MEDALS. Numismatists have usually given the name of medals to those coins that have been struck or cast for particular purposes and on extraordinary occasions, in commemoration of victories, treaties, coronations, and similar important events, or in,honour of remarkable persons, in distinction to those which have been issued circulated as money.
The words mcdaglia and medaglione first occur in Italian writers, from whom the English and French have evidently taken their medal and medallic. The derivation seems to bo from the Greek 4raAAov (metal), of which medals are always made.
A reference to medals, in connection with numismatics, has been made in the article on coins [Cour], to which a few observations must now be added respecting them independently of their relation to the general subject. Owing to the earlier writers on ancient coins con sidering them as medals, and not coins, the term knowledge of medals was applied to the study of numismatics. The Greeks struck no medals; but certain largo coins of Syracuse, weighing from 668 to 680 grains of silver, dckadrachms, or pieces of 10 drachms, have been called erroneously by some numismatists medallions. They were, however, destined for circulation, like the 20 shilling silver coin of Charles I. in England, and the I00 zecchini gold of Ludovieo Manin, dogo of Venice, 1789-97. The first ancient medals, in the proper sense of the word, are the Roman brass medallions [NUMISMATICS], with which may be classed the brass pieces called contorniati, spintrice, &c. Oold and silver coins of unusual size and weight are also called medallions, and by some supposed to have been issued for commemorative purposes.
Among the peculiarities which distinguish modern from ancient medals, may be mentioned the introduction of portraits of illustrious characters who were not of princely or regal houses. It is remarkable that while busts are found of many celebrated poets, historians, and philosophers of antiquity,their portraits seldom occur on medals. When, after the long interval of darkness in which literature and art were enveloped, from the decline of the Roman empire to the 7th or 8th century, taste began again to appear, and, with the other arts, die engraving revived, it was employed in transmitting to posterity the portraits of eminent individuals.
The first medals were the productions of painters and sculptors, and were made of lead or bronze, and cast in moulds of clay or fine sand taken from models of wax. The art was subsequently taken up by goldsmiths, and medals were made in repousse work, or in chasing in the precious metals, or in bronze, a style of work which Carradosso and Cellini chiefly produced. At the beginning of the 16th century, in Germany, medals were made in boxwood or soapstone from which moulds were made : and the medals cast and chased by Albert Durer and other artists. At the beginning of the 17th century Camelio began to cut steel dies, a master mould, or model of raised steel, was made, and soft iron dies stamped from it. Cellini had previously used dies for small medals. About A.D. 1583 small enamelled medals were made by jewellers for ornamental purposes.
The earliest examples of modern medals and medallions seem to be of the 15th century, though there is one remarkable exception to this in a medal of David IL, king of Scotland. It is of gold, and was probably executed during that prince's captivity in England, some time between the years 1330 and 1370. Another medal of A.X. 1371, of the Lord of Sehornverst is also known. From the 15th century there is a succession of medals in most European countries. A gold medal of the council of Florence, dated 1439, is one of the earliest. A still earlier one, if the date 1415 is correct, is of John Huss; but some doubts have been entertained of its authenticity. Vittore Pisano painter of Verona, is celebrated as the restorer of the art at that period; but the medal alluded to of David of Scotland seems to prove that it was practised before his time. Pisano's medals are very large, and are all cast. They are usually inscribed " Opus Pisani Pictoris." It is curious that he should always refer to his being a painter, while exercising a totally distinct branch of art. Another painter, Boldu, in 1457 made a medal of the poet Dresararo.