THE NAPOLEON SERIES OF MEDALS.

[From The Morning Post, August, 1816.]

MR. EDITOR,—The series of national medals executing under the directions of Mr. Mudie engaging, and very deservedly so, considerable attention, it may not be amiss to submit to your notice a few remarks on the Napoleon series, in rivalry of which, it is admitted, this undertaking has originated; and I trust the contest of the arts may be as successful as the contest has been in arms and policy. A complete series of the Napoleon medals (by which is meant those only which were issued at the Paris mint) consists, as appears by the official catalogue now lying before me, of 142 medals of different sizes, and records all the principal events in which Bonaparte was engaged or interested, from the battle of Montenotte, A.D. 1796, to his return from Elba, 1815. It is reasonable to believe that the Napoleon series was intended to rival or excel that of Louis the Fourteenth, which records all the remarkable events of his reign, from his accession, A.D. 1643, to his death, A.D. 1715, in a series of 506 medals. In point of numbers Louis therefore has the advantage; but, in the execution and finish of the medals, I think that in some points the superiority may be adjudged to Napoleon, and principally in reference to his reverses, which frequently possess a boldness and delicacy of which we have few examples to produce in competition. The dies were engraved by eighteen different artists,* of whom the ablest are Andrieu, Galle, Droz, and Brenet. The designs for 117 are stated in the catalogue to have been furnished by Denon. The portraits of Bonaparte which they give vary surprisingly, and are of very unequal workmanship, which applies also to the reverses, many being wretchedly bad, and others exquisitely beautiful. The subjects of the reverses are allegories designed by French artists of celebrity, or copied from ancient medals and gems,

Andrieu, Auguste, Brandt, Brenet, Depaulis, Droz, Dubois, Dumarest, Duvivier, Galle, Gatteaux, Gayrard, George, Jaley, Jeuffroy, Jouannin, Lavy, and Michault.

or the most celebrated buildings, ancient and modern, in those countries visited by his (Bonaparte's) arms. Happily these favoured realms have not contributed in this respect, though they are noticed, directly or otherwise, on nine occasions. I may mention four: On the peace of Luneville we are presented with a globe; the sun of glory shines on France shaded with laurels, and over England hangs a heavy cloud, from which lightning streams upon the devoted country. Motto: "BONHEUR AU CONTINENT." Another informs us of the building of 2000 gun-boats, and the sequel is prophetically announced by a Hercules strangling a leopard between his knees. On a third is Victory on horseback, driving at full speed, and the inscription records that the peace of Amiens was broken by the English in May, and Hanover occupied by the French army in June, 1803. This was a palpable good hit, as was also Napoleon's "JUPITER STATOR" on our unlucky Walcheren expedition. But I would recommend to Mr. Mudie, as a very fair and proper retort, to strike a medal with this leopard or lion strangling or destroying the Hercules. Motto: "BONAPARTE DEFEATED AT WATERLOO, JUNE 18, 1815." Reverse, the Victory on horseback, at full speed. Motto: "PARIS OCCUPIED BY THE ENGLISH ARMY, JULY 7, 1815." The dignity (or insolence) of "the great Prince" shines in full lustre on many of his medals. On the peace of Amiens he stands, with Victory in his hand, bestowing the olive on Britannia, who, poor lady, is reclining on the ground. On his interview with the Emperor of Austria after the battle of Austerlitz, Bonaparte appears in full armour, resting on his sword; near him is planted the eagle, or French imperial standard; at his feet lay those of the Austrians; and the Emperor Francis is represented as an unarmed Dacian, and bowing in a supplicating attitude; then follows the great Emperor Napoleon receiving a deputation from Paris in the Schönbrunn Palace; and last, though not least, "Thanksgivings for the peace ordered at Vienna by the Emperor Napoleon." This medal has on it the cathedral of St. Stephen's at Vienna, and is, perhaps, the most highly finished in the series. Some of the mottoes are a little inapplicable at present: for instance, on the coronation, “FIXA PERENNIS IN ALTO SEDES;" and on the battle of Eylau, "VICTORIA MANENTI ;" and there is the glaring impropriety of mixing French and Latin legends, not only in the series, but even

on the same medal. It is curious that none of his brothers are admitted in the series, although the Pope and other vassals are. Indeed, Jerome is the only one noticed; nor are his sisters, until after his return from Elba. I think it would be very uncandid not to admit that the Napoleon series is, on the whole, one of the finest that has been executed; but it would take up too much space to enter into the proof. Its French competitor will be found that of Louis the Fourteenth; its European, that of the Popes. As far as Mr. Mudie's goes I trust it will excel it; but, to effect this, he must bring into the field able artists to design his medals, and able artists to engrave them. I should hope our painters, if applied to, would afford their assistance in an undertaking which may be considered national. The surrender of Bonaparte ought to form one subject, and on this medal the head of the Prince Regent, I think, should be introduced. The peace of Paris may conclude the series, the design for which might be Justice descending on the earth. Motto: "TREATY OF PARIS, NOV. 20, 1815;" and in the exergue, on a scroll, "INDEMNITY FOR THE PAST, AND SECURITY FOR THE FUTURE."

23rd August, 1816.

R. S.

From the "Catalogue du Musée Monétaire," Paris, 1833, “Le nombre des medailles porté au Catalogue, Regne de Napoleon, est de 206, parce qu'il y en a 33 marquées de lettres C. P. dont les coins appartiennent à des editeurs, et se vendent pour leur compte." At this day (31 January, 1853) the coronation-medal of Napoleon the First has a revived interest. It stands thus in the catalogue, page 339: "No. 57, Fêtes du Couronnement. Fêtes superposées de Napoleon et de Josephine. Légende, Napoleon-Josephine. Revers,-un aigle couronné de laurier, tenant dans ses serres des branches de laurier, est placé sur le sommet d'une montagne. Légende, Fixa perennis in alto sedes.' (Sa demeure est fixée pour toujours au sommet.) Exer. Fêtes du couronnement données a

l'Hotel de Ville, an XIII.

Module, 16 lignes. (Brenet f.)"

PAPAL MEDALS, AND THE HAMERANI FAMILY OF

ENGRAVERS.

I have never seen any work on Papal Medals, and am therefore quite ignorant when Italian writers consider that the Popes began to strike medals. I have an unbroken series of what I consider contemporary medals, from Pope Martin V. A. D. 1417, to Pio Nono, A. D. 1846. I have a medal of Gregory XII. a. D. 1406, which I am disposed to think may possibly be contemporary; but any others which I have of Popes previous to Martin V. are evidently modern.* One of Alexander V. A. D. 1409, has an engraver's initials "S. V." and these same initials I also find on a

While I say that I have not seen any struck medals of Popes, which I considered could be contemporary, earlier than Martin V. A.D. 1417, I would wish to guard myself against stating decidedly, that from Martin V. those that I have are so, for I am not competent to offer an opinion. When, on the revival of numismatic art, medals were first struck (as distinguished from cast) is a question I have never investigated, nor indeed, had I been so inclined, have I had the opportunity of examining collections of early medals, by which means only the necessary information can be acquired. The low relief of Martin V.'s busts, stiff outline, and coarse work, are in accordance apparently with the times; and those of most of his successors, till nearly the close of that century, seem the work of different engravers, and, artistically considered, are little better in execution. Most of them appear of more recent coinage; but, as I have had medals struck for me at the mint of Paris from the original dies, of all periods, from the marriage of Mary Queen of Scots, A.D. 1558, to the coronation of Charles X. A.D. 1825, their condition is no evidence for or against the age of the dies. But with one exception, to which we will return, the uniform size of all that I have, from Martin V. to Pius III. A.D. 1503, contrasted with a total absence of uniformity of size in the medals of the same Pope, from Julius II. A.D. 1503, has a suspicious appearance. One of Sixtus IV. has on the reverse the Casa Sancta, and on the exergue beneath the door are two dates, thus: 1475 from which I inferred that the die had been engraved for the Jubilee of Nicolas V. 1450 A.D. 1450, and again used for that of 1475. When was the jubilee shortened from 50 to 25 years? That bears on the question, as I have jubilee medals dated every 25 years, from 1425 to Pius VI. 1775. I have, however, one struck medal of Calixtus VI., who came to the throne in 1455, and died in 1458, which is smaller in size than Martin V., and the workmanship of the bust is almost barbarous. The ear, mouth, cheek, and eye, are

medallion of Clement XII. A.D. 1730; the style of work, which is good, very similar on both. Probably the earlier Pope is part of a series, like ours of the kings of England by Dassier. It is to be regretted that Dassier's able graver had not a particle of taste to guide it, and indeed seems to have been under the spell of some evil genius, and has produced such abominations that I would not take the set as a gift, if I must give all cabinet-room. We know that at the Mint of Paris all the dies of medals engraved by government, from Charles the Eighth, A.D. 1483, to this present day, have been preserved, and impressions from any are struck for sale, on application. In this the French followed the example set by the Papal mint, for it is quite evident that medals of the same Pope, and from the same dies, have been struck at very different periods, and those of a fresher appearance will be found inferior in sharpness, and with cracks and other minute injuries in the dies, from wear. This is quite apparent in the obverses of two medals of Martin V., now before me. The reverse dies were frequently used by succeeding Popes. The coronation of Martin V. A. D. 1417, is also used by Eugenius IV. A. D. 1431, and by Adrian VI. A. D. 1522. The reverse of Calixtus III., on the defeat of the fleet of Mahomet II. A.D. 1456—Ships dispersed and sinking, "Hoc vovi Deo," is also used by Pius V. A.D. 1571, on the defeat of the Turkish fleet of Selim II. at Lepanto. There are two other medals of Pius V. on the same subject, and the improved style of engraving marks the workmanship to have been of very different periods. The reverse dies of the Jubilee medals were more particularly used by succeeding

rather indicated than represented, scratched in rather than worked out; and, instead of the tiara, a low and very inelegant mitre covers, instead of surmounting, the bust, looking as if some one had knocked it on from behind. The reverse, as I have mentioned in the text, is made use of again for the battle of Lepanto. If any person in England, where it can be fully investigated, should take up the Papal series, I would call particular attention to this medal. The letters on the obverse look modern, those on the reverse are coarse and deep. It is much to be lamented that in England, where there are so many collectors, there are so few numismatists. There is no want of ability, but there is a sad absence of exertion-amassing, but not digesting-heaping, but not dispersing. Read a priced catalogue of the Pembroke, the Thomas, or any other great sale, and observe the prices paid for R. R., unique, and unpublished coins and medals, which when consigned to their new cabinets are too frequently little seen and less heard of. Then turn to the pages of the Numismatic Chronicle, which barely exists for want of contributors, though surrounded by the richest cabinets in Europe. This is not as it might be, still less as it ought to be.