Featured Any interest in medals? A few from my collection ...

Greetings, all! I've been browsing through this forum for a while and I recently decided to join.

My collecting focus is on Renaissance and Baroque medals. I see that the majority of the posts are on ancient coins, but was wondering if anyone else on here collects medals? If there's any interest, I would be happy to share images and background on some of my pieces, and I would greatly enjoy seeing what other members have.

A few quick selections from my collection:


Pope Sixtus IV, 1473
Construction of the Ponte Sisto
(Cast Bronze, 40.2mm Ø)

By Lysippus the Younger

Obverse: Bust of Sixtus IV facing left, bareheaded and wearing a cope decorated with arabesques. Around, SIXTVS · IIII · PONT · MAX · SACRICVLTOR (Sixtus IV, Supreme Pontiff, Connoisseur of the Sacred).

Reverse: View of the Ponte Sisto surrounded by a wreath of oak leaves. Above the bridge, CVRA RERVM PVBLICARVM (He Cares for Public Works).

Foundation medal for the construction of the Ponte Sisto. Two examples of this medal in gold were placed by the Pope in the foundation of the bridge during the ceremony for the laying of the first stone.

The ancient Pons Aurelius was erected on the Tiber River in the third century AD and had collapsed into partial ruin in 772. The Romans had taken to simply calling the bridge "ponte rotto", or "broken bridge". According to Modesti, it seems that Cardinal Francesco della Rovere lived near these ancient ruins, and lamented the fact that to the go to the Vatican he needed to cross the Tiber on the distant Ponte Sant'Angelo rather than make use of a bridge right by his house. It also seems that he had confided in someone his intention to rebuild this old bridge, if he should ever be elected Pope. Within two years of his election and taking the name Sixtus IV, he realized this intention with the architect Baccio Pontelli.

The first stone for the new bridge was laid on April 29, 1473. Work progressed swiftly such that the new bridge, now called the Ponte Sisto, was in passable condition by the time of the Holy Year of 1475. Before its construction, there were only two bridges in the region, and the Ponte Sisto was the first bridge constructed over the Tiber since antiquity. The new bridge would also help to avoid a tragedy similar to what had occurred during the previous Holy Year. On December 18, 1450, a bucking mule caused panic amongst a crowd crossing the Ponte Sant'Angelo. More than one hundred pilgrims were crushed and another two hundred fell into the Tiber and drowned. Construction on the bridge was completed by 1479.


Gian Giacomo Trivulzio, c. 1499
(Cast Bronze, 45.7 x 44.9 mm)

By Cristoforo Foppa Caradosso

Obverse: Laureate bust of Trivulzio facing left, wearing armor plate. Shield with the Trivulzio arms in top left corner; a cross pattée within a flaming circle in the top right corner; a shield with a biscione in the bottom left corner; a shield with three brands in a pale, each with two buckets, in the bottom right corner. Around, within incised circles, IO IACOBVS TRIVVLS · MAR · VIG · FRA · MARESCALVS · (Gian Giacomo Trivulzio, Marquess of Vigevano, Marshal of France) .

Reverse: Nine line inscription, below which is a leaf: 1499 / EXPVGNATA ALE / XANDRIA : DELETO / EXERCITV : LVDOVI / CVM · SF · MLI · DVC / EXPELLIT · REVER / SVM · APVD NOVA / RIAM STERNIT / CAPIT (1499, Having Taken Alexandria, Having Destroyed the Army, He Expelled Lodovico Sforza, Duke of Milan, and Lodovico Fleeing was Defeated and Captured Near Novara).

Gian Giacomo Trivulzio was born in Milan in 1440 or 1441. A supporter of France, he led an army raised by King Louis XII to conquer the Duchy of Milan in 1499. After his victory, Trivulzio was appointed governor of Milan by Louis XII, as well as marquess of Vigevano and marshal of France. Ludovico Sforza, who had been Duke of Milan, had fled but was captured at Novara and died captive in a French dungeon. Trivulzio continued to lead French forces, but later lost the favor of the king and died in France in 1518.


Antonio Da Mula, 1538
Defense on Candia Against the Turks
(Struck Bronze, 40.8 mm Ø)

By Andrea Spinelli

Obverse: Bust of Antonio Da Mula, bareheaded, facing left, wearing a gown. Around, · ANT · MVLA · DVX · CRETÆ · X · VIR · III · CONS · IIII · (Antonio Mula, Duke of Crete, Member of the Council of Ten for the Third Time, Counselor for the Fourth Time).

Reverse: Antonio Da Mula, on the left, shakes hands with another man. Both men are standing and wearing togas. At top, 1538 , and around, · CONCORDIA · cinquefoil · FRATRVM · (The Concord of Brothers). Beneath the figures, on two lines and within the outer inscription, · AND · SPIN · / · F · (Andrea Spinelli Made It).

Antonio Da Mula (c. 1460-after 1539) was a Venetian patrician who served in various important offices in the Venetian administration, including as a member of the Council of Ten. In 1536, he was appointed duke of the Kingdom of Candia and became responsible for the governance of Crete. In June 1538, with Captain Marcantonio Trevisan, he organized the defense of Candia against the threat from the Turkish pirate Barbarossa. Despite inadequate resources, the two were able to produce a sufficient show of force to frighten off the attacker. It is accepted that the reverse of this medal commemorates this occasion, with Da Mula and Trevisan shaking hands in fraternal concord. Trevisan would later be elected doge of Venice in 1553.


Cardinal Ippolito d'Este, c. 1547/1572
(Struck Bronze, 46.0 mm Ø)

By Gianfederico Bonzagni

Obverse: Bust of Ippolito d'Este facing left with beard and wearing hooded cassock. Around, HIPPOLYTVS · ESTEN · S · R · E · PRESB · CARD · FERRAR · (Ippolito d'Este, Priest of the Holy Roman Church, Cardinal of Ferrara). Under the bust, · FED · PARM · (Federico the Parmense).

Reverse: Abraham kneeling before three draped men. Behind Abraham are a building a tree. Above and around, · NE TRANSEAS · SERVVM · TVVM · (Pass Not Away From Thy Servant).

The reverse scene and legend are taken from Genesis 18:2-4 (And when he had lifted up his eyes, there appeared to him three men standing near him: and as soon as he saw them he ran to meet them from the door of his tent, and adored down to the ground. And he said: Lord, if I have found favour in thy sight, pass not away from thy servant: But I will fetch a little water, and wash ye your feet, and rest ye under the tree.).

Ippolito d'Este (1509-1572) was the second son of Alfonso I d'Este, duke of Ferrara, and Lucrezia Borgia. He was created cardinal by Pope Paul III in 1538 by and was appointed papal legate in France in 1561. A cultivated and wealthy man, Ippolito was a patron of the arts and of medallists, with six different medals of him known. Toderi & Vannel posit that this medal was probably executed in the later years of Ippolito's life.


Pope Innocent XI, 1680
Spiritual Authority and Temporal Autonomy of the Roman Church
(Struck Gilt Bronze, 35.2 mm Ø)

By Giovanni Hamerani

Obverse: Bust of Innocent XI facing right, wearing camauro, mozzetta, and decorative stole. Around, INNOCEN · XI · PONT · M · A · IIII (Innocent XI, Supreme Pontiff, In His Fourth Year). Under the bust, · HAMERANVS · F · (Hamerani Made It).

Reverse: Allegorical representation of the Catholic Faith standing, facing left, holding a chalice with radiant host in her right hand and supporting a cross with her left. In the background, the Tiber River, with the Ponte Sant'Angelo on the right and St. Peter's Basilica in the background on the left. Above and around, IN · SÆCVLVM / STABIT (Forever It Shall Stand). On a stone to the left of the figure's feet, 1680.

Annual medal originally issued on June 29, 1680, with the original issue consisting of 129 in gold and 265 in silver. Struck on a thicker flan, this is probably a later strike.

Louis XIV of France was constantly trying to separate the Church of France from the Church of Rome or to even bring the Holy See under his control. The reverse inscription of this medal reinforces the concept that the Roman Church both had its own temporal autonomy and was the spiritual authority for all catholicism, for all time. Innocent XI warned Louis XIV many times to halt his ambitions against the Church, including under threat of excommunication.


Cosimo Serristori, 1711
(Cast Bronze, 90.7 mm Ø)

By Massimiliano Soldani-Benzi

Obverse: Bust of Cosimo Serristori facing right, wearing a clerical robe, with unkempt hair and long beard. Around, COS · SERRISTORI / PATRITVS · FLORENT · (Cosimo Serristori, Florentine Patrician ). Under the truncation, · S · (Soldani).

Reverse: Allegorical representation of Meekness standing and holding a lamb. Under her feet, a pile of weapons and arms. Around, NEC · FASCIBVS · / VLLIS · ERIGITVR (No Honors Raise It Higher ). Below, in exergue, 1711 · .

Cosimo Serristori, son of Francesco Serristori, was born in 1644 into an ancient family in Figline Valdarno. One of his ancestors, Ser Ristoro, was notary to the Signoria of Florence and founded the Hospital of Figline Valdarno (today known as the Ospedale Serristori) in 1399. Though a nobleman, Cosimo kept both his hair and beard long and unkempt, and enjoyed working as a mason, carpenter, and blacksmith. Living at a villa in Castiglion Fiorentino, he moved to Florence upon the death of his brother Lodovico. After his brother's passing, he became sole heir to many possessions in the Grand Duchy of Tuscany. Extremely devoted to Saint Filippo Neri, he took as an example the life of the saint and would dress in clerical robes. He was also intereseted in the study of physics and medicine, often frequenting the Hospital of Santa Maria Nuova in Florence. Cosimo died in 1714 and left all of his possessions to the Oratory of St. Filippo Neri in Castiglion Fiorentino.

The medal celebrates the virtues of Cosimo, with articles of war being found under the feet of the allegorical representation of Meekness, who is holding a lamb. In addition to symbolizing meekness, the lamb was also a symbol of patience, humility, and innocence. The reverse inscription comes from a writing by the ancient Roman poet Claudian discussing virtue.

 

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I don't collect medals. But these images are stunning! The details are incredible. Are medals struck like coins?

 

I don't collect them either, but I took a class at the Summer Seminar that covered colonial medals.

We always like seeing new things, go ahead and post new acquisitions (and include a bit of a history if you will).

Oh, and welcome to Coin Talk!

 

I dont collect them either but I enjoy viewing others. These are great.

 

Besides American medals of the 19th & 20th centuries, I also collect French, Belgian & Swiss medals of the 19th & early 20th centuries.

 

Thanks all for the kind words!

Some are, and some are cast. I have updated the first post to indicate which method was used for each of these.

First post updated with the history for each medal!

Some very beautiful pieces! I also have a couple of 19th century American medals, but have lately been lured away by the early Italians.

 

Hang on, I just might have a couple of medals. Will look tomorrow.

 

This is one of my favorite American medals. It was produced in 1960 by Medallic Art Co. to commemorate the launch of the first nuclear-powered aircraft carrier, U.S.S. Enterprise. This was struck in .999+ silver, and I also have the same medal in bronze. Although these are older photos before submitting them for grading, both are graded by NGC - MS67.

Chris

 

@Iosephus nice to see you over here on this forum! Welcome aboard -- I never tire looking at your beautiful medals, regardless of the forum on which you post.

As @Iosephus noted, some medals are struck in presses with dies, and others are cast.

One big difference between most struck medals and coins is that the pressure of medal presses is much higher than coinage presses...and the speed at which they are struck is also much slower. It's also fairly common for medals to be struck with more than one blow of the presses to bring up the full detail and relief.

Another "striking" difference (pun intended) between coins and medals are their size. Some medals are absolutely huge if you are used to looking at coins. I have a few medals that are 80mm diameter (that's 3.14 inches). Those same medals can weigh in excess of 225 grams (8 ounces). VERY bulky pieces...and just awesome to hold in hand.

 

This is a very modern medal by the standards of those posted by @Iosephus , but the surfaces of this one have always just wowed me. It's a beautiful even and smooth brown in hand...and some great detail!

 

Iosephus - nice as always. Didn't see these in other forum and I am sure that as you share them people here will become enthusiastic.

Brg - I remember that one!

 

i have been tempted by a couple of medals I've seen. the one's posted here are really great.

lusephus, those medieval medals are gorgeous...wonderful post.

WELCOME ABOARD!

 

I also collect medals, but only if they have feminine attractions on them!

 

Thanks everyone for the warm welcome! It's also nice to see some familiar names here!

 

Great images of great medals! Did not see your posts before you edited them, but I sure appreciate the added explanations and background info.

Christian

 

Ive seen many french medals on other boards, they are ones I could collect. Love the designs on many of them.

 

It is true that there are many posts about ancient coins. You will find, however, that the enthusiasm for ancient coins is applicable to the study of medals. Both fields can emphasize the study of the history surrounding the piece rather than its coin grade.

Do I have an interest in medals? Well....






Welcome to this site,


guy

 

Turns out I do have a medal
Isle of Man WWI internment medal. 45 mms. Tin
These were apparently made to commemorate the people interred by the British government during WWI. German nationals that were seen as a security risk. Seemingly they were cast from the tin foil found in wooden tea crates and a wooden box was made from the
wood.

 

Beautiful, especially the Cosimo Serristori medal. Are there any good literary resources on these earlier medals?