the author of all the coin dies during the
first five years of Pius VII’s pontificate and do not mention
Giovanni at all. For the best study of the Hameranis, see
Noack, Archiv fiir Medaillen- und Plakettenkunde (1921-1922), vol.
3; pp: 37-39.

8 BDM, vol. 2, p. 398. Boizentuat (p. 270) also comments:
“...er war Medailleur des Papstes Pius VI, dessen Bildnisse
er wiederholt, aber in sehr tadelhafter Manier hergestellt hat.”

8 THreME and Becker, vol. 15, p. 549.

55 Tbid., pp. 548-549.

18 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Fig. 36.—NEAPOLITAN OccupaATION OF Rome, FERDINAND
IV, scudo, 1800 **
(Photo from C.V/)

without being able to add_ the slightest personal
interpretation. Giovanni adopted his brother’s dies
for the reverse of the scudo struck by Ferdinand IV
of Sicily during the occupation of Rome in 1800

(fig. 36).

Rudely modeled planes, guided by heavy

Fig. 37—Papat Rome, Pius VII, medal commemorating

his accession, year I, 1800 %

(Div. of Numismatics photo)

86 CMI, vol. 17, coin 1; SERAFINI, Afedaghere Vaticano, vol. 3,
pl. 158, coin 12; Martinort, fasc. 22, p. 25; CARBONERI, Pp.
155; Spaziani-Testa, J Romani Pontefict, p. 142, coin 266.

87 ParrRIGNANI, Pio VII, p. 46, medal 1.

88 ParrIGNANI (Pio VII, p. 49): “. . . ha riprodotto le sem-
bianze di Papa Chiaramonti in modo non corrispondente alla

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

lines, add only massiveness to the heavenly fieure
of the Church, depriving the figure of any spiritual
beauty; heavy lettering renders the proportions even
more awkward.

The same wooden rigidity, devoid of any trace of
inner life, is the characteristic of a portrait medal
of Pius VII (fig. 37).
relief of the contrasts un-
pleasantly with the elaborate fullness of the folds in
the garment.

The very flat and superficial
conventional features
The unusually elongated face of the
Pontiff disturbs the artistic balance of the composi-
tion, giving the impression that the face is just an
insert within a prearranged frame.**

Another medal of the same Pontiff (fig. 38) by
Giovanni Hamerani uses a similar arrangement of

garment and “mozzetta” to frame a better propor-

Fig. 38.—Papat Rome, Pius VII, medal, year III [1803];
St. Peter’s and rising sun ‘?

(Div. of Numismatics photo)

tioned portrait. The features, modeled in a low but
substantial relief, reflect a more spiritual life clad in
severe dignity. An adequate sculptural technique
adds the necessary plastic depth.

Associated with Gioacchino Hamerani at the
Roman mint was Tommaso Mercandetti *? (1758
1821), an engraver of seals, gems, and medals. ‘The
many years of his active life were a long succession of
privations and betrayals. Apprenticed to gem cutting
at the age of nine in the workshop of Gerolamo Rossi
and later with Baldasare Curtini, he was compelled

two years later to support his widowed mother and

verita . . . @ stato ritratto con fisionomia aggraziata e molto
ringiovanita.”

* Ibid., medal 12.

0 BDAM, vol. 4, pp. 28-32, and vol. 8, p. 54; Tremere and
Becker, vol. 24, p. 407; Bonzentuar, p. 303; Marrinort,

fascs. 20-21, p. 180.

brothers. By the age of 22 he had already acquired
a high reputation as a die cutter; King Ferdinand IV
and Queen Carolina of Sicily entrusted him with their
portrait medals and Pope Pius VI granted him a
position at the Roman mint.

A few years later, in 1796, with the support of
Cardinal Braschi, he was appointed chief engraver at
the mint, but he had to compromise his position con-
stantly to the undeserved reputation of Gioacchino
Hamerani, who, as a descendant of the old engraving
dynasty, so monopolized honors and positions at the
mint that Mercandetti was forced to acquiesce to a
kind of partnership with him. Nevertheless, some of
the most impressive Italian coins during these years are
the result of his activity. The death of Hamerani,
instead of releasing Mercandetti from a hopeless situa-
tion, plunged him into even greater troubles. Law-
suits with the Hamerani family and the ruthless com-
petition of the brothers Giuseppe and Giovanni
Pasinati as well as of the Passamonti brothers forced
him to seek peace in retreat to the village of Bellmonte
in Umbria.*! There he spent many years in financial
privation since political complications prevented Pope
Pius VII from paying him his full salary. He re-
turned to Rome in 1810 and continued his activity as
a medalist until the end of his life in 1821.

His work includes a great number of medals °? and
coin dies engraved under Pius VI, the Roman Re-
public, and Pius VII. Most of his works are signed
T. MERCANDETTI or only T.M., with the two letters
occasionally interlaced in a monogram.

Owing, perhaps, to the strenuous conditions of his
life, his coins lack a uniformity of character and exe-
cution. Deeply emotional, the quality of his work
depends very much on the sincerity and intensity of
his impressions. As a result, his creations alternate
between mediocrity and magnificence.’ An artistic
and emotional peak of his life was reached in his
collaboration with the Roman Republic. The ideals
of liberty which swept from France across Rome in-
cited a revolution against the papacy, and in 1798 the

"| ParRIGNANI (Pro VII, p. 25) states that the other artists
who could not compete with his artistic ability resorted to the
deceitful expedient of deleting his signature from the medal
dies. For an example, see the medal of year VI (ibid., medal
41).

® Epwarps, pls. 16, 40.

8 PaTRIGNANI (Pro VII, p. 28), concurring with Ancona’s
opinion, ascribes manncrism to Mercandetti’s style, especially
during his last years of activity.

** Martinori (fasc. 22, p. 21) insists that this piece, generally

Roman Republic was proclaimed. Mercandetti par-
ticipated actively in the public clamor to bring these
ideals to life. The glowing hope of his generation for
a betterment of past injustices is expressed in the in-

scription of his so-called scudo™ of 1799 (fig. 39).

Fig. 39.—Roman Repustic, scudo, year VII [1799] %
(Author’s photo)

Like an exultant cry, the words ‘‘Giorno che vale di
tanti anni il pianto” (a day which compensates for the
weeping of so many years) appears along with the date
of the French Revolutionary calendar * on the
reverse of this piece.

The obverse is one of the most eloquent expressions
in coinage of the bold spirit of revolution. The com-
plexity of emblematic representation does not over-
crowd the field but flows into a logical sequence
through a masterful employment of gradation and
interposition on different plastic planes. The ped-
estal, bearing the symbol of the ruthless fight for free-
dom—the dagger—plus the symbol of attained lib-

called a scudo, was in fact a medal which was distributed to a
group of young patriots clad in costumes of ancient Romans
during a festivity arranged in the Forum by the Minister of
Interior, Antonio Franceschi, February 15, 1799 (27 Piovoso,
year VII).

%5 CNT, vol. 17, coin 13; Spazrani-Tesra, I Romani Pontefict,
p. 140, coin 262.

%6 The 27 Piovoso (year VI), or February 15, 1798, was pro-
claimed by French General Louis Alexandre Berthier as the
day of establishment of the independent Roman Republic.

20 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

erty—the Phrygian cap—and draped with two un-
furled flags, supports a boldly advancing eagle of
nationalism, enclosed in its wreath of victory, astride
the fasces, symbol of authority. The dynamic eagle,”
modeled by a master’s hand in a vigorous though
graceful plasticity, suggests the exuberance of trium-
phant ideals after a battle. An antithesis of high
against flat relief accentuates the effect of logical se-
quence; the feathered legs of the eagle, protruding in
powerful strides, convey the rhythm of advancine
movement in contrast to the static background.

The unusual coin image was the result of previous
experiments, an example of which is the scudo of
year 6 and of year 7 (fig. 40). This earlier piece,

Fig. 40.—Roman Repusiic, scudo, year VII [1799] ">
(Author’s photo)

which contains the same basic, sculptural elements,
but all dominated by a static conception, was trans-
formed by the spark of inspiration into the master-
piece of figure 39.

Another scudo (fig. 41), created earlier for the
Roman Republic, clearly shows Mercandetti’s sculp-
tural abilities as well as his defects. Here he follows a
more traditional pattern by using the figure of Liberty
as the obverse of the coin. The reverse field encloses
the inscription within an oak wreath. And again
Mercandetti’s acute talent for the decorative ele-
ment finds happy expression. Extreme simplicity,
inspired by an exquisite sense of proportion with the
juxtaposition of massive and low relief, results in an
unobtrusively beautiful coin emblem.

The obverse, while denoting the same harmonious
balance in the arrangement of coin motif and inscrip-
tion, carries an archaic figure of Liberty in the center.
Although the vertical motif is emphasized through

Fig. 41.—Roman Repustic, scudo [no date]
(Author’s photo)

the double line of upright scepter and fasces, the
figure lacks a necessary slenderness, and the massive
drapery only emphasizes the robust and awkward
plasticity of the image.

Fig. 42.—Papar Rome, Pius VIT, medal [no date]; view of
St. Peter’s 19°

(Div. of Numismatics photo)
The same wooden rigidity of contour and_ plastic
surface is present in a portrait medal of Pope Pius
VII (fig. 42). Spontaneity and physiognomic insight

% Martinort (fasc. 22, p. 31), asserts that this eagle is the
copy of an ancient Roman relief found in the Forum of Trajan.

9 SeRarFInt, pl. 153, coin 21; CJ, vol. 17, coin 14; Spaziant-
Testa, J Romani Pontefici, p. 140, coin 263.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

% Serarini, pl. 153, coin 19; CN/, vol. 17, coin 28; Marri-
NoRI, fasc. 22, p. 5; Spaziant-Tesva, J Romani Pontefict, p. 141,
coin 264.

100 PATRIGNANI, Pio V//, medal 4.

seem to have completely deserted the artist in model-
ing the heavy, claylike features of the Pontiff. Never-

well-executed

considers it ‘‘a

Patrignani
> 101

theless,
medal.’

Fig. 43.—PapaL Rome, Pius VII, obverse of medal, year

XVIII [1818] 12
(Photo from Patrignani)

There are better portraits of Pius VII among the

‘

34 medals which Mercandetti executed as ‘‘cameral

”

engraver” in later years, especially after 1807. De-

Fig. 44.—PapaL Rome, Pius VII, obverse of medal, year
XXI [1821] '8
(Photo from Patrignani)

serving special attention is the three-quarter bust of

the aged Pontiff (fig. 43) and a profile bust of 1821
(fig. 44), both highly expressive.

101 Tbid., p. 52.

102 Tbid., medal 84.

103 [bid., medal 100.

10 BDM, vol. 4, p. 395; TureMe and Becker, vol. 26, p. 269;
BoLzENTHAL, p. 307; CARBONERI, p. 156. Giuseppe Pasinati
and his brother Giovanni, in a heated competition against
Mercandetti, tried to win through unfair methods and finally
Giuseppe succeeded in securing the position of master of the
Roman mint.

105 CNT, vol. 17, coin 75; Srrarint, pl. 159, coin 13; SPAZzrANI-
Trsra, I Romani Pontefici, p. 115, coin 199.

106 In 1816 Pasinati was commissioned to engrave a scudo with
the portrait of the Pope. Apparently the die broke after five
or six specimens were struck, and Pasinati, of advanced age by

that time, did not re-engrave the dies. PatTriGNANI (Pio VII,

A scudo of the same Pope struck in 1816 (fig. 45)
from dies cut by the chief engraver of the mint,
Giuseppe Pasinati,!* displays a portrait that is touch-
ing in its naive simplicity. Apparently an unsure
feeling for plastic values and the interplay of modeled
surfaces made Pasinati resort to a more linear design.
Physiognomic traits are overemphasized by pro-

tuberances which add an emaciated, haggard air to

Fig. 45.—Papar Rome, Prius VII, scudo, 1816 1%
(Photo from CNI)

the otherwise features.’ The — strongly
arched forehead above the deeply set eyes cannot

dispel the general impression of human helplessness.!07

smiling

It was a strange fate that deprived Pope Pius VII
of engravers with the artistic capacity to perceive and
translate into sculptural form the magnitude of his

108

extraordinary personality. Chateaubriand in his

Mémoires @outre-tombe describes the Pope as “‘une

figure admirable, pale, triste, religieux, toutes les tribulations
> 7

de ' Eglise sont sur son front.”

p. 23) states that he does not believe that this type was re-
jected by the Pope. It is generally agreed, however, that the
Pope was opposed to having his portrait on coins. See also:
Martinor1, fasc. 23, pp. 18, 27; Ras, vol. 27, pp. 68-69;
NCire, vol. 18, col. 12061.

107 Pasinati engraved ten medals during the pontificate of
Pius VII. The only significant portrait was used on a medal
of year XV (1815), which he copied from a previous portrait
engraved by the Swiss medalist Brandt—ParriGNant, Pio VII,
medal 71.

105 PATRIGNANI (Pio VII, p. 27) contends that, with the excep-
tion of two noteworthy dies of Mercandetti, there was not a
single medal which rose above the level of a stagnant mediocrity
during this agitated period of European history.

22 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Toward the end of his life another sculptor, Giuseppe
Cerbara, attempted to render his likeness: in fact, a
medal issued in the year of the Pope’s death was
engraved by this artist (fig. 46). The stooped back

Fig. 46.—Papar Rome, Prius VII, medal, year XXIII
[1822]; interior of Museum Pio Chiaramonti 10°
(Div. of Numismatics photo)

and the deeply set head indicate the advanced age
of the Pontiff, but, unbroken by the continuous ad-
versities of an agitated life, his spiritual forcefulness
is still evident. Strong features are presented in an
elegant, flowing plasticity. Minutely executed sculp-
tural details enhance this image of lifelong experiences
translated into physical traits. The same smile en-
countered in Pasinati’s medal vaguely emerges here
from Cerbara’s portrait, conveying a sense of benign
human understanding, instead of perplexing helpless-
ness.

Giuseppe Cerbara !° (1770-1856), and his younger
brother, Nicolo, are two outstanding figures in the his-
tory of the Roman mint. Giuseppe began his career
in the traditional way as a gem engraver, working as
an apprentice in the shop of his father, Giovanni
Battista, but devoting much of his attention to die
engraving for medals. Through unrelenting hard
work he built a reputation which opened for him the

doors of the Accademia di S. Luca, where he ber ame
a member in 1812. Then a vac ancy at the Roman
mint gave him the opportunity to put his talents at
the service of Popes Leo XII, Pius VIII, Gregory
XVI, and Pius IX.

A long series of dies for coins struck under Leo XII,
the Vacant See of 1829, and Pius VIII came from
Giuseppe’s workshop. His signature, Gius. CERBARA
or CERBARA IOSEPH, is frequently found on coins and
medals for a period of 25 or more years,

An artistic sensitivity combined with complete
mastery of technical problems marks his work. His
strong individuality searched for new forms to express
old emblematic representations that were confined
by tradition within fixed patterns.!!!) The figure of
the Church floating on ethereal clouds, a centuries-
old symbol of the spiritual power of the Roman
Catholic Church, was used by many artists before
him in an unaltered form as a reverse type. But this
stiff, archaic figure did not satisfy Cerbara’s concep-
tion of the personification of religion. A sequence
of three variations on this theme (figs. 47-49) reveals

Fig. 47.—Papat Rome, Vacant Ser, scudo, 1823, Bologna
mint !!2

(Photo courtesy American Numismatics Society)

his tireless attempts to find more appropriate forms

for the remoteness of the celestial

figure had always been indicated by a very flat,

concept. The

receding relief, marked only by strong contour lines.

109 ParRIGNANI, Pio VII, p. 219, medal 108.

10 BDM, vol. 1, p. 386, and vol. 7, p.
BecKER, vol. 6, p. 291; Botzenruat, p. 306; MARTINORI, fascs.
23-24, p. 22.

11 Judging only his medals, Patrignani accused him unjustly
of an antique mannerism in vogue since the time of the Hamer-

17; Tureme and

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

anis. In Gregorio NVI, p. 25, PAtRIGNANT concurs with Mar-
tinori’s statement that the designs of Cerbara are accurate and
reveal superior qualities in the artist, although the style is
somewhat manneristic.

12 Spaziani-Tesra, 7 Romant Pontefict, coin 204; SERAFINI,

pl. 161, coin 10; Davenrort, European Crowns, coin 185.

With
the divine only in perfectly modeled forms, and he

pagan devotion, Cerbara could conceive of

embodied the abstraction in the flowing lines and
curves of an essentially human body. The traditional
heavy folds of the garment were replaced with a
soft, veil-like drapery which heightened the ethereal
impression created by vaporous masses of clouds.

His continued preoccupation with variations on
this theme came to no avail, and regression instead
of progress was the result. The exaltation and
devotion expressed in his first reverse (fig. 47), where
a slight asymmetric displacement of the figure toward
the upper edge and the soft radiance of the halo
convey divine aloofness, declines eventually into a
senseless mannerism, Clearly evident in his third version
(fig. 49).

Fig. 48.—Papat Rome, Vacant Ser, scudo, 1829, Roman
mint 18
(Photo courtesy American Numismatics Society)

The same inclination toward mannerism is ex-
pressed in his portrait coins of Pope Leo XII. The
brilliant effect of many of his refined portraits on
his larger coins is based chiefly on subtle details
that fade on smaller coins because of the limited
The delicacy of his portraits, with minute
lines which blend into the softness of the plastic

surface.

surface to reveal deep psychological insight, is
successfully achieved on the large surface of the scudo
(fig. 48), but degenerates on the reduced field of the
gold coin (fig. 50) into a lifeless image.

The impression of fragile transparency conveyed by

13 Spaziani-Tesra, J Romani Pontefict, coin 210; SERAFINI,
pl. 162, coin 7; DAVENPORT, European Crowns, coin 188.

14 Spaziani-Tesra, J Romani Pontefict, coin 205; SERAFINI,

some of his works apparently represents only a phase
in Cerbara’s artistic evolution and seems to be
confined to the duration of Leo XII’s pontificate.
It is possible that the Pope himself, through the deli-
cacy of his frame, inspired the artist. A later portrait
medal of Pius IX struck in 1851 (fig. 51) shows no

Fig. 49.—Papat Rome, Leo XII, scudo, 1825, Roman mint!!*
(Photo courtesy American Numismatics Society)

such qualities. Instead, a youthful, robust exuber-
ance embodied in a noble but superficially treated
relief replaces the transcendental, thoughtful frailty
of the earlier portrait.

Giuseppe, with his young and ardent temperament,
tried to break away from the dominating personalities
of his predecessors, and the first phase in his activity
clearly reveals his tendency to venture into new

Fig. 50.—Paprat Rome, Leo NII, double zecchino or
Leonina, 1828, Roman mint !5
(Div. of Numismatics photo)

concepts of content and form. The coin types of
Leo XII coincide with this period. Unsure of his
new methods and apparently dissatisfied with the
results, Giuseppe remodeled some of his compositions
again. The search for an adequate
expression of his artistic ego, however, proved to be

again and

pl. 161, coin 17; Davenport, European Crowns, coin 186.
15 CNT, vol. 17, coin 16; SeRaFini, vol. 3, p. 377, coin 4.

24 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

beyond his capabilities, and his creative resources
declined to the mannerism which was noticed in
figure 49. Apparently resigned to sacrificing his
originality for the safety of an old, well-established
tradition, he accepted the eclectic formalism of his
time. His personality was completely absorbed by
a tradition that was strong enough to perpetuate itself
for many decades. In final years only the signature
distinguishes Giuseppe Cerbara’s works from those
of his contemporaries.

Le]

alee
Ait)

Fig. 51.—Paprat Rome, Pius IX, medal, year VI, 1851;
view of viaduct at Arricia !!°
(Div. of Numismatics photo)

Giuseppe is seldom mentioned apart from Nicolo,
his younger brother and successor. The tradition
which had persisted at the Roman mint, since the
Hameranis first imposed the spell of their family on
the institution, formed the background for the shaping
of both artistic personalities. Their individual re-
sponses, however, were very different.

Nicolo Cerbara !" (1797-1869), of an even more
conforming temperament than his brother, showed
no tendencies toward outbursts of individuality.
An engraver of gems like all his kinsmen, he was
associated for almost 30 years (1829-1858) with the
Roman mint, where he also served as director. A
close friendship with Pietro Girometti induced him

to collaborate on a series of medals commemorating
famous Italians such as Galileo, Raphael. and Pope

Julius IL (Serce iconografica numismatica dei pit famosi

Italiani).

An assiduous worker, he produced, in addition to
an impressive sequence of medals on Popes Gregory
XVI and Pius IX, most of the dies for the papal
gold, silver, and copper coinage during the pontif-
icates of Pius VIII, Gregory XVI, Pius IX, the
Vacant Sees of 1830 and 1846, and the
Republic of 1848. He also engraved the fisherman’s
ring of Gregory XVI,

Nicolo’s work moved imperturbably alone an even

Roman

line of mediocrity. Devoid of the fine sensibilities
exhibited by his brother’s coinage, his technically
perfect creations express an astonishing spiritual
indifference. Immobilization, a stiffening of aca-
demic formalism, conducive to dry form and cold
expression, characterizes most of his work, suggesting
the

‘

‘sacrifice of feeling’ attributed by Sutherland
to the classical revival of the 19th century.!!8 His
well-balanced compositions, executed with plastic
accuracy, cannot dispel the impression of banality.

The scene of the presentation of the Child Jesus
in the temple, created for the reverse of the scudo

of Gregory NVI (fig. 52), exemplifies this failing.

Fig. 52.—Papat Romer, Grecory XVI, scudo, 1834,
Roman mint!

(Div. of Numismatics photo)

Technically well arranged, the scene presents only
a flat conventionalism of forms. No subtle vision
has imparted life to this essentially static group.
suillness, awkward,

The wooden

almost parallel running folds in the long garments,

accentuated by

is not merely an external attribute; it is an expression

116 PaTRIGNANI, BCN.N (1947), p. 78.
N7 Tueme and Becker, vol. 6, p. 291; BotzenTHaL, p. 306.
MS Art in Coinage, p. 195-209.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

1” CNT, vol. 17, coin 14; SERAFINI, p. 388, coin 47; SPAZiANI-

Testa, 1 Romani Pontefict, p. 123, coin 218; Davenrorr,

European Crowns, coin 191,

bo
nn

of the extreme coldness which grips the whole com-
position of the reverse. The obverse, however, pre-
sents a portrait that possesses an unexpected life-
likeness.

Purely emblematic types, emphasizing the decora-
tive element, found a better solution. The reverse
of the scudo engraved for the Vacant See of 1830
1846

(fig. 53) succeeded in conveying a celestial vision.

and repeated with slight modifications in

Fig. 53.—PapaL Rome, Vacant SEE, scudo, 1846, Roman
mint 120
(Div. of Numismatics photo)

The halo of rays imparts an airy transparency to the
background of the alighting dove. This greatly
improved version created one of the subtlest images

in modern coin engraving.

Papat Rome, Grecory XVI, scudo, 1846,
Roman mint !”!
(Div. of Numismatics photo)

Of a similar decorative nature are the reverses
for the silver and gold coinages of Popes Gregory
XVI and Pius EX, each coin (figs. 54, 57) bearing

120 CONTI, vol. 7, coin 2; Serarini, pl. 164, coin 1; SpAziAni-
Testa, p. 127, no. 237; Davenport, European Crowns, coin 193.
Carponert (p. 228) considers this coin noteworthy from an
artistic point of view.

121 ONT, vol. 17, coin 141; SeRAFINI, p. 389, coin 73; SPAZIANI-
Testa, I Romani Pontefici, coin 232; DAvEeNpoRT, European
Crowns, coin 192.

122 CARBONERI (pp. 229, 241) is impressed with the simplicity
of N. Cerbara’s coinage of Gregory XVI and of Pius IX:

a brief inscription enclosed within a laurel wreath.!2?
The central inscription is in rather massive letters,
probably to satisfy practical more than esthetic
purposes. ‘This concise and salient legend apparently
fulfilled its practical requirements since even Carl
Voigt later adopted the same reverse design.

The subject of the portrait, a challenge to any
artistic ability, seemed to impress Nicolo Cerbara
hardly at all. His portrait series of the contemporary
pontiffs and especially of Gregory XVI betrays
little tendency to alter or improve the once-estab-
lished images. His usual intellectual coldness be-
comes more evident when he is faced with the problem
of reproducing in plastic form not only a physical
likeness but a spiritual individuality. Apparently
incapable of sensing the depth of a subject’s inner life,
he limited his portraits to external likenesses. A
slight tendency toward idealization, however, was
inspired by Pope Gregory XVI, who closely supervised
the activity of his artists, trying to suggest versions of
his portrait which would show him with more
proportioned features. The cameral aide Moroni
relates that the Pope often discussed with the mint
artists new coin designs or changes of already adopted
types.“ Such supervision certainly would eliminate
the slightest inclination toward more original forms of
expression.

Fig. 55.—PapaL Rome, Grecory XVI, 10 scudi, 1838,
Roman mint 4

(Author’s photo)

One of Nicolo Cerbara’s portraits (fig. 55), ex-
pressing only a platitude of form and concept, was
adopted as the official portrait for coins and medals.
An earlier portrait of the Pontiff (fig. 56) by the
same artist, using a more sensitive psychological treat-

“Sono di una uniformita e semplicita degne di nota che fa un
contrasto sigolare colla ricca e multiforme collezione di monete
dei Papi anteriori a Gregorio XVI.”

123 PaTRIGNANI (Gregorio XVI, p. 23) says that the Pope,
being aware of the propagandistic importance of portrait
medals, tried to minimize the prominence of his large nose and
preferred portraits which solved this problem in a more
esthetic manner.

14 CNT, vol. 17, coin 55.

26 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

ment, apparently did not meet the approval of the

Pope since it was never used in later vears.
Cerbara’s portrait of Pius IX (fig. 57), a work from

the period of his artistic maturity, attains a higher

Fig. 56.—PapaLt Rome, Grecory NVI, obverse of medal,
year I [1831] 15
(Photo from Rk)

degree of expressiveness. The vivacious and charm-
ing personality of Pius IX seems to have dissipated
the earlier coldness of the artist to the extent that an
elegant, sophisticated style replaces the earlier for-

Fig. 57.—Papar Rome, Pius IX, scudo, 1848, Roman mint!”
(Div. of Numismatics photo)

malism. The well-modeled plastic relief renders in
simple, clear-cut lines the warm personality of the
high potentate.

Bound by the same formalism, but indicating a
much higher sensitivity, are the portraits of Pope Pius
IX by Bonfiglio Zaccagnini, who signed the dies for

125 RY, fig. 605.
126 CNI, vol. 17, coin 12; SeRAFINI, pl. 164, coin 17; SPAZIANI-
Testa, I Romoni Pontefici, p. 129, coin 240; Davenport, Euro-

pean Crowns, coin 194.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

the gold scudi between 1853 and 1857 and the bronze
quattrini from 1851 to 1854.87 Little otherwise is
known about his activity. Forrer assigns to him some
religious medals.

A tendency toward mannerism is evident. in
Zaccagnini’s portrait of Pius IX used for the gold

scudo (fig. 58). The same preference for minuteness

Fig. 58.—Papat Rome, Pius IX, gold scudo, year VIII,

1853, Bologna mint !28
(Author’s photo)

of detail is employed with better results on a medal
from year VII (fig. 59) wherein design and _ plastic

treatment suggest a psychological insight. Never-

Fig. 59.—Parat Rome, Pius IX, medal, year VII [1853];
view of Via Appia !"
(Div. of Numismatics photo)
features contrast

theless, the delicately engraved

unpleasantly with the massive jaw, made more
conspicuous by the superficial treatment of the surface
of the right check.

27 BDM, vol. 6, p. 712.
PS GNI, vol. 17, coin 101; Serarint, p. 430, coin 311.

120 PaTRIGNANI, BCN.N (1947), p. 79.

However individual were their distinctions, the
creations of these artists were direct products of their
time and of its own mentality. One of the purest
expressions of the intellectualism of the mid-19th cen-
tury can be seen in the German engraver Carl
Friedrich Voigt, who worked for many years at the
Roman mint. His work is an image of his era, with
all its merits and defects.

Although Voigt’s artistic personality was formed
under the guidance of most of the masters of his
period, he did not follow any of them in particular.
Not an imitator, he proved himself to be a master
whose individuality and professional skill were molded
and brought to perfection by the great spirits of his
tutors.

Carl Friedrich Voigt ®° was born in Berlin in
October 1800.
goldsmith Friedrich Alexander Vollgold and the en-
At the age of twenty he

His first artistic training was with the

eraver Leonhard Posch.
joined the medallic institute of the Loos family and
worked under the direction of Gottfried Bernhardt
Loos. Shortly afterward, he became their first en-
eraver. In 1825 he was awarded the academy’s first
prize for sculpture, which gave him the opportunity
to go to London to work at the Royal Mint. The
euidance of Benedetto Pistrucci, a master of engrav-
ing, and the personal patronage of the Duke of
Wellington were of decisive importance in the de-

4 a
Ey

AN BONAR,
am ANY

Fig. 60.—Bavaria, Louts I, double taler, 1848 33!

(Div. of Numismatics photo)
velopment of his future career. After six months he
went to Paris for further studies and then to Rome.
The world-famous gem engraver Giuseppi Girometti

Many

introduced him to the art of cameo-cutting.
BDM, vol. 6, pp. 305-310, and vol. 8, p. 250; Ture

and Becker, vol. 34, p. 508.
! DAVENPORT, German Talers, coin 597. This coin commem-
orates Louis’ abdication in favor of his son Maximilian IT.
22-39,

DavenpoRT, German Talers, pp. 22 For his Bavarian

gems and especially a cameo representing Bellerophon
and Pegasus are evidence of Voigt’s exceptional skill
in this art.

His special aptitudes soon found general recognition
and even Albert Thorwaldsen acknowledged his work.
Endorsed by the great Danish artist, Voigt was given
the assignment to engrave the prize medal for the
Accademia Tiberina, which he later joined as a
Attracted by Voigt’s fame as an outstand-
ing engraver, the art-loving King Louis I of Bavaria

member.

in 1829 appointed him first engraver at the Munich
mint.

During Voigt’s activity at this mint, he produced
a brilliant series of coin dies for the historic double

talers (fig. 60) of the Wittelsbach king.’? Other

DIAPAAM AY

.
oy

Fig. 61.—GreeEce, Orrto I, 5 drachmai, 1833 3
(Div. of Numismatics photo)

assignments for foreign countries, as the beautiful
gold and silver coins for Otto I of Greece (fig. 61),
a task he executed during his stay at the Munich mint,
gave his name international renown. In 1857 he
accepted an invitation of Pope Pius IX to work per-
manently at the Roman mint. He settled in Rome
and for almost fifteen years his name appeared on all
papal coins and on some of the medals. His days in
his adopted country ended when he died suddenly in
1874 in Trieste while on a trip to Germany.

Voigt joined the papal mint at the peak of his
career, his name already world-famous. A well-
rounded personality, molded in the schools of the great
masters of his time, he was, nevertheless, an outsider
But he
bowed before the ancient civilization and submitted

for the Italians, a stranger to their tradition.

to the rule of traditional papal coin engraving. His
coin dies do not deviate in form from those of his

medals, see Hasicu, Die Medaillen und Miinzen, and Kutt,
Mitteilungen der Bayerischen Numismatischen Gesellschaft (1885),
pp. 1-75.

133 DAVENPORT, European Crowns, coin 115.

28 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Italian predecessors, even though the dies were exe-
cuted in a totally different spirit.

This artist saw coins as an expression of monarchal
prerogative rather than a medium of convenience.
As a result, he invested them with all the dignity and,
inevitably, all the rigidity of officialdom. Whether
created for German principalities 1 or the Roman
papacy, his coins present the same idea of monarchic
power. Creating the portrait of a monarch, he was
primarily concerned with the image of the ruler,
Only of secondary importance were the human traits
on which the divine prerogative was bestowed. On
the same theory, Napoleon I, inspired by the example
of Augustus, ordered his artists to render and preserve
eternal youth in his features, and the imaee of
Queen Victoria likewise remained unchanged for
decades.

Voigt’s portraits of Louis I and Maximilian II
of Bavaria, Otto of Greece, and Pope Pius IN (fig.
62) suggest Manfredini’s portrayal of Napoleon. All

Fig. 62.—Papat Rome, Prus IX, 100 lire. 1869, Roman
mint !8°
(Div. of Numismatics photo)

are suffused with the same remote dignity, their
expressions ageless, their physical likenesses a mere

coincidence. It is not the lack of psychological

ability to project feeling and thought into the features
of a high potentate, or even the inability to express

4 Voigt engraved coins for the principalities of Baden,
Hesse, Saxe-Meiningen, and Wiirttemberg.

135 PaTRIGNANI, Gregorio XVI, p. 23n: “De conserver a ses
traits une jeunesse perpetuelle.”

136 SerarFini, pl. 165, coin 15; PAGAni, Afonete italiane, coin
1504.

837 CNT, vol. 17, coin 6; Serarini, pl. 162, coin 9; SPAZIANI-
Testa, J Romani Pontefici, p. 121, coin 212; Davenport,
European Crowns, coin 189.

188 PATRIGNANI (Gregorio XVI, p. 107) thinks that Voigt must
have engraved this coin while in Rome and Patrignani proposes,

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

them in plastic form, but rather the deliberate con-
finement of an individual behind his. official per-
sonality which characterizes Voiet’s work.

An example, however, of his psychological intuition
is the portrait of Pius VIII on a scudo of 1830 (fie.

63), created during Voiet’s stay at the Munich

Fig. 63.—Paprat Rome, Pius VIII, scudo, 1830, Roman
mint 17

(Photo courtesy American Numismatics Society)

mint.88 "The beauty that comes from intellectual
qualities and human understanding glows in the
features of the aged Pontiff. A perfectly modeled eye
accentuates the expression of concentrated intellec-
tuality in this great art lover on the throne of St. Peter,
and a mastery of sculptural values helps to portray
this image, considered by many as one of the most
sensitive portraits in modern coin engraving.!"

The same calm dignity is seen in the composition
of the reverse. Here, a new beauty, resulting from
perfect eurythmy of dimension and movement, per-
vades the statuary representation that was used for
centuries by artists as a symbol of the papacy.

Once Voigt was on permanent assignment at the
Roman mint, he conformed more closely to the
tradition of that institution. ‘The composition of the
coins of Pius [EX was continued by Voigt in the man-
ner of his predecessors, with a bust of the Pope as the

symbol of worldly power on one side and the value

therefore, to correct Forrer’s date of 1829 to read 1830 for
Voigt’s assignment at the Munich mint. In 1831 Voigt en-
graved also “The Allegory of the River Tiber” for a medal of the
Accademia Tiberina (ibid., medal 68), and Patrignani thinks
he prepared it before his departure for Munich during the
pontificate of Pius VIII.
time, however, he may have modeled it while in Munich.

Since Voigt did outside work at the
189 An interesting fact is that an identical portrait, used as the

obverse for the 30-baiocchi piec ce of 1830, bears Nicolo Cerbara’s

signature instead of Voiet’'s.

and year inscribed in a wreath on the other (fig. 62).
This reverse type, created by Nicolo Cerbara, was
adapted also to the decimal coinage introduced by
Pius IX with the reform of 1866.
considerations of utility prevailed in the choice of
this reverse, since the large but readable letters of
the inscription overcrowd the field and disrupt any
pleasant balance of composition.

Despite Voigt’s conformity, the likeness of Pius IX

Apparently only

on the obverse differs greatly from portraits of this
pontiff by other artists. There is an expression of
nobility presented with a simplicity which only a
mastery of sculptural form can confer. The im-
passivity of the Pope is merely surface. An air of
human kindness in a countenance of great dignity
permeates the simple features. Voigt was not a
sentimentalist; no impressionistic irregularities disrupt

the harmony in his simple balance. A master of
form, he achieved a perfect interplay between simple
lines and unobtrusive plastic relief. His fame rests
upon a Classic simplicity of composition and a sobriety
of form.

After 1870 no coins were issued by the popes for
almost sixty years, until 1930, when the striking of
coins—an expression of recognized worldly power—
was resumed as a result of the Concordat between the
Italian government and the Papacy. Since the
striking of the coins and medals of the Vatican is
done in a well-established collaboration with the
Italian government at the Roman mint, the section
devoted to this most recent phase in the minting
activity of the Vatican will be discussed in connection
with modern Italian coin engravers.

NAPLES

The southern Kingdom of Naples and Sicily, an
appanage of the Spanish Bourbons, was torn be-
tween the tyranny of their foreign-born kings and
the idealistic, impetuous population, which was
committed through the secret fraternity of the Car-
bonari to fight for civic freedom and for national
affirmation. Set in motion by the ideals of the French
Revolution, surge after surge of patriotic aspirations
arose and then were smothered under the reactionary
policies of Ferdinand IV. His reign of 67 years on
the throne of Naples was a relentless, obstinate
battle to maintain his autocratic regime in the face
of time and events. Twice an exile during the
victorious wars of the French, he later increased his
efforts to rebuild his old power on the debris of the
Napoleonic regime. With the support of foreign
Austrian troops he crushed the patriotic uprising in
1820 and
endless political persecutions.

His attitude toward the growing tide of nation-

buried his previous concessions under

alistic movements became a tradition in his family.
His son Francis I and his grandson Ferdinand II
met the national quest for reform with the point cf a
bayonet. Neither understcod the new and challenging
spirit, and instead of leading their country toward a
persisted blindly in
Finally defeated

democratic monarchy, they

maintaining their autocratic rule.

by time and the patriotic enthusiasm of their peoples,
the Bourbon dynasty ceased to reign in Naples in
1861, when this southern monarchy became an inte-
grated part of the united Kingdom of Italy.

The coin designs of the Neapolitan mint offer a
good example of the decisive effect which a strong
personality can have on the development of an
institution. At the Naples’ mint the art of coin
engraving was bound for decades to mediocrity and
platitude because of the domineering spirit of its
chief engraver Domenico Perger.° Spiritual inertia
held him in the line of a tradition that had neither
glory nor distinction. The coins and medals which
he cut for Ferdinand IV during the last decade of
the 18th century display an almost embarrassing
primitivism (fig. 64) when compared to better
products of some of his contemporaries like Nicola
Morghen (fig. 65) or Vincenzo Aveta.™! Perger
seemed to entirely dominate the mint for years;
his initials D.P. appear on numerous coins until 1804
when the king, apparently tired of the monotony
of his coins, expressed the desire for a radical change
at his mint.!”

Luigi Diodati “* was appointed master of the mint
to replace Antonio Planelli, and under his expert
direction operations were completely reorganized.
The system introduced by Diodati was one of the

40 BDM, vol. 4, pp. 450-452, and vol. 8, p. 120.
M1 Ricctarpi, Medaglie delle Due Sicilie, p. 16, medal 43.
42 Prora and Moretu, BCNN (1926), pp. 3-25.

48 Dropati published a pamphlet about the organization of
the mint: Dello stato presente della moneta nel regno di Napoli o

della necessita di un alzamento.

30 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

ens

most progressive of his time, and many of his inno-
vations were imitated by Tsar Alexander I in perfect-
ing the Russian minting process. Domenico Reb-
ora, one of Diodati’s expert technicians, improved

Fig. 64.—Napves, Ferpinanp IV anp Quren Caro.ina,
medal, 17g1 19
(Photo from Ricciardi)

Vig. 65.—Naptes, Frrpinanp IV, obverse of medal, 1792 1°
(Photo from Ricciardi)

the mechanical installations, which gave the mint
better production. Diodati himself, after receiving
from the Ministry of Finance in 1804 the assignment

44 Prora and More.u, BONN (1926), p. 4; D'INcERTI,

RIN (1959), p. 36.
45 Ricctarpt, Afedaglie delle Due Sicilic, p. 17, medal 46.
446 [bid., p. 17, medal 47.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

to create a new silver piastra, attempted to impose
a new artistic direction on coin engraving,
Perger was forced to rise out of his inertia and to
conform to the new policy with an entirely new
creation. Inspired by a marble bust of the king by
Antonio Canova, he presented a new coin design (fig.

66). It did not meet the approval of Ferdinand

Fig. 66.—Nap es, FerpNANb IV, project for piastra, 1804 7
(Photo from Prota)

and another project was requested with great urgency.
Apparently following the directions of the Ministry
of Finance, he turned toward Enelish coinage for
inspiration. The penny and twopence copper pieces
struck by Matthew Boulton for the English Govern-
ment in 1797 at the Soho mint in Birmingham had
carried a raised border which had given the pieces
the appearance of a cartwheel, from which was
derived the name “cartwheel penny.” ‘This innova-
tion was not favorably accepted by the
public since the coins ‘twere found exceedingly

Enelish

cumbrous,” 8 and so the experiment was discon-
tinued, many of the pieces being melted down for
their copper content. But outside of England
apparently the novelty of this experiment impressed
people more than its failure,

Three among four of Perger’s patterns submitted
in 1804 for a piastra of Ferdinand IV display the
same technique of a raised border. “Pwo patterns,
Perger’s first project, have the inscription on the

47 Prora, NumR (1941), vol. 7, pp. 113-117.
Ws Crate, London Mint, p. 265. See also: Dickinson, Matthew

Boulton; BDM, vol. 1, p. 235.

8 while his third project
The latter was
approved October 18 and was struck in a small num-
The com-

border in incused letters,!

(fig. 67) has one in raised letters.

ber before the entire issue was terminated.
position of this coin is very well balanced. The

Fig. 67.—Naptes, FERDINAND IV, piastra, 1804 1°"
(Photo from Pagani)

small bust of the monarch in Roman attire, executed
in Perger’s habitual low relief, is not lacking in
artistic value, and can even be considered one of
his better coin engravings. The massivity of the
strong profile is pleasantly balanced by the high
relief of the surrounding border. The reverse has
an impressive simplicity, harmonious in its design

Fig. 68.—Nap es, FerpINAND IV, pattern piastra, 1804 1%!
(Photo from Pagani)

and distribution of letters. Interestingly, the same
obverse and reverse designs transposed to a standard,
flat planchet with no raised border (fig. 68) com-
pletely lose their esthetic appeal: the bust appears
awkward and too compact; the reverse, insignificant.

149 PaGANt, Prove e progetti, coins 751-752.
150 PAGANI, Prove e progetti, coin 749.
RIN (1959), p. 37.

151 PAGANI, Prove e progetti, coin 750.

See especially D’ INcERTI,

182 For further information on Rega, see: BDM, vol. 5,

pp. 58-60, and vol. 8, p. 152; Tureme and Becker, vol. 28,

Perger’s patterns did not receive necessary apprecia-
tion, nor did his dies seem fit for production. From
the earlier, first project of the piastra of 1804 only a
few specimens could be struck before the dies broke,
while the second project was rejected without much
consideration by the Superior Council of Finances.
his rift with the new
their procedure,
his superiors gave the commission for the piastra

Lengthy wrangles widened
administration. Against regular
project to two artists outside the mint, Filippo Rega
for the obverse dies and Michele Arnaud for the
reverse.

Michele Arnaud, more a technician than an artist,
was well known in Naples as a button manufacturer.
He had come in contact with the mint through
occasional use of their presses. Later he introduced
some mechanical changes and, in collaboration with
Rega, he developed certain techniques for improving
the die preparation. He was father of the engraver
Achille Arnaud and the grandfather of Luigi Arnaud.

Filippo Rega? (1761-1833) was born in Chieti
but lived with his father, an antique dealer, in Naples.
In 1776 he went to Rome to study design and gem
with the famous Giovanni Pichler.
Twice he won the prize of the San Luca Academy
of Arts. He returned after twelve years to Naples
with an established reputation and found quick
acceptance among the aristocracy and at court.
The king commissioned him with the cutting of a
portrait cameo of Prince Francis, while for Sir William
Hamilton, the British envoy, Rega engraved a
portrait of Lady Emma. He also cut a portrait of
Napoleon I in agate, of Joseph Napoleon in onyx,
and other portrait cameos of Joachim Murat and
his family.

engraving

His signature, PHTA or PETA, can still be
The field in which he
excelled was that of mythological subjects; his cameos
were of such exquisite quality that often they passed
for the work of an ancient Greek master.’ In 1803
the French Institute elected him a member, and
in 1804 his first assignment with the mint marked
the beginning of a productive relationship which
continued to his last days in 1833.

Rega’s emotional temperament set the pattern of his
entire life. His works were the creation of a few fugi-

seen on many of his works.

p. 82; Forrer, RasN (1908), pp. 91-94; BCNN (1926), pp.
16-19; Corucci, BONN (1942), pp. 36-45; Sicit1ano, Medaglie
Napoletane, pp. 1 ff.; PRora, Giornale d’ Arte (1925).

153 Sicitano, Medaglie . Forrer (loc. cit.)
also mentions the “unattainable velvety polish” of his cameo

fapoletane, p. 1.

portraits.

DL BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

tive moments of inspiration while he let other amuse-
ments fill his days. Worries and penury were the
inevitable result. It was said that in order to cover
his debts he had to sell even his beloved harp and
hence give up his activity as harpist at the court.
He died in poverty.

Rega’s work draws inspiration from the master of
neoclassicism, Antonio Canova. The same. serene
perfection embodied in exquisitely modeled relief
characterizes Rega’s creations. Gem engraver by
profession, he transposed the concepts of cameo cut-
ting to die engraving. <A well-rounded plasticity with
a subtle interplay of chiaroscuro confer a high degree
of grace and expressiveness to his portraits.

His activity at the mint was confined to creating
and preparing the model for the obverse; '* the trans-
position to steel work was done by another, younger
artist,
petition to the king in 1815,'° Perger mentions the
fact that while he was able to do his own complete
die work, Rega had to be helped by Giovanni Martino
and Domenico Rebora, both skilled in the technique

who specialized in die engraving. In a

of steel engraving. This circumstance helps reveal
why all the coins and many of the medals engraved
at the Naples mint after 1804 were anonymous.
Separate artists would be assigned to design the
obverse and reverse.’ Some artists like Rega and
his successors would create only the model in plaster
(or the main punches) and would direct the final exe-
cution while other, younger, or less important artists
actually finished the die sinking. When the principal
punches, i.e., the portrait for the obverse and the coat
of arms for the reverse, prepared by the two main en-
gravers, were passed on to these minor artists, the
latter often completed the dies by directly engraving
the additional decorative elements. This system of
combining various punches (also adopted by today’s
coin engravers) results in such a close interrelation
between creative and executing artist that it is almost
impossible to draw a clear line between individual
creations. Artistic peculiarities, individual style, and
creative personalities are intermingled in a common
creative process.

In 1804 a “contest” between Perger and Rega was
decided in the latter’s favor. Rega’s project for the

piastra (fig. 69) was accepted and 300 ducats were

Fig. 69.—Naptes, FERDINAND LV, piastra, 1805 1%

(Div. of Numismatics photo)

paid for his work.'** Although using the same tech-
nique of the raised border adopted previously by
Perger, this coin displays a superior treatment. The
massive border of the English ‘cartwheel’ had formed
In Reega’s
composition it shrinks to a decorative element,!" in-

an essential element in Perger’s pattern.

dicated only by two concentric circles. The bust of
the king, to which Rega’s classical sense of proportion
added an unexpected beauty, completely occupies the
field of the coin and dominates the whole composi-
tion. In this portrait the same, strong, aquiline fea-
tures of Ferdinand IV which had acquired almost an
effect of caricature in Perger’s version, seem to impart
nobility and energy to the face of the monarch. On
the reverse, basically similar to Perger’s design, Rega
reduces the massiveness and accentuates the vertical
line of the composition.

The change of regime in Naples in 1805 did not
hurt Rega’s career; his merits were also recognized
by the Bonapartes. In fact, in December 1806 Joseph
Bonaparte conferred on him the title of Afaestro
@incisione sopra pietre dure (master of engraving)
at the Royal Academy of Arts and Design in Naples.!"°
Rega, continued his activity at the mint. We assume
piasra of Joseph

however, that the unsigned

154 Recorded are his dies for the 3-, 5-, and 10-centesimi
pieces, 1813, with the portrait of Murat. He also created the
dies for the gold 20- and 40-lire pieces of 1813 and for the silver
coinage of that year.

155 Cf. Srcrt1ano, Afedaglie Napoletane, p. 5.

156 Cosentini CagS (1914), vol. 4, no. 1, pp. 22-23; D'INceRTI,
RIN (1959), pp. 50-51.

157 Cacrati, Le monete delle Due Sicilie, fasc. 5, p. 79, coin 5;
D’Incerti, RIN (1959), p. 62, coin 6; Davenport, European

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800
600-851 °—65—\-3

Crowns, coin 162.
158 Corvuccr, BONN (1942), p. 40.
(pp. 3-25) mention that only 150 ducats were paid to Michele

Prora and More ui

Arnaud for the reverse model.
139 For a medal of 1807, see Ricciarpt, medal 76
the same dic, replacing with a wreath only the inscription w ithin

Rega used

the border.
160 SrcrttANo, Medaglie Napoletane, p. 8.

Bonaparte (fig. 70), struck between 1806 and 1808
from a model furnished by Rega, was engraved by
This assumption can be sup-

Vincenzo Catenacci.
ported by the fact that a medal of 1805, bearing a

Tig. 70.—Nap.es, JOSEPH BONAPARTE, piastra, 1808 14
(Div. of Numismatics photo)

similar portrait, was signed by Rega for the obverse
and by Catenacci for the reverse, indicating that they
were working together.!®

Rega’s activity at the mint increased during Joachim
Murat’s reign from 1808 to 1815.
Antonio Canova’s influence more evident than in the

But never was

portraits of Murat by Rega and his contemporary
Nicola Morghen, who created the beautiful 40-franc
piece of 1810 1° (fig. 71). Inspired by the classical
portrait of Murat,!*

impassiveness of Canova’s

Fig. 71.—Nap es, Joacnim Murat, 40 franchi, 1810 1%
(Author’s photo)

101 Caciati, fasc. 5, p. 86, coin 1; Davenport, European
Crowns, coin no. 165.

'e2 CoLuccr (BCN.N, 1942, pp. 36-45) suggests that Catenacci
is the engraver of the medal.

3 "This coin type, signed with N.M., was engraved by Nicola
Morghen in 1810 in competition with Achille Arnaud (Prota,
BONN, 1931, pp. 14 ff.). See also: CarBonert, pp. 139-141;
D’Incerti, RIN (1959), p. 39.

164 See ComanpinI, L’Jtalia nei cento anni, vol. 1, p. 827.

165 PaGant, Monete italiane, coin 261a.

16 Caciati, fasc. 5, p. 92, coin 4.

Rega’s interpretation, although permeated by the
sovereign’s aloofness, breathes more warmth. Two
coin dies, the 12 carlini of 1809-1810 (fig. 72) and

Fig. 72.—Nap es, JoAcHiM Murat, 12 carlini, 1810 18
(Div. of Numismatics photo)

the 5 lire of 1812-1813 (fig. 73), are extant; with the
head of Murat facing left and right, both portraits,
although unsigned, are undoubtedly the creations of

Fig. 73.—Nap es, JOAcHIM Murat, 5 lire, 1813 1°

Rega. In fact, the same head design (facing left)
appears on numerous medals !® from 1809 to 1811,
while the later design was used for the obverse of
other between 1811 and 1813.17
Some of the medals were engraved in a low relief
generally adopted only for coins.!! Ordinarily, the

medals struck

197 Tbid., p. 98, coin 2; PAGAN, Monete italiane, coin 265a.

168 In 1812 the dies for the 5, 2, and 1 lire were sent to Paris
to be approved by Napoleon; in 1813 Rega prepared other
dies for the gold and silver coinage and also for the 3, 5, and
10 centesimi.

9 RicctarpI, medals 81, 82, 83, 86, 94. Especially well
known are 81 (Per la formazione della Piazza Murat) and
94 (Pel ritorno dalla campagna di Russia).

170 [bid., medals 87, 93; Larizza, Gli ultimi due secoli delle Due
Stcilie, pl. 35.

171 RicctarpI, medals 81-83.

34 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

portraits for medals based on the same model as the
coin have plasticity, which
considerably enhances their physiognomic and sculp-
tural qualities.1

a more pronounced

Done by the same artist, these two portraits (figs.
72, 73) differ essentially, revealing Rega’s versatile
range as a portraitist. The first portrait accentuates
the classical eurythmy of line and relief, sacrificing
individuality to beauty; the second and later portrait
disrupts this symmetry and imparts personal charac-
ter. The first is Rega’s subjective interpretation of
an idealized young hero who daringly conquered
royalty. Later, more
human aspect, a defiant pursing of the lips, a coldly
domineering eye, reveal deeper insight of the art-
ist, or perhaps a better knowledge of Napoleon’s
favorite. The latter portrait won much admiration
at court, and some proofs of the 5-lire 1812 were sent

certain particularities of a

by Queen Carolina to Paris to be seen by her brother,
Napoleon. Other proofs of Rega’s dies for the deci-
mal coinage, from 5 lire to 50 centesimi, were sent as
models to the mint in Milan.!

The untimely death of his king before an execution
squad at Pizzo, Calabria, October 1815, did not affect
the destiny of Filippo Rega. Benevolent recognition
was also bestowed on him by the returning Bourbon
king, Ferdinand IV, now known as Ferdinand I.

And even higher honors were in store for Rega. In
1822 he was commissioned by the king to teach en-
eraving at the newly founded Istituto di Belle Aru
and in 1829, as part of the general reform of the mint
(Riforma del Gabinetto dei con nella zecca di Napolt),
a Gabinetto dIncisione (Engraving Cabinet) was in-
stituted as an annex to the mint under his super-
vision. As director of the Engraving Office he had,
among other obligations, to prepare the models for
coins and medals. After Diodati retired in 1825 as
director of the mint, the tradition of having coin dies
initialed by the maestro della zecca ceased. Only
medals were so marked. In fact, since 1829 the
medals issued by the Neapolitan mint always bear the
initials or name of the director of the Engraving Ofhce
accompanied by the letters iNv. or pir. (invented or

1722 [bid., medals 86, 87, 93, 94.

13 Prora, NunR (1939), p. 149.

174 Rrecrarpr, medals 129, 152, 155, 156, 158.

175 [bid., medals 133, 146, 151.

176 Tbid., medals 158, 160.

177 [bid., medals 133, 146.

178 Sycrttano, BC.VN (1938), p. 45.

179 The same head was already in use in 1816 on 5- and 8-

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

directed), the name of the engraver with INC. or PEG.
(¢ncise or fece=engraved or made) and the initials of
the director of the mint, with the tide M.p. (naestro di
prova).

During Rega’s activity at the mint, he was assisted
by many young artists, some trained personally by
him at the Engraving Office. Among them were:
Vincenzo and Scipione Catenacci, Fortunato Moli-

nari, Francesco d’Andrea, Achille Arnaud, and
Michele Laudicina. Some of these artists signed
medals engraved from Rega’s designs. Vincenzo

the Eneravine Office,
appeared to be his favorite collaborator; many medal

obverses bearing the portrait of Ferdinand I (LV),

Catenacci, his successor at

Francis I, or Ferdinand II] were signed by both Rega
After 1830 the name of d’Andrea!”®
as well as of Laudicina!’® appear also in coniunction

and Catenacci.!!
with Rega’s signature. Medal reverses were signed
during the same period by Laudicina, and especially
by Achille Arnaud,!" always accompanied by an
F. REGA DIR.

The portrait of King Ferdinand I (IV) by Rega,
engraved by Catenacci,!* was used on the entire
gold, silver, and copper coinage of 1818,!"" an example

of which is the gold 15-piastre piece (fig. 74). ‘This

»
fe
!
I
as
isa

|
oll

Fig. 74.—Nap ues, Ferpinanp I, 15 ducats, 1818 !*°
(Photo courtesy American Numismatic Society)

issue presents an unusual feature: a golden band
encircles the heavy locks of hair." The custom of
vesting rulers with the regalia of power had fallen in
disuse for centuries, and even Louis NIV of France,
the prototype of absolutistic power, is usually repre-

tornesi picees. Vor the monetary reform of Ferdinand I and the
monetary law of 1818, see: CarRBONERI, pp. 210-212, 217n;
D'Incertt, RIN (1959), pp. 42-43.

180 Caciati, p. 109, coin 1; D'Incerti, REV (1959), p. 84,
coin 72.

ist The same portrait, exec uted only in high relief, has been

used for many medals, all unsigned. See: Ricerarpt, medals

106, 113, 117, 129; Larizza, pl. 36.

we
wm

sented in his mature years as bareheaded or with a
laurel wreath. But with this crown, emblem of mo-
narchic power, Rega certainly was alluding to the re-
actionary monarchy introduced by the king.

This head of Ferdinand I is a highly idealized por-
trait of the aged king. The patrician features hardly
suggest a likeness of the man who reintroduced the
‘whole apparatus of despotism,”’ when ‘‘freedom was
strangulated on the gallows and smothered in dun-
geons.”’ 8? A symbol of royal power by the grace of
God, his aspirations an anachronism, his acts an of-
fense against liberty, Ferdinand I died tormented by
the prospect of the rising movement of national free-
dom which was advancing inexorably. Political
events, however, did not have any effect on Rega’s
work; impassively he served them all, godlike heroes
or human failures, glorifying the symbol they repre-
sented rather than the human beings they were.

Fig. 75.—Nap tes, Francis I, 30 ducats, 1826 !8

(Div. of Numismatics photo)

Ferdinand’s successor, Francis I (1825-1830), a
weak and timorous personality, was a vacillating fig-
ure on the royal throne. Rega tried again to embel-
lish, if not to idealize, his king, however trivial the
figure. During the short reign of Francis I, only a
single portrait of him was used for the gold, silver,
and copper coinage (fig. 75). A similar representa-
tion was also used on many medals !** signed by
Francesco d’Andrea, Vincenzo Catenacci, and even
Andrea Carriello. Although different in execution
from a medal, with the low relief typical of Neapolitan
coins in this period, the portrait on this coin resembles
more closely the portrait on the medals signed by
d’Andrea (fig. 76) and we are safe in assuming that
he was the artist who executed it.

182 CaGIATI, p. 103.
18 Tbid., p. 119, coin 2; D’Incert1, RLN (1959), p. 98, coin 95.
184 Ricciarp1, medals 146, 152, 154-157.

36 BULLETIN 229:

The subtle and well-flowing plastic forms display
a genuinely human serenity, which contrasts greatly
with a contemporary portrait of the king by the
French medallist Jean Jacques Barré (fig. 77). On

Fig. 76.—Naptes, Francis I, obverse of medal by
d’ Andrea 15
(Photo from Ricciardi)

the other hand, the portrait signed by Catenacci
(fig. 78) is a more realistic, less flattering interpreta-
tion of the original model by Rega.

Young King Ferdinand II (1830-1859), who suc-
ceeded his father at the age of eleven, reigned for 29

Fig. 77-—Nap.es, Francis I, obverse of medal, 1830 '**
(Photo from Ricciardi)

years under the most contradictory conditions. An-
tagonized by the Liberals and the Carbonari, haunted
by the terror of sedition, he wavered between pro-
gressive and despotic methods before finally adopting

a reactionary policy. ‘‘Re Bomba’? (King Bomb)

185 Tbid., medal 146.
186 Tbid., medal 147.

CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

was the nickname given him by the Italians after the
bombing of Palermo during the revolts of 1848.57
Cagiati sees in his reign, as in his coinage, three dis-
tinct periods: the first marked by a beneficial progress;
the second, by

tumultuous changes during the

revolutionary years; and the third, his last period, by

Fig. 78.—Nap es, Francis I, medal by Catenacci 18
(Photo from Ricciardi)

reactionary despotism.!*"

fluctuations

To discern clearly these
throughout — his difficult,
although the first period does present a parallel
development in his coins.

coinage is

The plain, unbearded head of the young king,
copied by Catenacci (fig. 79) and Carriello (fig. 80)
from a model by Rega, was used for the striking of
medals between 1830 and 1840. A similar bust of

Ferdinand I, conjoined with a bust of Queen Maria

Vig. 79.—Nap es, FERDINAND IT, medal 1830 1°
(Photo from Ricciardi)

Nap es, Ferpinanp II, obverse of medal, 1831 1"!
(Photo from Ricciardi)

Fig. 80.

187 LARIZZA, p. 57.

188 Tbid., medal 154.

189 Cacratl, fasc. 5, p. 126. See also D’INcerti (RIN, 1959,
p. 46), who also divides Ferdinand’s coinage into three periods:
(1) 1831-1839, characterized by a beardless portrait of the

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

king; (2) 1840-1850, the king wearing a slight beard; (3)
1851-1859, the king having a heavy beard. (The gold coinage
shows an intermediate type from 1850 to 1852.)

Ww RreciArpr, medal 158.

191 Tbid., medal 166.

Fig. 81.—Nap Les, FERDINAND II, AND Marta CurisTINA,
obverse of medal, 1834 1%
(Photo from Ricciardi)

Christina, was used on a medal (fig. 81) signed by
Rega and executed by Laudicina.!

‘The portrait adopted for the gold, silver, and copper
coinage (fig. 82) from 1831 to 1835, or even 1839 to

1841, is undoubtedly copied from Rega’s same model.

Fig. 82.—Nap rs, FERDINAND II, piastra, 1833 1%
(Div. of Numismatics photo)

Since it is difficult to trace similarities between the
more linearly treated engraving of coins and the high,
rounded relief of medals, doubt arises as to whom to
attribute the die execution, whether to Carriello or to

Laudicina. To the latter point certain technical

characteristics, as the treatment of hair and the gen-
eral design. A puzzling fact is that the only medal
bearing the exact same portrait as the coins is one
struck in 1840 on an octagonal planchet for the
inauguration of the first Italian railroad (fig. 83),

Fig. 83.—Nap es, FerpInanp II, octagonal medal, 1840;
commemoration of railroad from Naples to Nocera 1%
(Photo from Ricciardi)

a medal which clearly displays, under the king’s head,
the signature of a medallist called Benoist, whom this
author is unable to identify.

One of Rega’s collaborators was Achille Arnaud 1%
(1790-1839), son of Michele Arnaud. In his younger
years Achille had assisted his father in the engraving
of coin dies.
dei rovesci (first engraver of reverses) and in this
position he prepared most of the punches for inscrip-
tions or ornamentations.!? Many of his works are

Later he was appointed primo incisore

concealed by anonymity, and we can discern very
little about his artistic qualities from the few signed
In Ricciardi’s work on Neapolitan medals
only two engravings (133 and 146) show his signature
on the reverse. The medal struck in 1825 has only a
simple emblematic representation, while the second
one, from 1830 (fig. 84), displays a complex composi-
tion of anemic inspiration and poor execution.

In 1810 Achille Arnaud was commissioned to
create a 40-franc piece for the new coinage of Joachim
Murat, but his project was rejected by the director
of the mint, G. De Turris, as technically imperfect.

medals.

Very few of these 40-franc pieces survive since they
were consigned to the melting pot in December of

192 Tbid., medal 162.
1% Michele Laudicina, a cameo and shell engraver from

Trapani, was appointed engraver for reverses and medals.

The director of the mint, Baron F. Ciccarelli, had words of
high praise for his skill as diesinker. See Sicmu1ano, BCN.NV

(1939), p. 9.

19 Caciati, fasc. 5, p. 136, coin 3; D’INcert1, RIN (1959),
p. 115, coin 172; Davenport, European Crowns, coin 172.

195 Riccrarpi1, medal 171.

196 Sicit1ano, Afedaglie Napoletane, p. 3.

197 Sicrttano, BONN (1939), p. 13.

38 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

the same year.' We are inclined to assume that
the well-designed and pleasant reverses of the Neapol-
itan silver coins as well as the standing divinity
(fig. 75) used on the reverse of the gold coinage
during those years were all his work. Unassumingly
he continued his activity after Rega’s death, assisting
Vincenzo Catenacci in the latter’s work at the En-
graving Office up to his own death in 1839.

Fig. 84.—Nap es, Francis I, reverse of medal, 1830 19
(Photo from Ricciardi)

Filippo Rega died in 1833, but his designs and
models continued to be used for many years.*’ His
successor at the mint was Vincenzo Catenacci, whose
signature followed by the customary pir. (direxil=
directed) can be seen on medals issued during 1836.7!
The coins continued to be anonymous.

We have little information about the life of Cate-
nacci * and his activity, beyond his birth in 1786
and his death at Naples in 1855. Siciliano discloses
that he was a favorite of Rega, who promoted the
younger man’s career at the mint." In 1829, at
the age of 43, he was named on Rega’s special recom-
mendation primo incisore det ritti (first engraver of
obverses). He followed Rega to the Engraving Office
where he worked until his death in March 1855. A
son, Scipione Catenacci, also worked as an engraver.

Since Vincenzo spent most of his life at the mint
under the spiritual guidance of Rega, his activity was
limited to the work of faithful copyist and dic-
sinker and he did not have the opportunity to develop

his own artistic personality. None of his works can
be distinguished by more than a studied precision
in technical execution. His products are barren. of
the distinguishing mark of an individual stvle,

Among the medals engraved by Catenacci from
designs by Rega can be mentioned the funeral medal
of Ferdinand I (1825),2% another medal commemo-
rating the return of Francis I from France.“ the death
medal of the king in the same year," the obverse ol
the medal commemorating the accession of Ferdinand
II in 1830,° and a few prize medals. From. the
subject of the previous medals it can be seen that
he was always given the highest assignments even
though the quality of his work did not fully justify it.
His portraits, inert and insignificant, cannot com-
pare with similar works by engravers like D’Andrea
and especially Carriello. The reverses show limited
plastic qualities and his technique was unsuited to
highlighting the dramatic points in Rega’s original
drawings.

Vig. 85.—Nap tes, obverse of medal commemorating
Giovanni Batistta Vico, 1854 °°
(Photo from Ricciardi)

A medal dedicated to the Neapolitan philosopher
Giovanni Battista Vico and signed only by Vincenzo
Catenacci (fig. 85) appears to be an original compo-

sition of his. It can hardly be called more than

198 Prora, BCNN (1931), pp. 14-17.

1 RiccrArpDI, medal 140,

200 See the medal for 1836 (Riccrarpi, medal 166) with
Rega’s signature.

201 [bid., medals 163, 164.

202 BDM, vol. 1, p. 360, and vol. 7, p. 164; Tineme and
Becker, vol. 6, p. 184; BoLZENTHAL, p. 307; SICILIANO, Medaglie
Napoletane, p. 2.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

208 Medaglie Napoletane, p. 2.
204 RiecrArRpI, medal 129.
205 Tbid., medal 151.

206 Tbid., medal 152.

207 Tbid., medal 158.

208 [bid., medal no, 210.

Catenacci
apparently did not have sufficient prestige to assert

mediocre. Once his sponsor was gone,

himself at the mint. His signature disappears from
the medals early in 1836 to reappear only sporadically
in 1837. In the same manner, the signatures of
Carriello or d’Andrea are accompanied from that
point on only by the name of the new director of the
mint, Baron Francesco Ciccarelli, and, after a few
years, even this procedure was not regularly followed.

Regrettably we have very little information about
Francesco d’Andrea, one of Rega’s very able assist-

ants. His name was mentioned in connection with

Rega as early as 1809, when Rosmina Colucci °°?
identified him as the probable engraver of the medal
commemorating the founding of Murat Square in
Naples.*!° The height of his career, which we can
deduce from his signed medals, embraces a period of
approximately two decades, from the early twenties
to the late thirties, with its peak achieved during
the reign of Francis I, 1825-1830.
terpretation of Francis’ portrait (fig. 76), which

The warm in-

carries d’Andrea’s signature when the portrait appears
on some of the medals,*!! was apparently the selection
for the obverse of the entire gold (fig. 75), silver,
and copper coinage of this king.

Confined to engraving obverses, according to the
tradition of the Neapolitan mint, d’Andrea worked
Also, he apparently did not have
any special aptitude for compositions.

on few reverses.
A premium
medal from 1826 (fig. 78), representing an allegorical
group on the reverse, confirms this supposition.
His artistic qualities, sensitivity and subtle treatment
of relief, can be traced only vaguely in this composition.

The portrait of young King Ferdinand II and of
Queen Maria Theresa on their wedding medal of
1837 (fig. 86), a later work of d’Andrea, was highly
praised because the artist had to create the portrait
from memory and imagination. The same plump
features of somewhat Neronian cast can be compared
to a similar portrait by another artist used on the
largest denominations of the gold, silver, and copper
coinage between 1839 and 1851 (fig. 87).

209 Corucci, BONN (1942), pp. 36-45.

210 RicciArp1, medal 81.

211 Tbid., medals 133, 146, 151.

212 Tbid., medal 168.

2183 An excerpt from a letter (Naples, November 3, 1958)
from Mr. Giuseppe De Falco, a well-known expert in the
Neapolitan series, may serve to confirm this:

As I mentioned in my previous letter, because of my
limited knowledge on the subject, I wanted to approach

This work leads us into one of the most intricate and
puzzling series of portrait coins in the Neapolitan
mintage. During the 29 years of his reign, Ferdinand
II, who never posed for a coin, had a variety of por-
traits on his coinage. With the exception of the
first, young, beardless head (fig. 82), designed by
Rega during the latter’s final years at the mint and
used in a single version on the coinage from 1831 to

1839, we are completely in the dark as to whom to

Fig. 86.—Nap tes, FerpinAnp II anp Marta THERESIA,
obverse of wedding medal, 1837 7?
(Photo from Ricciardi)

ascribe the later portraits. Since the archives have
not disclosed any precise documentation,?!’ our desig-
nations are purely conjectural, obtained through
personal interpretation of the stylistic characteristics
of the various engravers.

The guiding hand of a master was lost after the
death of Rega, and judging from the medals of that
period, Vincenzo Catenacci, Rega’s successor, ap-
parently was unable to assert himself effectively.
Studying the portrait of the king after 1833, the year
of Rega’s death, one suspects that each artist was on
his own in creating and interpreting the likeness

Miss Eugenia Majorana, the late Mr. Cagiati’s daughter,
who in addition to being an undisputed authority in the
field of the coinage of southern Italy is, for professional
reasons, in contact with all the collectors and students of
modern Neapolitan coins. Yesterday I was able to see my
good friend, to whom I had already communicated your
request some time ago. Unfortunately she could not tell
me more than you would know already. Nobody
up to now has done any systematic research in the fascicles
of the last fifty years of the Bourbon mint in Naples.

40 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

of the king. With the exception of two medals in
1836,7% on which Michele Laudicina’s signature is
followed by v. CATENACcI Dir., all the other medals
bear only the signature of the artist, accompanied
occassionally by the name of the director of the mint,
Baron Francesco Ciccarelli.

“ Toe i Oxy
“Oni
Fig. 87.—Naptes, FERDINAND IT, piastra, 1843 74%
(Div. of Numismatics photo)

Among the earlier portraits in this series is the
head of Ferdinand II, used on the largest denomina-
tions in gold, silver, and copper between 1839 and
1851 (fig. 87). Although certain similarities with

Fig. 88.—Nap tes, Ferpinanp IT, obverse of premium medal,
1839 71%
(Photo from Ricciardi)

d’Andrea’s earlier mentioned work (fig. 86) cannot
be denied, we are inclined to attribute this unsigned
portrait to Andrea Carriello. Several reasons sup-
port this contention. The fact that the larger coins
all carried the same portrait between 1839 and 1859

suggests that this honor was bestowed on a single
capable artist. Because Carriello reveals such high
quality in his signed work and because he was a
favorite of Rega, we feel safe in assumine that Car-
ricllo was the artist assigned to this project. Finally,
as supporting evidence, a premium medal (fig. 88),
definitely by Carriello, presents an almost identical
portrait.

A series of earlier portraits of Francis I and of
young Ferdinand II *!" established Carricllo as the

most sensitive portraitist in the whole group (fig. 89).

~_
od
—
a
~
—
ro

Fig. 89.—Napces, Carte..o’s Firsr MEDAL, obverse
dedicated to Francis [ [1830] 2!5
(Photo from Ricciardi)

A fine interplay of planes, effectively accentuated by
a few shadows, among which are subtlely interwoven
spiritual and emotional expressions, denote a master
of portrait engraving. Suffused with warm, deep
feeling bis work runs counter to the conventionalism

of an official portrait.

Fig. go.—Naptes, Ferpinanp IL, 30 ducats, 1852 °"

(Div. of Numismatics photo)

One of the most realistic works in this series is a
portrait of Ferdinand TH that was used only on the
gold 30-ducat pieces between 1850 and 1852 (fig. 90).

214 RiccrARDI, medals 163, 164.

215 Gaciati, fasc. 5, coin 15; D’Incerti, RIN (1959), p. 120,
coin 183; DAvENpPoRT, European Crowns, coin 174.

216 Rieciarb1, medal 249.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

217 Riecrarpt, medals 157, 166, 167.
218 Tbid., medal 157.
29 Cacratt, fasc. 5, coin 13; D’INceRTI, RIN (1959), p. 107,

coin 127.

There are no signed medals of a similar design
which could help us determine the artist, but the
psychological finesse and the plastic vigor in express-
ing individual traits point strongly toward Carriello
as the probable author. The daring of the artist to
present his king as a good-natured but uncouth
character, resembling more a Dutch sailor than a high
potentate, apparently did not meet the approval of
the court. After three years this portrait was re-
placed with another anonymous portrait (fig. 91),
which had already been in use since 1851 on two
larger denominations, the silver piastres and the
copper 10-tari pieces.

Fig. 91.—Nap es, FERDINAND II, piastra, 1857 *°°
(Div. of Numismatics photo)

This design, the last portrait of the king, is distinc-
tively different from all the previous ones. The treat-
ment of the beard, in wavy instead of curly lines, and
the severe expression of the aging monarch can be
traced only to a single medal of 1855, signed by De
Cecli (fig. 92). Whether in fact De Cecli can be
considered as the author of this new version or whether
De Cecli’s medal was only a copy of a portrait created
by another artist we cannot establish, since De Cecli
completely unknown.
Cosentini mentions scores of engravers for 1861 but

appears otherwise to be
De Cecli’s name is not among them.*”!

Another artist who enjoyed a high reputation at the
court was Luigi Arnaud.” Born in Naples in 1817,
he was the son of engraver Achille Arnaud. Luigi
had his first art training in his father’s shop, which
he soon took over, while still a very young man, at
his father’s death. In 1845 he was given the oppor-
tunity to engrave a medal commemorating the visit
of Tsar Nicholas I to Naples.**? He followed it the

220 Caciati, fasc. 5, coin 36; D’Incerti, RIN (1959), p. 128,
coin 200; Davenport, European Crowns, coin 175.

221 CosENnTINI, CagS (1914), pp. 23-25. Repeated in BorELLI,
NumR (1936), vol. 2, p. 107.

next year by another, large, showy medal, this time
for the opening of the Caserta railroad (fig. 95).

The stately but otherwise lifeless portrait of the
king used on both medals gained him the esteem of

Fig. 92.—Nap es, FERDINAND II, medal commemorating the
new harbor of Bari, 1855 4
(Photo from Ricciardi)

the royal court and, after a brief interim at Rome,
where he had gone to study cameo engraving, he was
appointed second engraver of obverses in 1847. Ap-

222 For details, see: Sicittano, Medaglie Napoletane, p. 3;
Boreut, NwnR (1940), vol. 6, p. 86.

223 Riccrarp1I, medal 180.

224 Tbid., medal 214.

42 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

parently he had great creative capacity; numerous
obverses and reverses of medals were signed by him
during the period between 1845 and 1861,

Fig. 93.—Naptes, Ferpinanp IT, obverse of half piastra,
1856 ™

(Div. of Numismatics photo)

His first portrait of Ferdinand II (fig. 93), correct,
conventional, and cold, was used as a permanent type
for the 15 ducats from 1848 to the end of that issue
in 1850.
piastras struck between 1846 and 1859, and on the
Another,

The same head was also used on the half-

5-tornesi pieces between 1845 and 1859.
later portrait (fig. 94), used only on medals,** pos-

Fig. 94.—Napves, Ferpinanp IT, obverse of medal, 1855 727
(Photo from Ricciardi)

sesses excellent workmanship. ‘The massive and ener-
getic features, to which a Neronian resemblance again
cannot be denied, are impressive in their cold disdain.
It is an interesting appreciation of the character of
this monarch in the last years of his life.

A similar, neat, but at the same time, dispassionate
style can be seen also in his reverse compositions

Engraved after designs created chiefly by his uncle

Luigi's

Tommaso Arnaud,*"* these reverses reveal

Fig. 95.—Naptes, Ferpinanp LL, medal, 1846, by Arnaud **"
(Photo from Ricciardi)

sculptural abilities in efficiently treating complex
compositions while maintaining a harmonious rhythm
(fig. 95). His remarkable talents as a sculptor, per-

225 Caciati, fasc. 5, coin 4; D’Incerti, RIV (1959), p. 110,
coin 140,

228 Riccrarpt, medals 200, 213.
medal dedicated to Pius IX during his exile in Gacta, 1848-—cf.
Sicttrano, BCN.N (1939), pp. 47-53.

Another fine creation is the

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

227 Ricerarpi, medal 213.
28 He directed the Office of

death.

Engraving after Catenacci’s

2 Riccrarpr, medal 181

fected through an excellent education, increased his
reputation at court, and in 1855 Ferdinand IT paid
him, as a mark of recognition, the significant sum of

600 ducats for the engraving of a medal.*°

Fig. 96.—Nap es, Francis II, piastra, 1859 *8!
(Div. of Numismatics photo)

It was only natural that with the accession of Francis
II in 1859 Arnaud should be commissioned to engrave
the new king’s coinage (fig. 96). This final piece in

the long series of Neapolitan coins won wide approval
at court for its “great resemblance.”” The king ap-
pointed him director of the Engraving Office with the
right to place his initials on all coin dies. The piastra
of 1859, bearing the elegant but disillusioned features
of the young king, is the swan song of the independent
Neapolitan mint.

The encroaching waves of the unification movement
borne by Garibaldi’s men, soon reached these south-
ern lands and in 1861 the Kingdom of Naples and
Sicily was incorporated into the new Kingdom of
Italy. The mint at Naples, however, continued to
work—but now for the whole country. Names like
Andrea Carriello, Scipione Catenacci, and especially

Luigi Arnaud were well known *?

in the early
sixties, when coins bearing the portrait of Victor
The sole

indication of their origin was a small letter Nn.

Emmanuel II were struck at this mint.

ROME SINCE 1861

It seems an irony of history that periods of high
achievement in the evolution of nations seldom find
superior artists among coin engravers to perpetuate
the greatness of their time. A classic example is
Without any doubt it can be
classed among the weakest portrait series of the entire

Caesar’s coinage.

ancient Roman coinage, otherwise so outstanding for
its forceful realistic portraiture.

This same phenomenon occurred during the fateful
Under the
leadership of the Savoy king, Victor Emmanuel I,

years of Italy’s battle for national unity.

Italians from separate territories set out to overthrow
their national foreign rulers and join the movement
for freedom and unity. The numerous coins of Victor
Emmanuel I struck during the long reign of 29 years,
however, do not show his appealing majesty.“* This
is evident in the many coins struck during the first
part of his reign, as king of Sardinia (1849-1861), by
the chief engraver of the Turin mint, Giuseppe
Ferraris, who continued also to engrave the coins for

the unified kingdom (fig. 97). The complete coinage

in gold, silver, and copper struck during the long
span of almost three decades is bound by a rigid
conventionalism. The head of the king, banal in
concept, hardly conveys his warm, charming, and
energetic personality. ‘The coat of arms on the reverse

Fig. 97.—Itaty, Vicror EMMANuEL II, 5 lire, 1861,
Turin mint 234
(Div. of Numismatics photo)

does not represent an inspiring symbol of national
faith but a cold image of officialdom. Mario Lan-
franco in his study of the projects and patterns of
the Italian kingdom *° deplores the lack of artistic

230 CoseNnTINI, CagS (1914), vol. 4, no. 2, pp. 37-42.
coin 1; D’Incerti, RIN (1959), p. 169,
coin 433; Davenport, European Crowns, coin 176.

232 CosENTINI, CagS (1914), vol. 4, no. 1, pp. 19-26.

233 For a comparative study of Victor Emmanuel II’s por-

231 CacraTI, fasc. 5

traits on medals, see Monpin1, Spigolando tra medaglie e date. On
pp. 143, 149, 190, 347, and 449 are medals engraved by B.
Wyon, R. Gayard, L. Gori, and Paolo Pasinati.

234 CNI, vol. 1, p. 465, coin 3; PaAGANi, Monete italiane, coin
793; Davenport, European Crowns, coin 140.

235 LANFRANCO, Ras (1930), p. 209. Carponert (p. 263)
seems less displeased with Ferraris’ creations: ‘‘Le monete del
Ferraris sono ancora pid simplici di quelle del Lavy, ma sono
riputate generalmente ottime per la esecuzione.”

44 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

inspiration and the mediocre level of Victor Emman-
uel’s coinage.

The engraver Giuseppe Ferraris *° was born in
1794 in Turin, the son of an employee of the Austrian
embassy. His family later moved to Milan, where
the young Giuseppe had the opportunity to work as
an apprentice in Luigi Manfredini’s shop. At the
same time he studied at the Scuola di Belle Arti of
the Brera Academy in Milan. A copy of Andrea
Appiani’s “Olymp” established his reputation and in
1828 he began working as engraver at the Turin mint.
The dies for the 25 centesimi of Charles Felix of
Sardinia were his first work for his employer, whom
he served for the rest of his life until his death in 1869.
During the reign of Charles Albert he was given the
job of chief engraver, a position which he held also
during the reign of Victor Emmanuel IT.

Although the coinage for the unified kingdom was
created when he was 67 years old, it is definitely

superior to the previous series (fig. 98). The more

Fig. 98.—Sarpinia, Vicror Emmanuev IT, 5 lire, 1851,
‘Turin mint *?
(Div. of Numismatics photo)

compact relief of the smaller head, surrounded by a
well-distributed inscription, creates a balanced coin
image, which confers on this late portrait artistic
qualities that were completely absent from his earlier
coins.

Ferraris displays a better feeling for plasticity and a
deeper psychological approach in some of his medals
commemorating contemporary events, such as the

“opening of the Subalpine Parliament in 1848, or
portrait medals of Victor Emmanuel [I and of Camillo
Cavour. Apparently these works met the king’s
approval and helped establish Ferraris’ reputation.
He was decorated with the order of SS. Maurice and
Lazarus.

His successor at the Roman mint was Vilippo
Speranza.“* Born in 1839 in San Marino del Cimino,
In 1863 he entered

the papal mint as an apprentice, where he worked

Filippo came to Rome as a boy.

under the direction of Bonfiglio Zaccagnini, Francesco
Bianchi, and Carl Voigt. Six years later he became
an engraver. His first works were the dies for the 2};
lire of 1867 and the Pope Pius [XN award medal for
services during epidemics. His signature can also be
seen on a medal of 1869 for the papal mint. A year
later, after the annexation of Rome to the Italian
Kingdom, he joined the staff of the royal mint at
Rome in the position of chief engraver (1870-1903).

His coins, considered by Comandini “the ex-
“39 cover the

period of almost 25 years from 1878 to 1901. In his

pression of a conventional official taste,”

position as chief engraver he created all of the gold,
silver, and copper coins struck during the entire
reign of Humbert I and also during the first years
of the rule of Victor Emmanuel III. Lanfranco
expresses a deep sympathy for the adverse conditions
under which Speranza had to work at the mint in a
studio devoid of any modern technical facilities. He
was forced to cut his dies directly into stecl without
the help of a pantograph. ‘“This modest artist has
never been sustained, guided or encouraged by his
directors, who rather have sometimes hindered his
work.” 4° Speranza was a capable technician, yet
never has the purely utilitarian character of a coin
predominated more over esthetic considerations than
in his work.

The gold and silver coinage, which without excep-
tion adopted the portrait of the ruler as the leading
type, was an ill-chosen field for Speranza’s activities,
since portraiture *!! constituted the weakest aspect of
his artistic creations. The portrait of Humbert 1

236 BDM, vol. 2, p. 88, and vol. 7, p. 298; Teme and
Becker, vol. 11, p. 462.

237 CNI, vol. 1, p. 461, coin 15; PaGant, Monete italiane, coin
681; Spaziani-Testa, Casa Savoia, coin 157; DAVENPORT,
European Crowns, coin 137.

28 BDM, vol. 5, pp. 597-599; THIEME and Becker, vol. 31,
p- 360.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

239 ComANDINI, RIN (1903), p. 47

240 LANFRANCO, Ras.V (1931), pp. 50 ff.

21 Among his better works can be listed a medal struck for
the unveiling of the Garibaldi Monument in Leghorn, 1889—

see Comanpini, RIN (1890), p. 275.

Fig. 99.—Itaty, Humbert I, 5 lire, 1879 **

(Div. of Numismatics photo)

Vig. 100.—Ertrrea, Humperr I, 5 lire or tallero, 1891 ™

(Div. of Numismatics photo)

(fig. 99), with its conventional rigidity, is a regression
in comparison even to Ferraris’ last works.
Speranza also had the assignment to prepare the
coinage for the colony of Eritrea.
tallero of 1891 (fig. 100) and the smaller denomina-
tions present better portrait qualities than his Italian

Interestingly, the

coinage. The bust of Humbert I, in uniform and
wearing a huge crown, apparently was intended to
confer increased dignity and majesty to the figure
of the king among his subjects in Africa.

In 1898 Speranza created, with the 5 lire for the
Republic of San Marino, probably his most remark-
able coin die (fig. 101). The subtle engraving har-
monizes pleasantly with a well-balanced composition,
permeated with patriarchal dignity. The free-stand-
ing figure of St. Martin on the obverse, surrounded by
an unobtrusive, well-designed, and well-distributed
legend, accentuates the vertical arrangement of the

242 ONI, vol. 1, p. 480, coin 3; PaGant, Monete italiane, coin
903; CarBonert, pp. 348, 541-542.

243 GNI, vol. 1, p. 486, coin 66; PAGAN, Monete italiane, coin
943; Spaziani-Testa, Casa Savoia, coin 206.

244 The resemblance to the German eagle especially caused
criticism (LANFRANCO, Ras.N, 1931, p. 49). See also D’INcERTI,
RIN (1956), vol. 4, p. 111.

composition. The reverse, although overdesigned
and filled to excess in contrast to the simplicity of
the obverse, nevertheless creates a pleasant impression.

In 1900 Speranza personally supervised taking a
photographic portrait of the new king in Naples.
The likeness he created, however, of Victor Em-
manvel III on the 5 lire 1901 (fig. 102) and the 100
lire 1903 is a pathetic example of his incapability
as a portraitist. The head, wooden and lifeless in
expression, sits awkwardly on a small, short neck,
while an oversized drawing of the emblematic eagle ***
on the reverse, with exaggerated wing feathers, only
accentuates the negative impression of the obverse.

The elderly artist did not realize that his poor
creations were in fact a personal offense to the king.
Victor Emmanuel III, himself a coin collector,
went far beyond the role of a connoisseur. With the
twenty huge volumes of his Corpus nummoruim Italicorum,
published between 1910 and 1940, he gave brilliant

Fig. 101.—San Marino, 5 lire, 1898 4
(Div. of Numismatics photo)

2aTT

Fig. 102.—Itaty, Vicror EMMANvEL III, 5 lire, 1go1 ?#°
(Photo courtesy American Numismatic Society)

245 CNI, vol. 10, p. 727, coin 11; Pacant, Monete italiane, coin
1472; Davenport, European Crowns, coin 302.

246 CI, vol. 1, p. 488, coin 1; PaGant, Monete italiane, coin
1019; Spazrant-Testa, Casa Savoia, coin 208; CARBONERI, pp.
418-419; Davenport, European Crowns, 142.

46 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

evidence of his scholarly training.?7 Naturally he
could acknowledge only painfully the inferior quality
of his coinage. The Italian public, aware of the
complete failure in the artistic conception of their
coinage, expressed not only criticism, but showed
interest in bringing about a change. A_ private
enterprise, the Johnson Establishment for Medals in
Milan,*** must be credited with Initiating and direct-
ing a real movement for the ‘artistic renewal of

Fig. 103.—Itary, Vicror EmmManver II, pattern 100 lire,
1903 248
(Photo from Pagani)

Italian coinage” in the years preceding World War I.
A contest held in 1901 under the auspices of the
Societa Italiana per l’Arte Pubblica of Florence had
the purpose of promoting new creations for Italian
coinage. Two artists, Domenico Trentacoste and
Egidio Boninsegna, distinguished themselves with
their projects. The Johnson Establishment in its
studios executed patterns of these projects in gold,
silver, and copper.

Influenced by the criticism directed against Spe-
ranza’s poor version of the emblematic eagle (fig. 100),
Boninsegna resorted to allegoric representations such
as Minerva and Agriculture for reverse types (fig. 103).
Artistically insignificant, his first experiments, made
in an extremely low relief, were conceived apparently

with the intention of creating a coin technically easy
to be struck.*%

In 1905, under the direction of the Secretary of the
Treasury Luzzatti, a permanent commission, the
Reale Commissione Teenico-Artistico-Monetaria, was as-
signed to supervise the selection of new coin types.?"
A contest held the same year produced only meager
results. No outstandine artists participated. As a
1906 the Reale Commissione decided to
directly appoint four renowned artists to the task of
creating new coin types: Egidio Boninseena for the
gold, Davide Calandra for the silver, Pietro Ca-
nonica ** for the copper, and Leonardo Bistolfi 2° for
the nickel coinage.
presented his new projects.? Technically and artis-
tically they were much better executed than his
previous experiments. The pattern for the 20 lire

result, in

In December 1906 Boninseena

(fig. 104) can be considered among his best. While
the other artists encountered only limited criticism
from the commission—their new silver, nickel and

Fig. 104.—Itaty, Vicror Emmanver III, pattern 20 lire,
i

1gob 2
(Author's photo)

bronze coinage was 1908—Bonin-
segna instead had to submit to several changes of his

approved — in

projects before he could obtain official approval for
the finished models of the gold 10-, 20-, 50-, and
100-lire pieces in May 1910 (fig. 105). The tradition
of Ferraris and Speranza had been forgotten. A re-
freshing, vigorous spirit bespoke a new mentality with

247 See: Vicror Emmanuev III, Ras.V (1931), no. 6-7, pp.
185-186; F.L., RasN (1931), pp. 203-212; Parricnant, RasV
(1931), no. 6-7, pp. 217-225. This issue of RasN was dedicated
to the 50th anniversary of Victor Emmanuel III as a coin
collector, See also ParRIGNANI, WumR (1947), pp. 100-104,

248 Stabilimento per Medagliv, under the direction of SrerANo
Cario Jounson, who also published the Rassegna annuale,
medaglie—plachetle-fusioni, a review of medallistic achievements
in Italy. In addition, he published in 1914 a profusely illus-
trated book, La conquista della Lybia nelle medaglie, and, in 1919,
Le rivendicazioni italiane del Trentino ¢ della Venezia Giulia nelle
medaglie. ;

49 CNT, vol. 1, p. 493, coin 3; PaGani, Prove e progetti, coin
138.

250 CNT, vol. 1, p. 495, coin 16. See also PAGANI, Prove ¢ progett,
coins 172-173, 214-215, 316.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

251 See also: Gneccnt, RLV (1911), pp. 351-366; Carnonert,
pp. 433-441; D'Incerti, RLV (1956), vol. 4, pp. 111-123.

22 For his projects, see: CVI, vol. 1, p. 496, coins 21-22,
p. 499, coins 39-42; PaGant, Prove e progetti, coins 317-321,
323, 358, 381, 386-389.

253 For his coin projects, see: CVI, vol. 1, p. 498, coins 32-35;
Pacani, Poove e progetti, coins 295-299, 305; CaRBONERI, p. 549.
For his medals, see Nicopem1, RLV (1941), p. 143. Bistolfi
was also known for his paintings (CoMANbucci, Dizronario,
vol. 1, p. 73).

24 Lanrranco, RasN (1931), p. 239, pl. 7; CNY, vol. 1, pp.
495-500; PAGANI, Prove ¢ progetl, coins 140-144, 148, 166-167,
174-175, 180; Comanpint, Rassegna annuale, medaglie—plachette-
fusion: (1910), pp. 1-5.

255 CNT, vol. 1, p. 496, coin 23 [wrongly listed under projects

of Ganonica]; PaGant, Prove ¢ progetti, coin 175.

a wide outlook. The portrait bust of Victor Em-
manuel III (fig. 105) ranks among the king’s best
likenesses. The artist represented the sovereign as
his people always knew him—in uniform. The sober,

The

reverse allegory of Italia with the plow, / Aratrice, is a

dignified features reveal a subtle portraitist.
pleasant innovation. Far from perfect, with slight
defects in the modeling of the arm and the unnaturally
twisted leg, this otherwise harmonious composition
is a blend of poetry and realism.

Fig.

105.—ITaLy, VicToR EMMANUEL III, 100 lire, 1g12
(Author’s photo)

Its sculptor and engraver, Egidio Boninsegna,”"
who was educated in Rome (where in 1896 he won
the first prize at the Academy) worked chiefly for
addition to
many sculptures and funeral monuments, he also

Johnson’s medallic establishment. In

created good portrait medals, such as the ones of
Pope Leo XIII and of the numismatist S. Ambrosoli.

Among Boninsegna’s contemporaries was one of the
originators of the new movement—the sculptor, en-
eraver, and painter Domenico Trentacoste.** Born
in 1859 in Palermo, he studied art in Italy and abroad.
In 1880 he went to Paris, where he opened his own
studio two years later. In 1891 London became his
next residence, but in a few years he established his
home finally in Florence. ‘Trentacoste participated
successfully in 1894 at the International Exhibit in
Vienna and in 1895 at the Buennale of Venice. In
later years he filled the post of director at the Academy
of Art in Florence. Practically blind during the last
years of his life, he died in Florence in 1933.

‘This sculptor was commissioned to design the models
for the jubilee coinage of 1911, commemorating the

50th anniversary of the founding of the Italian King-
dom.”* The two types, the bare head of the king
facing left and the allegoric group of Italia and Roma,
were adopted for the gold 50 lire and the silver 5 lire
(fig. 106). Surprisingly, the two compositions do not
reveal the sculptor: the reliefs of both obverse and
While the head of
the king is reminiscent of Speranza’s portrait of 1901

reverse are flat and insignificant.

(fig. 102), the reverse allegory betrays a strong French
influence in the style of Roty and Chaplain. The
meaningless emphasis on an allegoric group, popular
with medals of that period, renders this reverse weighty
Undoubtedly the com-
position, called “Italia Marinara,”
sculptural value, but reduced to the minute diameter
of a coin, it results in an unclear and cluttered design.
Details with symbolic meaning have become a puz-

and inappropriate for coins.
has a certain

zling map-design in the background.

Fig. 106.—Itaty, Victor EMMANUEL III, 5 lire, 1g11 60
(Div. of Numismatics photo)

Jean Babelon suggests the prerequisites of allegory:
‘*A symbol is a reminder or a suggestion; it is not a
complete description. The evocative force of a well-
chosen detail surpasses that of a whole scene, meticu-
lously narrated. . . . This intellectual subtlety, re-
quired from the artist as well as from his public, is
the noble title of the art which we study here.” 7%!

Fondness for heroic figures seems to characterize
the period immediately preceding World War I.
Undoubtedly Davide Calandra’s attempt to express
national grandeur found dignified expression in the

255 PAGANI, Monete italiane, coin 954; CARBONERI, pp. 511
512; D’Incerti, RIN (1956), vol. 4, p. 121.

27 Tuieme and Becker, vol. 4, p. 300; Vorimer, vol. 1,
p. 262. For some of his medals, see: NATraLeTtr and PAGANI,
p. 58; Delle medaglie e plachette, pls. 6, 8, 18, 21.

28 BDM, vol. 6, p.

132, and vol. 8, p. 238; THremMe and
BECKER, vol. 33, p. 3

259 PAGANI, Prove e progetti, coins 168, 218, 239; Gneccut,
RIN (1911), p. 364; Carsonert, pp. 440-441, 515.

260 PAGANI, Monete italiane, coin 1020; Spazrani-Testa, Casa
Savoia, coin 209; DAvENPORT, European Crowns, coin 143.

261 La médaille et les médailleurs, p. 223.

48 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

5-lire piece of 1914 (fig. 107). Commissioned in 1906
to create a new design for the Italian silver comage,
Calandra produced his model by the end of the

Fig. 107.—Itary, Vicror Emmanver. III, 5 lire, 1914. 2"
(Div. of Numismatics photo)

same year. But the many changes *? required by the
Monetary Commission altered the initial project
almost beyond recognition. Only the basic conception
of the coin remained: a small bust of the sovereien in

Fig. 108.—Itary, Vicror Emmanver II, pattern 5 lire,
1Eg06:2%
(Photo from Pagani)

uniform, enclosed by the massive circle of an inscrip-
tion for the obverse, and the figure of Italia on a
triumphal quadriga for the reverse. Artistically in-
significant, the first project (fig. 108) presented many
defects: an unappealing portrait of the king crowded

262 PAGANI, Afonete italiane, coin 1021; Spaziani-Testa, Casa
Savoia, coin 210; Davenport, European Crowns, coin 144, See
also CARBONERI, pp. 542-543.

263 LANFRANCO, RasN (1931), p. 243; Carponeri, p. 442;
PaGAnti, Prove e progetti, coins 219, 240, 254-257.

24 LaNFRANCO, RasN (1931), p. 239, coin 9; PaGant, Prove
e progelti, coin 217.

265 Davide Calandra had his art education at the Accademia
Albertina in Turin. Active as a sculptor, he created many
generally appreciated works such as the equestrian statue of
the Duke of Aosta in Turin (1902), reliefs for the Roman
Parliament, and the gigantic Monument to Victor Emmanuel
II in Rome. His sculpture /’Aratro (The Plough), 1891, is in

PAPER 33: ITALIAN GOIN ENGRAVERS SINCE 1800

600-851 ° —65——_4

into a large circle of letters and. on the reverse, a
poorly designed quadriga with a cumbersome group of
horses. The criticism of the Commission induced the
artist to correct defects and to improve the artistic
qualities of the whole design. Eventually Calandra
proved himself a master of plastic relief “ and created
a dignified coin image. The portrait of the kine,
wearing the Collar of the Annunziata Order (fig. 107),
displays high qualities enhanced by a harmonious
arrangement of the coin field. The reverse, deliber-
ately emphatic, nevertheless shows a remarkable
restraint in the choice of its means of expression,
‘The static majesty of the figure of Italy contrasted
with the dashing movement of the horses creates a
The

time, beld treatment of the plastic surface decisively

strong impression, subtle and, at the same
confirms Calandra’s talent.2!°

The dies for the striking of the 5-lire pieces of 1911
and 1914 created by Trentacoste, and for the 100 and
50 lire by Boninsegena, were prepared by Luigi Raf-
1848 in

orphaned at an early age and forced to provide for

facle Giorgi.” Born in Lucca, he was

himself by working in the shop of a goldsmith. At
the same time he studied at the Istituto di Belle Arti
in Lucca. Later he went to Florence to specialize in
the art of medal engraving. Many medals like the
ones of ‘Vorquato Tasso, Vincenzo Bellini, Alessandro
Volta, Guiseppe Garibaldi, and other famous Italians
were Giorgi

produced — by during his stay in

268

Florence.
participated in and won the contest at the Roman

A capable goldsmith and engraver, he

mint in 1906, and was appointed engraver and

subsequently chief engraver. He died in) Rome
in 1912.

An excellent technician, he is given credit for re-
fining the execution of Italian coinage during the first
decade of this century. Endless trials were involved
in establishing a process to eliminate the imperfec-

the National Gallery of Modern Art in Rome. He was highly
praised for his refined, sober style and his sensitive interpre-
tation of emotions—THieme and Becker, vol. 5, p, 371.

266 FORRER in criticizing the quadriga (BDA, vol. 7, p. 145)
must have been greatly influenced by the reports of the Mone-
tary Commission on the first, uncorrected project.

207 BDM, vol. 2, p. 268, and vol. 7, p. 365; Tuieme and
Becker, vol. 14, p. 82.

268 For his Verdi medal, sce Naracerrr and PAGAnt, p. 35.
Other medals of Humbert I, Mazzini, and Amedeo of Savoia
are in Comanpini, RLV (1889), p. 55; (1890), p. 227; (1892),

Bae! 5
I

tions which resulted from mechanical reduction of a
model into the steel die.*°°

Giorgi’s original work, the dies prepared for the
coinage of Italian Somaliland, have little, if any
artistic value. He created these coins merely for a
practical medium of exchange, imitating Trentacoste
in the execution of Victor Emmanuel’s portrait.
Giorgi tried to interpret in his own way the recom-
mendation of the Monetary Commission in 1905 that
“the coin, in contrast to the products of other arts,
represents by its nature a tangible record of the
degree of perfection in a nation’s art.’*° Giorgi
sought fulfillment of esthetic criteria purely in tech-
nical perfection.

His successor at the mint was Attilio Motti,2”
who held the position of engraver and chief engraver
Motti

continued Giorgi’s tradition of technical perfection.

for 22 years until his death at age 68 in 1935.

All of the coins struck at the Roman mint for the
Italian government and for foreign states during the
period from 1913 to 1935 are faultless examples of
his technical skill as well as his understanding of the
artistic problems involved in adapting a project to
Often he had to encounter the difficult
task of reconciling new and bold ideas of various artists

a coin.

with the technical limitations of coin engraving.
The dies cut by Motti from models presented by
Calandra, Romagnoli, or Mistruzzi, nevertheless,
reproduced faithfully the individual characteristics
of each artist.

The 5 lire of 1914 designed by Calandra (fig. 107),
the 20 lire of 1927 (fig. 112), and the 20 lire of 1928
(fig. 126) created by Romagnoli were magnificiently
Motti. Each of the
coins presents a new treatment of surface
The 5 lire 1914 has a wide, protective

translated into steel dies by
three
and edge.
rim which encloses the massive coin, while the 20-
lire piece of 1927 is conceived differently: the plan-
chet is not as thick and the whole appearance of the
coin is less compact; in order to protect the well-
rounded relief, a beaded and slightly raised border
encloses the coin field. Even more basically different
is the 20 lire 1928 (fig. 126). This new and daring
creation of Romagnoli fills the limited coin field

to capacity. The impression of forceful expansion

is maintained by Motti through a very ingenious
technique which practically eliminates the border:
only a sharp, raised edge contains the impressive
coin image.

‘The same technique was used by Motti for striking
the gold 100 and 20 lire 1923 with fasces. These
coins are his own artistic products (fig. 109). The

Fig. 109.—ItTaLy, Vicror EmManvet III, 100 lire, 1923 2”
(Author’s photo)

portrait of the king, although impeccable in_ its
plastic treatment, shows little spiritual life. Impassive
in its expression, it reveals the inability of the artist
to reach beyond physiognomic likeness. The large-
sized letters of the inscription overcrowd the field,

depriving the coin of any esthetic appeal.

Fig. 110.—ITALIAN SOMALILAND, Victor EmManuev III,
10 lire, 1925 2%

(Div. of Numismatics photo)

The reverse types of the 100- and 20-lire pieces of
1923 (fig. 109) present a novel emblem in Italian
gold coinage. The simplicity of the Roman fasces
and the lictorian ax would have been more impressive
if not disrupted by the bold inscription.

The same tendency to use oversize lettering to
indicate the denomination is characteristic of Motti.
Apparently he believed that the indication of value

28 The only reliable information available about the other-
wise unknown and complicated backstage operations involved
in the planning, preparing, and striking of coins, and about
the activity of persons involved in this process, is in the series
of articles written by Mario Lanfranco, the former director of

the Roman mint. See under LANFRANCO in literature cited.

270 LANFRANCO, Ras (1931), p. 237.

271 BDM, vol. 8, p. 84.

272 PaGant, Monete italiane, coin 957; D’tncert1, RIN (1956),
p. 128.

273 PaGANt, Monete italiane, coin 1302.

50 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

must stand out forcefully on a coin. The 5- and 10-
lire issue of 1925 for Italian Somaliland (fie. 110)
supports this assumption.

Motti’s activity as an engraver confines many of
his better creations to the field of portrait, prize,
and commemorative medals“! They all
a good tried to compensate for
his mediocrity of conception with a skillful and neat
treatment of the plastic surface.
are sincere,

portray

technician who

His portraits?”
unsophisticated products of limited
psychological insight and a surprising lack of in-

dividuality. Mfotti’s creative drive was not strong

Fig. 111.—Itary, Vicror Emmanuet III, pattern 2 lire,
1922 276

(Photo from Pagani)

enough to mold an individual style, as can be seen
in a 2-lire pattern of 1922 (fig. 111). A first-rate
diesinker, he cannot be compared as an engraver to
his contemporaries Mistruzzi and Romagnoli.

Attilio Motti stands at the threshold of a new era in
Italian coin engraving, when the cold, official heraldry
of coin images turn toward more inspiring symbols
of national greatness. During the latter half of the
19th century, the coin, impersonal and stereotyped
down to the very portrait of the ruler, ceased to be an
expression of anything that involved the spirit of the
nation, its art, or its national aspirations. Only
gradually, under the guidance of enlightened private
initiative and the inspiration of the personality of
Victor Emmanuel III, the re numismatico, did a
reform movement succeed in asserting the imperative
of drastic change.

Giuseppe Romagnoli, Aurelio Mistruzzi, Pietro
Giampaoli belong to the generation of modern Italian

engravers who brought about this change to a more
functional estheuc of the coin.

Giuseppe Romagnoli,?? born in 1872 in Bologna,
studied sculpture and engraving with Enrico Barbieri

In 1909 he became the director of Scuola dell’ Art

della Medagha.” Well known as a sculptor, he
participated in many international exhibitions in

Paris, Brussels, and in Munich, where he was awarded
the gold medal. His work Ex Netwa Ars won the
Venice prize in 1897. Giovinezza (Youth), another
sculpture, is in Rome in the Museum of Modern
Art. He is also the creator of sculptural groups
which adorn the Victor Emmanuel Bridge and the
Victor Emmanuel Monument in Rome. In 1911
he won the international competition for the great
monument of the International Telegraphic Union
in Bern, Switzerland, a work which was erected in
1922.

Romagnoli is the official representative of modern
Italian coin engraving, while Aurelio Mistruzzi repre-
sents the papal art of coin engraving during the same
period. Contemporaries, working in close relationship
at the Roman mint, where coins and medals are struck
for both the Italian and the Vatican eovernments,?"
the creations of these men evolve in similar directions,
although differentiated by distinct personalities.
Romagnoli is the author of 53 of Italy’s modern coin
types and also of an impressive serics of official and
private medals.

With him Italian coin engraving approached the
long-cherished goal of a more artistically appealing
coinage. Severely judged by Italian art critics °° as

having limited inspiration and = imagination, — his
“shortcomings” can be explained by the fact that
he often presented himself as an eclectic artist. His
style fluctuates according to his source of inspiration.
Moreover, he does not assimilate the spirit of an
art period of the past although he yields completely
to its external formalism.

Working at the height of Fascism, when ancient
Rome was the official standard of civic excellence, it
was natural that Romagnoli would turn for inspira-

tion to ancient sources. His models for the [Italian

274 Many of his medals are published and illustrated in RY,
pp. 87-89, 92-94, 97-99, 107-112.

275 RZ, p. 100, coin 7; p. 101, coins 20, 30; p. 102, coin 35.

276 PAGANI, Prove e progetti, coin 245.

27 BDM, vol. 8, p. 170; Tueme and Becker, vol. 28, p. 540;
Figuras de la numismatica . . . Exposicrdn nac ronal de numismdatica
Peer (LOST) 3p: lao.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

600-851°—65 3

278 Founded in 1909 to train young sculptors for coin engrav-

ing—Carponerl, p. 441; RY, p. 1.

279 The Monetary Convention of 1930 deereed that the Vati-
can could have the use of the Roman mint for the striking of
coins and medals.

20 R.S., NumR (1937), p. 54.

un
—

gold coinage **! as well as the silver

20-lire 1927
(fig. 112) and 1936 (fig. 113), clearly reflect this
tendency. The personification of Jtalia on a ship’s
prow (fig. 114), the striding figure of the lictor on
the 100 lire 1936, and the figure of the sower on the

Albanian 2-franka ari piece of 1926 (fig. 115) portray
| | y

Fig. 112.—ITALy, Victor EMMANUEL III, 20 lire, 1927 2%

(Div. of Numismatics photo)
the glorification of a heroic tradition. They are
powerful coin images, and considerably enhance the
decorative character of Italian coinage, but the flat
execution of the plastic relief detracts from their
artistic qualities. The perfect workmanship of this
skilled artist, accurate in the execution of details and

Fig. 113.—ITaty, Vicror EMMANUEL ITI, 20 lire, 1936 2%
(Div. of Numismatics photo)

with an unquestionable sense of proportion, still fell
short of imparting Roman vigor and magnificence to
the ancient clichés. This quality appears strikingly if
the lictor (fig. 114) is compared to the naively de-

signed but Roman

sincere and forceful figures of
lictors on a denarius engraved over 2000 years before

(fig. 116).

251 For the 100 and 50 lire 1931 (Fascist Era IX) to 1933
(P.E. XI), the 100 and 50 lire 1936 (F.E. XIV), and the

100 lire 1937 (F.E. XVI), see PaGaAnt, Monete italiane, coins
959-964, 970-974,

282 PAGANI, Monete italiane, coin 985; Spaziani-TEsta, Casa
Savoia, coin 212; DAVENPORT, European Crowns, coin 145,

The triumphal quadriga on the reverse of the 20-
lire 1936 (fig. 113), commemorating the Italian
Empire, is practically an adaptation of a Roman type
frequently used in the Augustan and Claudian periods.
A similar interpretation guided Romagnoli in com-

posing some of his medals, such as the ones commemo-

Fig. 114.—Itay, Vicror EMMANueL III, reverses of 100 lire,
1931, 1936 2%
(Div. of Numismatics photo)

Fig. 115.—ALBANIA, VicToR EmMMaANUvEL III, 2 franka ari,
1926 (2x actual size) 255

(Div. of Numismatics photo)

Fig. 116.—Anctent Rome, denarius of Q. Caepius Brutus,
about 60 B.C.2%
(Div. of Numismatics photo)

283 PAGAN, Monete italiane, coin 994; Spaztani-Testa, Casa
Savoia, coin 221; DAvENPORT, European Crowns, coin 147.

284 PAGANI, Monete italiane, coins 959, 963.

285 RayMonD, Coins of the World, coin 6; LANFRANCO, RasN
(1932), pp. 258-259, pl. 5, coin 15.

286 SYDENHAM, Coinage of Roman Republic, p, 150, coin 906.

BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

rating the bimillenium of Aueustus (fig. 117) and of
Virgilius. Huge in size and complex in composition,
they cling closely to their ancient models. The
obverse scene of the Virgilian medal (fig. 118)
certainly tries to imitate similar compositions from
the frieze of Trajan’s Column,

In harmony with his devotion to ancient Rome,
Romagnoli turned also to Greece for artistic Inspira-
tion. The frequency of nude athletic figures on his

coins 75°

and especially on medals reveals the creat
fascination which ancient Greek glyptics exerted on
him. The spear-throwine youth on the medal com-
memorating the Olympic games in Antwerp, 1920

(fig. 119), the ‘‘Dedalus” on a medal struck in 1933

Fig. 117.—Ivary, obverse of medal commemorating the
bimillenium of Augustus [1937] 27
(Photo from RZ)

Fig. 119.—Itary, medal, no date, commemorating the
a0

Olympic Games 2

(Photo from Rk)

a as well

and the ‘*Prometheus” on a medal of 1937,
as the youth with fasces on the 20-lire piece of 1927
(fig. 112), are characteristic examples of his tendency
to imitate the structural perfection of ancient Greek
statuary.

Confronted with the challenge of expressing euryth-

mic beauty in a perfectly modeled plasticity, Roma-

ed aed el lee
l ee

enoli solved the problem only partially. Well-syn-
Fig. 118.—Ivaty, medal commemorating the bimillenium chronized EADS Fn ol accurately modeled plastic
of Virgilius, 1930 28 forms confer to his figures of athletes a statuary

g , )

(Photo from RZ) beauty, but they lack vitality. The brilliance of an

287 RZ, p. 125, medal 66. 200 R=, p. 114, medal 8.
288 RZ, p. 120, medal 51. 21 RO, p. 122, medal 58; p. 125, medal 68.

289 See especially his coinage for Albania: RaAymMonp, p. 8,
coins 6, 16.

on
ww

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

art concept deeply felt by ancient masters could confer
beauty to their work, but it becomes meaningless to
the later imitator. The modern artist could copy the
academic perfection of lines and forms, but he could
not absorb the ancient spirit, essentially different from
the mentality of his own time.

In this group the coins, compared with the medals,
must be adjudged of superior quality. One reason is
that the small, limited field of the coin, slightly
blurred by the modern reducing process of the original
model, conceals many of the imperfections which are
salient on the larger field of the medal. As a result
of this and of his own artistry, Romagnoli was able to

Fig. 120.—ITaLy, Vicror EMMANUEL III, ro lire, 1926 2%
(Div. of Numismatics photo)

create some of Italy’s most impressive modern coins,
among which are the 10-lire piece of 1926 (fig. 120)

and the 10 lire 1936 (fig. 121). They exemplify best

Fig. 121.—Iraty, Victor EMMANUEL III, 10 lire, 1936 2%
(Div. of Numismatics photo)

his exquisite technique in mastering composition and
portrait alike. Victor Emmanuel’s portrait by Ro-
magnoli (fig. 121) must be considered the best likeness
of this monarch. Imposing in its stately perfection,
with subtle details, this head of Victor Emmanuel III,
certifies the high degree of Romagnoli’s skill in en-
eraving.

The same art, permeated with sensitivity and
decorative grace, can be noted in Romagnoli’s coinage
created for Albania under the rule of Ahmed Zog.
The simple, compact, and expressive outline of Zog’s

portrait embellishes one of the most attractive modern
coins (fig. 122). The allegories of the reverse types

Fig. 122.—A.paniA, Zoc I, 100 franka ari, 1926 2%
(Author’s photo)

are chiefly modern interpretations of ancient Greek
coin images: the rider on the 1-lek piece recalls the
boy rider on the Tarentum coins, Hercules wrestling

Fig. 123.—Tuurtium (Lucania), double stater struck
400-281 B.C.2%
(Div. of Numismatics photo)

the Nemean lion on the half-lek is inspired by a
similar type on the coins of Heraclea, while the
beautiful eagle head on the 10 qindar leku is taken

from the famous coins of Elis. Inspired by Greek

Fig. 124.—Itaty, Vicror EmManvuEt III, pattern
[20 lire, 1927] 2%
(Photo from Pagani)

coins, Romagnoli in 1927, using the butting bull
types of coin of ancient Thurium (fig. 123), also
created a project for a 20-lire piece (fig. 124), but it

was not accepted.

292 PAGANI, Monete italiane, coin 1004.
28 Tbid., coin 1013.

24 RZ, pp. 73-77; YEOMAN, p. 11, coin 17.

285 Grose, Catalogue McClean Collection, vol. 1, pl. 40, coin 17.

296 PAGANI, Prove e progetti, coin 189.

54 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

A conspectus of Romagnoli’s art would be incom-
plete without mentioning a group of seven annual
medals commemorating the years of the Fascist era.2"7
His fondness for heroic figuration here found an ap-
propriate field for expression. Inspired by ideological
symbolism, he tried to glorify in these medals a spirit
of national exaltation. Amazing is the metamorpho-

Fig. 125.—Itaty, obverse of medal commemorating the first
anniversary of the Empire, year XV F.E2"
(Photo from RZ)

sis which took place; his style changed completely:
the fine, subtle sensitiveness flows into a bold and
aggressive robustness. Statuesque and cold, the figures
of these medals become merely symbols, and even the
busts of Victor Emmanuel III (fig. 125) and of
Mussolini, remarkable as they are for their excellent
workmanship, seem to lose their human character.
Evidence of these nationalistic tendencies may he seen
in his 20-lire coin of 1928 (fig. 126), which bears the
motto on the reverse: “Better to live one day as a
lion than a hundred years as sheep.”

Romagnoli is a classic example of a good artist
exposed to the vicissitudes of overwhelming ideological

297 See illustrations, RZ, pp. 128-133.
208 RZ, p. 132, medal 6.
209 PAGANI, .Monete italiane, coin 993; Spaziani-Trsta, Casa

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

influences, which, appealing to the versatility of his
talent, split his ego and accentuated facets of his art
instead of allowing him the freedom to evolve accord-
ing to an interior development. Regarded in their
totality, Romagnoli’s creations present such manifold
traits that sometimes they can hardly be attributed
to the same individual.

His art did not win unanimous approval, which is
probably due to a rejection of its ideological content
in spite of his genuine talent. The heroic spirit
of ancient times, artificially transplanted and exalted,
did not stir conviction in many Italian minds. An-
cient art has often been imitated, but never have
traditional patterns been more boldly proclaimed as

Fig. 126.—ITaty, Vicror Emmanuet III, 20 lire, 1928 2%
(Div. of Numismatics photo)

official symbols of national aspiration. As a result,
considered by these

His talent

Romaegnoli’s creations were
critics to be remote, insincere, and barren.
and rich creative qualities fell victim to the political
climate.

While Romagnoli was serving the Italian govern-
ment, his Mistruzzi* (d:

1960), chief engraver for the papal coinage, could

contemporary, Aurelio
claim an equally prolific output during his continuous
activity at the Vatican. Born in Villaorba (Udine)
in 1880, he studied in Venice and at the Brera Acad-
emy in Milan before obtaining a fellowship which
permitted him to complete his studies at the School
of Medallists in Rome. In this city he established
his permanent residence. 1919, during the
Mistruzzi

From
Pontificate of XV,

worked as engraver and later as chief engraver of

Benedict Aurcho

Savoia, coin 220; Davenport, European Crowns, coin 146,

300 VoLtLMER, vol. 3, p. 401.

uw
uw

Vatican coins and medals,*"! serving under Popes
Benedict XV, Pius XI, and Pius NII.
Francesco Bianchi, the official medal engraver of
Pope Pius XI.

Mistruzzi was a versatile artist.

He succeeded

Producing not only
an impressive number of medal and coin dies,
The Prieta
in the private chapel of the Nerazzini family in

he devoted his time also to sculpture.

Montepulciano, the Vergine Saggia, a madonna for
the tomb of the Moretti family in Villaorba, the
St. Francis in the Basilica of St. Anthony in Padua,
plus many chandeliers, tabernacles, and other re-
ligious objects are examples of his prodigious activity.

In his role as official engraver at the Vatican he
created the dies for the complete coinage in gold,
silver, nickel, and copper of Pope Pius XI, and used
the same reverse types for the coinage of Pope Pius
XII in 1939.

The new reform trend found its expression also
in Mistruzzi’s coinage. After the long hiatus in
papal strikings since 1870, the coinage of Pius XI,
“the Pope of Conciliation,” signaled a new era, when
a centuries-old tradition and art were resumed with
new vigor in accord with the esthetic expectations
of modern upon this
task with the reserve and moderation which distin-
His sensitive

times. Mistruzzi embarked
cuish his whole artistic temperament.
personality was adverse to any radical changes.
With the aristocratic restraint of a master, he tried
to create new and, at the same time, artistically
attractive symbols of an old ecclesiastic heraldry,
intent on not sacrificing the dignity of the institution.

Motivated by his exquisite sense of the decorative,
he created a charming group of religious figures
and scenes, representing among others the Savior,
the enthroned Madonna with Child, St. Peter in
the boat, St. John with the Lamb, Archangel Michael,
St. Peter, and St. Paul. The chief artistic value of
consists in graceful

these their harmony.

The figure of the Savior on the gold 100-lire piece

scenes

of 1929 (fig. 127), impressive in its spirituality, the
diaphanous figure of the Madonna on the 1-lire piece,

or the Good Shepherd on the 2 lire (fig. 128) are
gracious, serene compositions, cut to please the taste
of the broad mass of believers, and not subtle creations
reserved for the sophisticated art-lover.

Fig. 127.—Varican, Pius XI, 100 lire, 1929 3%
(Div. of Numismatics photo)

The larger part of Mistruzzi’s activity at the papal
mint was devoted to the engraving of medals. They
can be divided, according to Patrignani’s group-
ings, those commemorating

into annual medals,

Fig. 128.—Varican, Prus XI, obverses of 1 and 2 lire, 1929%%
(Div. of Numismatics photo)

exceptional events, and those celebrating different
personalities connected with the Vatican.*"

The annual medals issued each year during the
entire pontificate of a pope usually commemorate
the significant events of the preceding year.*° Among
this group the most impressive compositions are the
Consistory of Cardinals before the Bernini altar in
St. Peter’s Basilica (engraved on the reverse of the
medal of year VIII)*° and a scene representing the
Pope in prayer for world peace on the medal of year
Vi (1943).207 The last with — their
abundance of extraordinary events, inspired a great
Among them should be

two decades,

number of special medals.

1 FL, RasN (1931), pp. 110-112; Parricnani, IN (1952),
vol. 3, no. 1, p. 3; NumR (1940), pp. 31-34; NumR (1948),
vol. 14, pp. 30-38; Pacani, RIN (1949), pp. 64-65; Aes,
NumR (1935), vol. 1, pp. 8-13.

3022 CNT, coin 1; PAGANI, Monete italiane, coin 1576.

303 CNT, coins 4, 5; PAGANI, Monete italiane, coins 1603, 1612.

304 PATRIGNANI, NumR (1948), nos. 1-3, p. 30.
also Jonnson, Le rivendicazioni italiane.

For other

medals, see

305 Annual medals were published in NuwmR (1935), no. 1,
pp. 14-15; (1939), no. 3, p. 79; (1943-1945), pp. 77-78;
(1947), nos. 1-3, p. 42; (1949), nos. 1-6, p. 73. See also most
issues of LN.

308 NumR (1947), nos. 1-3, p. 42.

307 Published in NumR (1943-1945), p. 77.

506 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

mentioned the medal commemorating the Marian
Year (1954),°8 the 450th anniversary of the Swiss
guards,* and the opening of the World’s Fair in
Brussels.*”

The value of these medals rests chiefly in the com-

position of the reverse, the portrait of the pontiff on

Fig. 129.—Vatican, obverse of medal of Cardinal Bisleti *"
(Photo from J.V)

the obverse being transmitted unchanged or only
slightly altered from year to year. On the personal
medals, however, the likeness of the commemorated
personality deserves special attention.

Mistruzzi proved to be a good portraitist although
many of his creations do not achieve the highest
quality. Hisanalytic interpretation of human physiog-
nomy, his unobtrusive suggestions of intellectual and
emotional qualities, and his subtly modeled planes
all blend in creating a clean-cut, academic portrait.
Among his better portraits should be considered the
busts of Popes Pius NI and Pius NIT. The latter,
studied minutely in the complexity of his person-
ality and interpreted by the artist in many changed
versions, emerged in a ‘“‘speaking’’ likeness. ‘The
portrait of Gaetano Cardinal Bisleti (fig. 129), created
by Mistruzzi in younger years (1924), betrays the
artist’s great admiration for the Renaissance, as can

308 “*Medaglia pontificia dell’anno Mariano”—/V (1955),
no. 9.

309 Published in LV (1956), no. 6.

310 Published in JN (1958), no. 5.

311 R.S., NumR (1937), no. 3, p. 53.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

be seen by comparing it to a medal created about
1480 by Niccolo Fiorentino (fig. 130).

turned to this period for inspiration as Romagnoli

Mistruzzi

turned to classical antiquity for his esthetic sources.
Unified in conception, subtle in suggestion, sensitive
in execution, Mistruzzi’s portrait exemplified the
rewarding results obtained by a deep understanding
and assimilation of the esthetic concept of an earlier
period. ‘The portrait medals of Marquis Camillo

Fig. 130.—Opsversr or Mepar or Arcupisnop RINALDO
Orsini of Florence by Niccolo Fiorentino, about 1480 4”
(Photo from Hill)

Serafini, Francis Cardinal Spellman,‘ Monsignor
Giulio Montini,*!* or Celso Cardinal Costantini*!
are a few examples of the great number of medals
engraved by Mistruzzi during the past two decades.

A large number of these medals was work done in
addition to his duties at the Vatican, medals which
were made for the Italian and foreign governments
as well as for private persons. A survey of official
Italian medals would be incomplete without men-
tioning the works of Mistruzzi, and his name in fact
frequently appears in the medal listings of the Italian
Government.*!®™) In each group of premium, war,
portrait, and commemorative medals, a few composi-
tions of Mistruzzi testify to his unbounded inventive-
ness. Interestingly, the Mistruzzi one encounters
here differs greatly from the Mistruzzi one meets in
the Vatican coinage, revealing an unexpected facet

of his personality. ‘The academic, subdued, some-

312 Hin, Italian Medals of the Renaissance, pl. 152, medal 937.
313 Published in JN (1950), nos. 11-12.

3144 Published in JV (1955), no. 10.

315 Published in JN (1957), no. 1.

316 RZ, pp. 89-112.

what pedantic style of the religious scenes changes
into a daring and forceful style. Few of these com-

positions, such as the appealing medal of 1927 for
317

recall

the Fair at Tripoli, his style of the

Vatican compositions.

Fig. 131.—ItaLy, medal commemorating the 6th centennial
of Dante, 1g21 318

(Photo from RY)

117 ““Nfedaglia per la Prima Esposizione Fiera Campionaria di
lripoli”—R<, p. 117.

18 ““Medaglia per il VI Centenario
114, medal 10

Dantesco”’—R<, p.

Although a greater number of subjects implicitly
calls for a greater variety in execution, this does not
necessarily impair artistic qualities. Banality, the
usual plague of commemorative medals, can seldom
Much
of the time his unquestionable technical skill or
the originality of the sculptured theme, such as the

be detected in Mistruzzi’s compositions.

one on the Dante medal in 1921 (fig. 131), confers a
superior quality to his work. Apparently he does his
best when, inspired by Renaissance art, he abandons
the soft contour and pedantic technique of his usual
style and follows the more unified and compact sim-
In 1935 he struck for
the Musical Academy of St. Cecilia in Rome an

plicity of those earlier masters.

official medal (fig. 132) which bears on the obverse an

Fig. 132.—Iraty, obverse of medal [no date] commemo-
rating the Music Academy of St. Cecilia 31°
=
(Photo from RR’)

impressive bust of the saint. The high, massive relief
as well as the compact character of the inscription—
used in the Renaissance tradition as an organic part
of the whole composition—does not detract from its
effect.
upward in a movement of ecstatic inspiration, is

The delicate line of the head, turned slightly

fully enhanced by the simplicity of composition.
The medal of Benito Mussolini in 1925 reveals a
third and even more unexpected aspect of Mistruzzi’s
talent.
technique, reveals only moderate portrait qualities,

The head, vaguely inspired by Renaissance

but the truly surprising part of the medal is the

319 “Mfedaglia ufficiale dell’ Accademia di S. Cecilia’’—

RZ, ps

123, medal 62.

58 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

reverse (fig. 133). The symbolic figure of the power-
ful helmsman reveals the amazing vigor in expression
of which Mistruzzi was capable. In order to concur
with the spirit of the times he completely changed
his technique, his style, and practically his entire

Fig. 133.—Ivaty, reverse of medal commemorating Benito

Mussolini, 1925 *°
(Photo from RZ)

creative ego.*”!

of the gigantic navigator is completely new and
modern in execution. Seldom has the ideal of
physical strength been more impressively represented.

Of Michelangelic aspect, the figure

Romagnoli’s athletes pale before this giant. The
bulging, excellently modeled muscles and limbs which
fill the restricted field of the medal, keeping the
head to a minimum of space, succeed in presenting
an image of overpowering physical strength. More-
over, the piece retains perfect balance of composition,
the strong vertical line of the central figure being
harmoniously enclosed within the two segments of
Inscription.

320 RZ, p. 101, medal 26.

321 A strange coincidence placed the author of one of the most
inspired medals of Fascism in serious conflict with the party.
PatriGNnant, (JV, 1952, vol. 3, no. 1, p. 3) relates the adventure
of one of Mistruzzi’s anti-Fascist medals, which was created in
secrecy and was almost published prematurely in a leading
Roman newspaper the day of Mussolini's reappearance in
September 1943. Mistruzzi’s response to personal persecution

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

In the same line of development is the reverse of the
gold 100-lire piece struck in 1925 to commemorate
Victor

The official intention was to vive this

the 25th anniversary of
(fig. 134).

Emmanuel’s reien

Pig. 134.—Itary, Vicror Emmanver IIL, 100 lire, 1925 3%
(Div. of Numismatics photo)

commemorative coin a rather medallic character.°”
The obverse, representing the head of the king resting
on an oak tree, resulted in an awkward design. But
the remarkable accomplishment is the reverse. A
forward-striding fighter, gripping a banner with one
hand and carrying a small figure of victory with the
other, triumphantly ascends a rock inscribed vETTA
DIraLiA (Peak of Italy).
stirred

‘This novel coin image has

controversial judgment. But apart from
slight imperfections, among which might be men-
tioned the somewhat forced twist of the right shoulder,
the coin fully deserves its great popularity among
The forceful movement of the figure which

cuts the field of the coin almost diagonally, counter-

collectors.

balanced by the solidity of the rock and the sweeping
motion of the banner, confers life and vigor to an
unusual composition, so different from the customary
symbolic figures of ancient inspiration.

To those who unduly criticized his efforts, Mistruzzi
gave an answer on a self-portrait medal: ‘Quod potut
fect, faciant meliora potentes” (**\What I could, I did —let
those who can, do better’’).°*!

After Attilio Motti’s death the position of chief
engraver at the Roman mint was given to Pietro
1898 in Buia,

Giampaoli.*) Born in Province of

had found expression toward the end of the war in four anti-
Fascist and anti-Nazi medals, all filled with the satiric bitterness
of a Karl Goctz.

322 PaGant, Monete italiane, coin 958.

323 For decree no. 1829 of October 11, 1925, see RQ, p. 43.

34 Medal of 1946, published by ParriGnant, VwnR (1948),
nos. 1—3, p. 38.

325 VoLLMER, vol. 2, p. 238.

Udine, he studied art at the Brera Academy in
Milan.
and engraver in the artistic circles of Rome since the
time of Pope Pius XI, he exhibited in 1928 at the
Biennale” in Venice.

Well known and appreciated as a sculptor

In later years he was awarded
the first prize with gold medal at the International
Exhibition of the Medal in Madrid, 1951, for his
composition Laetizia.

His first accomplishments at the mint were the
die engravings for the gold and silver coins of 1936
and 1937, created by Giuseppe Romagnoli.*° The
substantial plasticity of Motti’s engravings, rich in
detail and modulation of plane, settles in Giampaoli’s
technique into a more linear treatment of relief.
Apparently under the dictate of practical considera-
tion, which requires a smooth surface on the coin
for easy stacking, Giampaoli tended to flatten the
relief, as can be seen on most of the coins created
after World War II (fig. 135).

Fig. 135.—Itary, Repus ic, 20 lire, 1957 97
(Div. of Numismatics photo)

This technique is apparent not only in his earlier
engravings but throughout his entire career as a coin
engraver. In this respect the coins differ greatly
from the medals, which achieve their excellence rather
through massive and well-rounded relief. One of his
most recent creations, the 500-lire piece of 1958, the
first silver coin struck in Italy after World War II,
shows the same low relief which was adapted for a
composition otherwise in the spirit of the Renaissance
(fig. 136).
veals Giampaoli’s novel approach to solving the esthet-
A profound
admirer of Renaissance art, he succeeded in com-

The distinctive harmony of this coin re-
ic problems of modern coin engraving.
pletely assimilating the essence of the art concept of

the 15th century.
He is so deeply affected by the spirit of the Renais-

sance that his creations can be considered less an
interpretation than a real revival of an art concept.
Many Italian artists and especially engravers have
directed their attention, during the last few decades,
toward the Renaissance, seeking inspiration or solu-
Some of the medals of
Mistruzzi already show the beneficial influence of

tions for technical problems.

Renaissance art in the simple flow of line and relief.

Fig. 136.—Irary, Repus.ic, 500 lire [1958] #28
(Div. of Numismatics photo)

Others have tried to adopt the vigorous style of these
early masters of the medal, but only a few have
succeeded in absorbing so completely their art
concepts as Giampaoli has.

Best evidence of this is his medals, where all ele-
ments, artistic and technical, have merged to pro-
duce an amazing new movement in modern Italian
engraving. Unified in conception, precise, bold in
relief, at the same time graceful and harmonious,
Giampaoli’s portrait medals are outstanding and
original. As a portraitist Giampaoli gives evidence
of a limited use of realism, which permits him a more
traits.
A certain static meditativeness takes away an immedi-
ate vivacity, conferring instead on the figures a more
statuary quality.**? Broad planes with a well-molded
relief add to their compactness. The casting tech-
nique, more widely used by Giampaoli than the
striking method, certainly enhances these effects.
The surrounding legend, conceived as a sculptural
element, as a component part of the composition,
usually completely encloses the bust, sometimes in
two or three dense rows.

One of the most remarkable creations in this series,
signed by the artist as JOANNES PAULVS, is a medal
dedicated to his wife Laetitia Savonitto for their

subjective interpretation of physiognomic

326 For his more recent work, engraved from designs by
Giuseppe Romagnoli, on the issues of the Italian Republic, see:
Pacant, Monete italiane, pp. 82-86; RAYMOND, p. 77; YEOMAN,
Catalog of World Coins, Pp. 278-279.

327 PAGANI, Monete italiane, coin 1352; YEOMAN, p. 280, coin
A102.

328 PaGaANnt, Monete italiane, coin 1311.

329 He also engraved in 1956 a medal of Queen Elizabeth II
of England, commemorating her sixth anniversary of reign—
published in LV (1957), p. 81. For other medals, see PaTric-
NANI, LN (1952), vol. 3, no. 2, pp. 12-13; LV (1952), vol. 3, no.
5, pp. 43-45; LV (1955), vol. 6, no. 4, p. 27.

60 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

tenth wedding anniversary in 1947 (fig. 137). Rem-
iniscent of the grace and beauty of Caecilia Gonzaga
on a medal engraved by Antonio Pisano (called

“Pisanello”) in 1447 (fig. 138) or of Giovanna

Fig. 137.—Itary, medal, commemorating Laetizia
Savonito-Giampaoli, 1947 33"
(Photo from LV)

Albizzi by Nicolo Fiorentino some decades later,33!
this medal apparently was valued highly by the artist
himself. Ten years later, the same motif appears on
the obverse of the 500-lire piece of 1958 (fig. 136),
for which the sculptor Guido Veroi contributed a
reverse representing the three ‘‘caravelle’>? of Colum-
bus. Compared with the medal, the coin loses much
of the original beauty through a more linear treatment
of design. Nevertheless, the charm of the figure and
the purity of the composition mark this coin image as

330 Published in /.V (1952), no. 2, p. 13.
331 Hitz, pl. 169, medal 1021.
332 Tbid., pl. 8, medal 37.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800

one of the resplendent creations in modern coin
engraving. The composition, however, and the sur-
rounding circle of shields were the subject of much

controversy. Criticism was brought to bear especially

Fig. 138.—MeEpav or Cecitia Gonzaca by Antonio Pisano,

1447 3
(Photo from Hill)

against the heraldic incorrectness of specific coats
of arms.*88 Undoubtedly these escutcheons are super-
fluous additions which diminish rather than enhance
the beauty of the coin. Functionally the circle re-
places the inscription as an enclosure, an essential
element in Renaissance medal engraving, but in this
case the shields, which are more substantial than a
row of letters, weigh heavily on the rest of the com-
position. The pure line of the center design requires
a less elaborate framing.

333 Pizzoui-Luporini, /.V (1958), p. 66; {Anon.,] ‘“Nostre
osservazioni sulle monete da 500 lire,’ LV (1958), p. 66.

SUMMARY

The tides of history since 1800 have borne the art
of Italian coin engraving from stagnant shallows to
a new, high ground of creative achievement. The
opening of the 19th century was marked by a serene
recollection of antiquity as expressed in the dignified
simplicity of neoclassicism, which soon declined,
however, into a tired, anemic intellectualism. Re-
currently, artists turned for inspiration to the exhausted
sources of a revived classicism which could offer little
spiritual guidance in an art bound more and more by
official convention. Quest for perfection was confined
to exterior form: coins served chiefly utilitarian
purposes.

As a result, the coinage produced during the tur-
bulent mid-century years when national unity was
being forged under Victor Emmanuel II marks an
The prod-
ucts are cold, superficial; they do not suggest the
intellectual and emotional storms which shook those

amazing low point in Italian engraving.

decades. Gone were the eras when the Greek artist
enclosed in a small piece of metal part of his own and
his countrymen’s soul,

portrayed in coarse compositions the political dreams

when Roman engravers
of their leaders, when an esoteric stiffness expressed
the awe before king and God which inspired the
Middle Ages.

An upheaval in this stagnation was caused by
public reaction in the years just prior to World

War I. At the same time President Theodore
Roosevelt in the United States was instigating an
artistic awakening in American coinage, a radical
change occurred also in Italian coin engraving.
Artists began to create with the stimulating certainty
that their products would be judged, admired, and
criticized. New themes enlivened coin images, re-
placing the monotony of previous heraldic coin types.
Into the fervor of this competition were drawn en-
gravers and especially sculptors of repute, and the
first decades of the present century teem with their
coin projects. Their experiments reveal a new out-
look in solving artistic and technical problems.

Then, in the twenties, Italian coin engraving evolved
into a more definite and uniform art concept. Once
again artists gravitated toward the great early sources
of classical antiquity, and for over two decades the
exuberant images of ancient Greece and Rome filled
the imaginations of the engravers, but all too soon this
ideal degenerated again into a cliché.

From this long series of discouraging repetition of
classical patterns, declining finally into an obsessive
mannerism, there slowly emerged a new concept—
the values of Renaissance art transposed to a modern
age. With such esthetics, conveyed through an ele-
gant simplicity, Italian coin engravers have found,
beyond their other trends, a promising outlook for
the future of their art.

62 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

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————. Le nuove monete italiane. Rassegna annuale, medaglhe—plachetle—Jusiont
(Milan, 1910), pp. 1-5.

L’Italia nei cento anni del secolo NIX giorno per giorno illustrata, 5 vols. Milan,
1900-1929.

Medaglie italiane del 1888. Revista italiana di numismatica (Milan, 1889),
pp: 53-65, 217-241.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800 63

ComanpIn1, ALFREDO. Medaglie italiane del 1889. Rivista ttaliana di numismatica
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— —. Medaglie italiane del 1890. Rivista italiana di numismatica (Milan 1892),
pp. 219-235; (1893), pp. 483-496.

Comanpbucci, AGostiIno Mario. Dz¢zionario illustrato det pittort e incisort italiani modernt.
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Note sui conii monetarii napoletani. Pp. 19-26 in no. 1, vol. 4, of Supple-
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Craic, Sir Joun. The Mint: A history of the London Mint from A.D. 287 to 1948.
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Datton, Ormonde Mappock. Catalogue of engraved gems of the postclassical period
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Dickinson, Henry WinraM. Matthew Boulton. London, 1937.

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nacional de numismatica y internacional de medallas (Madrid, 1951), no. 7, p. 153.
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———. Liincisore Filippo Rega. Rassegna numismatica (Orbetello, 19C8), pp. 91-94.

Gaveotti, Arrico. Le monete del Granducato di Toscana. Leghorn, 1930.

Gneccul, Francesco. Le nuove monete italiane. Rivista italiana di numismatica
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Gneccui, Francesco and Ercore. Le monete di Milano da Carlo Magno a Vittorio
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BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

Grose, 8. W. Catalogue of the McClean collection of Greek coins. Vol. 1. Cambridge:
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Italia numismatica (Casteldario-Mantua: Oscar Rinaldi, 1950+). [A journal. |

Hitt, Georce Francis. A corpus of Italian medals of the Renaissance before Cellini.
2 vols. London: British Museum, 1930,

JOHNSON, STEFANO CarLo. La conquista della Lybia nelle medaghe: MCOMNI-MCOMANIV.
Milan, 1914.

Le rivendicazioni italiane del Trentino e della Venezia Giulia nelle medaglie, part 1:
7797-1914. Milan, 1919,

JumLerat pu Rosay, Enrico. Donnino Bentelli. Niwmnismatic Circular (London,
1915), cols. 669-672.

Keary, CHARLES FRANCIS. A guide to the Exhibition of Italian Medals. 2d ed. London:
British Museum, 1893.

Kina, CHARLES WiLLIAM. Handbook of engraved gems. London, 1885.

Kuti, JOHANN VerT. Studien zur Geschichte der Miinzen und Medaillen der
KGnige von Bayern: NIX. Jahrhundert. Aittedlungen der Bayerischen Numis-
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Lanrranco, Mario. I progetti e le prove di monete dell’Albania. Rassegna numis-
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I progetti e le prove di monete del Reegno d'Italia. Rassegna numismatica
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tecnico-monetaria (Rome, 1931), pp. 44-56, 331-340; (1932), pp. 161-170, 300
317; (1933), pp. 18-22, 131-148, 262-280.

Le pit recenti prove di monete del Regno d'Italia. Rassegna numismatica
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Larizza, Prerro. Gli ultimi due secoli del Reame delle Due Sicilie nella storia e nella
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Martinori, Epoarpo. <Annali della zecca di Roma: Serie papale. 24 fascs. Rome:
Istituto Italiano di Numismatica, 1917-1922.

Mazio, Francesco. Serie det cont di medaglie pontificie da Martino V fino a tutto il Pon-
tificato della san. mem. di Pio VHT esistenti nella Pontificia Zecca di Roma. Rome, 1824.

Delle medaglie e plachette coniate dal 1884 al 1906. Milan: Stabilimento Stefano Carlo
Johnson [n.d.].

Monpint, RarraeLio. Spigolando tra medaglie e date (1848-1870-1871). Leghorn, 1913.

NaTatetti, Giorcio, and PaGcani, Anronto. Le medaglie di Giuseppe Verdi. Rome:
Istituto Grafico Tiberino, 1941.

Nicopemi, Grorcio. Medaglisti italiani moderni, I: Leonardo Bistolfi. Rivsta
italiana di numismatica (Milan, 1941), pp. 143-149.

Noack, FrrepricH. Die Hamerans in Rome. Archw fiir Mfedaillen- und Plaketten-
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Nostre osservazioni sulle monete da 500 lire. Italia numismatica (Casteldario, 1958).
p. 66.

Numismatic Circular (London: Spink & Son, Ltd., 1892 -+-). [A journal. ]

Numismatica (Rome [P. & P. Santamaria], 1935-1954; 1960-4). [A journal.]

Paani, ANTONIO. Monete italiane a sistema decimale da Napoleone Console alla Repubblica
Italiana (1800-1958). 3d rev. ed. Milan, 1959.

Novita medaglistiche moderne. Rivista italiana di numismatica (Milan, 1949),

pp. 64-65.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800 6

Pacant, Anronio. Prove e progetti di monete italiane o battute in Italia dall’invasione
francese at grorni nostri (1796-1955). Milan, 1957.

Papapopout, Nicoio. Alcune notizie sugli intagliatori della zecca di Venezia. Venice,
1888.

ParrIGNANI, ANTONIO. Le medaglie di Gregorio XVI (1831-1846). Rome: A. Duval,
1929.

———. Le medaglie di Pio VII (1800-1823). Pescara-Chieti: N. Jecco, 1930.

———. II giubileo numismatico del Re. Rassegna numismatica finanziaria e tecnico-
monetaria (Rome, 1931), pp. 217-225.

Numismatica di Pio XI. Rassegna numismatica finanziaria e tecnico-monetaria

(Rome, 1931), pp. 74-108, 257-260; (1932), pp. 357-362.

Una moneta satirica(?) di Napoleone I coniata dalla zecca di Milano.

Rassegna numismatica finanziaria e tecnico-monetaria (Rome, 1931), vol. 28, pp. 11-21.
Le medaglie di Leone XII (1823-1829). Catania: G. Leone, 1933.
Le monete di SS. Pio XII. Numismatica (Rome, 1940), vol. 6, pp. 31-34.
Le medaglie di Pio IX. Bollettino del Circolo Numismatico Napoletano (Naples,
1947) {pp 09-90.
Vittorio Emanuele III Re Numismatico (Ricordi personali). Nwmismatica
(Rome, 1947), vol. 13, pp. 100-104.
Medaglie delle Repubbliche Cisalpina ed Italiana. Numismatica (Rome,
1948), vol. 14, pp. 116-118.
A proposito della pretesa lira con ‘‘Natoleone” per Venezia. .Numismatica
(Rome, 1948), vol. 14, p. 57.
Un decennio di attivita medaglistica di Aurelio Mistruzzi. .Vumismatica
(Rome, 1948), vol. 14, pp. 30-38.
Ancora a proposito della pretesa lira con ‘‘Natoleone” per Venezia. JNVu-
mismatica (Rome, 1949), vol. 15, pp. 107-108.
Il “Corpus” delle medaglie Pontificie (1404-1939). Ttalia numismatica
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A colloquio col Prof. Aurelio Mistruzzi. Italia numismatica (Casteldario,
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Medaglisti Romani (Prof. Pietro Giampaoli). Italia numismatica (Cas-
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Prof. Pietro Giampaoli nelle medaglie. Jtalia numismatica (Casteldario,
1952), vol. 3, no. 5, pp. 43-45.
Medaglie del Prof. P. Giampaoli. Italia numismatica (Casteldario, 1955),
vol. 6, no. 4, p. 27.
Pizzout-Luporini, THEO. Osservazioni sugli stemmi del pezzo d’argento italiano
da 500 lire. Italia numismatica (Casteldario, 1958), p. 66.
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Prora, Caro. Filippo Rega. Giornale d’arte (Naples, 1925) [no pagination].

———. Le prove di argento delle piastre di Ferdinando IV Borbone della riforma
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113-117.

———. Saggi di monete della zecca napoletana. .Vumismatica (Rome, 1939), pp.
148-149.

——— . Sulle monete d’oro da 40 franchi di Gioacchino Murat. Bollettino del Circolo
Numismatico Napoletano (Naples, 1931), pp. 14-17.

Prota, Caro, and Moretti, Vincenzo. La riforma monetaria del 1804-1805 di
Ferdinando IV Borbone. Bollettino del Circolo Numismatico Napoletano (Naples,
1926), pp. 3-25.

66 BULLETIN 229: CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY

R.S. [sic]. La medaglia alla Mostra Sindacale Romana di Belle Arti. Nimismatica
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StcinLiANo, Tommaso. Alcune madaglie di Murat. Bollettino del Circola Numismatico
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SUTHERLAND, Carot Humpurey Vivian. Art in coinage: The aesthetws of money from
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Whitman Publishing Co., 1904.

PAPER 33: ITALIAN COIN ENGRAVERS SINCE 1800 67

Index

(Page numbers of principal accounts in #talics)

Arnaud, Achille, 32, 34n, 35, 38-39, 42
Arnaud, Luigi, 32, 42-44, 63, 67
Arnaud, Michele, 32, 38

Arnaud, ‘Tommaso, 43

Aveta, Vincenzo, 30

Barré, Jean Jacques, 36

Benoist, 38

Bentelli, Domenico (Donnino), 76-77, 65
Bianchi, Francesco, 56

Bianchi, Ignazio, 45

Bistolfi, Leonardo, 47, 65

Boninsegna, Egidio, 47-48, 49

Calandra, Davide, 47, 48-49, 50

Canonica, Pietro, 47

Canova, Antonio, 4, 4n, 5, 17, 31, 33, 34
Carriello, Andrea, 36, 37, 38, 39, 40, 47-42, 44
Catenacci, Scipione, 35, 39, 44

Catenacci, Vincenzo, 34, 35, 36, 37, 39-47
Cellini, Benvenuto, 17

Cerbara, Giovanni Battista, 23

Cerbara, Giuseppe, 17, 23-25
Cerbara, Nicolo, 17, 18, 23,
Chaplain, Jules C., 48
Ciccarelli, Francesco, 38, 40, 41
Cinganelli, Pietro, 11, 73, 14
Curtini, Baldasare, 19

D’ Andrea, Francesco, 35, 36, 39, 40, 41
De Cecli, 42

De Turris, G., 38

Diodati, Luigi, 30-37, 35

Droz, Jean Pierre, 3

Dupré, Augustin, 3

Fabris, Antonio, 11, 73-74
Ferraris, Giuseppe, 6, 44, 44n, 45, 47
Fiorentino, Nicolo, 57, 61

Gayard, R., 44n

Germain, Pierre, 4

Giampaoli, Pietro, 51, 59-67, 65
Giorgi, Luigi Raffaele, 49-50
Girometti, Giuseppe, 77-78
Girometti, Pietro, 17, 78, 25
Gori, Edoardo, 14

Gori, Luigi, 11, 75, 44n

Hamerani, Anna Cecilia, 18
Hamerani, Beatrice, 18

Hamerani, Ferdinand, 18
Hamerani, Gioacchino, 17, 78-19, 20
Hamerani, Giovanni, 78-79

Johnson, Stefano Carlo, 47, 65

Lanfranco, Mario, 50n, 65
Laudicina, Michele, 35, 38, 41
Lavy, Amedeo, 4-6, 9, 10, 63
Lavy, Carlo Michele, 4, 63
Lavy, Lorenzo, 4, 63

Loos, Gottfried Bernhardt, 28

Manfredini, Luigi, 3, 6-7, 8, 9, 10n, 16, 29, 45
Martino, Giovanni, 33

Mercandetti, Tommaso, 17, 79-22
Mistruzzi, Aurelio, 50, 51, 55-59, 60, 63, 66
Molinari, Fortunato, 35

Molo, Gaspare, 17

Morghen, Nicola, 30, 34

Motti, Attilio, 50-57, 59

Niderost, Giuseppe, 11, 74-75

Pasinati, Giovanni, 17, 20, 22

Pasinati, Giuseppe, 17, 20, 22

Pasinati, Paolo, 44n

Passamonti, S., 20

Perger, Domenico, 30, 37-32, 33

Pichler, Giovanni, 32, 67

Pichler, Luigi, 11, 74, 67

Pisano, Antonio, 61

Pistrucci, Benedetto, 16, 28

Posch, Leonhard, 28

Rebora, Domenico, 31, 33

Rega, Filippo, 32-36, 37, 38, 39, 40, 63, 64, 66
Romagnoli, Giuseppe, 50, 57-55, 60, 60n, 64
Rossi, Gerolamo, 19

Roty, Louis, O., 48

Salvirch, Giuseppe, 6, 7-8, 9
Santarelli, Giovanni Antonio, 76
Santini, Pasquale, 14

Series, Carlo, 12, 73, 14

Series, Louis, 11

Series, Luigi, 77-73, 16

Series, Violante Beatrice, 11

Speranza, Filippo, 45-47, 48, 63
‘Thorwaldsen, Albert, 28

Tiolier, Pierre Joseph, 3, 7
Trentacoste, Domenicc, 47, 48, 49, 50
Vassallo, Gerolamo, 6, 7, 8-77

Veroi, Guido, 61

Voigt, Carl Friedrich, 17, 26, 28-30, 45
Vollgold, Friedrich Alexander, 28
Weber, Giovanni Zanobio, 77
Widemann, Anton Franz von, 11
Wyon, R., 44n

Zaccagnini, Bonfiglio, 17, 27, 45

U.S. Government Printing Office: 1965

For sale by the Superintendent of Documents, U.S. Government Printing Office
Washington, D.C., 20402—Price 75 cents

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