. Italian medals . theprince (born in 1422), but also the inscription on the reverse,which designates him as the commander of the Neapolitanarmy, a dignity that was only granted to Federigo in 1450,fixes its date, roughly speaking, in this year. It cannot there-fore belong to 1474, as Friedlander has it, explaining theermine on the reverse as symbolical of the Order of the Ermineof Aragon with which Federigo was invested in 1474, whereas,in fact, it merely represents one of the many imprese of theDuke.* Entirely corresponding in size, style and inscription This date of 1450 is supported by the
. Italian medals . theprince (born in 1422), but also the inscription on the reverse,which designates him as the commander of the Neapolitanarmy, a dignity that was only granted to Federigo in 1450,fixes its date, roughly speaking, in this year. It cannot there-fore belong to 1474, as Friedlander has it, explaining theermine on the reverse as symbolical of the Order of the Ermineof Aragon with which Federigo was invested in 1474, whereas,in fact, it merely represents one of the many imprese of theDuke.* Entirely corresponding in size, style and inscription This date of 1450 is supported by the circumstance that our medal does not representthe Duke—as all subsequent medals do—with the bridge of his nose broken. The tourna-ment in which he suffered this injury, as well as the loss of his right eye, took place at thefete given at Urbino in 1450 to celebrate the elevation of Francesco Sforza to the Dukedomof Milan (see Dennistoun, Memoirs of the Dukes of Urbino, London, 1851, vol. i. p. 95). 98 Plate XX. The Medallists of Venicet etc* to the former, and therefore belonging to the same period, isthe second signed medal of our artist, representing Alfonso,King of Naples (PI. XX., 3). It is not therefore a restoration,as Friedlander in accordance with the opinion expressedabove was forced to assume, but taken from life. Like it,therefore, the medal of Montefeltre must have been producedat Naples. Although not works of distinguished merit, bothare nevertheless pleasing achievements of a very able artist,and at all events show greater animation than the more pre-tentious piece of Clement of Urbino. 99 IV THE FLORENTINE MEDALS IV THE FLORENTINE MEDALS N none of the many centres of art in Italy, Veniceherself not excepted, did the medal develop to sucha height as in Florence. The work of one singlemaster (the most productive of all, it is true), Pastorino dePastorini, with his nearly two hundred pieces, exceeds by aconsiderable number the entire series of both signed andan
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