Italian medals (1904) (14760093451)

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• Source book page: https://archive.org/stream/italiamedal00fabri/italiamedal00fabri#page/n236/mode/1up

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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ds. Fortunately, however, two signed piecesof the master can be identified—one of Giulio Marasca, whichexists, indeed, only in an engraving of the year 1610 ; thesecond, on the other hand, is a unique piece in the collection ofProsper Valton, the heir of Armand, in Paris. It is the medalof Marinus Philethicus, a poet and scholar, who was teachingin the University of Rome in 1473 (PI. XXXII., 4). Theobverse displays the head of the scholar in profile wearinga laurel wreath ; on the reverse is a copy of the pelican ofPisanos medal of Vittorino, with the inscription in Greek,The work of Lysippus the younger. By means of com-parison with these authenticated works, several others may beascribed to him. Such is the medal, extant in six varieties, ofGiovanni Luigi Toscani, some of which bear the signatureL(ysippus) P(ictor) (PI. XXXII., 6); further, the medals ofGiovanni Francesco Marasca, Antonio da Santamaria, Fran-cesco Massimo, Francesco Vitali, Parthenius (Ippolito Au- 160 Plate XXXII
Text Appearing After Image:
CRISTOFORO DI GEREMIA, LYSIPPUS J<ice J/, ibo The Medallists in Rome rispa), Pier Paolo Mellini, Militias Jesuallus.^ Besides thesimilarity of style and the partiality of their maker for Greeklegends, they have all in common the circumstance that thepersonages depicted can be shown to have been abbreviators,tiditori di camera^ advocates and notaries to the Curia between1473 and 1484, and are all more or less youthful and similarlyattired. And to Rome also point two medals representingGiovanni Candida, probably a pupil of Lysippus, with whomwe shall presently meet. On the smaller, which is a uniquepiece in the Este Museum at Modena, he is still representedas a boy, but, judging from the dress, already a pupil at aclerical seminary. On the larger oval piece in the possessionof G. Dreyfus, in Paris, he is depicted as a young cleric in thelike costume (PI. XXXII., 5). Both pieces, especially thelarger, in naivete of conception and softness of modelling, areamong the pearls of Quattroce

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