[Sidenote: ARRANGEMENT.]
MEDALS serve for two purposes, for the illustration of history and
as records of the contemporary state of art. Some series, like that
of Italy, have more interest for their artistic merit than their
historical import. This may also be said in a great degree of the
French medals; but in the English and Dutch series the interest
lies rather in the historical value than in the artistic qualities,
the medallic art of neither country attaining at any time any high
degree of excellence. The medals which are described in this Guide,
although to some extent examples of contemporary art, must therefore
be considered interesting chiefly as records and illustrations of
the history of England for a period of over three hundred years.
For this reason a classification of the medals by artists has not
been attempted, and a simple chronological order has been preferred.
This, however, has been relaxed in a few instances, as in that of the
personal medals, which for the most part are placed at the end of the
reign in which the persons portrayed flourished; and in a few cases
where it has been considered advisable to class together the medals
of a particular artist, in order that the merit of his work could be
better studied and compared. This has been done in the case of the
medals by Stephen of Holland, Simon Passe, and some of those by Thomas
and Abraham Simon. The military and naval decorations form a separate
series, and are therefore described at the end of the Guide; by this
means making the arrangement more useful to those who take special
interest in this particular branch. A small selection could, however,
only be made from the series in the Museum collection, on account of
the limited space for exhibition. In many cases where English medals
fail to illustrate important events, selections have been made from
the Dutch and other series in order to render the historical record as
complete as possible.
[Sidenote: HISTORICAL SERIES.]
With very few exceptions, there are no medals of interest in the
English series dating before the reign of Henry VIII. During the
fifteenth century a few counters were struck, which directly or
indirectly refer to events in English history; but these are for the
most part of French work, and the medal which is placed first in this
Guide, although bearing the portrait of an Englishman, John Kendal, is
undoubtedly of Italian work, and was probably executed at Venice. The
Dassier series of the early sovereigns, being a production of the last
century, cannot be said to have a place in the early medallic records
of this country, and is not included in this exhibition. The series
of English medals may therefore be said to commence with the reign of
Henry VIII., of which period, besides a number of interesting jetons
and medalets, there are some well-executed medals of the King himself,
such as No. 3, his portrait evidently after a painting by Holbein,
another recording his supremacy over the Church (Nos. 4—5), and several
remarkable badges. There are also other medals, chiefly personal, which
bear the portraits of Sir Thomas More, Thomas Cromwell Earl of Essex,
Anne Boleyn, and Michael Mercator, himself a medallist as well as a
diplomatist. The short reign of Edward VI. gives but few examples, of
which two are exhibited, one bearing only a portrait of the king, which
appears to be a cast in lead from a silver plate; and the other, his
coronation medal, the type of which was taken from the "Head of the
Church" medal of Henry VIII. The only other interesting works of this
reign are the Christ's Hospital badges and medalets, the School having
been founded by Edward in 1553. Of Mary there is also little worthy
of note beyond some excellent portraits of herself and Philip, and a
medal which refers to the condition of England during her reign. These
were executed by Trezzo at Madrid, and are the first signed medals of
the English series. The illness of Elizabeth in 1572, her struggle
with the Papal party, as well as her acceptance of the protection
of the Netherlands, and the defeat and destruction of the Spanish
Armada, afforded subjects for commemoration. The medals relating to the
destruction of the Armada are certainly among the finest pieces ever
produced in England, and are good examples of the art of the time. The
period of Elizabeth ends with a series of medallic portraits by Stephen
of Holland, most of which bear the date 1562, and all apparently
executed about that year.
The undisputed accession of the House of Stuart to the English throne
and the peaceable reign of its first king limit the subjects for
medallic illustration. The medals of the reign of James are purely
personal, with few exceptions, such as the Gunpowder Plot (No. 45), and
the alliance between England, France, and the United Provinces, for
the protection of the latter against the power of Spain (Nos. 46—47).
The rest present us with several portraits of the King and of various
members of the royal family, and of leading personages, of whom are
the Marquis (afterwards Duke) of Buckingham, Richard Sackville Earl of
Dorset, Sir Thomas Bodley, founder of the public library at Oxford, and
others. There is also a series of royal badges, a species of memorial
which becomes much more general in the next reign. These are followed
by a selection of engraved portraits of royal personages and others by
Simon Passe, who excelled in this style of work.
There are no medals which indicate the early contest between Charles
I. and the Parliament, those which are issued before 1640 referring
for the most part to the royal family and to eminent persons, with
the exception of the Scottish coronation medals of 1633 and those
commemorating the settlement of the Dutch Fishery question in 1636.
After the Declaration of Parliament in 1642, when the country was
divided into two parties, a new era in its medallic history begins,
and medals are struck in extraordinary numbers. This continues during
the period of the Civil War, and, besides medals which record the
successes of both parties, there is a large number of Royalist and
Parliamentarian badges, with portraits of the generals and statesmen
on both sides. Fortunately, England at this time produced several
artists, whose works are fitted to take the first rank in the national
series. These artists were Thomas and Abraham Simon, who worked for the
Parliament, and Thomas Rawlins, who was in the service of the King.
The series of this reign ends with several examples of the badges worn
by those who sympathised with the royal cause and with a few medals
recording the King's death. With the period of the Commonwealth the
issue of royalist badges ceases, and for the next ten years the medals
are of the parliamentarian class. These consist of portrait medals
of the Protector, of his family, and of the leading statesmen and
generals, and also of military and naval rewards, for the most part
executed by the two Simons. The Dunbar medal (Nos. 149—150), which was
issued for distribution among those engaged in that battle, is the
first authorized military decoration known. It was struck by order of
the Parliament immediately after the engagement. Naval medals were also
issued on several occasions, the most important being those for Blake's
victories over the Dutch in 1653 (Nos. 155—158). The Commonwealth
series closes with several medals, English and Dutch, commemorating the
death of the Protector, and also with a few personal medals, chiefly by
the Simons.
The Restoration of Charles II. was an occasion not to be passed by
unnoticed by medallists, and of no event are there more medals, except
perhaps of the accession of William III. and Mary. Some anticipate the
restoration of the King, and others trace step by step his return from
Holland, his landing at Dover, the joy expressed by the people at his
return, and his coronation at Westminster. The unpopular cession of
Dunkirk is only recorded on medals issued in France by Louis XIV. or
on Dutch satirical medalets; but the well-contested engagements of the
subsequent struggle between England and Holland for the dominion of the
sea, and the close of the war by the Peace of Breda, are numerously
illustrated. Those which refer to the Peace of Breda were for the
most part executed in Holland, and are remarkable examples of the
Dutch medallic style of that time. Of the next war with Holland from
1672—1674, there are no English medals, and those relating to it which
are exhibited are French and Dutch. The alarm created by the growing
strength of the Catholic party and the discovery of the pretended
Popish Plot, with the murder of Sir Edmund Berry Godfrey and also the
Rye House Plot, form the subjects of the next group of medals (Nos.
233—238, 240). Of those of the 'Popish Plot' there is a remarkable
medal, which appears to be Dutch, and which gives in detail the
supposed circumstances connected with the murder of Godfrey. Many of
the portraits of the illustrious men who flourished during this reign
are the work of the two Simons, and were mostly executed soon after
the Restoration. The important events of the short reign of James II.
give much scope to engravers. Medals are shown recording the rebellion
of Monmouth and Argyll and its suppression, the attempt of James to
re-establish the Roman Catholic religion by the repeal of the Test
Act, the imprisonment of the Seven Bishops, and lastly the invitation
to William of Orange, with the abdication and flight of James, his
queen and son. On these latter medals frequent allusions are made to
the supposed illegitimacy of the young Prince. The series of plots
and rebellions which followed the flight of James are for the most
part recorded by medals struck by the Stuarts abroad (Nos. 292—319):
these were issued for distribution among those who sympathised with
the exiled house. The medals which bear the portraits of James II. and
his son are supposed to have been presented to those who visited them
in their exile. No. 311, on which the rule of the House of Hanover is
satirized, is one of the medals struck for the purpose of rousing the
adherents of the House of Stuart into action; whilst No. 315 refers
to the rebellion of 1745, and the next medal to the secret visit of
the Younger Pretender to London in 1752, when he was again planning
an invasion. The series ends with a medal setting forth the claims of
Henry Duke of York as Henry IX. to the throne of his grandfather.
With the Stuart family are specially connected the medalets which are
called touch-pieces (Nos. 320—324). The custom of touching by the
sovereigns of this country for the cure of scrofula or 'the King's
evil' appears to have existed since the reign of Edward the Confessor.
At first the practice was rare, but in course of time it increased to
such an extent that it is said Elizabeth's 'healings,' which were at
first monthly, became of daily occurrence, and many thousands were
touched. The power was not claimed by Cromwell; but at the Restoration
it was revived, and Charles touched during his reign over 90,000
applicants. It was also much practised by James II., but repudiated
by William III. It was again revived by Anne, who was the latest
sovereign to perform the ceremony, and among the last of those whom she
touched was the afterwards celebrated Dr. Johnson. The Elder Pretender
claimed the power, and so did his sons Charles and Henry, the former
having exercised it in the name of his father at Edinburgh during the
rebellion of 1745. It was during the reign of Henry VII. that the
presentation to each applicant of a small piece of gold attached to a
band of white ribbon was first generally introduced. The angel was the
piece given, partly because it was the smallest gold coin struck and
partly on account of a certain fitness of type and inscription, having
on one side the archangel Michael overcoming the dragon, and on the
other side a ship in the sea and the inscription 'Per crucem tuam salva
nos Christe Redemptor.' The coin remained of the same type during the
reigns of Elizabeth, James I., and Charles I.; but the inscription in
each case was changed. At the Restoration, when the angel was no longer
issued as a current coin, Charles II. ordered medalets of similar type
to be struck, bearing the inscription 'Soli Deo gloria.' On account of
the attendance at the 'healings' having so largely increased, these
medalets are much less in weight and size than the angel. James II. was
the first king to strike the medalets in silver as well as in gold;
which were scarcely half the size of Charles II.'s. The Elder Pretender
as James III. also struck them in gold and silver. There are no pieces
known of Charles Edward; but of his brother the Cardinal, as Henry IX.
there are specimens in silver. The medalet given by Anne is of gold and
somewhat larger than that of James II.
The medals of William and Mary and of Anne are the most numerous
and historically the most complete of the English series. This may
be attributed to the stirring events due to the connection of the
interests of England and Holland and to the number of active medallists
of Holland and Germany.
The journey of William to England, his landing at Torbay, his
subsequent coronation and the flight of James, are illustrated by a
number of medals of which interesting examples are described in this
Guide. The rebellion in Ireland, with the battles of the Boyne and
of Aghrim, and the capture of towns, next follow. The events of the
war with France, concluded in 1697 by the Peace of Ryswick, produced
medals, English, Dutch, and French, recording the naval battle of La
Hogue, the taking of Namur by the French and the retaking of that city
by William, the defeats of William at Steinkirk and Landen, for which
his own countrymen held him up to ridicule (No. 390), the unsuccessful
attempt on Brest, the bombardment of Havre and Dunkirk, and the taking
of Huy. The other events commemorated by the medals are the passing of
the Toleration Act in 1689, the regency of Mary, the return of William
to Holland, the death of Mary, the Darien expedition, and lastly the
death of William.
The War of the Spanish Succession, which had begun shortly before the
death of William, was even more fruitful in medals than the previous
conflict with France. For the events of the campaigns of the Duke
of Marlborough and of Prince Eugene of Savoy in the Netherlands and
Germany, and of that in Spain, as well as for the naval victories,
the reader must be referred to the descriptions given at pp. 89—104.
A few other events, which happened during the reign of Anne and to
which medals refer, are the establishment of the Queen Anne's Bounty,
the Union of England and Scotland in 1707, the attempted invasion of
Scotland by the Elder Pretender in 1708, and the trial of Sacheverell.
With the accession of the House of Hanover the medallic series of
England loses much of its interest. The affairs of England and Holland
being no longer so closely united, the Dutch artists ceased to execute
medals for England, and at that time there were few medallists in this
country. The series therefore from this period is far less complete and
of very inferior style and work. The only important events recorded by
the medals of George I. are the Jacobite rebellion in Scotland in 1715,
the war of the Quadruple Alliance, and the siege of Gibraltar.
The first ten years of George II. are also devoid of medallic interest,
and it is not until the outbreak of the war of the Austrian Succession
that we have a piece of any merit. The best medals of this period
are those of the battle of Dettingen executed by Haesling and of the
battle of Minden by Holtzhey, a native of Amsterdam. Other recorded
events of this reign are the taking of Porto Bello and the attempt
on Carthagena by Admiral Vernon (of these events there are more than
a hundred different medalets), and the Jacobite rebellion under the
Younger Pretender, 1745—6. There is also a series of medals issued by
the Society for the Promotion of Arts and Commerce, commemorating the
conquest of Canada and the successes of the forces of England in India.
In portrait-medals the most important are the works of Dassier, of whom
mention has already been made.
The medals which illustrate the long reign of George III. down to the
battle of Waterloo in 1815, at which point this exhibition closes,
will be found to record all that is of importance during that period.
The events are so numerous and varied that the reader must be referred
to the descriptions, which will be found at pp. 113—130. The greater
portion of the medals relate to the struggle of England with her
American colonists, and to the subsequent wars with France, Spain,
and Holland, by sea and land. Following these are several pieces
commemorating some of the battles of the Peninsular War, and bearing
portraits of the principal generals, and a few personal medals of
statesmen and others, among whom may be noted Washington and Benjamin
Franklin. The series of historical medals closes with one of the finest
productions of the art of modern times, the Waterloo medal, designed
and executed by Pistrucci, a work of 'surpassing size and beauty,' on
which the artist spent a great portion of his life.
[Sidenote: MILITARY AND NAVAL MEDALS.]
The selection of military and naval medals commences with that struck
for the battle of Culloden, those which were issued before that period
being included in the general series. The earliest pieces which belong
to this class are probably the Armada medals; their variety, their oval
form, as well as the circumstance that most have rings for suspension,
and some have still chains attached to them, leaving little doubt but
that they were intended as decorations. There is, however, no record
that they were issued by authority. Charles I. is said to have granted
in 1643 medals to soldiers who distinguished themselves in forlorn
hopes; and the numerous badges issued during the Civil War by the
King, and the Royalist and the Parliamentary generals were undoubtedly
intended as military rewards and distributed among the soldiers who
fought under them. No. 106, which was issued by Fairfax after the
battle of Naseby, could only have served for such a purpose. During the
Commonwealth the practice of bestowing decorative medals, both military
and naval, became more frequent, and on several occasions was ordered
by the Parliament. Of such medals is that distributed to all engaged
at the battle of Dunbar (Nos. 149—150), and also those for Blake's
victories over the Dutch, as well as several others.
Occasionally during the reigns of Charles II. and James II. military
rewards were issued; but as none of these have rings for suspension,
they cannot be considered as decorative medals. After the Commonwealth
the medal for Culloden seems to be the first decorative piece: but even
of this medal there is no record of its having been distributed by
authority. Of that battle there is also a circular medal with loop in
copper, the type being the Duke of Cumberland on horseback, which might
also have served for distribution.
Again a long period elapses during which no decorative medals appear;
and the victories of the Nile and Trafalgar would have remained
unrewarded, but for the munificence and patriotism of two Englishmen,
Alexander Davison and Matthew Boulton (see Nos. 539 and 544). In 1784
the East India Company acknowledged the services of its troops by
awarding a medal for the campaign in the West of India, an example
which originated a custom; and from that time, as long as India
remained under the control of the Company, medals were awarded for all
subsequent wars. The first medal issued by authority in England in this
century is that given for the battle of Waterloo. It was conferred
by order of the Prince Regent upon every officer and private present
at that battle; but no acknowledgment was made of all the brilliant
engagements in the Peninsular War till 1847, when a medal was issued
for military services between the years 1793—1814 (No. 592). At the
same time a corresponding medal for naval services was ordered to be
struck for all naval engagements during the same period.
Since the accession of her Majesty medals have been awarded for every
campaign, as well as others for 'meritorious service,' 'long service,'
&c. Besides the medals issued by the authority of the Crown and those
of the East India Company, there are a number of Regimental medals,
of which some are exhibited. These were struck at the expense of the
officers of the regiments for distribution among those who served under
them; but this custom ceased when a public acknowledgment was paid to
the services of the army.
The medals issued by the East India Company, being mostly of Indian
work, have been classed separately, and will be found at the end of the
series. As they were generally awarded only to Native troops, they are
for the most part very scarce.
[Sidenote: METHOD OF PRODUCTION.]
Before proceeding to give some account of the medallists[1] themselves,
it may be useful to state shortly in what manner they accomplished
their work. This was done in four different ways, by casting, by the
repoussé process, by engraving, and by striking. Specimens of all kinds
of work will be found in this exhibition.
[1] Biographical notices of the medallists, whose works are exhibited,
are given with the descriptions of the medals. These can be found by
reference to the Index of Artists at p. 143.
In the case of casting, a method which was first adopted in Italy in
the fourteenth century, the mode was sometimes elaborate. A model
having been made in wax, it was painted over several times with layers
of cement made of fine earth or charcoal stiffened with some kind of
lye, until this dried and hardened upon the wax, and the foundation
of a mould was formed. When the mould was finished and completely
hardened, the wax was melted out, and the medal was then cast in some
hard metal, gold, silver, or copper, or in lead. By this process the
first mould was destroyed, and all subsequent ones had to be taken from
the medals themselves; consequently in time, with each fresh casting,
they became less sharp and perfect. Another method of casting was,
after executing a model in wax, to make moulds from it in sand, in
which the medal was then cast. By this means the original mould was
not destroyed, and would serve for use any number of times. But these
casts were not so successful as those made after the Italian method;
and in order to remove from the surface the roughness of the casting,
the medals were then submitted to the medallist's or goldsmith's hands
to be chased. In this manner a smooth and sharp surface was obtained;
but the chasing required to be very skilfully done. The castings in
lead on account of the softness of the material took a much more even
surface than in the case of the harder metals, and rarely required any
after-chasing.
The process of repoussé work in its first stage was somewhat similar to
casting. A model was made in wax, from which a mould in a hard metal
was cast, and on this hard mould was placed a thin silver or copper
plate, which was then beaten into the mould with a hammer till it
received its final form. This process was a long and difficult one, and
required much skill; consequently the number of repoussé medals is very
small as compared with those which were cast. Repoussé work had one
great advantage, that of obtaining a high relief, and on good medals, a
striking effect. Not unfrequently, especially in Germany, the mould was
made of wood, and the plate then hammered into it; but this method was
not so satisfactory, as the degree of sharpness was much lessened.
The process of engraving was more simple; but perhaps not less
difficult. The medals were executed by direct incision with the graver
or dry point on a plate of silver or steel, and thus every line told,
and the excellence of the work depended upon the accuracy and sharpness
of the outline.
In the case of struck medals, the die was engraved or cut in steel,
which was hardened, and from which proofs were struck in gold, silver,
copper, &c. This process was not at first successful, as the mode of
striking was simply by the hammer, by which means sufficient force
could not be obtained. This was, however, obviated by the invention of
the screw, which was first adopted in the sixteenth century, but did
not entirely supersede the use of the hammer until the middle of the
seventeenth century. Medals are now as a rule produced by striking.
[Sidenote: MEDALLIC ART.]
Of the medallists who worked during the reign of Henry VIII. we know
nothing, and none of the medals bear the artists' signatures. The
process employed was that of casting; but this was often done with
little skill, and in consequence all the medals are highly chased. The
medals of the reign of Edward VI. show no improvement in the art; but
those of Mary and Philip, which are exhibited, being executed by the
Italian artist Trezzo, are of far superior work. It is scarcely fair
to class these among English medals, as they were executed in Madrid
under the orders of Philip II., in whose service Trezzo was retained
during the greater part of his life. That the works of this artist were
much esteemed in his own time we learn from Vasari, who says, 'This
master has no equal for portraits from life, and is an artist of the
highest merit in other respects.' During the reign of Elizabeth, a
great improvement is manifest in medallic art, which may be seen in the
medals commemorating the defeat of the Spanish Armada, all of which, so
far as it is known, were produced by native artists. There are other
fine medals of this reign; but these are the work of foreign artists.
Of such is the remarkable one with the portrait of Mary Queen of Scots
by Primavera, and also a number of Dutch medals, among which are the
splendid life-like portraits by Stephen of Holland. These medals are
all cast and afterwards chased, and are certainly very fine examples
of Dutch art. It is not improbable that this artist first studied at
Nuremberg, which was the great school for medallists in Germany, and in
which Albert Dürer himself had worked.
The medals of James I. are for the most part of Dutch work; and as
few are signed, we are unable to ascertain by whom the majority were
executed. As at this period the new invention of the screw for striking
coins and medals was coming into general use, there are in consequence
a number of struck medals. The engraved portraits of the royal family
and others, classed at the end of the series of James I., are by Simon
Passe. This artist worked chiefly with the graver in a neat clear
style, which possesses much originality. His works have great merit in
their class, especially his portraits, many of which were taken from
life, and are remarkable for their precision and sharpness of outline.
Besides these medals Passe executed frontispieces and bookplates, which
are also well engraved. The abundant medals of the reign of Charles I.
and of the Commonwealth were chiefly produced by three artists, Thomas
Simon, his brother Abraham, and Thomas Rawlins. We must add to these
the works of Nicholas Briot, who by his new invention of the balance
for striking coins and medals had rendered great service to medallic
art. His medals as well as his coins are all remarkable for their
clearness of design and sharpness of execution. Briot did not reside in
England after 1633, so that all his works date from the early part of
Charles's reign. There are also a few medals by Jean Varin or Warin,
who with George Dupré ranks first among French medallists. His medals
are always cast, and generally in high relief. Of the two Simons it
may be truly said that they stand first as English medallists, the
beauty of their work having never been equalled in this country. As
portraits the personal medals are faithful and expressive. The brothers
produced joint as well as separate medals: in the case of a joint work
Abraham appears to have made the model, whilst Thomas, who was a more
skilful engraver, did the after-chasing. From an example in the British
Museum, it is evident that the Simons first made their models in wax,
and from these or from moulds in sand then cast their medals. The work
of Thomas Simon was not confined to medals, for he executed all the
Seals for the Commonwealth and for Charles II., as well as a fine set
of coins which bear the portrait of the Protector. His last work of
this kind, the Petition Crown of Charles II., has never been equalled
in technical delicacy of execution, and is certainly the finest coin
of modern times. Thomas Rawlins cannot be mentioned in such high terms
as the Simons. His work was far above the average; but it failed to
attain the sharpness and high finish which characterise that of his
two rivals. Some of his coins are perhaps superior to his medals.
Mention may be made here of the work of two other artists, specimens of
whose medals will be found exhibited among those of Charles II. These
are Pieter van Abeele and Müller, whom Bolzenthal calls 'der Meister
Müller,' two Dutch medallists who worked in the repoussé style before
and during the reign of Charles II. The medals of these artists are
in high relief, and are executed with marked skill. Some of them are
chased.
At the Restoration Rawlins was reinstated in the place of Chief
Engraver to the Mint which he had held before the Commonwealth; and as
his attention appears to have been chiefly directed to the coinage,
there are very few medals by him after this time. It was not so with
Thomas Simon, who was specially engaged to prepare dies for the new
Seals, for he continued to work at his medals and produced a large
number, including several for the coronation. There are some medals
(Nos. 182—183), executed by him in anticipation of the Restoration,
which were probably made with the object of retaining through the merit
of his work the post of Chief Engraver, to which he had been appointed
by Cromwell. In this he did not succeed, but was transferred from the
Mint to the Office of Seals. Abraham Simon also continued to work for
some time after the Restoration; but he held no official post. In the
meanwhile a new set of artists had sprung up in England, who with few
exceptions monopolised the medallic work in this country during the
reign of Charles II. These are the Roettiers, who had been introduced
to Charles during his stay in Holland, and of whom there were three
brothers, John, Joseph, and Philip. It is of the eldest brother, John,
that we have the most numerous and finest works. The character of the
medals of this period differs very much from those of the Commonwealth.
They are always struck, as the new invention of Briot had now quite
superseded the hammer, and are in low relief. The execution of the work
is good, the medals being very sharply cut and the portraits full of
expression, whilst the reverses have a more picturesque style, somewhat
approaching that of the Italian medals of the sixteenth century, but
in lower relief. The only other medallist of this period who calls for
notice is George Bower or Bowers, the style of whose work is similar to
that of the Roettiers, although not of such good execution and finish.
John Roettier and Bower still continued to work during the reign of
James II., and during a portion of that of William and Mary; but with
the accession of William, the Dutch period of medallic art in England
began and continued till the death of Anne. The artists of this time
are very numerous, but only the chief ones need be here enumerated, who
are Jan and Martin Smeltzing, brothers, Jan Luder, Jan Boskam, Georg
Hautsch, and Jan Crocker or Croker. This last artist not only executed
a large series of medals, but he also cut all the dies for the coinage
of Anne as well as many of that of George I. and George II. The style
of the medals of the Dutch period is somewhat similar to that of the
Roettiers, the relief being still lower. The reverse designs are also
often picturesque, and, although minute in design, are usually distinct
and in good perspective.
The accession of the House of Hanover introduced into England some
German artists; but few of them are of any note. Of the medallists
who worked in England from the accession of George I. to the end of
the last century, are J. A. Dassier, who executed the large series of
medals of English Sovereigns from William I. to George II.; Richard
Yeo, who made the Culloden medal; Thomas Pingo, who made the Gibraltar
medal of 1782, and several medals for societies; C. H. Küchler, who
executed the Nile and Trafalgar medals; and J. G. Hancock, whose works
are very numerous.
Medallic art of the present century in England owes all its merit to
the work of Pistrucci, an Italian who came to this country in 1815
and remained here till his death in 1855, and to the work of the Wyon
Family. To Pistrucci we are indebted for the famous Waterloo Medal,
for many medals of learned societies, and for some of our finest
coin-dies; and to the Wyons, for the military and naval medals as well
as for a most extensive series of academical and other pieces. Since
the resignation by Pistrucci of the office of Engraver to the Mint, the
Wyons have held that post and have produced the greater portion of the
dies for coins.
In concluding this sketch of medallic art in England, some mention
should be made of the efforts of several public-spirited firms, which
at the beginning of the present century produced series of medals
commemorating some of the great events of English history at that time.
The most important of these is the series of National Medals of James
Mudie, on which work a number of foreign as well as native artists were
employed; and it is remarkable that these engravers include eminent
French medallists who commemorated the English successes in the wars
with France.
My acknowledgments are due to Mr. A. W. Franks, F.R.S., for much
assistance, and for the use of his valuable notes on Mr. Edward
Hawkins' unpublished work referred to in the Preface; and also to the
Hon. C. W. Fremantle, C.B., Deputy-Master of the Mint, to Mr. L. C.
Wyon, and to Mr. A. B. Wyon, for important information and suggestions.