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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followers of Pisano, and all of whom foundample occupation and reward at the Court of the Este, havebeen handed down to us. After 1441 Niccolo Baroncelli,a sculptor of Florentine origin, several of whose ably executedstatues in bronze are preserved in the cathedral of Ferrara,cast a medal of Lionello, full of character and inspired byPisanello; indeed, the design of the reverse is directly borrowedfrom one of the masters. Amadeo da Milano, who wasespecially esteemed as a goldsmith, betrays himself as such bya strong relief, by the elegant, almost timid, treatment andcareful chasing in the medals which he made of Lionello andBorso dEste in the forties. On the reverse of one of theLionello medals, like Baroncelli, he copies Pisanello ; whilethe reverse of his second medal, with Leda and the swan, is anaively conceived, but skilfully composed circular design.^ ^ (This reverse is by most authorities considered to be of later date than the obverse.Cp. Heiss, p. 15.—G. F. H.) 36 Plate VI
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Vittore Pisano and his Successors The most important of the native masters, however, isAntonio Marescotti, of whose life, as well as of the lives of thetwo of whom we have spoken, we know nothing. The sevenmedals which he has left us bear the dates 1446-1462, anddisplay the portraits of two members of his family, of a Bishopof Ferrara, Duke Sforza of Milan, and Borso dEste. Finerthan these, however, are two medals of San Bernardino ofSiena, the zealous reformer of the Franciscan Order, theeloquent and influential wandering preacher, who had sojournedin Ferrara in 1431. Marescottis medals of the saint, how-ever, cannot have been cast until after his beatification in1450, since they show his head surrounded by a halo ; all themore remarkable is the truthfulness of the portrait, which wasnot taken from the life, and in which the ascetic piety of thesaint is so touchingly expressed (PI. VII., 5). All the works ofMarescotti show something of the severe realism, the strongmodelling of Pisan

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