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Three Medal Newps from NYINC
Iosephus
Posts: 872 ✭✭✭
Determined not to leave empty handed, I picked up the following three medals from the NYINC show:
Pope Clement IX
by Alberto Hamerani, 1667/8
Bronze, 34.5 mm Ø, 15.9 g
Obverse: Bust of Clement IX facing left, wearing camauro, mozzetta, and decorative stole. Around, CLEMENS · IX · PONT · MAX · ANNO · I · . On the truncation, · ALBERT · AMERANO · F · .
Reverse: A pelican, with wings outstretched, pierces her breast with her beak, from which blood flows to nourish its young. All standing within a nest on the ground. Above and around, · ALIIS · NON · SIBI · CLEMENS · (Mercy For Others, Not For Himself). Below, on a stone, AH .
With a warm brown patina and thin planchet with fine filing on the edge, this is likely an early strike.
The reverse inscription is the personal motto which Clement IX chose for his papacy. The reverse scene of a pelican in her piety, a classical allegory for Jesus Christ, reinforces the notion of the mercy that the new pope has for the people.
Reference: Miselli 682
Pope Innocent XI
by Giovanni Hamerani, 1680
Gilt Bronze, 35.2 mm Ø, 22.5 g
Obverse: Bust of Innocent XI facing right, wearing camauro, mozzetta, and decorative stole. Around, INNOCEN · XI · PONT · M · A · IIII . Under the bust, · HAMERANVS · F · .
Reverse: Allegorical representation of the Catholic Faith standing, facing left, holding a chalice with radiant host in her right hand and supporting a cross with her left. In the background, the Tiber River, with the Ponte Sant'Angelo on the right and St. Peter's Basilica in the background on the left. Above and around, IN · SÆCVLVM / STABIT (Forever It Shall Stand). On a stone to the left of the figure's feet, 1680 .
Struck on a thicker flan, this is probably a later strike.
Annual medal issued on June 29, 1680, with the original issue consisting of 129 in gold and 265 in silver.
Louis XIV of France was constantly trying to separate the Church of France from the Church of Rome or to even bring the Holy See under his control. The reverse inscription of this medal reinforces the concept that the Roman Church both had its own temporal autonomy and was the spiritual authority for all catholicism, for all time. Innocent XI warned Louis XIV many times to halt his ambitions against the Church, including under threat of excommunication.
References: Miselli 121, Modesti "Annuale" 157
Leopold I, Duke of Lorraine
by Ferdinand de Saint-Urbain, 1705
Bronze, 57.0 mm Ø, 54.5g
Obverse: Bust of Leopold I facing right, wearing peruke. Around, LEOP . I . D . G . LOT . BAR . D . REX . IER . P . P . ET . DELITIVM . . On truncation, S . V . .
Reverse: On the right, Hercules breaks rocks from a cliff with his club, opening a passageway for Mercury, who approaches from the background on the left. Above and around, VITAE · CONSVLIT · ATQVE · VIAE · (He Provides for Lives and Roads). In exergue, · MDCCV · ; in smaller lettering to left just below the exergual line, S · V · .
Die rust on the truncation and small scattered areas on the reverse, along with destroyed beading on the reverse at 3 o'clock, betray a later striking.
The son of Charles V, Duke of Lorraine, and Eleonora Maria Josefa of Austria, Leopold Joseph Charles Dominique Agapet Hyacinthe was born on September 11, 1679. Upon his father's death in 1690, Leopold inherited the Duchies of Lorraine and Bar, which had been (and were still) occupied by Louis XIV of France. After the Nine Years' War, the Treaty of Ryswick, signed on October 30, 1697, restored the duchies to the House of Lorraine. After much military destruction, Leopold reconstructed and repopulated the duchy. This medal commemorates one such project, the opening of a road from Nancy to Toul. Leopold died on March 27, 1729, after contracting a fever while on a walk.
Reference: Molinari 119
Pope Clement IX
by Alberto Hamerani, 1667/8
Bronze, 34.5 mm Ø, 15.9 g
Obverse: Bust of Clement IX facing left, wearing camauro, mozzetta, and decorative stole. Around, CLEMENS · IX · PONT · MAX · ANNO · I · . On the truncation, · ALBERT · AMERANO · F · .
Reverse: A pelican, with wings outstretched, pierces her breast with her beak, from which blood flows to nourish its young. All standing within a nest on the ground. Above and around, · ALIIS · NON · SIBI · CLEMENS · (Mercy For Others, Not For Himself). Below, on a stone, AH .
With a warm brown patina and thin planchet with fine filing on the edge, this is likely an early strike.
The reverse inscription is the personal motto which Clement IX chose for his papacy. The reverse scene of a pelican in her piety, a classical allegory for Jesus Christ, reinforces the notion of the mercy that the new pope has for the people.
Reference: Miselli 682
Pope Innocent XI
by Giovanni Hamerani, 1680
Gilt Bronze, 35.2 mm Ø, 22.5 g
Obverse: Bust of Innocent XI facing right, wearing camauro, mozzetta, and decorative stole. Around, INNOCEN · XI · PONT · M · A · IIII . Under the bust, · HAMERANVS · F · .
Reverse: Allegorical representation of the Catholic Faith standing, facing left, holding a chalice with radiant host in her right hand and supporting a cross with her left. In the background, the Tiber River, with the Ponte Sant'Angelo on the right and St. Peter's Basilica in the background on the left. Above and around, IN · SÆCVLVM / STABIT (Forever It Shall Stand). On a stone to the left of the figure's feet, 1680 .
Struck on a thicker flan, this is probably a later strike.
Annual medal issued on June 29, 1680, with the original issue consisting of 129 in gold and 265 in silver.
Louis XIV of France was constantly trying to separate the Church of France from the Church of Rome or to even bring the Holy See under his control. The reverse inscription of this medal reinforces the concept that the Roman Church both had its own temporal autonomy and was the spiritual authority for all catholicism, for all time. Innocent XI warned Louis XIV many times to halt his ambitions against the Church, including under threat of excommunication.
References: Miselli 121, Modesti "Annuale" 157
Leopold I, Duke of Lorraine
by Ferdinand de Saint-Urbain, 1705
Bronze, 57.0 mm Ø, 54.5g
Obverse: Bust of Leopold I facing right, wearing peruke. Around, LEOP . I . D . G . LOT . BAR . D . REX . IER . P . P . ET . DELITIVM . . On truncation, S . V . .
Reverse: On the right, Hercules breaks rocks from a cliff with his club, opening a passageway for Mercury, who approaches from the background on the left. Above and around, VITAE · CONSVLIT · ATQVE · VIAE · (He Provides for Lives and Roads). In exergue, · MDCCV · ; in smaller lettering to left just below the exergual line, S · V · .
Die rust on the truncation and small scattered areas on the reverse, along with destroyed beading on the reverse at 3 o'clock, betray a later striking.
The son of Charles V, Duke of Lorraine, and Eleonora Maria Josefa of Austria, Leopold Joseph Charles Dominique Agapet Hyacinthe was born on September 11, 1679. Upon his father's death in 1690, Leopold inherited the Duchies of Lorraine and Bar, which had been (and were still) occupied by Louis XIV of France. After the Nine Years' War, the Treaty of Ryswick, signed on October 30, 1697, restored the duchies to the House of Lorraine. After much military destruction, Leopold reconstructed and repopulated the duchy. This medal commemorates one such project, the opening of a road from Nancy to Toul. Leopold died on March 27, 1729, after contracting a fever while on a walk.
Reference: Molinari 119
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Comments
Taler Custom Set
Ancient Custom Set
World Collection
British Collection
German States Collection
<< <i>Joe - all three are nice, yet #3 is beyond nice. What a reverse! >>
Indeed, this is the most dynamic design I've ever seen from Saint-Urbain.
Thanks all for the comments!
Virtus Collection - Renaissance and Baroque Medals
Taler Custom Set
Ancient Custom Set
Virtus Collection - Renaissance and Baroque Medals
<< <i>From the reverse angle what first comes to mind is baseball.. >>
Funny, that's exactly what I thought although I know baseball was invented a few years later.
Make it 3, esp since Mercury seems to be standing on a mound and Herc is clearly pre-steroid ban. I'm certain that contemporaries would have immediately understood the reference of the design, but it's funny how a "modern" and non-classically oriented background/culture so radically influences what several of us saw in the same images three centuries later. A wonderfully executed piece in any case tho.
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