The Legend ofS. Eloy and S. ornament, but to be employed in conjunction with the "serpents' tongues ". These in the inventories are termed "langues de serpents", "langues ser- pentines" or simply "langues ". Every person of importance was provided with these "tongues", and an elaborate piece of goldsmith's work, which occupied a place of honour on the dining-tables of princes and nobles, was constructed to carry them. Espreuves of this kind occur frequently in the in- ventories under the term of "languiers" ("tongue- pieces "), and are described as made in the form of a tree, generally fashioned from a branch of coral and encrusted with precious stones, to which are attached or suspended a number of "tongues". There are here, therefore, not only in the coral and "tongues", but in the pearls and precious stones, all the materials for a "tongue-piece".

Behind the box of rings at the nearest end of the shelf is a cylindrical reliquary in rock crystal with an onion-shaped dome of repouss6 gold with twisted gadrooning, the finial, formed of a cluster of rubies and amethysts, being surmounted by a delicately worked representation of a pelican in her piety.

Next to the branch of coral and also resting against the back of the stall is an oblong piece of stone of porphyry-red colour and a similar piece of rock crystal. I confess that I am at a loss to explain the exact purpose of these two. The stone may have been intended as a touch-stone for gold, and the crystal to test the hardness of precious stones. At the further end, half hidden by a curtain, is a mounted cocoa-nut cup. Like other natural objects, the cocoa-nut was looked on with superstitious awe, and counted as an antidote to poison. It often occurs in the inventories. As early as 1259 a bishop of Durham bequeathed his "cyphum de nuce Indye", and in 1380 is mentioned "unus gobeletus de nuce nigra cir- cumdatus de argento deaurato".

Fixed against an oblong piece of dark cloth on the wall behind are three gold jewels-a pendant and two brooches mounted with pearls and precious stones. The museums have scarcely an example with which these may be compared: the finest among the few jewels of this period that have survived to the present day being those in the treasury of the Collegiate Church of Essen in

The Legend ofS. Eloy and S. ornament, but to be employed in conjunction with the "serpents' tongues ". These in the inventories are termed "langues de serpents", "langues ser- pentines" or simply "langues ". Every person of importance was provided with these "tongues", and an elaborate piece of goldsmith's work, which occupied a place of honour on the dining-tables of princes and nobles, was constructed to carry them. Espreuves of this kind occur frequently in the in- ventories under the term of "languiers" ("tongue- pieces "), and are described as made in the form of a tree, generally fashioned from a branch of coral and encrusted with precious stones, to which are attached or suspended a number of "tongues". There are here, therefore, not only in the coral and "tongues", but in the pearls and precious stones, all the materials for a "tongue-piece".

Behind the box of rings at the nearest end of the shelf is a cylindrical reliquary in rock crystal with an onion-shaped dome of repouss6 gold with twisted gadrooning, the finial, formed of a cluster of rubies and amethysts, being surmounted by a delicately worked representation of a pelican in her piety.

Next to the branch of coral and also resting against the back of the stall is an oblong piece of stone of porphyry-red colour and a similar piece of rock crystal. I confess that I am at a loss to explain the exact purpose of these two. The stone may have been intended as a touch-stone for gold, and the crystal to test the hardness of precious stones. At the further end, half hidden by a curtain, is a mounted cocoa-nut cup. Like other natural objects, the cocoa-nut was looked on with superstitious awe, and counted as an antidote to poison. It often occurs in the inventories. As early as 1259 a bishop of Durham bequeathed his "cyphum de nuce Indye", and in 1380 is mentioned "unus gobeletus de nuce nigra cir- cumdatus de argento deaurato".

Fixed against an oblong piece of dark cloth on the wall behind are three gold jewels-a pendant and two brooches mounted with pearls and precious stones. The museums have scarcely an example with which these may be compared: the finest among the few jewels of this period that have survived to the present day being those in the treasury of the Collegiate Church of Essen in

Godeberta", by Petrus Chritus Rhenish Prussia.4 Suspended from a pin close by is the pair of glossopetrce referred to.

From the front of a narrow shelf above hangs a string of red, amber, and pale blue rosary beads, and in the middle a girdle-end of brown leather with buckle and mount of gilded metal. This girdle-end, which all previous writers have de- scribed as a purse or bag, is of the same width as the brownish belt which lies on the counter in front of the woman. Upon the shelf stand two tall flagons of silver parcel gilt, their plinths en- graved with black-letter inscriptions; a covered cup on feet formed of crouching lions and with elaborately jewelled finial; and at the further end, half hidden by the curtain, a mounted crystal vessel.

The only question that now remains is to endeavour to identify the youthful suitor and his fiancee, evidently portraits of nobles of the day. The man wears, as stated, as a pendant to his neck- chain a badge which can be none other than that of the contemporary dukes of Gelders. Petrus Christus, who was a native of Baerle, near Tilburg in Brabant, is known to have settled in I444 at Bruges, where he resided until his death in 1472. Hence the picture was presumably painted in Bruges, where this nobleman of the court of the duke of Gelders may have been staying with his betrothed. But there is the possibility that Christus visited Arnhem, the capital of the duchy, for the express purpose of painting a portrait group com- memorating the betrothal. This, at least, is certain, that the portrait of the nobleman cannot be that of Duke Arnold himself; for this prince, who married in I430, at the age of twenty-one, Catherine, daughter of Adolf, duke of Cleves, would in 1449 have been forty years of age, while the youth in the picture can scarcely be more than twenty-five. Neither could the portrait represent his son and successor, Adolf, who was not born till 1438, married in 1463, and would, at the date when the picture was painted, be aged only eleven. Though the identity of the persons remains unsolved, the connexion of this portrait group with the dukes of Gelders is a fact, unnoticed by previous writers, which may perhaps be of service to future art historians.

4 Humann (G.), Die Kunstwerke der Munster-Kirche zu Essen, P1. 62. See also Clifford Smith (H.), Jewellery, p. 143.

Godeberta", by Petrus Chritus Rhenish Prussia.4 Suspended from a pin close by is the pair of glossopetrce referred to.

From the front of a narrow shelf above hangs a string of red, amber, and pale blue rosary beads, and in the middle a girdle-end of brown leather with buckle and mount of gilded metal. This girdle-end, which all previous writers have de- scribed as a purse or bag, is of the same width as the brownish belt which lies on the counter in front of the woman. Upon the shelf stand two tall flagons of silver parcel gilt, their plinths en- graved with black-letter inscriptions; a covered cup on feet formed of crouching lions and with elaborately jewelled finial; and at the further end, half hidden by the curtain, a mounted crystal vessel.

The only question that now remains is to endeavour to identify the youthful suitor and his fiancee, evidently portraits of nobles of the day. The man wears, as stated, as a pendant to his neck- chain a badge which can be none other than that of the contemporary dukes of Gelders. Petrus Christus, who was a native of Baerle, near Tilburg in Brabant, is known to have settled in I444 at Bruges, where he resided until his death in 1472. Hence the picture was presumably painted in Bruges, where this nobleman of the court of the duke of Gelders may have been staying with his betrothed. But there is the possibility that Christus visited Arnhem, the capital of the duchy, for the express purpose of painting a portrait group com- memorating the betrothal. This, at least, is certain, that the portrait of the nobleman cannot be that of Duke Arnold himself; for this prince, who married in I430, at the age of twenty-one, Catherine, daughter of Adolf, duke of Cleves, would in 1449 have been forty years of age, while the youth in the picture can scarcely be more than twenty-five. Neither could the portrait represent his son and successor, Adolf, who was not born till 1438, married in 1463, and would, at the date when the picture was painted, be aged only eleven. Though the identity of the persons remains unsolved, the connexion of this portrait group with the dukes of Gelders is a fact, unnoticed by previous writers, which may perhaps be of service to future art historians.

4 Humann (G.), Die Kunstwerke der Munster-Kirche zu Essen, P1. 62. See also Clifford Smith (H.), Jewellery, p. 143.

NOTES ON ITALIAN MEDALS-XVIII* BY G. F. HILL NOTES ON ITALIAN MEDALS-XVIII* BY G. F. HILL GIOVANNI ZACCHI AND THE BOLOGNESE SCHOOL

HE chief name in Bolognese art at the end of the i5th and the beginning of the I6th century is, of course, Francesco Francia, He dominated the medallic art, as well as others of

* For earlier articles see Vol. xxiv, Jan. 1914, p. 2I1 (where will be found references to its predecessors), and Vol. xxv, July 1914, p. 221.

GIOVANNI ZACCHI AND THE BOLOGNESE SCHOOL HE chief name in Bolognese art at the end of the i5th and the beginning of the I6th century is, of course, Francesco Francia, He dominated the medallic art, as well as others of

* For earlier articles see Vol. xxiv, Jan. 1914, p. 2I1 (where will be found references to its predecessors), and Vol. xxv, July 1914, p. 221.

greater importance, and that although only two medals-representing Ulisse Musotti and Tommaso Ruggieri-can with any show of reason be attri- buted to him. Those of Bernardo Rossi and Francesco Alidosi, as M. de Foville has recently remarked,' are as utterly unlike the others as they are like each other; they must be by the same

Bulletin de 'Art ancien et moderne, 14 fevr,, 1914, p. 55.

335

greater importance, and that although only two medals-representing Ulisse Musotti and Tommaso Ruggieri-can with any show of reason be attri- buted to him. Those of Bernardo Rossi and Francesco Alidosi, as M. de Foville has recently remarked,' are as utterly unlike the others as they are like each other; they must be by the same

Bulletin de 'Art ancien et moderne, 14 fevr,, 1914, p. 55.

335

Notes on Italian Medals hand, and, since the medal of Rossi is later than 1519, they must both be denied to Francia, who died in 1517. The change in style in these medals from the sculpturesque quality which was charac- teristic of Sperandio, Francia's predecessor as chief medallist in Bologna, is remarkable; we have passed at once from the rude vigour of the quattro- cento to an academic, i6th-century grace, in which not sculpture, but painting, is seen to be the dominant influence. The process continues, and the Bolognese medal of the i6th century comes to its highest development under Giovanni Zacchi. His portraits, and others which may be more or less directly connected with him, as shown in PLATES I and II, are just the sort which would be made by a man brought up, for instance, among the seated half-lengths of the Venetian school of the early i6th century.

He was born at Bologna in I515, and, so far as we know, first appears as a medallist about 1536, when he cast the medal of the Doge Andrea Gritti [PLATE I, A]. As Fabriczy has said, the Fortune of the reverse foreshadows the generalized forms and the artificial grace of the later Bolognese Academy; but the portrait is full of character and worthy to be classed, although its style is softer, with the medallic portraits of the quattrocento. The medal is signed IO. ZACCHVS.F. Other specimens of his signed work are given in the same plate in the medals of Fantino Cornaro of the branch of Cornaro Piscopia [PLATE I, C], signed IO. ZACCHI.F. and of Onofrio Bartolini de' Medici [PLATE I, B]. The latter is signed merely IO. F.; indeed, the signature had escaped attention alto- gether until it was pointed out in these pages.2 It is an insignificant little piece, though the portrait is well characterized. There are two other medals, similarly signed, of the Bolognese Giambattista Malvezzi, and of Guido Ascanio Sforza. Since Zacchi worked for the Farnese down to I555 or later, it is possible that he may have made some of the medals of Paul III; if so, they remain to be identified, as do the medals of noble Roman ladies which he was making for Cardinal Farnese, when he is last heard of in I555.

But the forms given above are not the only ones which he affects in his signature. On one medal, at any rate, it occurs in a form which might be taken for a Greek ,I, but which is a monogram of IO. In a previous article of this series, Mr. Max Rosenheim showed that the signature of Giovanni Falier, on a medal of Andrea Gritti in his pre-ducal days, was disguised as ,4 F; so that there is pre-

2 Burlington Magazine, March I907, p. 387.

DESCRIPTION OF (A) Andrea Gritti, signed by Zacchi. Collection of Mr. Maurice

Rosenheim. (B) Onofrio Bartolini de' Medici, signed by Zacchi. British

Museum.

336

cedent for this explanation of the ,, on the medal of Girolamo Veralli [PLATE II, E]. On the speci- men illustrated a hole has been pierced obliterating the right-hand loop of the 4,, which is to be seen at the base of the palm tree on the reverse. Even apart from the signature, the medal shows so strong a resemblance to Zacchi's otherwise accred- ited work, that I think we need not hesitate about the attribution. Particularly noteworthy is the treatment of the scaly neck of the dragon at the foot of the tree, which should be compared with the three-headed serpent that twines round the globe on which Gritti's Fortune is poised. Note, too, the stops and spacing of the legends on the two reverses, and the treatment of the beards of the two men.

If this medal of Veralli is to be given to Zacchi, it seems to carry with it another, representing the Cardinal Giovanni Maria del Monte Sansavino, afterwards Julius III [PLATE II, F]. On this medal the resemblance of the future Pope to Veralli is so extraordinarily close that it was some time before I convinced myself that one of the two medals had not been "faked" out of the other. But they are both perfectly sound. Where every detail corresponds so minutely as here, we must, I think, assume that community of authorship which is not necessarily proved by mere resemblance in features. It may be noted that the lettering of the unsigned medal is quite in the style of that of Gritti; and the use of two fig-leaves on a stalk as a stop may also be noted as a point in common. The reverse, with Prudence seizing Occasion by the forelock, shows, at any rate, in the modelling of the nude no unlikeness to the figure of Fortune on Gritti's medal. The absence of any inscription suggests that the design had been made originally for a slightly larger piece; at present there is only room for a very few letters.

Yet another medal which I would assign to Zacchi is that of Fabio Mignanelli, bishop of Lucera [PLATE I, D]. Observe that on this, as on the two medals just discussed, the bust is treated so as to show just the lower edge of the cape. The rendering of the hair, allowing for difference in the originals, is similar; and the serpent on the reverse should be compared with the various reptiles or monsters on the other medals. In the inscription, it is true, we find a use of abbreviation- marks to which the other medals afford no parallel, though the same ligatured NE occurs on the medal of Gritti.

Lest any critic should object that the resem- blances which I have pointed out are merely such as are bound to occur in a school, and not marks

PLATE I OPPOSITE (c) Fantino Cornaro, signed by Zacchi. Collection of Mr,

Maurice Rosenheim. (D) Fabio Mignanelli, attributed to Zacchi. Collection of Mr.

Maurice Rosenheim.

04

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H

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NOTES ON ITALIAN MEDALS-XVIII. PLATE II

E

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i I

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Notes on Italian Medals Notes on Italian Medals of an individual artist, I illustrate on PLATE II, G, H two medals which will show at once how differ- ently another artist of the same school rendered similar subjects. The two medals, which are clearly by the same hand, represent the same Giovanni Maria del Monte Sansavino and Lorenzo Campeggi. The former (H) is unfortunately in a wretched condition : but the Berlin specimen is no better than our own, and the Paris Cabinet has none; so that we must be content with this bad and battered cast. Even so, its affinity to the medal of Campeggi, and the difference of both from the medals in Zacchi's manner, are perfectly clear. The handling of the hair and beard is especially characteristic: but there is also a tendency to exaggerate the relief of the lower part of the bust.

It would doubtless be possible to find in other collections medals which belong to these two groups; for the present, my sources are exhausted. I will only note that one of the medals of Antonio Pucci, to judge from the engraving in the Museum Mazzuchellianum, may well be by Zacchi 3 or by the artist of the two other medals last mentioned. As regards the interpretation of the reverses of Fantino Cornaro, Veralli and Mignanelli, I must confess myself quite in the dark. I must not, however, leave the subject without stating how far the chronological evidence squares with the attribution suggested.

Of the three persons concerned, Girolamo Veralli was born in I500, and acted as papal nuncio at

3 Armand II, 152, 8; Mus. Mazz. I, XLIX, 6. The medal must date between 1531 (when Pucci became a cardinal) and 1544 when he died).

DESCRIPTION OF (E) Girolamo Veralli, signed 4'. British Museum. (F) Giov. Maria del Monte Sansavino, attributed to Zacchi.

Berlin Museum.

of an individual artist, I illustrate on PLATE II, G, H two medals which will show at once how differ- ently another artist of the same school rendered similar subjects. The two medals, which are clearly by the same hand, represent the same Giovanni Maria del Monte Sansavino and Lorenzo Campeggi. The former (H) is unfortunately in a wretched condition : but the Berlin specimen is no better than our own, and the Paris Cabinet has none; so that we must be content with this bad and battered cast. Even so, its affinity to the medal of Campeggi, and the difference of both from the medals in Zacchi's manner, are perfectly clear. The handling of the hair and beard is especially characteristic: but there is also a tendency to exaggerate the relief of the lower part of the bust.

It would doubtless be possible to find in other collections medals which belong to these two groups; for the present, my sources are exhausted. I will only note that one of the medals of Antonio Pucci, to judge from the engraving in the Museum Mazzuchellianum, may well be by Zacchi 3 or by the artist of the two other medals last mentioned. As regards the interpretation of the reverses of Fantino Cornaro, Veralli and Mignanelli, I must confess myself quite in the dark. I must not, however, leave the subject without stating how far the chronological evidence squares with the attribution suggested.

Of the three persons concerned, Girolamo Veralli was born in I500, and acted as papal nuncio at

3 Armand II, 152, 8; Mus. Mazz. I, XLIX, 6. The medal must date between 1531 (when Pucci became a cardinal) and 1544 when he died).

DESCRIPTION OF (E) Girolamo Veralli, signed 4'. British Museum. (F) Giov. Maria del Monte Sansavino, attributed to Zacchi.

Berlin Museum.

THE SEED OF GOTHIC ART BY SIR MARTIN CONWAY

ONSIEUR A. MARIGNAN is that rare person, a French student of art history, who, as he himself relates, has been educated in Germany at the universities of Halle, Berlin, and

Bonn. He has come to the conclusion that all German authorities are hopelessly mistaken as to the true course of the history of the arts in their own country during the early mediaeval period; and he is endeavouring to set them right in a series of monographs published by the well-known house of Heitz (formerly Heitz & Miindel), and forming part of their extensive and very useful series of "Studien zur Deutschen Kunstgeschichte ".I

Heft 125, Etude sur le manuscrit de I'Hortus delicearum. Heft 162, Etudes sur l'histoire de 'art allemand; quelques manuscrits attribuds au X et XI siecles; la porte en bois de

THE SEED OF GOTHIC ART BY SIR MARTIN CONWAY

ONSIEUR A. MARIGNAN is that rare person, a French student of art history, who, as he himself relates, has been educated in Germany at the universities of Halle, Berlin, and

Bonn. He has come to the conclusion that all German authorities are hopelessly mistaken as to the true course of the history of the arts in their own country during the early mediaeval period; and he is endeavouring to set them right in a series of monographs published by the well-known house of Heitz (formerly Heitz & Miindel), and forming part of their extensive and very useful series of "Studien zur Deutschen Kunstgeschichte ".I

Heft 125, Etude sur le manuscrit de I'Hortus delicearum. Heft 162, Etudes sur l'histoire de 'art allemand; quelques manuscrits attribuds au X et XI siecles; la porte en bois de

Venice in 1536. This is the office mentioned on his medal, where he is called Dominii Venetiarum Propontifex. This medal is therefore contemporary with Zacchi's portrait of the doge. Veralli held the sees of Bertinoro I540-41, Caserta I541-44, and Rossano I544-5r, was promoted Cardinal in 1549, and died in 1555.

Giovanni Maria del Monte Sansavino, born in 1487, held the archbishopric of Siponto from I512 to I544. This dignity, together with his governor- ship of Bologna and his office of uditore of the Papal Camera, is mentioned on his medal. He went to Bologna as vice-legate in I534, and left it in I537. The medal therefore belongs to that brief period, and as his cardinalate, to which he was elevated by Paul III in 1536, is not mentioned, it is presumably not later than that year,4 in which Zacchi seems to have been so active. It is worthy of notice that Zacchi's medal of Guido Ascanio Sforza must belong to about the same time, for that cardinal was legate of Bologna from 1536 to I540, and this office is mentioned on his medal.

Fabio Mignanelli, born in 1496, became bishop of Lucera in 1540 and vice-legate of Bologna in 1541. He held this office only for a year, so that the medal which mentions it must belong to 1541-2.

Thus all the chronological data harmonize most satisfactorily with the attribution of the medals to Giovanni Zacchi during the period of his greatest activity at Bologna.

4 For the same reason it cannot belong to his second period of office as legate at Bologna, 1548-1550.

PLATE II OPPOSITE (G) Lorenzo Campeggi. British Museum. (H) Giov. Maria del Monte Sansavino. British Museum.

Venice in 1536. This is the office mentioned on his medal, where he is called Dominii Venetiarum Propontifex. This medal is therefore contemporary with Zacchi's portrait of the doge. Veralli held the sees of Bertinoro I540-41, Caserta I541-44, and Rossano I544-5r, was promoted Cardinal in 1549, and died in 1555.

Giovanni Maria del Monte Sansavino, born in 1487, held the archbishopric of Siponto from I512 to I544. This dignity, together with his governor- ship of Bologna and his office of uditore of the Papal Camera, is mentioned on his medal. He went to Bologna as vice-legate in I534, and left it in I537. The medal therefore belongs to that brief period, and as his cardinalate, to which he was elevated by Paul III in 1536, is not mentioned, it is presumably not later than that year,4 in which Zacchi seems to have been so active. It is worthy of notice that Zacchi's medal of Guido Ascanio Sforza must belong to about the same time, for that cardinal was legate of Bologna from 1536 to I540, and this office is mentioned on his medal.

Fabio Mignanelli, born in 1496, became bishop of Lucera in 1540 and vice-legate of Bologna in 1541. He held this office only for a year, so that the medal which mentions it must belong to 1541-2.

Thus all the chronological data harmonize most satisfactorily with the attribution of the medals to Giovanni Zacchi during the period of his greatest activity at Bologna.

4 For the same reason it cannot belong to his second period of office as legate at Bologna, 1548-1550.

PLATE II OPPOSITE (G) Lorenzo Campeggi. British Museum. (H) Giov. Maria del Monte Sansavino. British Museum.

M. Marignan's contention is practically summed up in this astounding assertion:-

Nous pouvons affirmer qu'elle (l'Allemagne) ne possede aucun monument religieux du xie, ni meme de la premiere moitie du xuI siecle. The gate-house at Lorsch and the cathedral at Aachen are not Carlovingian. The bronze column and door ascribed to Bernward at Hildesheim are late I2th-century work, and so forth. We might contentedly leave a broad attack of this kind to be handled as it deserves by German writers, were it not that M. Marignan's point of view is an instance of a common error.

For him, as for so many other art-historians, the Saint-Marie de Cologne. Heft 169, Les fresques des dglises de Reichenau: Les bronzes de la cathddrale de Hildesheim, par A. Marignan. Strassburg (Heitz), Heft 125, 350 M; 162, 6 M; 169, 8 M.

M. Marignan's contention is practically summed up in this astounding assertion:-

Nous pouvons affirmer qu'elle (l'Allemagne) ne possede aucun monument religieux du xie, ni meme de la premiere moitie du xuI siecle. The gate-house at Lorsch and the cathedral at Aachen are not Carlovingian. The bronze column and door ascribed to Bernward at Hildesheim are late I2th-century work, and so forth. We might contentedly leave a broad attack of this kind to be handled as it deserves by German writers, were it not that M. Marignan's point of view is an instance of a common error.

For him, as for so many other art-historians, the Saint-Marie de Cologne. Heft 169, Les fresques des dglises de Reichenau: Les bronzes de la cathddrale de Hildesheim, par A. Marignan. Strassburg (Heitz), Heft 125, 350 M; 162, 6 M; 169, 8 M.

34t 34t