Charles the Bold / Ram Between Two Briquettes Bronze (cast), 39.4 mm Ø, 25.6 g by Giovanni Candida, c. 1474 Obverse: Bust of Charles the Bold facing right, laureate, undraped, with truncation in Roman style. Around, DVXKAROLVS / BVRGVNDVS . Surrounded by a plain border. Reverse: A ram couchant to sinister between two briquettes, on which are inscribed VELLVS (on sinister) and AVREVM (on dexter). On the outer side of each is a flint darting sparks. Above, IELAIEMPRINS ; below, BIENENAVIENGNE . All on a field semé with sparks, surrounded by a wreath. Obverse Inscription: DUX KAROLUS BURGUNDUS Charles, Duke of Burgundy Reverse Inscriptions: VELLUS AUREUM The Golden Fleece JE L'AY EMPRINS, BIEN EN AVIENGNE I Have Undertaken It, May Good Come Of It Charles the Bold, born on November 10, 1433, was the son of Philip the Good, Duke of Burgundy, and Isabella of Portugal. He held the title of Count of Charolais until his father's death in 1467, at which time he succeeded him as Duke. Ambitious to enlarge his domain, his actions sparked the Burgundian Wars in 1474, but he was handed three major defeats by the Swiss in 1476 and at Nancy in 1477. It was at the Battle of Nancy, on January 5, 1477, that Charles was killed, his mutilated body not being discovered for several days. With his sole heir being his daughter Maria, Charles was the last of the Valois Burgundy dukes, and the duchy was split between the French crown and Habsburg archduke Maximilian I of Austria, who married Maria in August of 1477. This medal was probably issued at the time of the siege of Neuss in 1474. The ram on the reverse refers to the Order of the Golden Fleece, which was established by Charles's father. Charles was made of a Knight of the Golden Fleece when he was but twenty days old. The inscription above and below the ram is the joint motto of Charles and his third wife, Margaret of York. This medal and three others of similar style form a distinct group produced at the Burgundian court between 1472 and 1480. Giovanni Candida has been suggested as the most probable artist behind this group. However, they all feature portrait heads on a scale larger than that in all other works by Candida. Barring this attribution, it is possible they could belong to the oeuvre of an unidentified Burgundian medalist. References: Hill 828; Pollard (NGA) 256 Ludovico Ariosto / Bees Issuing from Hive on Fire Bronze (cast), 37.8 mm Ø, 21.1 g by Pastorino de' Pastorini, c. 1552-1553 Obverse: Bust of Ludovico Ariosto facing left, laureate, bearded, wearing a shirt and coat. Around, LVDOVICVS ARIOST POET . On truncation, signed · P · (incised). Surrounded by a beaded border. Reverse: Bees issuing from the top of a hive, the base of which is on fire. Around, PRO BONO / MALVM . Surrounded by a beaded border. Obverse Inscription: LUDOVICUS ARIOST POET Ludovico Ariosto, Poet Reverse Inscription: PRO BONO MALUM Evil In Return For Good Ludovico Ariosto was born in Reggio on September 8, 1474, but was raised in Ferrara. Best known as a poet, he also coined the term umanista (student of human affairs or human nature), which eventually evolved into the English words of humanist and humanism. In 1503 he came under the patronage of Cardinal Ippoltio d'Este. His most well known work, the epic poem Orlando Furioso, was first published in 1516 in 40 cantos and was further enlarged for an edition of 1532 to 46 cantos. However, his patron failed to appreciate this work and he was compensated poorly. When the cardinal went to Hungary in 1518, he wished for Ariosto to accompany him. Ariosto excused himself and was promplty dismissed from service. Alfonso, Duke of Ferrara, (and the cardinal's brother) then took Ariosto under his patronage. In addition to being a poet, Ariosto was a diplomat and was also appointed governor of Garfagnana. He died on July 6, 1533. The obverse portrait and clothing are similar to the right-facing bust found as the frontispiece of the 1532 edition of Orlando Furioso, though the laurel wreath is an addition. The reverse design and inscription refer to unjust returns, and had appeared in early editions of Orlando Furioso. On the medal, it alludes to the cardinal's lack of appreciation. In this case, the bees, who had provided honey, are now expelled from their home by the fire that has been lit beneath their hive. The medal likely dates to Pastorino's early years in Ferrara, where he joined the service of the Duke of Ferrara in 1552. It has been suggested that it may have been commissioned by one of Ariosto's sons or one of his brothers or sisters. Opinion on the quality of the medal has been divided. Cornelius von Fabriczy noted the following: "The busts of two great celebrities Ariosto and Titian belong to his best works, thanks to their unassuming simplicity and the absence of that affected pose which detracts from the impression conveyed by so many of Pastorino's male portraits." On the other hand, George Hill opines that the portrait "is, as one might expect, uninspired." He also discusses the reverse, saying: "It is one of the few of the artist's medals that has a reverse. His reverses are banal, and he was wise not to trouble himself to make many." References: Attwood 538; Toderi-Vannel 1839
Indeed, medals from this time were often copied as "aftercasts", but those would typically result in loss of detail and quality. These both appear to be contemporary (to their issue) casts.
