Hands and Feet in Indian Art and 8th centuries, that we find the moulded or painted hands of greatest perfection; a little slenderer, a little more nervous, than the Gupta forms. These beautiful expressive hands and feet are nowhere better drawn than at Ajanta; several examples [FIGURES , 11-I4] are illustrated here from tracings by Samarandranath Gupta, originally published in the " Modern Review" (Calcutta, 1912). With these be compared the somewhat earlier (5th century A.D.) hand with a lotus flower, fromthe rock painting at Sigiriya in Ceylon [FIGURE ]. The feet of a dancing Siva(Nataraja) rom Anuradhapura may be as early as the 8th century[PLATE,E,F]. The fine Natarajas and other Saivite figures of South India belong to the Ioth, 13th, and subsequent centuries. Very often these hands are holding attributes,such as the drum, the axe, or the flame of Siva or the chakra of Vishnu. Examples of these re shown in FIGURES -4, and 9. The hand with the drum, Siva [FIGURE6], appears to me particularly beautiful. Next to these are hands from Nepalese images of somewhat uncertain date [PLATE, A,D] and one from Java [FIGURE ], which must be older than the 14th century. The hand [FIGURE o] holdingan enamelled scent-sprayistraced roma fragment of a large Jaipur Rajput) picture of the I8th century. NOTES ON ITALIAN MEDALS-XVI* BY G. F. HILL RAPHAEL MARTINUS GOTHALANUS R. T. W. GREENE'S apparently unique and unpublished medal of this man which is here illustrated [PLATE, A] is quite obviously of Florentine origin, class, dating fromthe lastthird of the 15th century and the early years of the I6th, which goes under the name of Niccol6 Fiorentino. The man's name is given as RAPHAEL MARTINVS GOTHALANVS. Under the bust is his age, but owing to the letters having come too close to the edge in the casting it is difficult to say whether they are to be read as ANXXVIII or ANXXXIII. The reverse s one of the shop-designs of the school, very roughly and carelessly adapted to a field rathertoo large for it by adding a raised border. If it is compared with the two well-known medalsof Pico della Mirandola and Giovanna Albizzi which have this type of the Three Graces on their reverses, we shall find that the type, as distinct from the inscription, is from one and the same model on all three medals. Yet the diameters of the medals vary considerably. The Martinmedal is 87 mm.; the diameter of the medal of Pico is given by Heiss as 87 mm., by Armandas 85 mm., which seems to be the normal ; the Albizzi medal is only 78'5 mm. in the British Museum specimen and still less on others accord- ing to Heiss (75 mm.) and Armand (77 mm.). These differences in reproductions from the same model are, of course, due to the varying shrinkage of the metal in cooling and also to irregularities of edge, as well as to the greater less number of recastings between the original and any particular specimen. But, from fact that the medallist of the Martin medal had to add a border to bring his reverse up to scale, it is clear that he only had a small specimen of the type to hand. Possibly he used one of the Albizzi medal ; the diameterof his field within the added border s just about the same (77-75 mm.) as that of the whole field of the Albizzi medal. Whatever he used, he ruthlessly cut out the original inscription and replaced it by the new one, IN HOC GRATILE MVSAS PROVOCARVNT, one in a manner very slovenly though hardly uncharacteristic of the Florentine school at this period. We do not know who Raphael Martin was, but that he had literary pretensions we learn from the inscription ust referred o. "Gothalanus" is naturally to be interpreted "Catalan", so that we may suppose Martin to have been a Spaniard visiting or settled at Florence.1 Whoever he may be, we have in his portrait not the least fine of the series produced by Niccol6 Fiorentino and his school. BARTOLOMMEO CEPOLA The medal of this man is certainly more rare and curious than beautiful. The specimen here illustrated [PLATE, C]2 is dull in quality, but apart from that accident there is something un- usually awkward about the contour and modelling * For previous articlessee Vols. xxiv, p. 36, xxII, p. 17, xxII, p. 131, xx, p. zoo, and xIx, p. 138, where will be founda full list up to that date. Don Pablo Bosch has very kindlycausedmuchsearchto be made at Barcelonawith a view to identifying the man, but without result. He makes the interesting suggestion that as Catalaunums the old name of Chalonssur Marne, so here Gothalanus may be used by analogy or a nativeof Chalons, nd Martinbe really a Frenchman. SIn Mr. T. W. Greene's collection. It measures 53 mm. Armand lso gives thediameters 53mm. (11, 3. 17), DESCRIPTION OF PLATE OPPOSITE A. Raphael Martin. Florentine S chool. Collection of Mr. T. W. Greene. B. Antonio Roselli. By Bartolommeo Bellano.BritishMuseum. c. Bartolommeo Cepola. Ascribedto Bellano. Collectionof Mr. T. W. Greene. D. Reverse of medal of FernandoI de' Medici,by M. Mazza- firri (wax model). Collection of Mr.T. W. Greene. E. FrancescoFermi. By Leone Leoni. British Museum. F. SigismundIII of Poland (wax model). Collectionof Mr. T. W. Greene. 21I
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8/7/2019 Notes on Italian medals. XVI / by G.F. Hill
Hands and Feet in Indian Artand 8th centuries, that we find the moulded orpainted hands of greatest perfection; a littleslenderer, a little more nervous, than the Guptaforms. These beautiful expressive hands andfeet are nowhere better drawn than at Ajanta;severalexamples [FIGURES, 11-I4] are illustratedhere from tracings by SamarandranathGupta,
originally published in the"
Modern Review"(Calcutta, August, 1912). With these may becompared the somewhat earlier(5th century A.D.)hand with a lotus flower,fromthe rock painting atSigiriya in Ceylon [FIGURE ]. The feet of adancing Siva(Nataraja) romAnuradhapuramaybeas earlyas the 8th century[PLATE,E,F]. The fine
Natarajas and other Saivite figures of SouthIndia belong to the Ioth, 13th, and subsequentcenturies. Very often these hands are holdingattributes,such as the drum,the axe, or the flameof Siva or the chakra of Vishnu. Examples ofthese are shown in FIGURES -4, and 9. Thehand with the drum, Siva [FIGURE6], appears
to me particularlybeautiful. Next to these aremany graceful hands from Nepalese images ofsomewhat uncertain date [PLATE,A,D] and onefrom Java [FIGURE], which must be older thanthe 14th century. The hand[FIGUREo] holdinganenamelledscent-sprayistraced roma fragmentof alarge Jaipur Rajput)picture of the I8th century.
NOTES ON ITALIAN MEDALS-XVI*BY G. F. HILLRAPHAEL MARTINUS GOTHALANUS
R. T. W. GREENE'S apparentlyunique and unpublished medal ofthis man which is here illustrated
[PLATE, A] is quite obviously ofFlorentine origin, and of the class,datingfromthe lastthird of the15th centuryandtheearly years of the I6th,which goes under the nameof Niccol6 Fiorentino. The man's name is givenas RAPHAEL MARTINVS GOTHALANVS.Under the bust is his age, but owing to the lettershaving come too close to the edge in the castingit is difficult to say whether they are to be read asANXXVIII or ANXXXIII. The reverse s one ofthe shop-designs of the school, very roughly andcarelesslyadapted to a field rather too large for itby adding a raised border. If it is comparedwiththe two well-known medalsof Pico della Mirandolaand Giovanna Albizzi which have this type of theThree Graces on their
reverses,we shall find that
the type, as distinct from the inscription, is fromone and the same model on all three medals. Yetthe diameters of the medals vary considerably.The Martinmedal is 87 mm.; the diameterof themedal of Pico is given by Heiss as 87 mm., byArmandas 85 mm., which seems to be the normal;the Albizzi medal is only 78'5 mm. in the BritishMuseumspecimen and still less on others accord-
ing to Heiss (75 mm.) and Armand (77 mm.).These differencesin reproductions from the samemodel are, of course,due to the varying shrinkageof the metal in cooling and also to irregularitiesof
edge, as well as to the greater or less number
of recastings between the original and anyparticular specimen. But, from the fact thatthe medallist of the Martin medal had to add aborder to bring his reverseup to scale, it is clear
that he only had a small specimen of the type tohand. Possiblyhe used one of the Albizzimedal;the diameterof his field withinthe added border sjust about the same (77-75 mm.) as that of thewhole field of the Albizzi medal. Whatever heused, he ruthlesslycut out the original inscriptionand replaced it by the new one, IN HOC GRATILEMVSAS PROVOCARVNT,one in a manner veryslovenly though hardly uncharacteristic of theFlorentine school at this period.
We do not know who Raphael Martin was,but that he had literary pretensions we learnfrom theinscription ust referred o. "Gothalanus"is naturally to be interpreted"Catalan", so thatwe may suppose Martin to have been a Spaniard
visitingor settled
at Florence.1 Whoever he maybe, we have in his portrait not the least fine ofthe series produced by Niccol6 Fiorentino andhis school.
BARTOLOMMEO CEPOLAThe medal of this man is certainly more rare
and curious than beautiful. The specimen hereillustrated [PLATE, C]2
is dull in quality, butapart from that accident there is something un-usuallyawkwardabout the contour and modelling
*Forpreviousarticles see Vols. xxiv, p. 36,xxII, p. 17, xxII,p. 131,xx, p. zoo, andxIx, p. 138,where will be founda full list
up to thatdate.
Don Pablo Boschhas verykindlycausedmuchsearchto bemade at Barcelonawith a view to identifying the man, butwithout result. He makes the interestingsuggestion that asCatalaunums the old name of Chalonssur Marne, so hereGothalanusmaybe used byanalogy or a nativeof Chalons, ndMartinbe reallya Frenchman.
SIn Mr. T. W. Greene's collection. It measures53mm.
Armand lsogivesthediameters 53mm.(11, 3. 17),
DESCRIPTION OF PLATE OPPOSITEA. Raphael Martin. Florentine School. Collection of Mr.
T. W. Greene.B. AntonioRoselli. By BartolommeoBellano.BritishMuseum.c. BartolommeoCepola. Ascribedto Bellano. Collectionof
Mr. T. W. Greene.
D. Reverseof medal of FernandoI de'Medici,by M.Mazza-firri(wax model). Collectionof Mr.T. W. Greene.
E. FrancescoFermi. By Leone Leoni. BritishMuseum.F. SigismundIII of Poland(wax model). Collectionof Mr.T. W. Greene.
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8/7/2019 Notes on Italian medals. XVI / by G.F. Hill
Notes on Italian Medalsof the portrait, and a peculiar "knobbly " effectwhich cannot be wholly due to faulty conditionof the original wax model, and which recalls,so far as I know, only one other medal ofthe 15th century. That is the medal byBartolommeo Bellano of Antonio Roselli [PLATE,B]. Furthercomparison between the two pieces
confirms the impression that they are connectedin origin. We may note as something probablynot due to mere fashion that the two menwear their caps so that their ears (andwhat ears i) project ungracefully. In nearly allother medals of the time the cap is not worn solow as to allow of this, or at any rate the ear ispartlyconcealed under it. Sperandio's medal ofGaleazzoMarescotti is an exception, but not sostriking as these two. Another characteristic ofthe two pieces is the clumsy rendering of themuscles of the neck, like great weals. Finallythere is the lettering. Both show the round E,the Roselli medal once, the Cepola medal twice.Both have the B with the bottom loop muchlarger than the upper, and the v with the left
hand stroke vertical instead of equally slantingwith its fellow.3 But details like these are onlyof value in confirming the truth of the generalimpression.
Bartolommeo Cepola was a distinguishedjuristof Veronese origin. Previous descriptionsof themedal' ignore the somewhat curiously shapedletterwhich begins the second half of the inscrip-tion; though so different from the letter whichfollows, it can hardly be anything but a V. Wemay interpret V(eronensis) V(triusque) I(uris)D(octor) A(dvocatus) C(onsistorialis). Theexplanation of the last two letters is given us bythe title-page of the Louvain edition of Cepola's" Consilia " of 1486. Cepola was educated at
Bologna, where he took his Doctor's degree in1446,and eventuallyheld a Professorshipat Padua.There he distinguished himself, as the rival ofAlessandroTartagniand Giovanni da Prato,by hisarrogantand quarrelsomemanner. His famewasat its height about 1466, when he was summonedto Rome and made an advocate of the SacredCon-sistory. He returnedto Padua, where he died in1477.5 Now Bellano was occupied at Padua from1469 onwards with the monument of Roselli (itwas about the same time, doubtless,that he madethe medal of that "monarcha sapientiae") andother works; he seems to have gone on to Venicein or before 1472. The medalof Cepola, therefore,could well have been cast during this period. It
does no credit to Bellano, if it is really his, buton the otherhand it is not much worse than manyof the works of that uncouth craftsman,.
FRANCESCO FERMIThe little medal of Francesco Fermi, of which
the British Museum specimen is illustrated in thePLATE,E, is not of the highest importance; butthe signature LEOwhich is plainly visible belowthe bust on the original, if not in the illustration,enables us to add one more to the list of medals
signed by Leone Leoni. This signature has notbeen noticed before,probably because the speci-mens which have been described by variouswriters6are more or less poorcasts. The specimenat Florence is certainlycast, and so is the one hereillustrated,but the original (as the mark of theedge of the die on the reverse shows) was struckfrom dies.
Salvaro has enlightened us as to the personalityof Francesco di Fermo Fermi, whose familybelonged to Bardolino on the left bank of theLago di Garda, where a well-head, dated 1541,bears his name. But as to the device of thereversesome uncertaintystill remains. That it isa flowering plant in a casket,as Salvarosuggests,is certainlynot the case. Armand's
description:
"un coffret d'oAi sort une bague entour6e deflammes" is much nearerthe mark, if indeed it isnot wholly right. The only doubt is whether it isa long-leaved plant or flames by which the ring issurrounded. On a medal of Rinaldo d'Este,l inthe manner of Coradini,we find the device of adiamond ring entwined by the leaves of a plant.But here the treatmentcertainlysuggests tonguesof flame. As the diamond in the ring, the symbolof durability,8alludes to the man's name Firmus,so possibly the flames which lick the gold ringare to be explained as the test of purity. Theinscription "sic homo operibus", where "isrevealed" is presumablyto be understood(with areferenceto I Cor., 3, 13), is quite in keeping.?
On the side of the casket is another detailwhichSalvaro has doubtfully recognized as a coat ofarms. It is undoubtedly meant to represent thearms of the man's family,which are az.,a crescentarg. between threestars of five rays or.
TWO WAX MODELS FOR MEDALSWax models for Italian medals of the i6th
centuryare sufficientlyrareto make it worthwhile
SIn the Roselli medal the ordinaryv also occurs on thereverse.
4 Armand, II,73,, 7 ; Trds.de Num., II, XLI,1.5These biographicaldetails are fromN. C. Papadopoll'sHist.
GymnasiiPatavini (1726)1, pp. 224 f.
'Armand, 11,177, 2 (from the Heiss Coll., 32mm.). J. C.RobinsonCatalogue,No. 16o (32 mm.). Supino, MedagliereMediceo,No. 802 (30 mm.). V. Salvaro,MedaglisticaVeronese(Milan,19o8),pp.9 ff. (in his own collection,30mm.). Salvaroaddsa bibliography f earlierpublications.The BritishMuseumspecimenmeasures32mrm.
7Armand, , 54, 3.'So, I think,we mayexplainit. Paolo Giovio, it is true,was
unableto guess the significanceofthe three interlaceddiamondringswhich formedthe impresaof CosimoVecchio,and saysthat Pope ClementVII was equally n doubt about it (Dialogodell' Imprese, 1555, P. 42). But the diamond itself is the symbolof indomitableresistance o fire and hammer(ibid., p, 44).SSIcVTAVRVMGNI nd a crucible containingbars of goldformedthe impresadevised by LodovicoDomenichi(Ragiona.mento,ed, 1574,P. 260)for Albertoda Stipicciano, o symbolizehis inviolable oyaltytowards his master, he Duke of Florence.
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Notes on Italian Medalsto record the addition of two others to the knownstock, albeit they belong not to the best period.Both are in Mr.T. W. Greene'spossession. Theearlier [PLATE, D] shows the design by MicheleMazzafirrior the reverseof a medalof Fernando Ide' Medici,the thirdGrand-Dukeof Tuscany, witha group of Hercules and Nessus on a pedestal,andthe motto SIC TVR AD ASTRA. It is modelled inwhitish wax on black slate, and is in excellentcondition, only the club of Hercules,a small pieceon the left side of the Centaur,and two of theletters of the inscription being damaged. Thisreverse appears to have been made in 1588; atleast, that is the date on the obverse to which it isfound attached.10
In even bettercondition is the other model, byan unidentifiedartist, or a medalof SigismundIIIof Poland [PLATE, F]. The medal itself hasalreadybeen describedby RaczynskiandArmand,"but evidently from an imperfect specimen. A
comparativelypoorexample n the British Museum(diameter 62'5 mm.) shows, like the model, thefaint inscription
&T'SV-'XXXII
below the bust.
Since Sigismund was born in r566, the medaldates from 1597-8. That it is the work of anItalian artist is evident, but whether it was madein Sweden or in Poland I cannot say.
This model, which shows both sides of the
piece, is wrought in bright red wax on the twosides of a plate of black slate. The slight damageto the top of the P in POLONIAEand other smallflaws are reproducedin the BritishMuseumspeci-men of the medal, showing that casts were madefrom the model after it had been thus damaged.
The reverseshowsa well-known type-Religionholding a chaliceand pointing to heaven,with themotto DVM SPIRITVS HOS REGET ARTVS. It shouldbe compared with the reverse of the medal of
Pietro Piantanida; 12 it is evidently inspired bysome earliermedal of this kind.
The subjectof wax models gives me an oppor-tunity of acknowledging the correction s of anerror into which I, in common with other writerson the subject of Italian medals, have fallen. Itis very doubtful that, as we had supposed, theprocess of casting la cire perdue was ever usedby the medallists. The models must have beenmade on a disc of slate or
wood, either the twosides separately,or both on one disc. From thesethe two sides of the mould were made separately,removed from the models, and joined together inthe usualway; the seamsin the metalrepresentingthe join are not infrequentlypresent in thefinishedmedal, when the edge has not been filed. Tomake a model of a two-sided medal in one piece,without the support of a disc, would have beenpractically impossible, without spoiling one sidewhile the other was being modelled; but such adisc provided a flat backgroundand a supportonwhich the lettering could be worked with com-parativeease. It also, as Baron de Cosson pointsout to me, made it easy to providea borderwhena borderwas required, or the disc could be turned
in a lathe; and this was probably the origin ofmost of the medals with moulded borders, uch asthose (to mention only specimens previously llus-trated n these pages)of AndreaGrittiby GiovanniFalier,"and of Antonio de Sanctamaria,GirolamoCallagrani,CatelanoCasaliby Lysippus,as well asLysippus'sportraitof himself.15This method was,of course, quite distinct from that employed bycertain medallists,accustomed to engravein metal,who cut the inscription on a separate ring andplaced it round the model when impressing it inthe mould.'6
10Armand, I, 284, 8." Armand, II1, 307 D (diam. 60 mm.)."2Burlington Magazine, Oct. I9Io, p. 19,and Pl. II, B, Recently
Katalog, Parpart, &c., 1913, lot 336); but I find it difficult toacceptso late a date, and its connexionwith the medalsof theschool of Cellinistill seems to me to be veryprobable.
1"Due to Dr. Menadier,
Zeitschr.fArNum., xxx, p. 314.
"Burlington Magazine, Dec., i907, p. 149, P1. IV, 3.5"Ibid.,Aug., I9o8, P1.I and II.8enstancesof this, provedby the shiftingof the inscription
ring in relation o the type,are given fromthe workof Amadeoda Milanoin TheBurlingtonMagazine,Jan.,Igog9, . 216,andfrom the medalsof Paul II in TheNumismaticChronicle,gio,p. 368.
THE "ELISABETH BAS" PORTRAIT AGAINBY ABRAHAM BREDIUS
S a few-and some well-known-con.noisseurs seem to retain their beliefin the old attributionsof this portraitto Rembrandt,I think it useful to givehere two new proofs of my accuracy
inattributing it to Ferdinand Bol. In an in-terestingarticle on this subject, M. C. G. 't Hooft,'
the Director of the Museum Fodor, who entirelyshares my opinion, gives another proof for theauthorshipof Bol. He says :
L'eau-forte de Bol, Philosophe en meditation. 1642
(Bartsch,No 5),nous montresa predilectionpour les plislarges qui nous frappesi fortementdansla representationd' Elisabeth Bas, et, chose qu'on chercheraen vain dansles portraits de Rembrandtdatant de cette epoque, lamani.re dontBol recouvre e dossieret les brasdu fauteuilpar les plis du velement. On sent deja dans ce d6tail esexagerationsaux quelles Bol recourraplus tard dans les
grandes compositions destinees au nouvelhbtel de ville,ainsi que dans ses portraits de parade , . . Or on retrouveces plis dans e portrait e Meulenaer e 1650(RyksMuseum)dans celuide a vieille damedel'Ermitage,datede 1651,dansle portraitde Quellinuset dansmaintsautres.
The Hermitage picture,reproducedhere next toMadame Bas [PLATEI, A & B] and paintedmoreLa Revuede l'Artancienet moderne, une, g9xz,
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