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SomeLimogesEnamels by an UnidentifiedMasteromeLimogesEnamels by an UnidentifiedMasterof the writer's knowledge no representation ofthis mark has yet been published, anda sketch of it is therefore given here %On account of some want of clearness inthe markthis must be regarded only asan approximate rendering; it is shownabout twice the size of the original. There is noreason to doubt that the initials, stamped in thecopper like those of certain well-known Limogesartists,are those of the enameller,and the task ofsuggestinga name to fit them offers an opportunityfor speculation among the recorded names ofenamellers of the period. The enamels evidentlydate from somewhere about the year 1530. Theirdimensions are (A) 8*5cm. by 7 cm.; (B) 8*7cm.by 6'9 cm.Anotherlittle plaque, representinga bust of theVirgin on a blue ground with MAmonogramsanddetails in gold [PLATE, C] is figured as showingmany of the same qualities as the two pieces justdescribed. It is of about the same date and mayprobably be attributedto the same hand. Thereis the same laborious execution, outlining everydetail with a timid line of exceptionaland unvary-ing thinness (lines apparently hickerare only theresult of the union of two or more); the same

of the writer's knowledge no representation ofthis mark has yet been published, anda sketch of it is therefore given here %On account of some want of clearness inthe markthis must be regarded only asan approximate rendering; it is shownabout twice the size of the original. There is noreason to doubt that the initials, stamped in thecopper like those of certain well-known Limogesartists,are those of the enameller,and the task ofsuggestinga name to fit them offers an opportunityfor speculation among the recorded names ofenamellers of the period. The enamels evidentlydate from somewhere about the year 1530. Theirdimensions are (A) 8*5cm. by 7 cm.; (B) 8*7cm.by 6'9 cm.Anotherlittle plaque, representinga bust of theVirgin on a blue ground with MAmonogramsanddetails in gold [PLATE, C] is figured as showingmany of the same qualities as the two pieces justdescribed. It is of about the same date and mayprobably be attributedto the same hand. Thereis the same laborious execution, outlining everydetail with a timid line of exceptionaland unvary-ing thinness (lines apparently hickerare only theresult of the union of two or more); the same

scrupulouscare in the jointing of the long fingers;the same high degreeof etmpcatement,he result ofusing a white enamel of thick consistency, pro-ducing a surface in tangiblerelief; and there is asimilar qualityof colour in the delicate blue of therobe. The subject is said to be taken from ananonymous German engraving. The back iscovered with a brownish translucent enameldiffering slightly from the clear flux which coatsthe reverse of the first two pieces. This specimenis also in the VictoriaandAlbertMuseum(No.4750-I86o), and measures To cm. by 8 cm.Anotherexampleapparentlyby the same master,marked with what is probably the same stamp("poin5on I C couronne"), was in the Spitzercollection, a plaquemounted as a pax, representingthe Adoration of the Magi.2 I have not succeededin tracing the present whereabouts of this piece,which makes a fourth item in the group of worksby yet anothermasterwhose identity is concealedfrom us under the initials I C. Fortunately forthose who occupy themselves with the problemsof Limoges enamels,his work is entirely distinctin style from that of any later masterwho ownedthe same initials.

2Spitzer ollection. SaleCatalogue,Paris,I893, lot579, pl.xvi.

scrupulouscare in the jointing of the long fingers;the same high degreeof etmpcatement,he result ofusing a white enamel of thick consistency, pro-ducing a surface in tangiblerelief; and there is asimilar qualityof colour in the delicate blue of therobe. The subject is said to be taken from ananonymous German engraving. The back iscovered with a brownish translucent enameldiffering slightly from the clear flux which coatsthe reverse of the first two pieces. This specimenis also in the VictoriaandAlbertMuseum(No.4750-I86o), and measures To cm. by 8 cm.Anotherexampleapparentlyby the same master,marked with what is probably the same stamp("poin5on I C couronne"), was in the Spitzercollection, a plaquemounted as a pax, representingthe Adoration of the Magi.2 I have not succeededin tracing the present whereabouts of this piece,which makes a fourth item in the group of worksby yet anothermasterwhose identity is concealedfrom us under the initials I C. Fortunately forthose who occupy themselves with the problemsof Limoges enamels,his work is entirely distinctin style from that of any later masterwho ownedthe same initials.

2Spitzer ollection. SaleCatalogue,Paris,I893, lot579, pl.xvi.NOTES ON ITALIAN MEDALS XVII*BY G. F. HILLNOTES ON ITALIAN MEDALS XVII*BY G. F. HILL

CONSTANTINUS COMINATUS.HE Macedonian prince who appearson the fine medal here illustrated[PLATE,A]1 s unidentified by Armand.He is, however, mentioned under avariety of names in the historians ofthe end of the i5th and the beginning of the i6thcentury. To MarinSanuto, in whose "Diarii" heoccurs constantly from 1496 to I512, he is usuallyConstantino Arnitior Arianiti,but also sometimesCominato; a form Commeno which is sometimesfound is perhapsdue to a false assimilation to thename of the famous Byzantine family. He wasthe son of the despot of Servia; his widowedmother appears in Sanuto's diaries, in 500oo,asDespida Cominata. Being related to the GreekMaria, whom Bonifazio I of Monferrat marriedin 1485, he found a place at her court. Whenshe died in 1495 he succeeded her as regent forthe young Marquis Guglielmo II. In 1499Louis XII, on a charge of lukewarmness in theFrench cause,deposedhim and imprisonedhim inNovara. He, however, escaped to Pisa, where hewas immediatelyappointedto a militarycommand.

* See Vol. xxiv, No. cxxx (Jan.1914), p. 21I, where will befoundreferences o previousarticlesof this series.1 Illustratedromthe Berlinspecimen(Armand,I, 183A). Iowe a cast to the kindnessof Drs.MenadierandDressel. Thereis anotherspecimenin the ViennaCabinet.

CONSTANTINUS COMINATUS.HE Macedonian prince who appearson the fine medal here illustrated[PLATE,A]1 s unidentified by Armand.He is, however, mentioned under avariety of names in the historians ofthe end of the i5th and the beginning of the i6thcentury. To MarinSanuto, in whose "Diarii" heoccurs constantly from 1496 to I512, he is usuallyConstantino Arnitior Arianiti,but also sometimesCominato; a form Commeno which is sometimesfound is perhapsdue to a false assimilation to thename of the famous Byzantine family. He wasthe son of the despot of Servia; his widowedmother appears in Sanuto's diaries, in 500oo,asDespida Cominata. Being related to the GreekMaria, whom Bonifazio I of Monferrat marriedin 1485, he found a place at her court. Whenshe died in 1495 he succeeded her as regent forthe young Marquis Guglielmo II. In 1499Louis XII, on a charge of lukewarmness in theFrench cause,deposedhim and imprisonedhim inNovara. He, however, escaped to Pisa, where hewas immediatelyappointedto a militarycommand.

* See Vol. xxiv, No. cxxx (Jan.1914), p. 21I, where will befoundreferences o previousarticlesof this series.1 Illustratedromthe Berlinspecimen(Armand,I, 183A). Iowe a cast to the kindnessof Drs.MenadierandDressel. Thereis anotherspecimenin the ViennaCabinet.

From 1501 we find him in the service of the Popeas diplomatic agent; and henceforward,until hedisappearsfrom Sanuto's pages, he is constantlymoving between Germany and Rome, equallyfavoured and officially accredited by both Popeand Emperor,and also occasionally in commandof troops, as when in I509 he saved Vicenza fromgoing over to Venice after the VenetiansrecoveredPadua. He was tall, says Sanuto (III, col. 1381),black-haired,and a good speaker.Who made the medal? To both Mr. MaxRosenheim and to Dr. Regling it has suggestedLysippus. Apart from the strongly classicizingstyle of the reverse, there is the mark of the twoleaves below the bust, which is so often found onthe medals by the Roman artist as to be almost asignature.2 The account given above of the man'scareerdoes not beginbefore1496; but it is of coursequite possible that he may have been in Rome tenor fifteenyears earlier,so as to come chronologi-cally within the scope of Lysippus.3 But theswaggeringstyleof the portrait eems to be foreignto that gentle artist. The chevelure,as Armandremarks,reminds us of Lodovico il Moro. That,

2 See BiurlingtonMagazine, Aug. 19o8, p. 274.3 "AranitosComonatus,Grecus"is mentionedby Burchardna list of protonotarii participantes on I Jan., 1497; evidently arelationof our man. One D. Constantinuss mentionedocca-sionallyby Burchardas Captainof the PapalGuard romI504to 1506.

From 1501 we find him in the service of the Popeas diplomatic agent; and henceforward,until hedisappearsfrom Sanuto's pages, he is constantlymoving between Germany and Rome, equallyfavoured and officially accredited by both Popeand Emperor,and also occasionally in commandof troops, as when in I509 he saved Vicenza fromgoing over to Venice after the VenetiansrecoveredPadua. He was tall, says Sanuto (III, col. 1381),black-haired,and a good speaker.Who made the medal? To both Mr. MaxRosenheim and to Dr. Regling it has suggestedLysippus. Apart from the strongly classicizingstyle of the reverse, there is the mark of the twoleaves below the bust, which is so often found onthe medals by the Roman artist as to be almost asignature.2 The account given above of the man'scareerdoes not beginbefore1496; but it is of coursequite possible that he may have been in Rome tenor fifteenyears earlier,so as to come chronologi-cally within the scope of Lysippus.3 But theswaggeringstyleof the portrait eems to be foreignto that gentle artist. The chevelure,as Armandremarks,reminds us of Lodovico il Moro. That,

2 See BiurlingtonMagazine, Aug. 19o8, p. 274.3 "AranitosComonatus,Grecus"is mentionedby Burchardna list of protonotarii participantes on I Jan., 1497; evidently arelationof our man. One D. Constantinuss mentionedocca-sionallyby Burchardas Captainof the PapalGuard romI504to 1506.22121

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Notes on Italian Medalsof course, is only the fashion of the time; but Iam inclined to regard the medal as of NorthItalian, probably Lombard origin, and as havingbeen made during Cominato'sregencyrather thanafterwards,when lie would probably have addedto his name some indication of his position aspapal or imperialorator.

ROBERTO DA SANSEVERINO.A medal of the celebrated condottiere whoplayed an importantpart in the militaryhistory ofItaly, from the time of Francesco Sforza until hisdeath in 1487, has long been known.4 It is illus-trated in the PLATE, B, from a specimen (not afirst-ratecasting, but old) in the British Museum.The portrait,which representshim at a consider-able age, wearing a chain, has no little dignity.The inscriptiondescribeshimas RobertusdeSanctoSeverino Kagonensis Italiae Capitaneusgeneralis.5The reverse design is less distinguished-a some-what too dainty Victory, in fluttering dress, tripsalong, carryinga wreathand holding up her skirtwith her left hand. The workmanship has someFlorentine affinities,although it does not by anymeans belong to the neighbourhood of NiccoloFiorentino. The portrait is that of an old man,and as Roberto is called Captain Generalof Italy,it was doubtless made after his breach withLodovico il Moro in 1481; from that time onwardhe might,as being usuallyin the employ of Veniceor the Pope, or both, perhapsclaim the titlewhichthe medallist gives him. The only Florentinemedallistof the time whose style this piece recallsis AdrianoFiorentino. It has not his lettering; ithas not the ugly borderof large pearls which heusually, though not invariably, employs; it hasnot his ungainly composition; but the treatmentof the bust, with the prominent shoulder,recallsone of his mannerisms; and on the reverse wehave-as on the Pontano medals, if they are his-a single figure, in a rather empty field, with ashort, widely spaced inscription. Though onemay hesitate to attribute it definitelyto him-heis a shadowyand puzzlingenough figurealready--it seems that it is in his neighbourhood, before heleft Florence for Naples, that we should look forthe authorof this piece.If this medal has long been known, anotherand

4 Armand, II, 61, 12.5" Ragonensis " is puzzling. It can hardly be a mistake for" Aragonensis ", even if that could be used as a synonym for"Neapolitanus", which I doubt. Nor do I know of any con-nexion with either Ragona in Calabria or Ragogna in theVeneto which would explain it. Mr. W. H. Woodward, how-ever, suggests that it may refer to Regnano, a fortified hill-townnear San Severino in the Marche.DESCRIPTION OF

(A) Constantinus Cominatus. Berlin.(B) Roberto da Sanseverino. British Museum.(c) Roberto da Sanseverino and Lucrezia his wife. Collectionof Mr. Maurice Rosenheim.

a very interesting medal of the same person is,apparently, unpublished [PLATE, C]. Unfortu-nately it only exists, so far as I know, in a I6th-century lead casting, which has but ill withstood" the wreckful siege of battering days ". Never-theless, if it is a wreck, it is easy to see that theoriginal was a beautiful thing. It is in Mr.Maurice Rosenheim's collection, and measures91 mm. in diameter. On the obverse are theconfrontedbusts of Robertoand his wife,Lucreziaof Siena. Lucrezia has suffered severely; theugly mass on her cheek-partly perhaps repre-senting curls, but also partly mere accretion dueto bad casting-and the injury to her lips andnose takeaway most of her charm. Nevertheless,the group is very attractive, and the bust ofRoberto, which has come better out of the wars,is fine. The posing and the whole spirit of thecomposition suggest Ferrarese nfluence; but it isdifficult to make a definite conjecture. One namewhich has been put forward, Sperandio,we maypromptly reject; the work is without either hisforce or his coarseness. The attribution wasdoubtlesssuggested by the superficialresemblanceto his medal with the confronted busts of Ercole Iand his duchess Eleonora.On the reverse-and this is the proof that wehave only a i6th-century casting before us-is areproduction of an oval plaquettewith Herculesshooting at the centaur Nessus, who carries offDeianira on his back to the left. In the rightbackground is a river-god seated, leaning on hisurn, from which flows the streamwhich separatesHercules from the centaur. The original plaquettewas by Giovanni Bernardi (born I496), and theBerlin specimen (here reproduced [PLATE,D]) isactually signed IO.6 Of the signature no traceremains on the reverse of our medal.

The plaquette has an interest of its own. Itseems that it was inspired by the picture,or by adrawing for the picture, by Antonio Pollaiuolo,representing the same subject. The picture isnow at New Haven, in the Jarves collection.7 It,or some drawing for it, or a variation of it,inspired Diirer with an idea for a Hercules layingthe Stymiphalian Birds. In Bernardi's plaquettethe composition is naturally much compressed,and many details altered; Deianira rides astride,and the centaur's attitude is slightly different,since he turns his back to the spectator,insteadof his front as in the picture. Also Bernardihas6 Berlin, I223, Molinier, 331.7Burlington Magazine, March I906, p. 53; M. Cruttwell,Antonio Pollainolo, p. 78, with P1. x. The date of the paintingappears to be about 1467.

PLATE OPPOSITE(D) Hercules, Nessus and Deianira. Plaquette by Giov. Bernardida Castelbolognese. Berlin.

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Noteson Italian Medalsoteson Italian Medalsadded the river-god in the background,to makeup for the landscape which he very sensiblyomitted.To returnto the obverse. Roberto is youngerthan on the other medal, and is described merelyas Armor(um) ductor. Lucrezia of Siena isLucrezia Malavolti, his third wife; I have beenunable to ascertain the date of his marriage,whichis probably also the date of the making of the

added the river-god in the background,to makeup for the landscape which he very sensiblyomitted.To returnto the obverse. Roberto is youngerthan on the other medal, and is described merelyas Armor(um) ductor. Lucrezia of Siena isLucrezia Malavolti, his third wife; I have beenunable to ascertain the date of his marriage,whichis probably also the date of the making of the

medal. Judging from style, we may date it inthe decade 1470-80, and the other medal between1481 and I487.The profile of Roberto is somewhat differentlyrendered in the two medals, even allowing forlosses in the recasting of the lead medal; onemay notice, for instance, the nose, which is dis-tinctly more aquiline in the medal first describedthan in that where he appearswith his wife.

medal. Judging from style, we may date it inthe decade 1470-80, and the other medal between1481 and I487.The profile of Roberto is somewhat differentlyrendered in the two medals, even allowing forlosses in the recasting of the lead medal; onemay notice, for instance, the nose, which is dis-tinctly more aquiline in the medal first describedthan in that where he appearswith his wife.

PORTRAIT HEADS, THE CHATEAU VIEUX, ST. GERMAINBY ELSIE ROSENBERGPORTRAIT HEADS, THE CHATEAU VIEUX, ST. GERMAINBY ELSIE ROSENBERGHE castle of St. Germain, recentlyrestoredand converted into a museumfor national antiquities, contains achapel decorated with some extra-ordinarily interesting portrait heads.Their position on the high vaulted roof of thechapel,and theconsequentdifficulty n distinguish-ing them, readily accounts for the fact that theyalmost invariablyremainunnoticed by the averagevisitor. It is more difficult, however, to accountfor the scant attention they have received at thehands of the art critic and archaeologist. Themuseum authoritiesconsider them very fine speci-mens of French I3th-century sculpture, and assuch they may prove of interest to the readersofTheBurlingtonMagazine.Dominating the Seine valley from its woodedheight, and commanding a superb view of Parisin the distance, St. Germain-en-Laye,as early asthe I2th century, was chosen as a site for theresidence of the kings of France. The names ofsome of those who successively occupied the castlewill give an ideawhatvariedfortunes the old wallshave looked down upon. From the ascetic atmo-

sphere of the reign of S. Louis,the castle passedtomore opulent days, when Francis I made itthe habitation of his luxurious court. Duringthe reign of Henri II, Mary Stuart lived there.Destined to become the bride of the dauphin,shewas taken to St. Germainwhen a mere girl, andeducated there, togetherwith the royal children.Henri IV and Louis XIII occupied the chateau,as did subsequently Louis XIV, le Roi Soleil.But this good king, qui voyait si largement,asthe French delight in saying, unscrupulouslydemolished and altered the old castle to suitthe practical purpose of housing his numerouscourtiers. A storey was built on the roof of thechapel. The new buildings, with projectingpavilions, constructed by Mansart,besides hidingthe chapel, robbed it of much of its daylight.The magnificent terrace of St. Germain, whichthe world owes to Louis XIV, was built at thisking's behest by the landscape architect,Le N6tre.Itbecamethe favouritepromenadeof the monarch.From this point of vantage, rising above the roofs

HE castle of St. Germain, recentlyrestoredand converted into a museumfor national antiquities, contains achapel decorated with some extra-ordinarily interesting portrait heads.Their position on the high vaulted roof of thechapel,and theconsequentdifficulty n distinguish-ing them, readily accounts for the fact that theyalmost invariablyremainunnoticed by the averagevisitor. It is more difficult, however, to accountfor the scant attention they have received at thehands of the art critic and archaeologist. Themuseum authoritiesconsider them very fine speci-mens of French I3th-century sculpture, and assuch they may prove of interest to the readersofTheBurlingtonMagazine.Dominating the Seine valley from its woodedheight, and commanding a superb view of Parisin the distance, St. Germain-en-Laye,as early asthe I2th century, was chosen as a site for theresidence of the kings of France. The names ofsome of those who successively occupied the castlewill give an ideawhatvariedfortunes the old wallshave looked down upon. From the ascetic atmo-sphere of the reign of S. Louis,the castle passedtomore opulent days, when Francis I made itthe habitation of his luxurious court. Duringthe reign of Henri II, Mary Stuart lived there.Destined to become the bride of the dauphin,shewas taken to St. Germainwhen a mere girl, andeducated there, togetherwith the royal children.Henri IV and Louis XIII occupied the chateau,as did subsequently Louis XIV, le Roi Soleil.But this good king, qui voyait si largement,asthe French delight in saying, unscrupulouslydemolished and altered the old castle to suitthe practical purpose of housing his numerouscourtiers. A storey was built on the roof of thechapel. The new buildings, with projectingpavilions, constructed by Mansart,besides hidingthe chapel, robbed it of much of its daylight.The magnificent terrace of St. Germain, whichthe world owes to Louis XIV, was built at thisking's behest by the landscape architect,Le N6tre.Itbecamethe favouritepromenadeof the monarch.From this point of vantage, rising above the roofs

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of Paris, the towers of St. Denis met his eye.Here, his ancestors lay buried. Tradition has itthat, depressed by this constant reminderthat he,too, was mortal, he would have no more of St.Germain. Versailles was accordingly built andthe court installedthere.The old castle-it is called le Chateau Vieuxin contradistinction to the new buildings whichhad been added-did not remain empty long.It served as a refugeto Henrietted'Angleterrewho,even before thedecapitationof CharlesI, fled to hernative land. Louis XIV offered it subsequentlyto her son, James II of England. This unfor-tunate king, togetherwith his family and banishedcourtiers,occupied the castle from the time of hisexile until his death. James's daughter, Louise-Marie,was born in the ChateauVieux and chris-tened in the chapel, which, in the days ofthe residence of the kings of France, had beenthe scene of many royal baptisms and mar-riages. Prince James-Edward pent his earlydaysthere, but after the death of his mother, Mariad'Este, the chateau remained practically un-inhabited. About fifty years ago the work ofrestorationwas begun. This brought to light thechapel,which had been completely maskedby thehaphazardstructuresLouis XIV had built aroundit. It is one of the oldest parts of the building,belonging to the finest Gothic period of France.The newly-found sculptures which it containspresent features of unusual interestfor the historyof artof the I3th centuryaswell as foriconography.Onthe keystonesof the ogival arches,supportingthe roof-vaulting,are rosettesof sculpturedfoliage-a not unusual form of decoration. Surmountingthese, exquisitely carved in the round, were foundseven portraitheads. Their distribution s curious.The rosettes of the threenave arches are decoratedeach with two heads, whereas the seventh head,somewhat larger than the others, occupies adominating position on the sculpturedkeystoneofthe apse vault. In the opinion of MonsieurDaumet (one of the architectsof the restoration)this headrepresentsS. Louis; the others,membersof his family. An objection to this theory,on thegrounds that these busts may represent biblical

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of Paris, the towers of St. Denis met his eye.Here, his ancestors lay buried. Tradition has itthat, depressed by this constant reminderthat he,too, was mortal, he would have no more of St.Germain. Versailles was accordingly built andthe court installedthere.The old castle-it is called le Chateau Vieuxin contradistinction to the new buildings whichhad been added-did not remain empty long.It served as a refugeto Henrietted'Angleterrewho,even before thedecapitationof CharlesI, fled to hernative land. Louis XIV offered it subsequentlyto her son, James II of England. This unfor-tunate king, togetherwith his family and banishedcourtiers,occupied the castle from the time of hisexile until his death. James's daughter, Louise-Marie,was born in the ChateauVieux and chris-tened in the chapel, which, in the days ofthe residence of the kings of France, had beenthe scene of many royal baptisms and mar-riages. Prince James-Edward pent his earlydaysthere, but after the death of his mother, Mariad'Este, the chateau remained practically un-inhabited. About fifty years ago the work ofrestorationwas begun. This brought to light thechapel,which had been completely maskedby thehaphazardstructuresLouis XIV had built aroundit. It is one of the oldest parts of the building,belonging to the finest Gothic period of France.The newly-found sculptures which it containspresent features of unusual interestfor the historyof artof the I3th centuryaswell as foriconography.Onthe keystonesof the ogival arches,supportingthe roof-vaulting,are rosettesof sculpturedfoliage-a not unusual form of decoration. Surmountingthese, exquisitely carved in the round, were foundseven portraitheads. Their distribution s curious.The rosettes of the threenave arches are decoratedeach with two heads, whereas the seventh head,somewhat larger than the others, occupies adominating position on the sculpturedkeystoneofthe apse vault. In the opinion of MonsieurDaumet (one of the architectsof the restoration)this headrepresentsS. Louis; the others,membersof his family. An objection to this theory,on thegrounds that these busts may represent biblical

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