. Italian medals . ent of the Netherlands in 1559, and is knownfrom Goethes Egmont. Plate XXXI., 2, is the portrait ofLucrezia Medici, daughter of the Grand-Duke Cosimo I. ;a victim to political schemes, she was married at the age ofthirteen (as represented in our medal) to Alfonso II. of Este,and poisoned three years later, probably by her husband him-self. Lastly, we have the exceptionally fine profile (PI. XXXI.,4), as intellectually animated as it is splendidly attired, ofAlberto Lollio, the founder of the Accademia degli Elevati atFerrara, the type of the distinguished scholar of the Cinq
. Italian medals . ent of the Netherlands in 1559, and is knownfrom Goethes Egmont. Plate XXXI., 2, is the portrait ofLucrezia Medici, daughter of the Grand-Duke Cosimo I. ;a victim to political schemes, she was married at the age ofthirteen (as represented in our medal) to Alfonso II. of Este,and poisoned three years later, probably by her husband him-self. Lastly, we have the exceptionally fine profile (PI. XXXI.,4), as intellectually animated as it is splendidly attired, ofAlberto Lollio, the founder of the Accademia degli Elevati atFerrara, the type of the distinguished scholar of the Cinque- 149 Italian Medals cento; and the portraits of the two Gonzaga princesses—Margaret, sister of that Bonifazio of Montferrat whose medalby the hand of the painter Caroto we reproduced in Plate XIV.,I, and wife of Federigo II., first Duke of Mantua; andEleanora, daughter of the Emperor Ferdinand I., who, as wifeof Guglielmo Gonzaga, was from 1561 the daughter-in-law ofMargaret (PI. XXXI., 5 and 6). 50 Plate XXXI. •I- p. 150 V THE MEDALLISTS IN ROME V THE MEDALLISTS IN ROME URING the entire Renaissance the Eternal Citynever offered the fostering soil from which it waspossible for great artistic individualities to any work of importance to be produced, it wasnecessary to import the creative power from no single one of the pictorial monuments in the grandstyle, and scarcely one of the pieces of sculpture which wenow admire in the churches and palaces of Rome, is of nativeorigin. And even the foreign masters of foremost rank, whowere summoned thither, had no sooner finished their tasksthan they hurried away. We must descend to the brillianttimes of Julius II. to find a Bramante, a Raflfaello, or aMichael Angelo residing permanently in Rome. It wasotherwise, it is true, with artists of inferior rank. They cameand remained willingly, because in Rome the chief parts were 153
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