MILITARY MEDALLIONS
General considerations--The "lost wax" process--Hadrian's
medallions--Renaissance examples--Simon, the medallist--Wyon's
work--Public collections--Some noted medallions described
From the days when Roman militarism dominated the world down to the
present time, the deeds of successful soldiers have been commemorated
by the striking of medallions. Needless to say these metal pieces,
which so admirably recall the outstanding events in war and soldiery,
are highly prized by antiquarians, and the labour spent in gathering
together a collection of them is richly rewarded.
Medallions have been fashioned from all the usual metals, but gold,
silver, copper, bronze, and lead have been generally employed. The
processes followed in making them have been as numerous as the metals:
ordinary casting was, at one time, the favourite method, but striking,
engraving, and hand modelling have all been employed in turn. Mediæval
medallists often resorted to the "lost wax"[17] process, and extremely
fine work they were enabled to turn out by this means.
[17] Perhaps it will be well to briefly explain this system of
founding, as it is not generally understood. Adeline in "The Art
Dictionary," p. 243, describes it as follows:--
"A process of bronze founding in which the core is covered with an
accurate representation of the object to be cast in wax, the wax being
of the intended thickness of the metal. The wax is then coated with a
porous clay, and the whole mass is put in a pit and baked. During the
process of baking the wax melts and runs off through apertures left
for the purpose. The space left after the wax is melted is occupied by
the metal. This, the oldest method of bronze founding, is probably the
best, and in the present day it is being pretty generally adopted. In
the method, which for some time has been in vogue, the core was made
of the exact size of the object to be cast and afterwards pared down,
so as to leave space for the metal to run in between the core and the
mould."
The earliest medallions date from very remote times, but the Hadrian
era may be considered the period in which these souvenirs of memorable
actions first became popular. From Hadrian's time to the fall of the
Roman Empire they were struck to commemorate every deed of note,
but after the decline we hear little of them until the Renaissance,
when such Italian artists as Pisano and Guaciolotti revived their
popularity. From the Renaissance onwards, the art of medallion-making
flourished in Italy under the guidance of Benvenuto Cellini, of Albert
Dürer in Germany, and of Jacques Primavera in France, but it was
not until the time of Henry VIII that English workers turned their
attention to this pleasing way of marking important military and civil
events. Of course, we find medallions commemorating glorious deeds
which took place in periods other than those mentioned; in such cases,
the pieces were probably struck long after the occurrence took place.
It is a little difficult to know what specimens to include and what
to exclude from a collection of medallions, as there are no official
issues, and as any metal worker can flood the market with original
designs of his own or with facsimiles of rare and ancient strikings
of bygone artists. Personally, we think that any medallion which is
artistically fashioned and which commemorates an event of interest to
us is worth adding to the collection, but, of course, we must learn to
know the difference between an original and a counterfeit specimen.
This, however, is too intricate a science to explain here, but can
be learnt from works written by numismatists, with a fair amount of
application.
No catalogues exist of the English medallions issued since Henry VIII's
time, but the pieces which are the most interesting were struck by:--
1. Simon, who grew to fame in the reign of Charles II. He engraved the
royal seals and executed many fine medallions.
2. Rawlings.
3. The Wyon family. William Wyon, the most renowned of at least three
engravers of this family, engraved the royal seals, the Peninsular
medals, and the dies for the first postage stamps, besides many
medallions of a military and civil interest.
Collectors of these metal souvenirs should examine the exhibits in
the British Museum and the Royal United Service Museum, whilst an
occasional glance in the windows of Messrs. Spink & Sons in Piccadilly
will often reveal specimens of more than ordinary interest. This
well-known firm issue a monthly circular which contains much of
interest to the reader who is intent on adding valuable specimens to
his collection.
A few illustrations depicting some of the most noted medallions may be
given with advantage.
The specimen below, one of the oldest in existence, was struck in gold
to commemorate the glorious deeds of Julius Cæsar. Speaking of the
medallion, Plutarch says:--
"Julius Cæsar, on his return to Rome, after having won a successful
issue at the Battle of Pharsalus, was named the 'Liberator, the head
of the Fatherland, the permanent dictator,' and received for the first
time, the title of Emperor. The Senators, wishing to reward him for the
humane treatment which he accorded those who fought against him, during
the civil wars, erected a temple of Mercy, circular in shape, supported
by six columns, in the middle of which is the figure of 'Concord'
holding in the right hand the horn of Plenty and in the left a spear."
[Illustration]
The first medallion given on this page was struck to commemorate the
victory gained by William III at the Battle of the Boyne. The obverse
shows a familiar portrait of the King, whilst the reverse depicts him
in the act of crossing the river at the head of his troops.
[Illustration]
The next medallion shows James II on the obverse, and an orange-tree
laden with fruit by the side of an old oak, falling to the ground, on
the reverse. The piece was evidently struck to commemorate the fall of
James II, and the supremacy of the House of Orange.
[Illustration]
The fourth medallion is one of the numerous specimens which were struck
to do honour to Marlborough and his victorious army. The obverse shows
Prince Eugène and the Duke, who are likened to the Roman deliverers,
Castor and Pollux. On the reverse, a picture representing the rout of
the French and the surrender of Marshal Tallard at Blenheim is given.
[Illustration]
[Illustration]
The fifth piece illustrated here was struck to commemorate the Battle
of Ramilies. On one side the battle is represented at the moment of
victory; on the other is an emblematic representation of the union
of England and Holland. Behind the figure of England, on a pillar
inscribed with the first three letters of his name, stands a bust of
Marlborough, and opposite is another of D'Ouwerkerke.
[Illustration]
Another specimen in the Marlborough series is given below. The obverse
represents Marlborough and Eugène as Castor and Pollux whilst the
reverse presents a view of the battle and town of Oudenarde.
[Illustration]
[Illustration]
The medallion given at the foot of the previous page was struck to
commemorate the surrender of Lille in 1708. Victory is shown, on
the front face, taking the civic crown from the head of a prostrate
female, who represents the city of Lille, whilst the under face depicts
Britannia, with the Ægis, striking France with terror.
The eighth medallion commemorates the Battle of Dumblane.
[Illustration]
The ninth medallion was struck in honour of the victory gained at
the Battle of Dettingen on June 27, 1743, whilst the tenth, given
below, commemorates the victory of Minden, gained on August 1, 1759.
[Illustration]
[Illustration: A CHECK TO CORSICAN ASSURANCE.
By Cruikshank.]