Dürer Medals

1./5MEDAL OF MAXIMILIAN 1

Hans Reinhart the Elder, around1540

Gilded silver, 3.7x 3.3cm with eyelet,weight 15.71gDated: 1502Obverse: bust facing right profile, witha hat, wearing the Order of the GoldenFleeceReverse: inscription in two lines underthe Habsburg coat of arms: MAXI.IMPjM.C.n (Emperor Maximilian 1502)Prague, National Museum (H5-115.951).

Bibliography: Domanig 1896, p. 2, cat. no. 15; Hab ich1929, IIIl , p. 278, cat. no. 1925.

74

for the painting in question. Moreover, particularly thanks to BernhardStrigel, the court painter to Maximilian I (see esp. Maxmilian's 1504portrait by Strigel in Berlin, Gemaldegalerte), by 1506 official portraits ofthe ruler were quite widespread, as is attested by a number of survivingcoins. (cat. nos. LIS - LilO). .

The Berlin drawing was attributed to the already mentionedStrigel, or to Ambrogio de Predis, court painter of Lodovico Sforza, theDuke of Milan (around 1455 Milan? - after 1508). It is mostly historicalcircumstance that points to him in regard to the drawi ng in question - in1493, the Duke's daughter Bianca Maria Sforza became the second wifeof Maximilian, and in the years 1494-1495 the painter in fact sojournedat the royal court in Innsbruck. Also, the only known work signed anddated by Predis shows Maximilian in profile (1502, KunsthistorischesMuseum Wien, inv. no. 4431).However, as Schulze Altcappenberg (1995,p. 280) substantiates, the style of the drawing again points towards anattribution to Predis; its soft, relaxed rendition brings it far closer toVenice, to the circle of Giovanni Bellini, i.e., a milieu that Durer drewon while working on TheFeastoft11eRoseGarlands. Th e Italian artist, whocreated this sheet, could have drawn on a Predis' work. The watermarkalso corresponds with an Italian origin of the drawing (Briquet 1923noted in Naples in 1502 and in Florence in 1507). The likely identificationof the watermark's origin, however, also rules out previously suggestedattribution to Strigel.

OK

Hans Reinhart was born in Dresden around 1510.In 1539 he was a citizenof Leipzig, where he apparently lived until his death in 1581. In 1547 hewas accepted as a Master of the goldsmiths' guild. His style also influencedthe engraves of the Iachymov/Erzgeblrge Medals.

TK

1./6M EDAL OF EMPEROR MAxIMILIAN I

The Peace of Noyon of Au gu st 13, and of Brussel s of December 4, 1516,put an end to the eight-year war in Italy, in which all the Europeanpowers were implicated - the Pap al States, France, Ven ice, Spain, En­gland,Scotland , Milan, Florence, Ferrara, and Switzerland as well as theHolyRoman Emp ire. The condi tio ns of peace in fac t returned the map ofItalyto the situation before the conflic t broke out.

Rudolf11 had this med al in silve r in h is collect ions, whe re it is listedas a "large circular silver coin, broad as a palm, with the likeness ofEmperor Maximilian I, and on the rev erse Ceres, sitt ing on a basket offruit." (Bauer - Haupt 1976, p. 90, no . 1676).

1516

Cast bronze, diameter 9.7 cmDatedObverse: bust facing right with ahat,wearing the Order of the Golden Fleece,inscription: IMPERATOR. CAESAR.MAXIMILIANVS. PIVS . FELIX.AVGVSTVS. (Commander and EmperorMaximilian, Good and Gracious Ruler)Reverse: the goddess Ceres seated, datedin exersue 1516, with the inscription: SVB.CAES.MAXIMILIANO.AVG.IMPERIVM.ROM.PACATVM.E. (Under the nobleEmperor Maximilian, the Roman Empireis brought to peace)Prague, National Museum(H5-107AEVIIIb46).

Bibliography: Herr gotl 1752, pp . 35-36; cat. no. XXXVI.

TK

1./7MEDAL OF MAxIMILIAN I

Ulrich Ursentaler the Elder, (1518)

Struck lead , diameter 3.82cm, weight 30.16gObverse: Bust facing right, crowned, waeringarmour, inscription: MAX.RO.IMP.SEMPER.AVGVSTVS.ARCHIDVX.AVST+(Maximilian,Emperor of the Romans, always August,Archduke ofAustria)Reverse: the emperor on horseback witha soldier before him, under the horse adefeated enemy and behind the emperoroan angel supporting the crowned Imperialcoat of arms. The coats of arms of Hungary,Burgundy, of Upper and Lower Austriaand the Habsburg coat of arms are below.Circumscribed: PLVRIVM.QZ.EVROPE.PROVINCIARVM.REX.ET.PRINCEPS.

TK POTENTISSIMVS (ofvery many Europeancountries the most powerful King and Prince)Prague, National Museum (H5-69AEVIIIb597).

BIbliography: Moser - Thrsky 1977, pp . 39-40; BildnisKaiser Maximilians I. au f Miinzen und Med aill en 1992,p. 53, no. 33.

75

1./8MEDAL OF MAxIMILIAN I AND BIANCA SFORZA

Gian Marco Cavalli, Hall, 1506

Silver, diameter 3.9cm, weight 18.10 gAdverse: two busts facing right obverse,inscription: MXIMILIANVS RO REX ETBIANCA M CONIGES IV (Maximilian,King of the Romans, and Bianca Maria,married)Reverse: Madonna surrounded with sevenangels, circumscribed: ESTO.NOBISTVRRIS+ORA FACIE INIMCM (for thouhast been a strong tower from the enemy- a modified version of Psalms 61:4: "turrisfortitudinis a facie inimici").Prague, National Museum (H5-150.641),from the collection of Bedi'ich Pi'ibil.

Bibliography: Habich 1929, 1/2, pp . XLIV-XLV; Hill1930, p. 62, cat. no . 245; Moser - Tursky 1977, p. 35;Bar ­ner 1997, pp . 37-38, cat. no. 89; Hoch Renaissance imVat ikan 1999, p. 455, cat. no. 73 (mode l of coin with d if­ferent inscripti on),

Alredy by 1494 when seeking to elevate the artistic quality of his coins,Maximilian had asked his new brother-in-law, Lodovico Moro, tosend him three artists for the intended coinage - painter Ambrogio dePredis and two die engravirs from the Milan mint. Twelve years later,the die engraver Gian Marco Cavalli (around 1454 - after 1508) cameto the Tyrolian mint in Hall from the court in Mantua. His large silvercoins were of commemorative character and served as gifts, while theirmonetary value was of secondary concern. Maximilian was adamantabout the perfection of his portraits on coins, and would often return thesubmitted design to Cavalli's predecessor, noting that he regarded "thenose somewhat exaggerated, the face too long, the chest too strong", andthat "too muc h free space" remained.

The daughter of the Duke of Milan, Galeazzo Maria Sforza Bianca(1472-1510), married the King of the Romans, Maximilian I in 1493, ashis first wife, Mary of Burgundy, had died in 1482.

TK

1./9MEDAL OF MAxIMILIAN I AND MARY OF BURGUNDY

Ulrich Ursentaler the Elder,after 1511

Gold, diameter 4.4 cm, weight 31.98gDated: 1479Obverse: bust facing right, wearinga wreath inscription: AETA TIS.19MAXIMILIANVS MAGNANIMVSARCHIDVX AVSTRIAE+(Maximilian,valiant Archduke of Austria, at the ageof 19years)Reverse: bust facing left, inscription ontwo lines: .ETAT IS.20./14 79, and:+MARIA+KAROLI+FILIA+HERES+BVRGVNDI+BRAB+CONIVGES+ (At the ageof 20 years, Mary, daughter and heiressof Charles of Burgundy and Brabant

- married. 1479)

76

Maximilian had only this medal, recording his union with his first wifeMary of Burgundy, minted after the death of his second wife, BiancaSforza. Ursentaler used as his model a 1477 medal by Giovanni Candida(around 1450 - after 1495) - a soldier, priest, diplomat, and secretary toboth Charles the Brave and Maximilian of Habsburg.

At the moment, we are unable to interpret the medal any further. Itseems that it links two events - the wedding of 1477, when Mary wasindeed twenty years of age, although Maximilian was eighteen and notnineteen as is cited on the medal; and the victory at Guinegate of 1479,which secured Mary's heritage for France. Still, it is in keeping withMaximilian's motto, that "who does not ensure his memory while he isalive, willbe consigned to oblivion with the sound of the tolling bells."

TK

Prague, National Museum (H5-58.967),purchased in 1916from the essay office

Bibliography: Hess 1930,cat. no . 15; see Moser - Tur sky1977, p. 41.

1./10COMMEMORATIVE COIN OF MAXIMILIAN I

The subtle gilding of the details, reminiscent of the coins of Antiquity,and the use of two metals indicate that the coin was not intended to beused as currency, but was one of those that "we give to the ambassadors,theSpaniards and other people of honour, for our glory and memory."

Mostnoticeable on the reverse is the chain of the Order of the GoldenFleece, part of the Burgundian inheritance.

TK

Benedikt Burkhart, Hall, 1505

Struck silver, gilded, diameter 4.6 cm,weight 43.35gDatedobverse: half figure facing left,crowned, wearing armour, with asceptre and a sword, inscription: +MAXIMILIANVS+DEI+GRA+ ROMANOR+REX+SEMPER+AVGVSTVS+(Maxmilian, by the Grace of God, King ofthe Romans, always August)Reverse: under a vaulting (probablyindicating heaven) is the Imperial coat ofarms with the Golden Fleece, surroundedby the coats of arms of Hungary, Upperand Lower Austria, Burgundy, and theHabsburgs, with the date: .1.5. .0.5. andthe inscription: +XPIA.>.REGNOR.REX.HERS.QZ.ARCHIDVX.AVSTRE.PLVRIMAR.QZ.EVROP.PROVINCIAR.PNS.DVX.ET.D9 (Christianitatiscaeterorumque regnorum rex heresquearchidux austriae plurimarumqueevropae provinciarum princeps duxet dominus = the Hereditary King ofChristian as well as other Realms,Archduke of Austria and of very manylands Prince, Duke and Lord)Prague, National Museum (H5-115.950).

Bibliography: Herrgott 1752, pp . 42-4 3, cat. no . XLIX:Domanig 1907, p. 3, cat. no. 11: Moser - Tursky 1977,p. 39; Bildni s Kaiser Maximilians 1. auf Mlinz en undMedaillen 1992, pp . 49-50, cat . no. 24.

77

1./14MEDAL COMMEMORATING THE CORONATION 'OF POPE ALEXANDER VI

Rome, 1492

Bronze, diameter 4.45 cmObverse: bust facing left inscription:ALEXANDER. .VI.PONT.MAX.(Alexander VI Supreme Pontiff)Reverse: the Cardinal-Deacon places thetiara on the head of the Pope, whois portrayed sea ted under a baldach in.The scene is accompanied by aninscriptio n in the exergue: CORONAT.Pragu e, Nat ional Museu m(H5-82AEVIIIb309).

Bibli ography: Bonanni 1699, p. 116, cat. no . 3;Hill 1930,p. 221, no . 853.

1./15MEDAL OF POPE LEO X

Rome, 17th century

Bronze, diameter 3.36 cm, weight 21.67 gObverse: bust facing right, wit h a stole,inscription: LEO.X.P ONTIFEX.MAX(Leo X. Supreme Pontiff)Reverse: allegory of Liberality, with theinscription: LIBERALITAS.PONTIFICIA(Papal Liberality)Prague, National Museum(H5-K15.399 - from the collection of FranzFerdinand d'Es te).

Bibliography: Bon an n i 1699, p. 167, cat. no. V; Mod esti1988, p. 48, no. 38 (similar work of Girolamo Paladi no ofsecond h al f of the 17'" century); Born er 1997,p. 128, cat.no. 525 (as Giovanni Paladirio, of second half of the 16'"century); Hoch , Renaissance im Vatikan 1999, p. 444,cat. no . 28 (as 17'" century work) .

92

Rodrigo Borgia, born in Spain in 1431, was elected Pope on August 26,1492, as Alexander VI, remaining in office until 1503. He is said to havecommitted his first murder at the age of twelve. His two great passionswere women and gold; the sale of indulgences became his primary sourceof income, which he spent in large part on his court artists: Bramante,Raphael, Michelangelo and Pinturicchio.

TK

The youngest son of Lorenzo de Medici, Giovanni di Lorenzo (1475- 1521)became a Cardinal at the age of fourteen. He became Pope in 1513. In1520 his Papal Bull Exsurge Domine excommunicated Martin Luther. Thedocument was largely ignored and Luther himself publicly burned it.

Leo X collected not only cameos and medals, but also rare prints andmanuscripts, and he supported scholars and writers. In 1515he entrustedRaphael with supervision over excavations, in ord er to prevent furtherdestruction of the heritage of Antiquity.

The medal was created at least one hundred years after the Pope'sdeath, perhaps by the mid -I?" century. It commemorates his love of art,particul arly the art of music.

TK

1./16MEDAL OF POPE AnRIAN VI

This one-sided cast of a lar ge me da l prob ably originate d already in the16thcentury;even thou gh it maintains the Pop e's likeness, the inscriptionisnolonger legibl e.

Adrian Flori sz Ded el was born in Utrecht in 1459, to a humblebackground. After finish ing his studies he lectured at the University ofLeuven; among hi s students there was Erasmus of Rotterd am. In 1507hewas appointed tutor of the seven-year old arch duke, who later, as theEmperor Charl es V, elevated h im to the ra nk of Regent of Spain. He wasPope in the years 1522-1523 - the Itali ans regarded h im as a pedanticforeign professor, blind to the beauty of art.

TK

The Low Countries, 1522-1523

Cast bronze, diameter 7.31 cmBust facing left, in a chasuble with Papaltiara with three coronets, on the sidesis Adrian's coat of arms and the coat ofarms of the City of Utrecht, inscription:.M.ADRIAEN.VAN.GOD.GHEKOREN.PAVS.VA.ROMEN. T VTRECHT.GHEBOREN (Tothe memory of theUtrecht native Adrian, chosen by Godto be Pope)Prague, National Museum(H5-133AEVIII), from the Nostic familycollections.

Bibliography: Bonanni 1699, does not lis t; Gelder 1960,pp. 1-3; Hoch Renaissance im Vati kan 1999, p. 447, cat.no . 44.

1./17MEDAL OF POPE CLEMENT VII,

COMMEMORATING THE RECONCILIATION WITH FLORENCE

':.,,""~~~...../ ~ " t,,,,..l~:

.!~.'

'·f '/ '~';~·>\ I · ·:,' . \ " «, \ ~ - ' ." , I

:.. ~. ; : . ,,: ' ,; : :•~ 'JI " h ·i'/ (

... '\ ) 11, I" ....

"..... ,,- ". , --, .-, -..............

After the short reign of Ad ri an VI, the ill egit imate Giullio di GiulianodeMedici (1478-1534), the nephew of Loren zo de Medici an d a cous in ofLeo X, become the new Pope in 1523. The pillage of Rome by Imperialmercenaries an d the Pop e's fligh t from the City undermi ne d theposition of hi s family in Florence, wh ich had declared itse lf a Republic.Reconciliation was achieved on ly after an eleven-month siege of Florencein 1530, after wh ich Clem ent VII in stalled his son Alessandro on thethrone.

The medal celebrates the gene rosity of the Pop e, who like [o seph ofthe Old Testam ent forgave hi s disloyal brothers - we do not know whatthe Florentines thought of the medal: about a hundred and fifty citizenswere tortured , imprisoned , execute d, or ex ile d. Bernardi did not engraveClement 's portrait following some prior design but took the likeness

Rome, Niccolo Cerbara afterGiovanni Bernardl, 1839 (1530)

Rome, Niccolo Cerbara after GiovanniBernardi, 1839(1530)Struck bronze, diameter 3.3cm, weight18.39gObverse: bust facing right, inscription:.CLEM.VII. PON T.M A X . (Clement VII.Supreme Pontiff)Reverse: his brothers kneeling beforeIoseph, who is on a throne marked withthe Medici coat of arms, inscription: EGO.SVM.IOSEPH/ FRATER.VESTER (I amyour brother Ioseph: Genesis 45:4)Prague, National Museum(H5-K15.401 - from the collections of FranzFerdinand d'Este).

Bibliography: Luckius 1620, p. 58;Bon an n i 1699, p. 189,cat. no . VII ; Whitman 1983, pp. 19-2, cat. no. 2; HochRenaissance im Vatikan 1999, cat. no. 60; Att wood2003, p. 372.

93

from life, and Vasari praised this medal, on the reverse of which Iosephreveals himself to his brothers, as exquisite.

Giovanni Bernardi da Castel Bolognese (1496-1 553), the son of agoldsmith, became renowned in the 16th century as a gemcutter. He arrivedin Rome in the 1520s; Benvenuto Cellini remembers him as a famo usmedal engraver, "very ingenious in the art of making medals of the sor tI made in steel, and that I thirsted for nothing more th an to compete withhim and take the world by storm with some great masterpiece." (Cellini1960, p. 117)Bernardi took over from Cellini the die engraving duties inthe Papal mint.

The medal exhibition here was produced in the 19th century by thRoman mint as a collector's item, when new dies were cut from Bernard i'original by Niccolo Cerbara.

TK

1./18VIRGIN AND CHILD, SAINT MARy MAGDALENE, SAINT JOHN THE EVANGELIST,

UNKNOWN FEMALE SAINT, SAINT JOSEPH AND DONOR

Pasqualino di Nlccolo,so-called Pasqualino Veneto

Pasqualino di Niccolo, so-calledPasqualino VenetoWood, 68 x 104,5 cm, signed bottom r ighton the Virgin's throne:PAS QVALI / NVS / VENETVS / PPrague, National Galle ry in Prague(08753)Provenance: Collection of Dr . E. K.Rincolini in Brno, 1820s; collection ofthe family of Count Desfours in DolnfBorkovice; J. v. Novak Gallery, Prague,1882; National Gallery in Prague, 1949.

Select ed bibliography: Rincolini 1825, p. 689, no . 63;Frimmel 1893, p. 3; Frimmel 1899, no. 63; Palluchini1957, p. 199; Puppi 1961, pp . 42-43 , fig. 44; Heinemann1962, p. 265; Puppi 1962, p. 152; Venez ianische Malerei1968, cat .no. 74 (author of entry Eduard E. Safafik);Ballarin 1968, p. 252; Cat. NG 1984, p. 58 (author ofentry Hana Hlavackova: with earl ier bibliography);Cat .NG 1988, p. 58.

94

In 1503, Pasqualino Veneto (record ed 1496-1504 in Venice)rece ived fromthe representatives of the Venetian Scuola dell a Carlt a the previouslyarranged reward for his painting of Presentation of the Virgin in the Temple.

"Maistro Pasqualin" was doubtless entr us ted this major commiss ion dueto his position among th e most prominent and sought-after Venetianpainters. The work, much acclaim ed by his contem poraries for theingenuity of th e overall design, was however never fini shed, as he died ayear after receiving the commission (Ludwig 1905, pp. 52-56).A pai ntingon the same theme was executed for the Scuola della Carita by Titian on Iyin 1537.

Most of th e Pasqualino paintings known today are var iat ions on thetheme of the Virgin and Child, sometimes rendered in the type of theSacra conoersazione - the Virgin and Child placed among various Saint .This tr aditional Italian subject became extremely popular towards theend of the Quattrocento thanks to the paintings of Giovanni Bellini andthe artists of hi s circle, and as a result it became virtually compulsoryamong the Venetian commissioners of th e era.At the turn of the 15th and16th centuries, ar tists in Venic e, whether natives of the city or newcomer,almost without except ion had to come to terms with th e theme of theSacra coniersazione, although each did so in their own way.Alb recht Durerwas among them, and The Feast of the Rose Garlands reflects this popular

"Venetian" composition.Pasqualino's Sacra conoersazione from Prague was first mentioned

in literature in 1825 by Ernst K. Rin colini, who based on its style andsignature first linked it to the name of this little kn own Veneti an painter.The paintingwas restor ed in the years 1966-1967 byMojmfr Ham sik, whoremoved the extensive Baroque-era over-painting. Most importantly,he renovated the over-painted figure of the donor and part of thesignature, whi ch before hi s intervention ran as follows: P / PASQVALl/ NVS / VENETVS / GBF. It is not without interest in this respect thatTheodorvon Frimmel, most probably under th e impression of the Bellinicomponent of the painting, suggested that the in authent ic letters GB in

1./24HEAD OF A YOUNG WOMAN

Early 16th century German Master,dated 1519

Black chalk, heightened with white,on reddish-brown prepared paper withwatermark (Briquet 4902), 280 x 191mmPrague, National Gallery in Prague(K22443)Purchased from private collection in 1952.

Bibliography: Timm 1966, p. 284; Winzinger 1971,pp . 51-68; St rauss 1974, vol. 6, pp. 3176-3177, no . XO.2;Rowlands 1990, pp. 295-298; Volra bova 2003, pp. 46-4 7,cat . no . 18.

106

This drawing captured the attention of several art historians of note, whoattributed it to either Albrecht Durer (Werner Timm), Hans BaldungGrein (Franz Winzinger), or others from among their contemporaries(see bibliography). In spite of its unquestionable charm, the work cannotbe attributed to the great Nuremberg Master. The dating, drawingtechniques and the toned paper with Hohe Krone watermark allcorrespond to the circle of Albrecht Durer, Even though this piece neednot be directly from his workshop, the artist was markedly influenced byit; it was mostly the creation of a workshop of some South-German artist.The type of the head and above all its position -looking downward witha sweetness in the expression of the face - both lead to the likelyconclusion that this was a study for the head of a Madonna.

If we compare to the present sheet the drawing of the Headofa YoungWoman from the British Museum, which we may regard as its model,and which could have been a study for the Virgin in The Feastof the RosGarlands, there emerges a marked difference (see Bartrum 2002, pp. 160­161, cat. no. 101). In contrast to Durer's gracious, soulful portrait, whichbetrays astrongVenetian influence, the present drawing seems somewhatelemental. The distinct stylization of some of the passages of the drawingturns into a stiff outline, the hair is almost schematic, and some minorparts lack an evident sense of detail. Even though this drawing is dated1519, it is firm ly rooted in the artistic sensibility of the 15th century: itstendency towards the geometric and the distinct foundation of the throatbring to mind echoes of the aesthetic criteria of the preceding century.

AV

Originally thought to be Du rer 's own portrait of his wife; the one-sidedmedal, however, is a later work, reproducing in metal Durer's drawingof 1508, the so-called Lucretia (now in the Albertina, Vienna). We knowof less than twenty examples in silver, bronze or lead, although a goldmedal wasin the collection of Rudolf II; the inventory of his Kunstkammerfrom 1607-1611 describes among the medals "a female head with themonogram AD" (Bauer - Haupt 1976, p. 128, no . 2522). The Emperor'smedallist Antonio Abondio (1538-1591) used Durer 's design on which tomodelhis meda l of the toiletofVenus.

Authors dating the coin to the early 17th century have overlookedthat it had appeared earlier, listed as Eve in the numismatic handbookPrompt/wire des medalles published by Guillaume Rouille in 1553. Heprinted the book in simultaneous editions in Latin, French and Italian,with the Spanish edition following in 1561, and a second, expandededition in 1577 (Kleisner 2001, p. 170). ..

TK

1./25MEDAL OF LUCRETIA

Diirer's imitator, around 1530-1540

Cast bronze, diameter 5.3 cm,signed and dated: AD 1508Prague, National Museum (H5-150.909)(from the Lanna Collect ion).

Bibliography: Lanna 1911, no. 908 (this speciment - asth e work of A. Durer] ; Habich 1929, 1/1, pp . 3-4, cat. no.14; Weber 1975, pp. 329-330, cat. no. 760 (as followe rof Antonio Abondio, dated early 17'h century); Mende1983, pp. 241-244, cat . no. 51 (as Durer's imi tator, dated1530-1540 ); Truste d 1990, pp. 33-34, cat. no. 23 (asDurer 's imitator, dated early 17'hcentury).

107

1./28THE ALBRECHT DURER MEDAL

Hans Schwarz, 1520

Cast lead, diameter 5.6 cm, weight 68.59 g,marked: .H.S.Bust facing left, inscriptions: ALBERTVSDVRER PlCTOR GERMANlCVS (AlbrechtDiirer, German painter)Prague, National Museum, H5-115.952.

Bibliography: Habieh 1929, 1/1, cat. no. 201; Mende1983, pp. 188-190, cat. no . 15; Curre ncy of Fame 1994,pp . 215-218, cat. no . 84 (author of ent ry HermannMaue).

Hans Schwarz (around 1492-1521), a native of Augsburg, arrived inNuremberg in late 1519.He did not remain there for long: after a nocturnalbrawl with the castellan of the Imperial Castle, he was forced to leavthe city in March of 1520. Is therefore amazing, how many portraitmedals of the Nuremberg patricians he nevertheless managed to create.Firstly, Schwarz would produce a drawing of the profile, after which hethen carved the wooden pattern from which he cast his medals. Dilrernoted in his travel diary of his trip to the Netherlands that in September1520 he asked the Antwerp branch of Fugger's bank to send two ducatsto Schwartz in Augsburg ta pay, for the model of his medal. This was alarge sum - two weeks' wages for a carpenter. At the tim e, Dilrer receivedfor his portrait drawings a ducat at the most, and the fifteen sh eets of hisPassion he sold for a ducat and a half.

In the 16th century, one-sided bronze and lead medals were hungon study walls, in order that visitors might instantly recognize the levelof their host's education and refinement; the person portrayed wou lddeliver casts of these also to his friends (Kleisner 2005, pp. 91-92). Durer'sportrait on the Schwarz medal was then used as a model by future medal­casters in the 16th century and onwards.

TK

1./29MEDAL OF THE CITY OF NUREMBERG, DEDICATED TO CHARLES V

".'

, :..:-r. ,I

'\ ../

/~ ' IIt-~

I. 'I

"'ft ~ ,

\..~

" ~!I'J

"... ....

\\ . . -.,

..,;i; >'~·:I}

Hans Krafft the Elder (1481-1542)after Albrecht Dii rer, 1521

Galvanic cast of a struck medal,diameter 6.65 cmObverse: bust facing right, crowned,decorated with the Order of the GoldenFleece and in full armour, inscription:CAROLVS:V: RO:lMPER: (Charles V,Roman Emp eror), surrounded by 14coats of arms as follows: Castille, Aragon,Leon, Cata lonia, The Two Sicilies, Naples,Jerusalem, Andalusia, New Castille,

no

Mathes Gebel, 1528

Bib liography: Habich 1929, 1/2, p. 142, cat. no. 968;Mende 1983, pp . 215-218, cat. no. 34; Trusted 1990,p. 42, cat . no . 36.

Cast silver, diameter 3.82 cm, weight 23.97gDatedObverse: bust facing right, inscription:IMAGO+ALBERTI+DVRERI+AETATIS+SVAE+LVI (the image ofAlbrecht Durer at theage of fifty-six)Reverse: inside a laurel wreath with aribbon, inscription in seven lines: .BE.MA.j .OBDORMIVIT.j .IN. XPO.j .VI.IDVS.j .A PRIL IS.M .D.j .XXVIII./ .VI.C.VI.(= beatis manibus obdormivit in Christosexto idus aprilis millesimo quingentesimovicesimo octavo.virtute candida vixit - hepassed awayto his blessed ancestors inChrist on 8April 1528 - his life shone inbrillance)Prague, NationalMuseum (H5-152ARVIIIb32).

Bibliography: Herrgott 1752, pp. 72-73, cat. no. VII;Habich 1929, 1/1, pp. 5-6, cat . no. 18; Mende 1983, pp .182-186, cat . no. 13;Trusted 1990, pp . 64-65, cat. no. 91;Currency of Fame 1994, pp. 215-218, cat. 110. 84 (authorof entryHermann Maue).

Galicia, Valencia, Toledo, Granada andNavarre, crowned with Charles' insignia

- Herculean columns with the links of thechain of the Golden Fleece and bearing theinscription: PLVS VLTRA (tobe continued).Reverse: Imperial Eagle with theBurgundian-Austrian coat of arms andthe date: 15 21, surrounded by 14coatsof arms: Sardinia, Cordoba, Corsica,Murcia, Iaen, Algarve, Algeciras, theCity of Nuremberg, Mazarron, an emptyescutcheon of the Arms of the New World,Menorca, Mallorca, the Canary Islandsand Gibraltar.Prague, National Museum (H5-73/60, 1625(from the collection of Iosef Michera)).

1./30MEDAL COMMEMORATING THE D EATH OF ALRECHT DURER

TK

Afterthedeath of Maximilian I,the nineteen-year old Charles was elec tedhissuccessor in 1519, and crowned in Aach en in 1520 . According to thetradition confirmed by the Golden Bull of Charles IV the new Emperorwas to summon his fir st Imperial Diet in Nuremberg, and as a ru le hewould receive there a vessel fill ed with coins. On this occasion, the CityCouncil prepared for the ruler one hundred copies of a portrait medal,altogether exception al both in terms of the amount of silver u sed in eachpiece, and their unpreced ented size. The coinage itself attested to thehighest skill and art of the time, wh ich the Nurembergers were carefu lin accentuating.

The heraldic pro gram wa s composed by Willibald Pirckheimer, andon this Albrecht Durer then drew an "orde rly and proper design". Theaccuracyofthevarious coats of arms wa s then confirmed by Maximilian'scourt historian and poet laureate,Jan Stabius (1462-1522).The goldsm ithand dieengraver Hans Krafft fir st cast the basic sh ape in silver, and thengave it a final form with stamps, which h e di vided into two independentparts for each side , in order to minimize the risk of the coi ns breakingunderimpact.For the di es alone h e received the lump su m of 150 gu lden s,andintotal the city paid for 167 copies of the design.

However, there was an outbreak of the pl ague in Nuremberg, andCharles instead su m moned the Imperial Diet in Worms. The city councilnever delivered to the Emperor their present of twenty kilograms of silver,and hadmost of the medals melt ed in 1537.During his fir st visit to the cityin 1541, the Emperor received two thousand ducats. In 1613 twenty-fourmedals remained in the Nuremberg archive, and today we kno w of lessthan ten. The dies that survived re m ained in the Cit y Hall as late as the19thcentur y,but they were broken during an attempt to mint new coins.

TK

The Classical motif of a laurel wreath, as the highest symbolic reward,and the elaborate Latin inscription indicate that the medal or igin ated inthecircle of Du rer 's fri ends - the world of Nuremberg humanist scholars.The sculptor, eng raver and designer of m edals Mathes Geb el (around1500-1574) was awarded citize nsh ip in Nuremberg in 1523, so he hadthe opportunity to meet Albrecht Durer during the following five years.Gebel's authorsh ip of the Durer med al is recorde d by written testimony.When UlrichStarck, one of the wealthiest m en in the city, com m issionedhisownmedal from Geb el , h e required that it be modeled after a portraitfor which he h ad sat for Durer in 1527.

III

111./13COMMEMORATIVE COIN OF LUDWIG I OF BAVARIA

FOR THE UNVEILING OF THE DURER MONUMENT IN NUREMBERG

Carl Friedrich Voigt,minted in Munich, 1840

Struck silver, diameter 3.8 cm, weight37.11 g, signed, datedObverse: bu st facing right, inscription:LUDWIG I KOENIG VON BA Y ER N(Ludwig I, Bavar ian King), signed:C.VOIGTReverse: sta tue on Nu remb erg's AlbrechtDurer Square, with the inscription:STAN DBIL DA. DURER'S ERRICHTETZU N URNBERG 1840 (st atue of AlbrechtDu rer, erected in Nu remb erg in 1840)Prague, National Museum(H5-82AR1Vc264).

Bib liograp hy: Mende 1983, pp . 302- 303, cat. no . 87.

TK

111./14EMPEROR MAXIMILIAN I IN DURER'S STUDIO IN NUREMBERG

Vilem Kandler, 1841

Oil on canvas, 99 x 135 cm, signed on thebase of the easel: WilhelmKandler inv. etpinx. A. D. 1841.Prague, Picture Gallery of the RoyalCanonry of Premonstratensians at Strahov(01279).

Bibliography: Catalogue 1841, p. 6, cat. no . 199; Tornanr, p. 461.

222

Kan dler created this painting at twenty-five, shortly before enrollingin Ruben's studio of historical painting at the Prague Academy. Thyoung ar tist undoubtedly developed an emotional bond with AlbrechtDu rer 's work through the Nazarene [oseph Fuhrich, whose examplehad a lifelong influence on him. The canvas on exhibition, acquired bythe Strahov Abbot [eronym Iosef Zeid ler, was probably created in directconnection to The Feast of the RoseGarlands, the significance of which thCent ral European Romantics had begu n to discover at that time.

Albrecht Du rer and Maxmili an I were unders tood by the Romantictradition of art history as the exemplification of the genius artist and then lightened patron, equal to the most illust rious Classical examples ofsuch a relationshi p (Phidias - Pericles, Ape lles - Alexander the Great)as well as those of the Italian Renaissance (Michelangelo - Iu lius I1,Raphael - Leo X, Titian - Charles V). This legend had been nurturedfrom several sources (compare with Hinz 1971, pp. 32-33 ). Together wit hother foremost German ar tis ts, after 1512 Durer participated in sompublishing enterprises connected with the present ation of the personof the Emperor and his ethical as well as political ideas. He personallymet the ruler during the Imperi al Diet in Augsburg, where he portrayedhi m, and in hi s own hand made notes on the margin of the preparatorydrawin g for Maximili an's port rait (Vien na, Albertina) with the dateJune 28, 1518. Karl van Mander had also noted an anecdote relating tothe Emperor's allege d visi t of the Nuremb erg city hall at the time whenDurer was working on the fres coes there, in which Maximilian I askedsome nobleman in his entourage to hold the ladder for the artist. The