File:Italian medals (1904) (14576529170).jpg

Identifier: italiamedal00fabri (find matches)
Title: Italian medals
Year: 1904 (1900s)
Authors: Fabriczy, Cornelius von, 1839-1910
Subjects: Medals Medals, Renaissance Renaissance
Publisher: London : Duckworth
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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imen in the Louvre(PI. VIL, 4) deserves to be considered, so far as the attributionin question is concerned; of the two others in the BibliothequeNationale at Paris and in the Dreyfus collection, we holdthe first to be a contemporary imitation of the Louvre medal,the second a restoration of the sixteenth century.^ Albertidwelt at Ferrara during the time that Pisano was engagedon the medal of Lionello of Este, and, in fact, his portrait,both in style and arrangement, shows many points ofsimilarity with the medal of Lionello. On the other hand,it deviates from all authentic medals of Pisanello in its Concerning Alberti, compare Jacob Burckhardts Kulttcr der Renaissance, 3rd edition,Leipzig-, 1877, vol. i. p. 168, and Anton Springers Bilder aus der rieuern Kunstgeschichte,2nd edition, Bonn, 1886, vol. i. pp. 259 fF. In order to support this view we ought to reproduce the two other pieces. This,however, is not the right place for such a discussion, which we reserve for anotheroccasion. 34
Text Appearing After Image:
ALFONSO I. OF NAPLFS. liY PISANO Face p. 34 Vittore Pisano and his Successors elliptic form, its unusual dimensions (15^ by 11^ cm.), andalso in the absence of a reverse. But the conception isso grand, the excellence of the work so extraordinary, thatthe new attribution seems to have better claims than thathitherto received (the work had been regarded by some asa portrait of Alberti by himself, by others as the work ofMatteo Pasti). With Pisanellos work begins the continuous series ofQuattrocento medals. In his wanderings throughout thewhole of Italy he carried his new art from Verona to Naples,and owing to it, much more than to his paintings, everywherewon disciples to the realism of North Italy, so different fromthe realism of Florence. He found the earliest and mostnumerous followers in Ferrara. The lords of Ferrara—if thefirst to embody the idea of the modern ruler, who recognisesnot rights alone, but also duties—were at the same timegenuine sons of the Renaissance ; so that (

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