The Papal medals are among the finest of a continued series. They commence properly with Paul II., who began to reign in 1464, those of pontiff's who lived prior to that date having been added to the collection by his successors. Till the age of Julius II. they were cast in moulds, and not struck. Some of the medals of a later period are valuable examples of the art, in which great improvements took place under Alexander VI. His successors, Julius II., Leo X., and Clement VII., had many of their medals designed by Raffaelle and Giulio Romano, while Benvenuto Cellini and other distinguished artists were employed to engrave them. The medals of Julius III., in 1550, and of Gregory XIII., in 1571, were made by Covinio and Bassiano. Cermani, who engraved in 1644 a medal of Innocent X., having on the reverse Olympia Maidalchina, was imprisoned. Par migiano engraved a medal of Gregory XIII., on the Restoration of the Calendar. Many of the Cinque-Cento medals are chased, as well as cast or struck. A Germaefamily, named Ermerani, or Hamerani, of eminence as medal engravers, settled in Italy about the middle of the 17th century, and executed many of the papal medals. This talent was not, it appears, confined to the men of this family ; Venuti says each of the daughters also produced a fine medal. In later times Oirometti and Cerbara are renowned.
The German medals commence in 1453, and are very numerous ; tho Emperor Maximilian I. and Rudolph II. employed Italian artists, but the German artists of Augsburg and Nuremberg acquired great celebrity. The Sicilian medals appear as early ss 1501. The .first modern satirical medal is of that time, and was published by Fre derick II. against his adversary Ferdinand, king of Spain. It bears on one side the head of Ferdinand, with the inscription FERDINANDVS R. AR. VETUS VULPES ORRIS; on the reverse, a wolf off a sheep, with JUOUM MEUM SUAVE EST ET ONUS MEUM LEVE. Many others might be mentioned of this description. The employment of medals for the conveyance of satire is not confined to the moderns. They are the precursors of the modern caricatures.
In Russia the taste for medals commenced with Peter the Great, and Maria Fecdorowna the wife of Paul I., and Count Feodor Tolstoy, in the beginning of this century, engraved medals of considerable merit.
The Spanish medals begin in 1503. The earliest of Venice appear in 1509 ; and those of Denmark in 1474. The first Dutch medals seem to be of 1566, and they are remarkable for the elaborate views, maps, and plans that are engraved on many of them. It has been observed among the distinctions of ancient and modern medals, that in the former, when buildings are represented, the simple elevations only are given, while in the latter perspective views are exhibited. The Dutch indulged very freely in the satirical vein, and for which they eventually paid very dearly, as it contributed, in no small degree, to bring on them the whole hostile power of France under Louis XIV., who is said to have been highly exasperated at the publication of a medal in which Van Heubingen, the Dutch ambassador, was repre sented as Joshua (his name) arresting the progress of the sun, under which type the flatterers of Louie designated that monarch. Mueller,
Pool, and Abeele were chiefly renowned.
The French medals commence with Louis XI., and reached high perfection in the reign of Francis I., who employed Cellini. The popularity of Louis XIV. gave an impulse to the art, and we find his entire life illustrated (with more respect, however, to the national glory and the prince's vanity than to historical truth) by medals ; some of them are well designed and finely executed. The best engravers of these medals were Dupre, Varin, and Duvivier. The medallic history of Napoleon I. deserves notice in the series of medals of France. It is of great extent, and is, for the most part, honourable to Frencn art. These medals, executed by Andrieu, Jeuffroi, Droz, and Manfredini, exhibit great classical taste and feeling, and contain a record of the events of the first empire. The reverses are generally allegorical. Many of them were executed from the designs of the celebrated Devon, and the painter David. One, struck in anticipation of the taking of London, is remarkably rare. In recent times Barre made fine medals for Louis Philippe.
The series of English coins and medals ie one of the most perfect. The first medal is of 1480. It is of a large size, and is executed in the early Italian manner. On one side is a portrait of Sir John Kendal, general of cavalry of the order of Rhodes, with to. KENDAL. nuour. TURCUPELLARIUS ; on the reverse, the arms of Kendal, with the inscription TEMPORE OBSIDIONIS TURCORrM. MCCCCLXXX. It is believed to be of foreign, probably Italian, workmanship. The next English medal is of the time of Henry VIII. It is of gold, and bears the king's portrait on one aide, with an Inscription on the reverse. The first coronation medal appears In the reign of Edward VI. The medals of Queen Mary am numerous, and very interesting from the devices they bear. There are many fine and beautiful medals of Elizabeth. The Scotch coronation modal of Charles I. is of gold, and was struck at Edinburgh. Briot was the best artist of this reign. It is remarkable as being the first struck in Britain with a legend on the edge. Specimens of this medal in gold are very scares The medals of the Commonwealth and of Charles II. are by Simon, and by the Roettiers, Dutch engravers, who were succeeded by Croker, engraver in the reign of Anne. Thom of Queen Anne are interesting from their being charged with the achievements of the groat Duke of Marlborough. Soon after this a Genevese artist, of the name of Da/seder, wee employed upon the medals of the kings of England, and executed many portmita of royal and other illustrious characters. Natter, the celebrated gem engraver, made medals in the reign of George III. In recent times many admirable medals have been engraved by the Wyons, and I'istrucci, a celebrated gem engraver.