A magnificent work[1] upon this subject has just been completed in
Paris, where it was commenced fifteen years ago. It was begun under
the auspices of M. Paul Delaroche and M.C. Lenormand, member of the
Institute, and well known already as one of the first authorities in
the numismatic branch of archæology. Some faint idea of the greatness
of the task may be given by stating that it embraces the whole range
of art, from the regal coins of Syracuse and of the Ptolemies, down to
those of our day; that such a stupendous scheme should ever have been
carried into execution is not solely due to the admirable ease and
fidelity, with which the "Collas machine" renders the smallest and the
largest gems of the antique: but to him who first felt, appreciated,
and afterward promoted its capabilities in this labor of love, M.A.
Lachevardiere. Comparisons and contrasts, which are the life of art,
though generally confined to the mental vision, are not the least of
the recommendations of this vast work. For the first time have the
minor treasures of each country been brought together, and not the
least conspicuous portion are those from the British Museum and the
Bank of England.
[Footnote 1: Trésor de Numismatique et de Glyptique; ou, Recueil
Général de Médailles, Monnaies, Pierres Gravées, Sceaux, Bas-reliefs,
Ornements, &c. Paris, 1850.]
Whether we consider the selection of these monumental relics, the
explanatory letterpress, or the engravings which reproduce them, we
are struck by the admirable taste, science, and fidelity with which
the largest as well as the smallest gems have each and every one been
made to tally in size with the originals.
The collection of the "Trésor de Numismatique et Glyptique,"
consisting of twenty volumes in folio, and containing a thousand
engraved plates in folio, reproduces upward of 15,000 specimens, and
is divided into three classes--1st. The coins, medals, cameos, &c.
of antiquity; 2d. Those of the middle ages; lastly, those of modern
times. The details of this immense mass of artistic wealth would be
endless; but these three classes seem to be arranged according to the
latest classification of numismatists.
In the first class may be noticed--1. The regal coins of Greece,
which contains, beside the portraits of the Greek Kings, to be found
in Visconti's "Iconographie," copied from medals and engraved gems,
all the coins bearing the Greek name of either a king, a prince, or
a tyrant, and every variety of these types, whether they bear the
effigy of a prince, or only reproduce his name. To the medals of each
sovereign are joined the most authentic and celebrated engraved gems
of European cabinets. Next come the series of portraits of the Roman
emperors and their families, with all the important varieties of Roman
numismatics, amongst which will be found the most celebrated coins
of France, Vienna, Dresden, Munich, Florence, Naples, St. Petersburg,
Weimar, &c.; and, moreover, those medallions which perpetuate great
events. These two volumes contain eight-fold more matter than the
great work of Visconti.
In the second class, containing the works of the middle ages, and
showing the uninterrupted progress of the numismatic art down to
modern times, and forming alone fourteen volumes, we find the source
which the French artists and men of letters have studied with such
predilection. First in order are the Italian medals of the fifteenth
and sixteenth centuries, chiefly by the famous Victor Pisano, a
Veronese, whom Nasari has so much lauded. The scholars and imitators
of Pisano also produced works as interesting as historical documents
as they are admirable in workmanship. Here also will be found the
French and English seals, in which the balance of skill in design and
execution is acknowledged to be in our favor.
Less barbarous, and indeed perfect works of art, in character of
costume and visage, are the medals struck in Germany during the
sixteenth and seventeenth centuries, when the influence of Albert
Durer and his school was strongly felt. And finally, relics of
ornamental art of different nations and epochs.
In the third class, two parts only are devoted to contemporary art;
the medals illustrative of the French revolution of 1789; those of
the "Empire" and of the Emperor "Napoleon;" generally smacking of the
florid and corrupt taste of that period, they are nevertheless curious
as being often the sole evidence of the facts commemorated. There is,
however, a manifest improvement in the late ones, and in them may be
traced the transition from the independent ideas of the revolution
to the subsequent submission to one man: and not less striking is
the transition from a slip-shod style of art to a pedantic imitation
of the antique. The "Trésor de Numismatique et de Glyptique" is the
most scientific and important work of art which has been executed and
achieved of late years in France. Our great public libraries may be
proud of possessing so rich, so valuable, and so curious a collection,
Most lovers of art have their favorite periods and well-beloved
masters, but in this varied range of excellence it is difficult which
to select for preference and admiration. The cameos have a beauty and
_finesse_ which far surpass that of busts and statues; they evince the
skill of grouping, which, with rare exceptions, such as the Niobe and
Laocoon, is seldom aimed at in the more important pieces of sculpture.
Cameos, moreover, let us, as it were, into the secrets of indoor
life. To these considerations we may add that these gems have had an
immense influence on French modern art. The "Apotheosis of Augustus"
especially, known to antiquarians as the "Agate of Tiberius," the
largest cameo in the world, and beautifully engraved the size of the
original in this collection, may be traced in more than one of their
late compositions.
It is said that large medallions are a sign of taste either in the
medalist or the monarch he is supposed to honor; if so, Dupré and
Varin have drawn a thick vail over the effulgence of Louis XIV.
We would not, however, lose their wigs and smiles for a world of
historiettes.
But it is to be remembered that the more names are blazoned on works
of art, the more art becomes deteriorated. In this respect the present
collection shows the rapidly progressive march of this evil through
twenty-five centuries--a most instructive subject of contemplation.
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