. Italian medals . e medal of Aldus Manutius (PI. XVI., 7), which still preserves the austere style of the Quattrocento, although it can only have been produced after 1495, as is shown by the reverse with its beautiful emblem, copied from a denarius of the Emperor Titus, which Aldus adopted that year. We have also the somewhat weak portrait of Agostino Barbarigo (1486-1501), in which we should not recognise the energy of the Doge who seized Cyprus and headed the league against Charles VIII. of France (PI. XVII., 3). Far otherwise does the energetic likeness of Pietro Grimani, Knight of St. Joh
. Italian medals . e medal of Aldus Manutius (PI. XVI., 7), which still preserves the austere style of the Quattrocento, although it can only have been produced after 1495, as is shown by the reverse with its beautiful emblem, copied from a denarius of the Emperor Titus, which Aldus adopted that year. We have also the somewhat weak portrait of Agostino Barbarigo (1486-1501), in which we should not recognise the energy of the Doge who seized Cyprus and headed the league against Charles VIII. of France (PI. XVII., 3). Far otherwise does the energetic likeness of Pietro Grimani, Knight of St. John, brother of the Cardinal Domenico, appeal to us; all that we know of him is that, as orator of the Republic, he acted successfully in Hungary against the common hereditary enemy of the two powers—the Turks (PI. XVI., 8). The characteristic medal of Leonardo Zantani (PL XVII., i), an entirely unknown personality, belongs to a series of five pieces, all alike excellent, which on account of their date 84 Plate XVI. 8 GAMBELLO, ALESS. VITTORIA ANONYMOUS VENETIANS The Medallists of Venice^ etc* have been designated as works of the Master of two graceful, most tenderly handled busts of CaterinaSandella, a mistress of Pietro Aretino, and of their daughterAdria (made before 1548, when she was married), bring usnear to Alessandro Vittoria, with whose medals they showthe greatest affinity (PI. XVII., 2). The medal was, as Aretinohimself tells us, cast in memory of the mother, who haddied young; hence the idealised arrangement of the hair,and the Greek profile, while the likeness of the daughteron the reverse with the wonderful wealth of hair, dressed ina so-called corn-plait at the top of the head and disposed inmagnificent braids behind, appears entirely true to life. Themedal, cast about 1560-1570, of Antonio Bossi (PI. XVII. 4),in the effective figure of Kama on the reverse, conceivedsomewhat in the style of Tintoretto, and the accompanyinglegend, Nunquam Moriar, rebukes
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