File:Italian medals (1904) (14576573660).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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the reversetestifies, did not appear until long afterwards, probably,indeed, not much before the second (PI. XXXIII., 6), which—as is evident from a scene depicted on the reverse—was castto commemorate the entry of il Moro into Genoa in 1488.Here, as also in his later Roman works, the goldsmith doesnot belie his profession ; in contrast with the broad treatmentof the earliest great masters of the medal, Caradosso carrieshis careful manipulation into the elaboration of the smallestdetails ; richness of composition, beauty of line, elegance ofexecution are common to them all. The miniature portraitson his coins are as light and delicate as if formed in wax, andherein resemble the most beautiful ancient coins. Such isFriedlanders somewhat too favourable judgment, for it is justthe confused subjects of the reverses of his early medals,overcrowded with figures, that sin against the laws of the art.The master, it is true, improved in this respect during hisRoman period. 168 Plate XXXIII
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LYSIPPUS, CANDIDA, CARADOSSO /(«■( p. i68 The Medallists in Rome When Lodovico Sforza was taken prisoner by the Frenchin 1499, and the splendour of the Court at Milan thus came toa sudden end, Caradosso followed his friend and fellow-artist,Bramante, who had already settled in Rome. Introduced byhim as well as by Cardinal Ascanio Sforza, brother of il Moro,to the papal Court, he found under Julius II. and his immediatesuccessors ample employment as goldsmith, medallist, andengraver, until his death. In proof of this we have thenumerous coins of Julius II. and Leo X., struck from his dies.Of medals, on the contrary, we possess only one, representingBramante (PI. XXXIV., i; the second is a later copy), two withslightly different reverses of Julius II., and one of CardinalAscanio Sforza (its attribution on account of the differentstyle and the different character of the letters, is not en-tirely incontestable). These Roman pieces are indisputablyCaradossos masterpieces ; in spite of t

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