Part 2

[Sidenote: METHOD OF PRODUCTION.]

Before proceeding to give some account of the medallists[1] themselves, it may be useful to state shortly in what manner they accomplished their work. This was done in four different ways, by casting, by the repoussé process, by engraving, and by striking. Specimens of all kinds of work will be found in this exhibition.

[1] Biographical notices of the medallists, whose works are exhibited, are given with the descriptions of the medals. These can be found by reference to the Index of Artists at p. 143.

In the case of casting, a method which was first adopted in Italy in the fourteenth century, the mode was sometimes elaborate. A model having been made in wax, it was painted over several times with layers of cement made of fine earth or charcoal stiffened with some kind of lye, until this dried and hardened upon the wax, and the foundation of a mould was formed. When the mould was finished and completely hardened, the wax was melted out, and the medal was then cast in some hard metal, gold, silver, or copper, or in lead. By this process the first mould was destroyed, and all subsequent ones had to be taken from the medals themselves; consequently in time, with each fresh casting, they became less sharp and perfect. Another method of casting was, after executing a model in wax, to make moulds from it in sand, in which the medal was then cast. By this means the original mould was not destroyed, and would serve for use any number of times. But these casts were not so successful as those made after the Italian method; and in order to remove from the surface the roughness of the casting, the medals were then submitted to the medallist's or goldsmith's hands to be chased. In this manner a smooth and sharp surface was obtained; but the chasing required to be very skilfully done. The castings in lead on account of the softness of the material took a much more even surface than in the case of the harder metals, and rarely required any after-chasing.

The process of repoussé work in its first stage was somewhat similar to casting. A model was made in wax, from which a mould in a hard metal was cast, and on this hard mould was placed a thin silver or copper plate, which was then beaten into the mould with a hammer till it received its final form. This process was a long and difficult one, and required much skill; consequently the number of repoussé medals is very small as compared with those which were cast. Repoussé work had one great advantage, that of obtaining a high relief, and on good medals, a striking effect. Not unfrequently, especially in Germany, the mould was made of wood, and the plate then hammered into it; but this method was not so satisfactory, as the degree of sharpness was much lessened.

The process of engraving was more simple; but perhaps not less difficult. The medals were executed by direct incision with the graver or dry point on a plate of silver or steel, and thus every line told, and the excellence of the work depended upon the accuracy and sharpness of the outline.

In the case of struck medals, the die was engraved or cut in steel, which was hardened, and from which proofs were struck in gold, silver, copper, &c. This process was not at first successful, as the mode of striking was simply by the hammer, by which means sufficient force could not be obtained. This was, however, obviated by the invention of the screw, which was first adopted in the sixteenth century, but did not entirely supersede the use of the hammer until the middle of the seventeenth century. Medals are now as a rule produced by striking.

[Sidenote: MEDALLIC ART.]

Of the medallists who worked during the reign of Henry VIII. we know nothing, and none of the medals bear the artists' signatures. The process employed was that of casting; but this was often done with little skill, and in consequence all the medals are highly chased. The medals of the reign of Edward VI. show no improvement in the art; but those of Mary and Philip, which are exhibited, being executed by the Italian artist Trezzo, are of far superior work. It is scarcely fair to class these among English medals, as they were executed in Madrid under the orders of Philip II., in whose service Trezzo was retained during the greater part of his life. That the works of this artist were much esteemed in his own time we learn from Vasari, who says, 'This master has no equal for portraits from life, and is an artist of the highest merit in other respects.' During the reign of Elizabeth, a great improvement is manifest in medallic art, which may be seen in the medals commemorating the defeat of the Spanish Armada, all of which, so far as it is known, were produced by native artists. There are other fine medals of this reign; but these are the work of foreign artists. Of such is the remarkable one with the portrait of Mary Queen of Scots by Primavera, and also a number of Dutch medals, among which are the splendid life-like portraits by Stephen of Holland. These medals are all cast and afterwards chased, and are certainly very fine examples of Dutch art. It is not improbable that this artist first studied at Nuremberg, which was the great school for medallists in Germany, and in which Albert Dürer himself had worked.

The medals of James I. are for the most part of Dutch work; and as few are signed, we are unable to ascertain by whom the majority were executed. As at this period the new invention of the screw for striking coins and medals was coming into general use, there are in consequence a number of struck medals. The engraved portraits of the royal family and others, classed at the end of the series of James I., are by Simon Passe. This artist worked chiefly with the graver in a neat clear style, which possesses much originality. His works have great merit in their class, especially his portraits, many of which were taken from life, and are remarkable for their precision and sharpness of outline. Besides these medals Passe executed frontispieces and bookplates, which are also well engraved. The abundant medals of the reign of Charles I. and of the Commonwealth were chiefly produced by three artists, Thomas Simon, his brother Abraham, and Thomas Rawlins. We must add to these the works of Nicholas Briot, who by his new invention of the balance for striking coins and medals had rendered great service to medallic art. His medals as well as his coins are all remarkable for their clearness of design and sharpness of execution. Briot did not reside in England after 1633, so that all his works date from the early part of Charles's reign. There are also a few medals by Jean Varin or Warin, who with George Dupré ranks first among French medallists. His medals are always cast, and generally in high relief. Of the two Simons it may be truly said that they stand first as English medallists, the beauty of their work having never been equalled in this country. As portraits the personal medals are faithful and expressive. The brothers produced joint as well as separate medals: in the case of a joint work Abraham appears to have made the model, whilst Thomas, who was a more skilful engraver, did the after-chasing. From an example in the British Museum, it is evident that the Simons first made their models in wax, and from these or from moulds in sand then cast their medals. The work of Thomas Simon was not confined to medals, for he executed all the Seals for the Commonwealth and for Charles II., as well as a fine set of coins which bear the portrait of the Protector. His last work of this kind, the Petition Crown of Charles II., has never been equalled in technical delicacy of execution, and is certainly the finest coin of modern times. Thomas Rawlins cannot be mentioned in such high terms as the Simons. His work was far above the average; but it failed to attain the sharpness and high finish which characterise that of his two rivals. Some of his coins are perhaps superior to his medals. Mention may be made here of the work of two other artists, specimens of whose medals will be found exhibited among those of Charles II. These are Pieter van Abeele and Müller, whom Bolzenthal calls 'der Meister Müller,' two Dutch medallists who worked in the repoussé style before and during the reign of Charles II. The medals of these artists are in high relief, and are executed with marked skill. Some of them are chased.

At the Restoration Rawlins was reinstated in the place of Chief Engraver to the Mint which he had held before the Commonwealth; and as his attention appears to have been chiefly directed to the coinage, there are very few medals by him after this time. It was not so with Thomas Simon, who was specially engaged to prepare dies for the new Seals, for he continued to work at his medals and produced a large number, including several for the coronation. There are some medals (Nos. 182—183), executed by him in anticipation of the Restoration, which were probably made with the object of retaining through the merit of his work the post of Chief Engraver, to which he had been appointed by Cromwell. In this he did not succeed, but was transferred from the Mint to the Office of Seals. Abraham Simon also continued to work for some time after the Restoration; but he held no official post. In the meanwhile a new set of artists had sprung up in England, who with few exceptions monopolised the medallic work in this country during the reign of Charles II. These are the Roettiers, who had been introduced to Charles during his stay in Holland, and of whom there were three brothers, John, Joseph, and Philip. It is of the eldest brother, John, that we have the most numerous and finest works. The character of the medals of this period differs very much from those of the Commonwealth. They are always struck, as the new invention of Briot had now quite superseded the hammer, and are in low relief. The execution of the work is good, the medals being very sharply cut and the portraits full of expression, whilst the reverses have a more picturesque style, somewhat approaching that of the Italian medals of the sixteenth century, but in lower relief. The only other medallist of this period who calls for notice is George Bower or Bowers, the style of whose work is similar to that of the Roettiers, although not of such good execution and finish. John Roettier and Bower still continued to work during the reign of James II., and during a portion of that of William and Mary; but with the accession of William, the Dutch period of medallic art in England began and continued till the death of Anne. The artists of this time are very numerous, but only the chief ones need be here enumerated, who are Jan and Martin Smeltzing, brothers, Jan Luder, Jan Boskam, Georg Hautsch, and Jan Crocker or Croker. This last artist not only executed a large series of medals, but he also cut all the dies for the coinage of Anne as well as many of that of George I. and George II. The style of the medals of the Dutch period is somewhat similar to that of the Roettiers, the relief being still lower. The reverse designs are also often picturesque, and, although minute in design, are usually distinct and in good perspective.

The accession of the House of Hanover introduced into England some German artists; but few of them are of any note. Of the medallists who worked in England from the accession of George I. to the end of the last century, are J. A. Dassier, who executed the large series of medals of English Sovereigns from William I. to George II.; Richard Yeo, who made the Culloden medal; Thomas Pingo, who made the Gibraltar medal of 1782, and several medals for societies; C. H. Küchler, who executed the Nile and Trafalgar medals; and J. G. Hancock, whose works are very numerous.

Medallic art of the present century in England owes all its merit to the work of Pistrucci, an Italian who came to this country in 1815 and remained here till his death in 1855, and to the work of the Wyon Family. To Pistrucci we are indebted for the famous Waterloo Medal, for many medals of learned societies, and for some of our finest coin-dies; and to the Wyons, for the military and naval medals as well as for a most extensive series of academical and other pieces. Since the resignation by Pistrucci of the office of Engraver to the Mint, the Wyons have held that post and have produced the greater portion of the dies for coins.

In concluding this sketch of medallic art in England, some mention should be made of the efforts of several public-spirited firms, which at the beginning of the present century produced series of medals commemorating some of the great events of English history at that time. The most important of these is the series of National Medals of James Mudie, on which work a number of foreign as well as native artists were employed; and it is remarkable that these engravers include eminent French medallists who commemorated the English successes in the wars with France.

My acknowledgments are due to Mr. A. W. Franks, F.R.S., for much assistance, and for the use of his valuable notes on Mr. Edward Hawkins' unpublished work referred to in the Preface; and also to the Hon. C. W. Fremantle, C.B., Deputy-Master of the Mint, to Mr. L. C. Wyon, and to Mr. A. B. Wyon, for important information and suggestions.

HERBERT A. GRUEBER.

GUIDE TO ENGLISH MEDALS EXHIBITED.

EDWARD IV. 1461—1483.

1. John Kendal, 1480. _Obv._ Bust r., in armour, wearing cross of order of St. John. IO. KENDAL RHODI TVRCVPELLERIVS. _Rev._ Shield, arms of Kendal, the cross of St. John in chief. TEMPORE OBSIDIONIS TVRCHORVM. MCCCCLXXX. Bronze. Size 2·2. Cast and chased. Italian.

John Kendal was Prior of the Hospital of St. John of Jerusalem in London in 1491 and 1501 (Willis's Mit. Abb.). He was Lieutenant of the Grand Master in Italy, England, Flanders, and Ireland, and in virtue of that office was engaged in 1480 in raising recruits for the defence of Rhodes against the Turks.

HENRY VIII. 1509—1547.

2. Badge of Rose. _Obv._ Bust of King l., wearing hat, cloak, &c. HENRICVS VIII. DEI GRA. REX ANGL. FRANC. DOM. HYB. _Rev._ Tudor rose; above, ODOR EIVS VT LIBANI; below, DEFENSOR FIDEI. Silver. Size 1·3. Cast and chased.

This medal is without date; but the title of Lord of Ireland (DOM. HYB.) shows that it was executed before 1541.

3. Medallic Portrait. Bust of King, nearly full face, towards r., wearing hat with feather and ermine cloak; around neck, collar and medal, cross of St. George. Copper gilt. Size 3·9. Cast.

This portrait is after a painting by Holbein.

4—5. Portrait with title of "Head of the Church," 1545. _Obv._ Bust of King r., wearing cap, ermine cloak, and collar. HENRICVS OCTA. &c. FIDEI DEFENSOR ET IN TERR. ECCLE. ANGLI. ET HIBE. SVB CHRIST. CAPVT SVPREMVM. _Rev._ Two inscriptions of same import as that on the obverse; one in Hebrew, the other in Greek; above H. R.; below, _Londini_, 1545. Gold and silver. Size 2·05. Cast and chased.

Henry's supremacy over the church was acknowledged by the clergy 1531, and confirmed by Parliament 1534. This medal was not struck till 1545.

6. Badge. Half-length figure of King, full face, wearing hat, robes trimmed with fur, &c. HENRIC. OCT. REX ANGL. Z. FRANC. Laurel-border. Silver. Oval. Size 2·3. Cast and chased.

This may have been worn as a badge of some society.

7. Anne Boleyn, 1534. _Obv._ Bust of Queen, nearly full face, towards l., wearing coif with veil, &c., in field, A. R. THE MOOST HAPPI. ANNO 1534. Reverse plain. Lead. Size 1·5. Cast.

Anne Boleyn, daughter of Sir Thomas Boleyn, and second wife of Henry VIII., married 1535, and beheaded 19th May, 1536.

8. Sir Thomas More, 1535. _Obv._ Bust r., wearing biretta and fur cloak. THOMAS MORVS ANGLIÆ CANCEL. _Rev._ A cypress felled, the axe in the trunk. SVAVIVS OLET. Copper. Size 2·3. Cast and chased.

Sir Thomas More, born 1480, was appointed Keeper of the Great Seal 1529; beheaded 6 July, 1535. The reverse typifies More under the form of a cypress, which has fallen under the stroke of the axe, but whose odour has thus become more fragrant.

9. Another. _Obv._ Bust of More, three quarters l., wearing biretta, fur cloak, &c. EFFIGIES THOMÆ MORI MARTIRIS ANGLI. _Rev._ Bust of St. Thomas à Becket, three quarters r., in archiepiscopal dress, holding cross and book. S. THOMAS ARCHIEP. CANTVAR. MART. AN. 1171. Silver. Size 1·45. All engraved.

This medal draws a parallel between the death of St. Thomas à Becket and Sir Thomas More, both champions of their faith, and both put to death under royal displeasure.

10. Thomas Cromwell, 1538. _Obv._ Bust l., wearing cap and gown trimmed with fur. IMAGO D. THOMÆ CRVMVELLI REG'. SECRET'. AN^o. 38. _Rev._ Within garter, armorial shield of Cromwell, two coats quarterly: coronet attached to rim for suspension. Silver-gilt. Size 2·05. Cast and chased.

Thomas Cromwell, born 1490, was secretary to Wolsey, and afterwards promoted by Henry VIII. to the highest offices of the State; created Earl of Essex April 1540 and beheaded in July of same year.

11. Michael Mercator, 1539. _Obv._ Bust, three quarters l., wearing cap, fur cloak, &c. A REGE ANGLORVM PRIMI MILITIS CREATI EX VENLO EFFIGIES. _Rev._ MICHAEL MERCATOR ÆTATIS SVÆ XLVIII. GRATIA DEO ET REGI. MDXXXIX.; _Engraved._ Silver. Size 1·8. Cast and chased.

In 1528 Michael Mercator, or, as Sir Thomas More in writing to Wolsey calls him, Michael the Gueldrois, was sent to Henry VIII. by Mons. de Ysselstein, on a confidential mission respecting the affairs of the Low Countries. Again in 1538 in two letters of Floris d'Egmont, Count of Buren and Lord of Ysselstein, one to Henry VIII. and the other to Cromwell, we find him requesting the kind reception of Michael Mercator. These letters also refer to Mercator's artistic skill, and we learn from Puteanus or Du Puy that he excelled in medallic portraits, and that this medal, which is of contemporary workmanship, was executed by himself. It was on this second visit to England that he received the order of Knighthood from the King.

12. Another. Similar: bust in profile l., and reverse inscription in relief. Lead. Size 1·8. Cast.

EDWARD VI. 1547—1553.

13. Portrait, 1547. _Obv._ Half-length figure of King l., wearing cap with feather, doublet, chain, &c.; in r. hand, scroll. EDVARDVS V. (sic) DEI GRA. AN. REX; _incuse_. No reverse. Lead. Size 2·9. Cast and chased.

A contemporary cast in lead, possibly a proof from a silver plate. This medal is unique, and was obtained by exchange from the Museum at Geneva.

14. Coronation, 1547. _Obv._ Half-length figure of King r., crowned, in armour, holding sword and orb. Inscription in Latin in three circles giving his titles, date of coronation MDXLVII. XX. FEBRVA. &c. _Rev._ Two inscriptions, one in Hebrew, the other in Greek of the same import as that on obverse; above, _Lambhith_, i.e. Lambeth. Gold. Size 2·35. Cast and chased.

The first coronation medal executed in England. The inscriptions are similar to those on the medals of Henry VIII., struck to commemorate his supremacy over the church. (Nos. 4-5.)

MARY. 1553—1558.

(Medals by Giacomo da Trezzo.[2])

[2] Giacomo da Trezzo, sculptor, engraver and medallist, born at Milan at the beginning of the sixteenth century, first worked in the execution of medals for the Gonzaga family. He afterwards entered the service of Phillip II. of Spain, went to Madrid and was engaged in the decoration of the Escurial. He died at Madrid in 1589.

15. Condition of England, 1554? _Obv._ Half-length figure of Queen l., wearing coif with veil, embroidered gown, pendant pearl, &c. MARIA I. REG. ANGL. FRANC. ET HIB. FIDEI DEFENSATRIX. IAC. TREZ. _Rev._ Mary, as Peace, seated r., holding olive branch and palm, and burning instruments of war; behind, group of suppliants; in distance, circular temple. CECIS VISVS TIMIDIS QVIES. Copper. Size 2·6. Cast and chased.

The design on the reverse of this medal is probably emblematic of the condition of England. By Evelyn and others it was supposed to refer to the suppression of Wyat's rebellion, and to the encouragement given to the Papal party. It was probably executed by Trezzo during his residence at Madrid.

16. Portraits of Mary and Philip, 1555. _Obv._ Half-length figure of Queen l., same as preceding. _Rev._ Half-length figure of Philip II., king of Spain r., in armour. PHILIPPVS REX, &c., IAC. TREZZO F. 1555. Copper-gilt. Size 2·6. Cast and chased.

This medal was executed some little time after the marriage of Mary and Philip in 1554.

17—18. Another. _Obv._ Bust of Queen l., wearing coif with veil and embroidered gown. MARIA I. REG. ANGL. &c. _Rev._ Bust of Philip r., in armour. PHILIP. D. G. HISP. REX. Gold and silver. Size 1·45. Cast and chased.

The portraits are similar to those on the previous medals.

ELIZABETH. 1558—1603.

19. Badge of Garter. _Obv._ Bust of Queen l., wearing coronet of pearls, large ruff, &c. Inscr. of Garter. _Rev._ Ornamented shield, royal arms supported by angel. Inscr. of Garter. Silver. Oval. Size 1·9. Cast and chased.

Probably executed for presentation on special occasions.

20. "Phœnix Badge," 1574. _Obv._ Bust of Queen l., wearing pearls in hair, ruff, &c. ELIZABETHA D. G. ANG. &c. Around—

"Hei mihi quod tanto virtus perfusa decore" "Non habet eternos inviolata dies."

_Rev._ Phœnix amid flames: above, monogram of Queen, crowned, and 1574 engraved roughly; around,

"Felices Arabes, mundi quibus unica phœnix" "Phoenicem reparat depereundo novam" "O miseros Anglos, mundi quibus unica phœnix" "Ultima fit nostro, tristia fata, solo."

Silver. Size 1·75. Cast and chased.

The legends may indicate the apprehension for the Queen's life occasioned by the severe plague, which visited London in 1574.

21. Defeat of the Spanish Armada, &c., 1588—9. _Obv._ Bust of Queen in high relief, facing, crowned, wearing high ruff, &c., and holding sceptre; and orb. DITIOR IN TOTO NON ALTER CIRCVLVS ORBE. _Rev._ Bay-tree uninjured by lightning on inhabited island inscribed, NON IPSA PERICVLA TANGVNT: border of leaves. Gold. Oval. Size 2·35. Cast and chased; with ring for suspension.

This medal records not only the defeat of the Spanish Armada, but also the averting of other dangers which at that time threatened both England and her Sovereign. The Queen of Scots was dead; James of Scotland had been conciliated; the Duke of Guise was dead, and France and the Vatican were baffled. The bay-tree was deemed incapable of injury from lightning.

22—23. Another. Similar: on obverse, bust of Queen, three quarters l., without sceptre and orb, and on reverse, E. R. in field, and no buildings on island. Gold and silver (with original chain). Size 1·9. Cast and chased; with ring for suspension.

24. Another. _Obv._ Similar: bust of Queen l., with pearls in hair, ELIZABETH. D. G. ANGLIE, &c. _Rev._ Ark in waves; above, sun. SEVAS (sic) TRANQVILLA PER VNDAS. Silver. Size 2. Cast and chased; with ring for suspension.

This medal refers only to the defeat of the Spanish Armada. The English flag-ship was called the "Royal Ark," which may have suggested the reverse type.

25. Another. _Obv._ Pope, kings and others seated in council, with eyes bandaged; floor covered with spikes; above, O COECAS HOMINVM MENTES, O PECTORA COECA; around, DVRVM EST CONTRA STIMVLOS CALCITRARE. (Acts ix. 5.) _Rev._ Fleet driven on rocks; above, VENI VIDE VIVE. 1588; around, TV DEVS MAGNVS ET MAGNA FACIS TV SOLVS DEVS. (Ps. lxxxvi. 10.) Silver. Size 2. Struck. Dutch.