BRITISH MUSEUM.
DEPARTMENT OF
COINS AND MEDALS.
A GUIDE
TO THE
EXHIBITION OF
ENGLISH MEDALS.
BY
HERBERT A. GRUEBER, F.S.A.
SECOND EDITION.
LONDON:
PRINTED BY ORDER OF THE TRUSTEES.
Longmans & Co., Paternoster Row; B. Quaritch, 15, Piccadilly;
A. Asher & Co., 13, Bedford Street, Covent Garden, and at Berlin;
Kegan Paul, Trench, Trübner & Co., 57 and 59, Ludgate Hill;
C. Rollin & Feuardent, 19, Bloomsbury Street, & 4, Place Louvois, Paris.
1891.
LONDON:
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED,
STAMFORD STREET AND CHARING CROSS.
EDITOR'S PREFACE.
The medals described in this Guide have been selected for their historical interest from the larger series in the Medal Room, and are exhibited in the Cases marked E, F, G, H. The specimens in gold are represented by electrotypes, and those in lead by plaster casts, coloured so as to resemble the originals. Each medal is separately labelled and numbered, the numbers referring to the descriptions in the Guide.
The Introduction gives as much information as could be admitted in the limits, and each medal is described and explained on the same principle. The metal is also stated, and the sizes in inches and tenths, with other particulars necessary for identification.
The first illustrated edition of this work being exhausted, a second is now issued, with a new set of eight plates, executed by the Autotype Process from casts in plaster.
REGINALD STUART POOLE.
CONTENTS.
INTRODUCTION.
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.
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.
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.
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.
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.
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.
Herbert A. Grueber.
GUIDE TO ENGLISH MEDALS EXHIBITED.
EDWARD IV. 1461—1483.
1. John Kendal, 1480. Obv. Bust r., in armour, wearing cross of order of St. John. IO. KENDAL RHODI TVRCVPELLERIVS. Rev. Shield, arms of Kendal, the cross of St. John in chief. TEMPORE OBSIDIONIS TVRCHORVM. MCCCCLXXX. Bronze. Size 2·2. Cast and chased. Italian.
John Kendal was Prior of the Hospital of St. John of Jerusalem in London in 1491 and 1501 (Willis's Mit. Abb.). He was Lieutenant of the Grand Master in Italy, England, Flanders, and Ireland, and in virtue of that office was engaged in 1480 in raising recruits for the defence of Rhodes against the Turks.
HENRY VIII. 1509—1547.
2. Badge of Rose. Obv. Bust of King l., wearing hat, cloak, &c. HENRICVS VIII. DEI GRA. REX ANGL. FRANC. DOM. HYB. Rev. Tudor rose; above, ODOR EIVS VT LIBANI; below, DEFENSOR FIDEI. Silver. Size 1·3. Cast and chased.
This medal is without date; but the title of Lord of Ireland (DOM. HYB.) shows that it was executed before 1541.
3. Medallic Portrait. Bust of King, nearly full face, towards r., wearing hat with feather and ermine cloak; around neck, collar and medal, cross of St. George. Copper gilt. Size 3·9. Cast.
This portrait is after a painting by Holbein.
4—5. Portrait with title of "Head of the Church," 1545. Obv. Bust of King r., wearing cap, ermine cloak, and collar. HENRICVS OCTA. &c. FIDEI DEFENSOR ET IN TERR. ECCLE. ANGLI. ET HIBE. SVB CHRIST. CAPVT SVPREMVM. Rev. Two inscriptions of same import as that on the obverse; one in Hebrew, the other in Greek; above H. R.; below, Londini, 1545. Gold and silver. Size 2·05. Cast and chased.
Henry's supremacy over the church was acknowledged by the clergy 1531, and confirmed by Parliament 1534. This medal was not struck till 1545.
6. Badge. Half-length figure of King, full face, wearing hat, robes trimmed with fur, &c. HENRIC. OCT. REX ANGL. Z. FRANC. Laurel-border. Silver. Oval. Size 2·3. Cast and chased.
This may have been worn as a badge of some society.
7. Anne Boleyn, 1534. Obv. Bust of Queen, nearly full face, towards l., wearing coif with veil, &c., in field, A. R. THE MOOST HAPPI. ANNO 1534. Reverse plain. Lead. Size 1·5. Cast.
Anne Boleyn, daughter of Sir Thomas Boleyn, and second wife of Henry VIII., married 1535, and beheaded 19th May, 1536.
8. Sir Thomas More, 1535. Obv. Bust r., wearing biretta and fur cloak. THOMAS MORVS ANGLIÆ CANCEL. Rev. A cypress felled, the axe in the trunk. SVAVIVS OLET. Copper. Size 2·3. Cast and chased.
Sir Thomas More, born 1480, was appointed Keeper of the Great Seal 1529; beheaded 6 July, 1535. The reverse typifies More under the form of a cypress, which has fallen under the stroke of the axe, but whose odour has thus become more fragrant.
9. Another. Obv. Bust of More, three quarters l., wearing biretta, fur cloak, &c. EFFIGIES THOMÆ MORI MARTIRIS ANGLI. Rev. Bust of St. Thomas à Becket, three quarters r., in archiepiscopal dress, holding cross and book. S. THOMAS ARCHIEP. CANTVAR. MART. AN. 1171. Silver. Size 1·45. All engraved.
This medal draws a parallel between the death of St. Thomas à Becket and Sir Thomas More, both champions of their faith, and both put to death under royal displeasure.
10. Thomas Cromwell, 1538. Obv. Bust l., wearing cap and gown trimmed with fur. IMAGO D. THOMÆ CRVMVELLI REG'. SECRET'. ANo. 38. Rev. Within garter, armorial shield of Cromwell, two coats quarterly: coronet attached to rim for suspension. Silver-gilt. Size 2·05. Cast and chased.
Thomas Cromwell, born 1490, was secretary to Wolsey, and afterwards promoted by Henry VIII. to the highest offices of the State; created Earl of Essex April 1540 and beheaded in July of same year.
11. Michael Mercator, 1539. Obv. Bust, three quarters l., wearing cap, fur cloak, &c. A REGE ANGLORVM PRIMI MILITIS CREATI EX VENLO EFFIGIES. Rev. MICHAEL MERCATOR ÆTATIS SVÆ XLVIII. GRATIA DEO ET REGI. MDXXXIX.; Engraved. Silver. Size 1·8. Cast and chased.
In 1528 Michael Mercator, or, as Sir Thomas More in writing to Wolsey calls him, Michael the Gueldrois, was sent to Henry VIII. by Mons. de Ysselstein, on a confidential mission respecting the affairs of the Low Countries. Again in 1538 in two letters of Floris d'Egmont, Count of Buren and Lord of Ysselstein, one to Henry VIII. and the other to Cromwell, we find him requesting the kind reception of Michael Mercator. These letters also refer to Mercator's artistic skill, and we learn from Puteanus or Du Puy that he excelled in medallic portraits, and that this medal, which is of contemporary workmanship, was executed by himself. It was on this second visit to England that he received the order of Knighthood from the King.
12. Another. Similar: bust in profile l., and reverse inscription in relief. Lead. Size 1·8. Cast.
EDWARD VI. 1547—1553.
13. Portrait, 1547. Obv. Half-length figure of King l., wearing cap with feather, doublet, chain, &c.; in r. hand, scroll. EDVARDVS V. (sic) DEI GRA. AN. REX; incuse. No reverse. Lead. Size 2·9. Cast and chased.
A contemporary cast in lead, possibly a proof from a silver plate. This medal is unique, and was obtained by exchange from the Museum at Geneva.
14. Coronation, 1547. Obv. Half-length figure of King r., crowned, in armour, holding sword and orb. Inscription in Latin in three circles giving his titles, date of coronation MDXLVII. XX. FEBRVA. &c. Rev. Two inscriptions, one in Hebrew, the other in Greek of the same import as that on obverse; above, Lambhith, i.e. Lambeth. Gold. Size 2·35. Cast and chased.
The first coronation medal executed in England. The inscriptions are similar to those on the medals of Henry VIII., struck to commemorate his supremacy over the church. (Nos. [4]-5.)
MARY. 1553—1558.
(Medals by Giacomo da Trezzo.[2])
15. Condition of England, 1554? Obv. Half-length figure of Queen l., wearing coif with veil, embroidered gown, pendant pearl, &c. MARIA I. REG. ANGL. FRANC. ET HIB. FIDEI DEFENSATRIX. IAC. TREZ. Rev. Mary, as Peace, seated r., holding olive branch and palm, and burning instruments of war; behind, group of suppliants; in distance, circular temple. CECIS VISVS TIMIDIS QVIES. Copper. Size 2·6. Cast and chased.
The design on the reverse of this medal is probably emblematic of the condition of England. By Evelyn and others it was supposed to refer to the suppression of Wyat's rebellion, and to the encouragement given to the Papal party. It was probably executed by Trezzo during his residence at Madrid.
16. Portraits of Mary and Philip, 1555. Obv. Half-length figure of Queen l., same as preceding. Rev. Half-length figure of Philip II., king of Spain r., in armour. PHILIPPVS REX, &c., IAC. TREZZO F. 1555. Copper-gilt. Size 2·6. Cast and chased.
This medal was executed some little time after the marriage of Mary and Philip in 1554.
17—18. Another. Obv. Bust of Queen l., wearing coif with veil and embroidered gown. MARIA I. REG. ANGL. &c. Rev. Bust of Philip r., in armour. PHILIP. D. G. HISP. REX. Gold and silver. Size 1·45. Cast and chased.
The portraits are similar to those on the previous medals.
ELIZABETH. 1558—1603.
19. Badge of Garter. Obv. Bust of Queen l., wearing coronet of pearls, large ruff, &c. Inscr. of Garter. Rev. Ornamented shield, royal arms supported by angel. Inscr. of Garter. Silver. Oval. Size 1·9. Cast and chased.
Probably executed for presentation on special occasions.
20. "Phœnix Badge," 1574. Obv. Bust of Queen l., wearing pearls in hair, ruff, &c. ELIZABETHA D. G. ANG. &c. Around—
"Hei mihi quod tanto virtus perfusa decore"
"Non habet eternos inviolata dies."
Rev. Phœnix amid flames: above, monogram of Queen, crowned, and 1574 engraved roughly; around,
"Felices Arabes, mundi quibus unica phœnix"
"Phoenicem reparat depereundo novam"
"O miseros Anglos, mundi quibus unica phœnix"
"Ultima fit nostro, tristia fata, solo."
Silver. Size 1·75. Cast and chased.
The legends may indicate the apprehension for the Queen's life occasioned by the severe plague, which visited London in 1574.
21. Defeat of the Spanish Armada, &c., 1588—9. Obv. Bust of Queen in high relief, facing, crowned, wearing high ruff, &c., and holding sceptre; and orb. DITIOR IN TOTO NON ALTER CIRCVLVS ORBE. Rev. Bay-tree uninjured by lightning on inhabited island inscribed, NON IPSA PERICVLA TANGVNT: border of leaves. Gold. Oval. Size 2·35. Cast and chased; with ring for suspension.
This medal records not only the defeat of the Spanish Armada, but also the averting of other dangers which at that time threatened both England and her Sovereign. The Queen of Scots was dead; James of Scotland had been conciliated; the Duke of Guise was dead, and France and the Vatican were baffled. The bay-tree was deemed incapable of injury from lightning.
22—23. Another. Similar: on obverse, bust of Queen, three quarters l., without sceptre and orb, and on reverse, E. R. in field, and no buildings on island. Gold and silver (with original chain). Size 1·9. Cast and chased; with ring for suspension.
24. Another. Obv. Similar: bust of Queen l., with pearls in hair, ELIZABETH. D. G. ANGLIE, &c. Rev. Ark in waves; above, sun. SEVAS (sic) TRANQVILLA PER VNDAS. Silver. Size 2. Cast and chased; with ring for suspension.
This medal refers only to the defeat of the Spanish Armada. The English flag-ship was called the "Royal Ark," which may have suggested the reverse type.
25. Another. Obv. Pope, kings and others seated in council, with eyes bandaged; floor covered with spikes; above, O COECAS HOMINVM MENTES, O PECTORA COECA; around, DVRVM EST CONTRA STIMVLOS CALCITRARE. (Acts ix. 5.) Rev. Fleet driven on rocks; above, VENI VIDE VIVE. 1588; around, TV DEVS MAGNVS ET MAGNA FACIS TV SOLVS DEVS. (Ps. lxxxvi. 10.) Silver. Size 2. Struck. Dutch.
The obverse satirizes the confederation formed against Elizabeth by the Pope, the King of Spain, the Emperor, and others; the reverse represents the defeat of the Armada.
26. Another. Obv. Naval engagement, destruction of Spanish fleet. FLAVIT ET DISSIPATI SVNT. 1588; above, Jehovah, in Hebrew. Rev. Church on rock amid stormy waves; beneath, shield, arms of Prince Maurice crowned. ALLIDOR NON LÆDOR. Silver. Size 2. Struck. Dutch.
The destruction of the Armada was due in great measure to the violence of a storm. As this medal bears the shield of Prince Maurice, it is probable that it was struck by his direction in Holland.
27. Mary, Queen of Scots, 1567? Obv. Bust r., wearing cap with veil, ruff, &c. MARIA STOVVAR REGI. SCOTI. ANGLI. IA. PRIMAVE. Reverse plain. Copper. Size 2·5. Cast. By G. Primavera.[3]
This medal presents us with a remarkable portrait of Mary Queen of Scots, and is the work of Giacomo Primavera. Its date is uncertain, but judging from other existing portraits of Mary, it was probably executed about the same time as the Morton portrait, which was painted by order of Mary during her imprisonment in Lochleven Castle, 1566—67. There are modern casts of this medal, to which a reverse has been added. (See guide to Italian medals, No. [181].)
28. Richard Shelley, 1577. Obv. Half-length figure r., in armour with cross of Knights of St. John on breastplate. RICARDVS SCELLEIVS PRIOR ANGLIAE AN. A. LXIIII. Rev. Arm issuing from clouds holding shield with crest, arms of Shelley. PRO FIDE SPOLIATI CLYPEVS OBSES. Copper. Size 2·75. Cast and chased. Italian work.
Sir Richard Shelley born in 1514 was a Knight of Malta, Grand Prior of England, and as Turcopelier, took part in the defence of Malta against the Turks in 1565. He died abroad, probably at Venice, where this medal appears to have been executed.
29. Robert Dudley, Earl of Leicester, 1587. Obv. Bust, three-quarters l., wearing cap and armour much ornamented. ROBE. CO. LEIC. ET IN BELG. GVBER. 1587. Rev. Sheep in flat country, dog leaving them; under dog, INVITVS DESERO; around, NON GREGEM SED INGRATOS. Silver. Size 1·85. Cast and chased. Dutch.
Leicester, being superseded in the command of the combined armies of the English and Protestants of the United Provinces by Maurice second son of the Prince of Orange, left the country in disgust. This and the following medals were probably executed for Leicester before his departure from Holland.
30. Another. Similar: type varied, sheep in hilly country, &c. Silver. Size 1·85. Cast and chased. Dutch.
MEDALS BY STEPHEN OF HOLLAND.[4]
31. William, Earl of Pembroke, 1562. Obv. Bust r., in armour, head bare. GVILI. COMES PENNEBROCK. Ao. 1562. STE. H. Rev. Dragon, beside which, allegorical female figure pointing at temple of Virtue. DRACO HIC VER'. VIRTVTVV̄. CVSTOS. Silver. Size 1·75. Cast and chased; with ring for suspension.
William Herbert, statesman and soldier, son of Sir Richard Herbert, elected K.G. in 1548, and created Earl of Pembroke in 1551. He died in 1570. The Earl's badge was a green dragon, which may have suggested the reverse.
32. Edmund Withipoll, 1562. Bust r., in toga, head bare. EDMVND WITHIPOLL. ÆT. 48. 1562. Silver. Size 1·7. Cast and chased. A plaque.
Edmund Withipoll with his father? Paul Withipoll received in 1545 the great tithes of Walthamstow with the manor and rectory, and also the manor of Marks in Essex upon the dissolution of the monastery of St. Helen's.
33. Another. Obv. Bust, three quarters l., wearing bonnet, doublet, &c. EDMVND WITHIPOLL. Æ. 48. STE. H. F. Silver. Size 1·7. Cast and chased. A plaque.
34. Sir Thomas Stanley, 1562. Obv. Bust r., wearing bonnet, doublet, &c. THOMAS STANLEY. ÆT. 50. STE. H. Rev. Shield, arms of Stanley, surmounted by crest, a stag. Silver. Size 1·7. Cast and chased.
Sir Thomas Stanley, third son of Thomas Stanley of Dalgarth in Cumberland, was one of the assay masters of the mint during the reigns of Henry VIII. and Edward VI., appointed controller by Elizabeth, and Master 1573. He died 1576.
35. Richard Martin and his wife Dorcas Eglestone, 1562. Obv. Bust of Martin r., wearing bonnet, cloak, &c. RICHARD MARTIN. ÆT. 28. Ao. 1562. STE. H. Rev. Bust of Mistress Martin l., wearing cap, fur cloak, &c. DORCAS EGLESTONE VX. RICHARD MARTIN. ÆT. 25. Silver. Size 2·25. Cast and chased.
Richard Martin was Lord Mayor of London, 1589, and at various times Warden and Master of the Mint. Died 1617. His wife Dorcas died 1599.
36. Elizabeth, Marchioness of Northampton, 1562. Obv. Bust l., wearing cap, gown, &c. ELIZABET. MARQVI. NORTHAMPTON. STE. H. F. Rev. Faith holding book, and supporting cross. SOLA TVTA FIDES. Ao. 1562. Silver. Size 1·55. Cast and chased.
Elizabeth, daughter of George Lord Cobham, was the second wife of William Parr, Marquis of Northampton.
37. Maria Newce, wife of John Dymock, 1562. Obv. Bust l., wearing cap, gown, &c. MARIA NEWCE VX. IOH̄S DIMOCK. STE. H. Rev. Allegorical female figure holding stag by the horns near a fountain. SICVT CERV'. AD FŌTES AQVARV̄. (cf. Ps. 41. 2.) Silver. Size 1·5. Cast and chased.
From the 'visitation' of Hertfordshire 1579 it would appear that this lady was one of the daughters of Clement Newce of Much Hadham, citizen and mercer of London, who died in 1579.
JAMES I. 1603—1625.
38. James, as King of Scotland. Marriage, 1590. Obv. Bust of King r., laureate, in armour. IACOBVS 6. D. G., &c. Rev. Between I.R. crowned and 6 beneath, thistles surmounted by crown, &c. NEMO ME IMPVNE LACESSET. 1590. Gold. Size 1·6. Cast and chased.
James married in 1590 Anne daughter of Frederick II. King of Denmark.
39. Accession to English Throne, 1603. Obv. Bust of King, three quarters r., laureate, wearing armour, cloak, &c. IAC. I. TOTIVS INS. BRYT. IMP. ET FRANC. ET HIB. REX. Rev. Royal shield, garnished and crowned. IVGI CONCORDIA FLORENT. Silver. Size 1·7. Struck.
On this medal James styles himself Emperor. This is the first instance of an English sovereign assuming the title.
40. Queen Anne (of Denmark): coronation, 1603. Bust of Queen, three quarters l., hair arranged high, wearing lace collar, jewels, &c. Silver. Size 1·4. Cast and chased. A plaque.
The coronation of James and Anne was celebrated on the 25th July 1603.
41. Queen Anne (of Denmark), 1619? Obv. Bust of Queen l., wearing necklace, embroidered gown, &c. ANNA D. G. ANGL. &c. Rev. Pine tree crowned; above, name of Jehovah in clouds: across tree, scroll inscribed, LA MIA GRANDEZZA DALL ECCELSO. Silver. Size 2. Cast and chased.
This medal was probably struck upon the death of the Queen in 1619. The device is an illustration of her motto.
42. Peace with Spain, 1604. Obv. Bust of King, three quarters r., wearing hat crowned, doublet, &c. IACOBVS D. G. ANG. &c. Rev. Peace and Religion with emblems, &c. HINC PAX COPIA CLARAQ. RELIGIO; in ex., A. 1604. Gold. Size 1·45. Struck, with ring for suspension.
This medal was struck to commemorate the peace concluded with Spain in 1604.
43. Another. Similar: with ornamental border and loop for suspension. Silver. Size 1·9. Cast and chased.
44. Another. Similar: bust of King r., laureate, wearing armour, &c. Legend varied. Silver. Size 1·5. Cast and chased.
45. Gunpowder Plot, 1650. Obv. Snake gliding amongst lilies and roses. DETECTVS QVI LATVIT. S. C. Rev. Radiate name of Jehovah within crown of thorns. non DorMItastI AntIstes IaCobI; chronogrammatic. Silver. Size 1·15. Struck. Dutch.
This medal was struck in Holland by order of the Senate to commemorate the discovery of the Gunpowder Plot.
46—47. Alliance of England, France and the United Provinces, 1609. Obv. Radiate name of Jehovah above three hearts united. IVNCTA CORDA FIDELIVM. Rev. Rose of England, Lily of France, both crowned, and Belgic Lion. CONTRA VIM TIRANNORVM. 1609. Gold and silver. Size 2. Struck. Dutch.
Struck by order of the Government of the United Provinces upon the occasion of the alliance of the three powers after the delivery of the Provinces from the Spaniards.
48. Henry, Prince of Wales, 1612? Obv. Bust of Prince, three-quarters l., in armour, &c. HENRICVS PRINCEPS. Rev. Royal shield with label in chief, crowned. FAX MENTIS HONESTÆ GLORIA. Gold. Size 1·1. Struck.
Henry Prince of Wales died 6th Nov. 1612, when this medalet was probably struck.
49. Frederick, Count Palatine, King of Bohemia, &c., 1627. Obv. Bust r., laureate, wearing deep collar, armour, &c. FRIDERICVS D. G. REX BOHE. &c. S. D. R. F. 1627. Rev. Lion sejant gardant crowned, holding sceptre and orb; above, five hands from clouds supporting crown. Gold. Oval. Size 2·15. Cast and chased; with ring for suspension. German work.
Frederick, Count Palatine, Elector, &c., married, 1613, Elizabeth, daughter of James I., elected King of Bohemia, 1619. The five hands which support the crown represent Bohemia and the four Protestant provinces, Moravia, Silesia, Upper and Lower Lusatia, which favoured his election. The lion is the crest of the Counts Palatine.
50. Marriage of Frederick, Count Palatine, and Princess Elizabeth, 1613. Obv. Bust of Frederick r., in armour, &c., FRIDERICVS D. G. COM. PAL. R. &c. Rev. Bust of Elizabeth, three quarters l., wearing high ruff, embroidered gown, &c. ELISABETHA D. G. COM. PAL. R. &c.; ornamental border. Silver-gilt. Size 1·65. Cast.
The marriage of the Elector Frederick with the Princess Elizabeth took place 11th Feb. 1612—13.
51. Coronation of Frederick, King of Bohemia, and Elizabeth, 1619. Obv. Busts r., of King laureate, and in armour, &c.; of Queen draped; above, VIVANT FLOREANT; below, C. PRIVIL. S. R. M.; around, FRIDERICVS ET ELISABETHA D. G. CORON. R. R. BOEMIAE. Rev. Within inscription of Garter, lion sejant gardant, holding sword, before rose-tree bearing roses, and orb, inscribed M. D. I. V. Æ.; in background, thorns; below, serpent; above, VT ROSA INTER SPINAS. Silver. Oval. Size 2·05. Cast and chased. German work.
Frederick was elected Knight of the Garter Feb. 1613.
52. Maurice, Prince of Orange, &c., 1613. obv. Bust, three-quarters r., in armour, &c. MAVRITIVS AVR. PRINC. &c., 1613. Rev. Shield, arms of Maurice with the Garter; above, crown. Silver. Oval. Size 2·35. Cast; with ring for suspension.
Maurice, Prince of Orange, was elected Knight of the Garter, 4th February, 1613.
53. Another, 1624. Obv. Within border of shields of the United Provinces, &c., bust, three quarters r., in armour. MAVRITIVS D. G. PRINCEPS AVRIACÆ, &c., J. M. BYLAER f. Rev. Within laurel-wreath, crowned shield, arms of Maurice with inscr. of Garter; beneath, le Maintiendray, and, 16 cum Privil. 24. Silver. Size 2·6. Struck. Dutch, by J. M. Bylaer.
Vanloon (II. 55) thinks that this medal was struck in commemoration of the victories gained in 1624 by the Dutch fleet over that of Spain off Peru and Brazil.
54. Badge. Obv. Bust of King, three quarters r., wearing hat with feather, &c. IACOBVS D. G. MAG. BRITA. &c. Rev. Ark in sea; above, clouds raining. STET SALVVS IN VNDIS. Silver. Oval. Size 1·9. Cast.
The ark probably symbolizes the Church, and is emblematic of England after the disturbances of the Reformation.
55. Nicholas and Dorothy Wadham, 1618? Obv. Bust of Nicholas Wadham, three quarters r., wearing cloak, &c. WHEN CHRIST WHO IS OUR LIFE SHAL APPEARE. Rev. Bust of Dorothy Wadham three-quarters l., wearing hat, embroidered gown, &c. WE SHAL APPEARE WITH HIM IN GLORY: on either side, border, floral wreath united by skulls. Silver. Oval. Size 2·1. Cast and chased.
Nicholas Wadham, founder of the college named after him at Oxford, died 1609. His wife died 1618. This medal is supposed to have been then struck.
56. Richard Harington, 1609. Obv. Bust l., wearing cloak and armour. RIC. DE HARINGTŌ. Rev. Cupid with club and bow before a tree from which fall leaves, which he has beaten down: the tree is on a mound inscribed, 1609. AMOR NON FLORE SED FRVCTV. Silver-gilt. Size 1·75. Cast and chased.
Unknown.
57. Sir Thomas Bodley, 1612. Obv. Bust r., in academical dress TH. BODLY EQ. AVR. PVBL. BIBLIOTH. OXON. FVNDATOR. WARIN. Rev. Aeternitas holding heads of Sun and Moon. R. P. LITERARIAE AETERNITAS. Lead. Size 2. Struck.
Sir Thomas Bodley, the founder of the public library at Oxford, died in 1612. This medal, the work of Varin, was not executed till some years after his death.[5]
ENGRAVED PORTRAITS BY SIMON PASSE.[6]
58. Elizabeth. Obv. Bust of Queen, three quarters r., crowned, wearing high ruff, &c.; above, Si. Passe. Rev. Royal shield within Garter, crowned, supporters, lion and griffin; above, DIEV ET MON DROIT; beneath, on tablet:
QVI LEO DE IVDA EST
ET FLOS DE IESSE LEONES
PROTEGAT ET FLORES
ELIZABETHA TVOS.
Silver. Oval. Size 2·4.
This plate was not engraved till some years after the death of Elizabeth. It is copied from a miniature by Isaac Oliver. The inscription is said to have been the extempore production of a Westminster scholar, Elizabeth herself having proposed her armorial bearing as the subject of an epigram.
59. James I., 1616. Obv. Bust of King, three quarters r., head bare, wearing ruff, collar of Garter, &c., above, crown dividing I. R., at sides SP fe. Jacobus D. G. Mag. Britt. &c. Rev. Royal shield within Garter, supporters, &c.; below, motto, BEATI PACIFICI. IACOBUS DEI GRATIA MAGNÆ BRITANNIÆ, &c. Silver. Oval. Size 2·2.
60. Another. Obv. Varied; King wears hat; below, Simon Passæus sculp.: no legend. Rev. Similar. Silver. Oval. Size 2·2.
61. Queen Anne (of Denmark), 1616. Obv. Bust of Queen, three quarters l., wearing high collar, &c.; above, crown dividing A. R.; at sides SP fe. Anna D. G. Mag. Britt. &c. Rev. Danish shield of Queen crowned, with supporters; below, her motto, La mia Grandezza dal Eccelso. ANNA DEI GRATIA MAGNÆ BRITANNIÆ, &c. Silver. Oval. Size 2·2.
62. Charles, Prince of Wales, 1616. Obv. Bust of Prince, three quarters r., head bare, wearing ruff, armour, &c. Carolus Princeps Walliæ. Rev. Shield of Prince crowned within Garter: below, Anno D. 1616. Si. Pa. fec. ILLUSTRISS. ET POTEN. PR. CAROLUS PRINCEPS WALLIÆ DUX CORN. YOR ET ALB. ETC. Silver. Oval. Size 2·2.
63. Another, 1616. Obv. Bust of Prince, three quarters r., head bare, wearing ruff, doublet, &c. ILLUSTRISS. ET POTEN. PRINC. CAROLUS, &c.: below, Simon Passæus sculp. Rev. Prince on horseback r.; in the distance, view of London: below, Prince's plumes between CAROLUS PRINCEPS. S. P. sc. Silver. Oval. Size 2·4.
64. James. I., Anne of Denmark, and Prince Charles, 1616. Obv. Busts of King, Queen and Prince similar to those on Nos. [60]—62. Rev. Two shields, arms of King and Queen with supporters, &c., below, Prince's plumes and mottoes of King and Queen. POTENTISS. IACOBVS D. G. MAG. BRITT. &c. Silver. Oval. Size 2·5.
65. Frederick, Count Palatine, Elizabeth, and Prince Frederick, 1616. Obv. Portraits, facing, of Frederick, Elizabeth his wife, and their eldest son Prince Frederick. Rev. Two shields, arms of Frederick and Elizabeth supported by two lions: above, his helmet and crest; below, his motto, SVPERATA TELLVS SYDERA Donat. EFFIG. ILLVST. PR. FREDERICI D. G. CO. PAL. &c. Silver. Oval. Size 2·5.
The young prince here represented with his parents was Prince Frederick, who was drowned on a journey from Amsterdam to Utrecht 1626.
66. George Villiers, Marquis of Buckingham, 1618. Obv. Bust, three quarters r., wearing ruff, embroidered doublet, &c. NOBILISS. DN'. GEORGIUS VILL. MARCHIO BUCKINGHAMIÆ, &c. Rev. Shield, arms of the Marquis within Garter, supporters, helmet, crest, and motto, Fidei Coticula Crux; behind, two anchors. Silver. Oval. Size 2·4.
George Villiers was created Marquis of Buckingham in 1618, and Duke in 1623, so that this piece must have been executed between those dates. He was assassinated in 1628.
67. Richard Sackville, Earl of Dorset, Lord Buckhurst. Obv. Half-length figure, three quarters l., wearing high collar, &c. Rev. Shield, arms of the Earl with supporters, &c., and motto, TOVSIOVR LOYAL. CLARISSIMVS D'. RICHARD'. SACKVILE BARO BVCKHVRSTIÆ COMES DORCESTRIÆ. Silver. Oval. Size 2·15.
Richard Sackville, third Earl of Dorset, born 1589, died 1624.
CHARLES I. 1625—1649.
68. Coronation, 1626. Obv. Bust of King r., crowned, &c., CAROLVS I. D. G. MAG. BRITAN. &c. N.B. Rev. Arm issuing from cloud brandishing sword. DONEC PAX REDDITA TERRIS: in ex., CORON. 2. FEBRV. 1626. Gold. Size 1·2. Struck. By Nicholas Briot.[7]
The reverse inscription refers to the determination of Charles to assist the United Provinces in establishing their independence, and to restore Frederick Count Palatine to the throne of Bohemia.
69. Dominion of the sea, 1630. Obv. Bust of King r., wearing ruff, armour, &c. CAROLVS I. D. G. MAG. BRITAN̄IÆ, &c. N. BRIOT. Rev. Man-of-war in full sail. NEC META MIHI QVÆ TERMINVS ORBI. Gold. Size 2·4. Cast and chased. By Nicholas Briot.
This medal was executed in assertion of the claims of England to the dominion of the sea.
70. Another. Similar. Silver. Size 2·2. Cast and chased.
71. Another. Similar: on obverse, portrait much varied, bust with collar, &c.; legend and signature varied; on arm, 1639. Silver. Size 2·35. Cast and chased.
This is a reproduction of the previous medal with an older portrait.
72. Birth of Prince Charles, 1630. Obv. Bust of King l., crowned &c. CAROLVS D. G. MAG. BRIT. &c. Rev. Prince on couch between Mercury and Mars, holding wreaths over his head. REDDAT AVOS. MAII 29. 1630. Gold. Size 1·2. Struck. By Nicholas Briot.
73. Reverses of Frederick and Elizabeth of Bohemia, 1632. Obv. Busts of Frederick and Elizabeth r.; King laur., &c. FRID. ET ELIZ. D. G. RR. BOH. &c. Rev. Setting sun. SOL OCCIDENS RENASCITVR. EC. I. 1632. Silver. Size 2·05. Cast and chased.
The successes of Gustavus Adolphus, king of Sweden, who was assisted by the English, revived for a short time the hopes of Frederick of regaining the throne of Bohemia, from which he had been driven by Ferdinand II., the Emperor, in 1620. This medal, which is of coarse work, was executed in Germany. The artist is unknown.
74. Scottish Coronation, 1633. Obv. Bust of King l., crowned, &c. CAROLVS D. G. SCOTIÆ ANGLIÆ, &c. Rev. Thistle and rose-tree combined. HINC NOSTRÆ CREVERE ROSÆ; in ex., CORON. 18. IVNII. 1633. B.; on edge, EX AVRO VT IN SCOTIA REPERITVR. BRIOT FECIT EDINBVRGI 1633. Gold. Size 1·1. Struck. By Nicholas Briot.
This medalet was struck upon the coronation of Charles at Edinburgh. The gold of which these medals were made was found in the mines situated in Niddesdale and Clydesdale. There are specimens in silver of this medal with the same inscription on the edge.
75. Another. Similar: varied and thin: no inscr. on edge. Gold. Size 1·1. Struck.
76—77. Return from Scottish Coronation to London, 1633. Obv. King on horse prancing l., &c.; above, eye of Providence; on the ground, plumed helmet, 1633, &c. CAROLVS AVGVSTISS. ET INVICTISS. MAG. BRIT. FRAN. ET HIB. MONARCHA. Rev. View of London; above, sun in clouds. SOL ORBEM REDIENS SIC REX ILLVMINAT VRBEM. E. (Edinburgh). Gold and silver. Size 1·65. Struck.
Issued upon the return of the King to London after his coronation at Edinburgh in 1633.
78. Another. Obv. Bust of King r., wearing laced collar, &c. CAR. D. G. MAG. BRITAN. &c. Rev. Same. Silver. Size 1·6. Cast and chased.
79. Dutch Fishery, 1636. Obv. Busts of King towards r., and Queen r., &c. CAR. ET MAR. D. G. MAG. BRIT. &c.; in field, 1636. Rev. Justice and Peace seated kissing each other, scales and olive-branch held by genii on either side. IVSTITIA ET PAX OSCVLATÆ SVNT. PSAL. 84. Silver. Size 3·05. Cast and chased. By Heinrich Reitz.
By a treaty between England and Holland it was stipulated that the Dutch should pay £30,000 for the permission to fish in British waters. This medal was executed in Germany by Heinrich Reitz the younger, a medallist of some note, who flourished during the early part of the seventeenth century, and who worked principally for Christian I. of Saxony and the Princes of the Houses of Brandenburg and Brunswick.
80. Charles, Prince of Wales, 1638. Obv. Bust of King l., crowned, &c. CAROLVS I. D. G. ANGL. &c. B. Rev. Prince Charles on horseback r., &c., behind, plumes with motto. ILLVST. CAROLVS PRINCEPS WALLIÆ: in ex., two C's interlinked. Silver. Size 1·25. Struck. By Nicholas Briot.
Charles was first styled Prince of Wales in 1638, at which time he also received the whole profits of the principality and earldom of Chester, and held his court apart from his father.
81. Betrothal of William, Prince of Orange, and Princess Mary, 1641. Obv. William and Mary, joining hands beneath rays proceeding from dove; above each, cherub in clouds holding wreath, distant view of palace: behind each, and in ex., inscriptions referring to their births and betrothal, with Anō 1641. 12 Mai. Rev. William as Pallas trampling on Bellona and receiving olive-branch from Mary in character of Peace; around them, Victory, Plenty, and genius of Holland with emblems; above, and in ex., inscriptions: below, J. Blum. Fe. Silver. Size 2·85. Struck. By Johann Blum.
William, son of Henry, Prince of Orange, mar. in 1641, Mary, dau. of Charles I. They were the parents of William III., King of England. This medal is the work of Johann Blum, of Bremen, who also executed a large number of dies for Christian IV. and Frederick III. of Denmark.
82. Marriage of William, Prince of Orange and Princess Mary, 1641. Obv. Frederick Henry, Prince of Orange, seated on throne with sword in r. hand and band with seven shields of the United Provinces in l., his feet on prostrate foes; distant view of fortified city, with Prince at the head of his troops, &c. LIBERTAS PATRIÆ, ME DEFENSORE, TRIVMPHAT, &c. Rev. Palace garden within enclosure, at the entrance William receives Mary; above them, Belgic Lion, and on either side, figures of Fœcunditas and Mars: above, cherubs in clouds, and, in Hebrew, Jehovah. QVO TE MARS ET AMOR VOCAT INTRA DIVA, &c. S. D. Silver. Size 2·85. Struck. Dutch. By Sebastian Dadler.
This medal commemorates the arrival of William and Mary in Holland after their marriage. It was executed by Sebastian Dadler, a native of Strasburg and chief goldsmith at the Imperial Court. Dadler worked also for George William, Elector of Brandenburg, Gustavus Adolphus of Sweden, and for the House of Orange. Died circ. 1654.
83. Frederick Henry, Prince of Orange, Knight of the Garter, 1626. Obv. Bust r., in armour, &c. FREDER. HENR. D.G. PRINCEPS AVRIAC. COM. NASS: around, seven shields, arms of the United Provinces, connected by bands held by two hands with sheaf of arrows. Rev. Within Garter, crowned shield, arms of Prince. Silver. Size 2·3. Struck. Dutch.
The Garter was conferred upon the Prince of Orange in 1626, the ceremony of investment taking place at the Hague.
84. Cecil, Lord Baltimore and his wife, 1632. Obv. Bust of Lord Baltimore, three quarters r., in armour. DM̄S CÆCILIVS BARO DE BALTEMORE ABSOLV. DM̄S TERRÆMARIÆ ET AVALONIÆ &c. Rev. Bust of Lady Baltimore three quarters r. D̄N̄A ANNA ARVNDELIA PVLCHERRIMA ET OPTIMA CONIVX CÆCILII PREDICTI. Silver. Size 1·9. Cast and chased; with ring for suspension.
Cecil, Lord Baltimore mar. Anne Arundel, dau. of the first Lord Wardour. In 1632 the king granted him the province of Maryland in America, which remained in the possession of his descendants till the establishment of the American Independence in 1783.
85. Richard Weston, Earl of Portland, 1633. Bust r., wearing ruff, medal of George, &c. DO. RICH. WESTON CO. DE PORTLAND, &c. VARIN. Lead. Size 3·55. Cast and chased. Plaque in high relief by J. Varin.
Richard Weston, Earl of Portland, filled the offices of High Treasurer of England, Captain and Governor of the Isle of Wight, &c. Died in 1634.
86. Thomas Cary, 1633. Bust r., wearing deep collar, armour, &c. THO. CARY R. CAROL. CVBICVLAR. ÆTATIS SVE 35. 1633. Copper. Size 3·3. Cast and chased. Plaque in high relief.
Thomas Cary, son of Sir Robert Cary, warden of the Marches of the North, died in 1649. This plaque is not signed, but it is the work of Varin: some specimens bear the artist's signature.
87. Margaret Cary, 1633. Bust r., wearing low dress, &c. MARGARITA VXOR THO. CARY ÆTATIS SVE 25. 1633. VARIN. Copper. Size 3·3. Cast and chased. Plaque in high relief by J. Varin.
After the death of Cary, Margaret his widow mar. Sir Edward Herbert, Attorney-General to Charles I., and Lord Chief Justice to Charles II. during his exile.
88. Thomas Wentworth, Earl of Strafford, 1641. Bust, three quarters r., in armour. Gold. Size 1. Repoussé work and chased. Plaque in high relief.
Thomas Wentworth, born 1593, was President of the North 1628, Lord Deputy of Ireland 1633, and created Earl of Strafford 1639. Beheaded 1641.
89. Declaration of Parliament, 1642. Obv. Bust of King r., crowned, wearing laced collar, order of George, &c. Should hear both houses of parliamant for true Religion and subiects fredom stand; engraved. Rev. The two Houses of Parliament with the King and Speaker; the whole within wreath-border. Silver-gilt. Oval. Size 1·9. Cast and chased; with loop for suspension. By T. Rawlins.[8]
This medal was probably executed by order of the Parliament, the legend being in accordance with their declaration of 19th May, 1642.
90. Another. Obv. Ship in full sail l., with flags of England. Rev. The two Houses of Parliament with the King and Speaker. PRO RELIGIONE GREGE ET REGE: the whole within wreath-border. Silver. Size 2·2. Struck. Dutch.
This medal appears to have been struck upon a piece of cast metal and from copper dies, which are known to have existed and are considered to be the matrices of a seal.
91. Battle of Edgehill? 1642. Obv. Half-length figure of King l., wearing robes of the order of the Garter, &c. CAR. D. G. MAG. BRI. &c.; engraved. Rev. King on horseback r.; above, genius with palm and wreath, &c.; blundered inscr. of Garter, engraved. Silver. Oval. Size 1·6. Cast and chased; with loop for suspension.
Probably executed by T. Rawlins after the battle of Edgehill, to which the palm and wreath allude.
92. Outbreak of Civil War and surrender of Bristol? 1643. Obv. Bust of King r., laur., wearing armour, &c. CAROLVS D. G. ANG. &c. R. Rev. Sword and olive-branch crossed, between C.R. crowned. IN VTRVMQVE PARATVS. 1643. Silver. Size 1·15. Struck. By T. Rawlins.
This medalet may have been struck upon the surrender of Bristol to the forces of Prince Rupert in 1643.
93. Robert Devereux, Earl of Essex, 1642. Obv. Half-length figure towards l., in armour holding sword; above SX. Outer legend. Should hear both houses of parliamant for true Religion and subiects fredom stand. Inner legend. Pro Religione Lege Rege et Parliamento: legends engraved. Rev. The two Houses of Parliament with King and Speaker: wreath-border. Silver-gilt. Oval. Size 1·8. Cast and chased; with loop for suspension. Military reward.
The reverse type may refer to the declaration of Essex, in which he promised to maintain the Protestant religion, the security of the King's person, and the first privileges of Parliament and the liberty and property of the subject. Essex, born in 1582, was appointed general of the parliamentary army upon the breaking out of the Civil War in 1642. He died in 1646.
94. Another. Battle of Edgehill? 1642. Obv. The Earl of Essex on horse galloping r.; battle in the distance, &c. ROBERTVS COMES ESSEX. Rev. Shield, coronet, arms of Essex; beneath, motto, BASIS VIRTVTVM CONSTANTIA; wreath-border; legends engraved. Silver-gilt. Oval. Size 1·9. Cast and chased; has had ring for suspension.
The battle represented on the obverse may be that of Edgehill, when victory was claimed by both sides.
95. Another. Death of Essex, 1646. Obv. Bust, facing, in armour, &c. ROBERTVS COMES ESSEXIÆ, &c. PRO REGE ET PARLIAMENTO GENERALIS. Rev. Shield and coronet, arms of Essex; beneath, skull and crossbones. OBIIT DECIMO QVARTO DIE SEPTEMBRIS ANNO DIN (sic) 1646; legends engraved. Silver-gilt. Oval. Size 1·65. Cast and chased; with rings for suspension.
A memorial of the Earl of Essex upon his death.
96. Ferdinand, Lord Fairfax, 1643. Obv. Bust, three quarters r., in armour. Rev. Shield, arms of Fairfax between palm and laurel branches: wreath-border. Silver. Oval. Size 1·75. Cast and chased; with ring for suspension. Military reward.
Ferdinand, Lord Fairfax, at the outbreak of the civil war, was appointed commander-in-chief of the parliamentary forces of the North. He gained the battle of Marston Moor in 1644. Died 1648.
97. Another, 1643. Obv. Bust, facing, wearing armour and scarf. Rev. Shield, arms of Fairfax. Silver. Oval. Size 1·5. Cast and chased; with ring for suspension. Military reward.
98. Lord Kimbolton, aft. Earl of Manchester, 1643. Obv. Half-length figure, three quarters l., in armour, Pro Religione Lege Rege et Parliamento; engraved. Rev. The two Houses of Parliament, with King and Speaker; wreath-border. Silver. Oval. Size 1·7. Cast and chased; with ring for suspension. Military reward.
Edward Montague, Lord Mandeville, was the eldest son of the first Earl of Manchester, and was raised to the peerage in the lifetime of his father under the title of Lord Kimbolton. He served in the parliamentary army, and held a command at Edgehill. In 1643 he received the command of the forces maintained by the seven associated counties of Essex, &c., and was present at the battle of Marston Moor. It was probably about that time that this medal was struck. He took a leading part in bringing about the Restoration, and was Lord Chamberlain to Charles II. Died in 1671.
99. John Hampden. Obv. Bust, three quarters r., wearing armour. Rev. An axe. Inimica Tyrannis. Gold. Size .8. An engraved plate of good work probably of the 18th century.
John Hampden, statesman and parliamentary leader, was killed at Chalgrove, 18th June, 1643.
100. Archbishop Laud, 1645. Obv. Bust r., wearing academical robes, biretta, &c. Reverse plain. Silver. Size 1·45. Cast and chased.
William Laud, Archbishop of Canterbury, born in 1573, obtained in 1621 the see of St. David's, in 1625 was translated to Bath and Wells, in 1628 to London, and in 1633 to the see of Canterbury. Beheaded 10th Jan. 1645.
101—102. Another. Obv. Bust r., similar to previous medal. GVIL. LAVD ARCHIEPISC. CANTVAR. X. IAN. 1644. Rotier f. Rev. Infant angel carrying mitre and crozier of Laud towards the skies, followed by two others bearing the crown, sceptre, and orb of Charles; below, view of London. SANCTI CAROLI PRÆCVRSOR. Gold and silver. 2·25. Struck.
This medal was executed by John Roettier soon after the Restoration, circ. 1600.
103. Sir William Parkhurst, 1644. Within ornamented oval frame, half-length figure, facing, wearing cloak, &c., and holding medal of Charles I. GVILIEL. PARKHVRST EQV. AVRA. CVSTOS CAMB. ET MONET. TOT. ANGL. 1623; beneath, T. Rawlins Sculps. OXON. 1644. Silver. Size 3. Cast; a thin plate. By T. Rawlins.
Sir William Parkhurst, Warden of the Mint under James I. and Charles I., whom he accompanied to Oxford at the outbreak of the Civil War. He was reinstated in his office by Charles II., and died about 1671.
104. Sir William Waller, 1643. Obv. Bust three quarters r., wearing armour, &c. Inner legend. The valiant commander Sir William Waller. Outer legend. Should hear both houses of parliamant for true Religion and subiects fredom stand: legends engraved. Rev. The two Houses of Parliament with King and Speaker. Silver. Oval. Size 1·35. Cast and chased. Military reward.
Sir William Waller, parliamentary general, born in 1597, knighted in 1622, was second in command under the Earl of Essex; but was removed by the Self-denying Ordinance, and becoming an object of suspicion, he was twice imprisoned. He afterwards assisted at the Restoration, and died in 1668.
105. Sir Richard Brown, 1644. Obv. Bust, three quarters l., in armour, &c. NON VIR SED VIRTVS. Rev. Shield, arms of Sir R. Brown. FOR KING AND PARLIAMENT. 1644; wreath-border. Silver. Oval. Size 1·3. Cast and chased. Military reward.
Sir Richard Brown, parliamentary general, afterwards attached himself to the royal cause and at the Restoration was created a baronet and elected Lord Mayor of London.
106—107. Sir Thomas Fairfax, 1645. Obv. Bust l., wearing armour, &c. THO. FAIRFAX MILES MILIT. PARL. DVX GEN. Rev. MERVISTI. POST HAC MELIORA. 1645. Silver-gilt and silver. Oval. Size 1·3. Cast and chased. Military reward. By T. Simon.[9]
Sir Thomas (Lord) Fairfax, parliamentary general, commanded at Marston Moor, was appointed general in chief of the parliamentary army to succeed Essex, 1645, and was victorious at Naseby, Colchester, &c. He resigned his post in 1650, and after assisting in bringing about the Restoration, died in 1671.
108. Prince Rupert, 1645. Obv. Bust, three quarters l., wearing armour, &c., and holding Marshal's baton. Rev. Armorial bearings of the Prince on three shields, with supporters, crest, &c.: above, R. P. Silver. Oval. Size 1·45. Cast and chased. Military reward.
Prince Rupert, son of Frederick, Elector Palatine, and Elizabeth, dau. of James I., born 1619, commanded the cavalry of Charles I. during the Civil War till the surrender of Bristol in 1645. After the Restoration he commanded in the English fleet in the war against the Dutch. Died in 1682.
109. Sir Robert Heath, 1645. Obv. Bust l., wearing cap, robes of office, &c. EFFIG. R. HEATH. &c. ÆTAT. SVÆ 71. 1645. R. Rev. Shield, arms of Heath, between two laurel-branches; engraved. Silver. Oval. Size 1·5. Cast and chased. By T. Rawlins.
Sir Robert Heath, Chief Justice of the King's Bench, dismissed by the Parliament in 1645, died in 1649.
110. Baron de Reede, 1645. Obv. Bust l., wearing cap, doublet, &c. Rev. 1645. Io. de Reede D. de Renswovde, &c. ÆTAT 52. Silver. Oval. Size 1·35. Cast and chased. By T. Simon.
John de Reede, Lord of Renswode, Ambassador Extraordinary of the United Provinces to the Court of Charles I., by whom he was created Baron de Reede.
111. Sir John Hotham, 1645. Obv. Bust r., in armour; behind, skull, crowned. MORS MIHI VITA. Rev. Shield, arms of Hotham impaling Anlaby. Silver. Size 1·25. Cast and chased.
Sir John Hotham, Parliamentary-general, was the Governor of Hull, who closed the gates of that city against Charles I. Being suspected of treason, he was executed together with his son on Tower Hill, 2nd June, 1645.
112. Simon Beal, 1645. Half-length figure, three quarters r., in doublet and scarf, with trumpet in r. hand, &c. SIMON BEAL ÆT. SVE 28. A. 1645; wreath-border. Silver. Size 2·4. Embossed plate in high relief, chased.
Simon Beal is said to have been Sergeant-Trumpeter to the King. This medal has been attributed to T. Rawlins.
113. Earl of Loudon, 1645. Obv. Bust l., wearing cap, doublet, &c.; on arm, A.S. Rev. IOHAN. COM. LOVDOVN SVMMVS SCOTIÆ CANCELLARIVS. 1645. Silver. Size 1·45. Cast and chased. By A. Simon.[10]
Sir John Campbell, born 1598, elected Earl of Loudon 1633, was appointed High Chancellor of Scotland in 1641, and in 1649 President of the Session which ordered the proclamation of Charles II. Being deprived of his office he was specially exempted from the indemnity granted by Cromwell to the people of Scotland. Died 1663.
114. William Pope, 1645. Obv. Bust r., wearing armour and scarf; on arm, A.S. Rev. 1645. GVLIELMVS POPE ARMIG. ÆTATIS 21. Silver. Size 1·4. Cast and chased. By A. Simon.
William Pope, a royalist and grandson of Sir William Pope, first Baron of Belturbet and Earl of Downe, died before 1660 without issue.
115. Lord Inchiquin, 1646. Obv. Bust l., wearing armour and scarf; on arm, A.S. Rev. 1646. HON. D. MOR. BAR. D'INCHIQVIN D. PRÆSES PROV. MOMONIÆ ÆT. 30. Silver-gilt. Size 1·4. Cast and chased. By A. Simon.
Lord Murrough, Baron Inchiquin, created Earl of Inchiquin 1654, commanded in Munster, of which province he was appointed Lord President. He was at first a parliamentarian, but afterwards joined the royalist party. Died 1674.
116. Albert Joachim, 1646. Obv. Bust l., wearing official robes, &c.; on arm, A.S. Rev. 1646. ALB. IOACHIMI EQ. FÆDERAT. BELG. &c. ÆT. 86. Silver. Size 1·4. Cast and chased. By A. Simon.
Albert Joachim was Ambassador Extraordinary of the United Provinces to congratulate Charles I. upon his marriage. He remained in England as Ambassador in ordinary.
117. Sidney Poyntz, 1646. Obv. Bust l., wearing armour and scarf; on arm, A. S. Rev. 1646. SIDEN. POINTZ 10000 EQVIT. ET PED. ASSOCIAT. SEPTENT. DVX SVM. EBOR. GVBER. Silver. Size 1·4. Cast and chased. By A. Simon.
Sidney Poyntz, parliamentary general, defeated the King's forces at Rowton Heath near Chester, commanded with Rossiter in the North, and was Governor of York.
118. Earl of Dunfermline, 1646. Obv. Bust l., wearing armour and scarf; on arm, A.S. Rev. CAR. SETONIVS FERMELINODVNI COM. 1646. Lead. Size 1·4. Cast and chased. By A. Simon.
Charles Seton, second Earl of Dunfermline, was frequently employed in negotiations between the King and the Parliament of Scotland. After the Restoration he was appointed extraordinary Lord of the Session and Keeper of the Privy Seal. Died in 1673.
119. Earl of Lauderdale, 1646. Obv. Bust l., wearing armour, &c. IO. METALLANVS LAVDERIÆ CO.; on arm, A.S. Rev. Crest and motto of Lauderdale, lion sejant, holding sword and lis. CONSILIO ET ANIMIS. 1646. Silver. Size 1·4. Cast and chased. By A. Simon.
John Maitland, second Earl of Lauderdale, born 1616, created Duke 1672, was taken prisoner at the battle of Worcester: appointed in 1661 Sec. of State and High Commissioner of Scotland: aft. one of the famous Cabal Ministry. Died 1682.
120. General Rossiter, 1646. Obv. Bust l., wearing armour. Reverse plain. Gold. Oval. Size 1·15. Cast and chased. By A. ? Simon.
Edward Rossiter, parliamentary general, commanded in the North with Sidney Poyntz: concurred with Monk and Fairfax in the Restoration, and was knighted.
121. Robert Kyrle, 1646. Obv. Bust r., in armour, &c. Rev. Shield, arms of Kyrle and Money, and crest of Kyrle, hedgehog. Silver. Oval. Size 1·25. Cast and chased. By A. Simon?
Robert Kyrle of Walford Court, nephew of John Hampden was a distinguished officer under Cromwell and Captain of the Troopers, who plundered Master Swift's house at Goodrich. Died 1669.
122. Martinay, 1647. Obv. Bust l., wearing armour: on arm, A.S. Rev. IE NE VIS QV'A REGRET. 1647. Lead. Size 1·5. Cast and chased. By A. Simon.
In the Med. Hist., p. 74, we find that Martinay was a French gentleman, who had taken refuge in England.
123. Uncertain Portrait. Bust r., wearing doublet. No reverse. Size 1·45. Cast and chased. By A. Simon.
Perhaps a portrait of Algernon Sidney.
124. Thomas Harper, 1647. Bust l., wearing cloak, &c. VERA EFF. T. HARPER D. ALVETON LODGE IN C. STAF. 1647; on arm, T.R. Gold. Oval. Size 1·4. Struck on a thin gold plate. By T. Rawlins.
During the civil war a parliamentary garrison was stationed at Alveton, perhaps in Harper's own house, who appears to have been a royalist, as this medal is by the royalist artist, Rawlins.
125. Memorial badge of Charles I., 1649. Obv. Bust of King r., wearing armour, &c. CAROLVS D. G. MAG. BRIT. &c.; engraved. Rev. Shield, royal arms within Garter, crowned; engraved. Silver. Oval. Size 2·3. Cast and chased; with ring for suspension.
This and the following medals (Nos. [126]—134) are badges evidently worn by the friends and partisans of Charles I., openly, or in secret.
126. Another. Obv. Bust of King l., wearing decorated armour, &c. CAROLVS D.G. MAG. BR. &c. Reverse plain. Silver. Oval. Size 1·5. Cast and chased; with rings for suspension.
This medal is probably by T. Rawlins.
127. Another. Obv. Bust of King l., wearing robes and star of the Garter, &c.; in his hand, crown of thorns and scroll inscribed, CHRISTI TRACTO IANII. 30. 1648. CAROLVS PRIMVS MORITVR ET VIVIT. EST NOBILE VICENDI GENVS PATIENTIA; wreath-border. Rev. Rock, buffeted by winds and waves; on scroll, IMMOTA TRIUMPHANS. Silver. Size 1·1. Cast and chased; with ring for suspension. By T. Rawlins.
The reverse is an imitation of engraving: some specimens are plain. There is a great variety of these badges.
128—129. Another. Obv. Bust of King r., wearing deep lace collar, doublet, &c. CAROLVS D.G. MAG. BRI. FR. ET HIB. RX; engraved. Rev. Bust of Queen l., wearing coronet, low bodice, &c. HENRETTA MARIA D.G. MAG. BRITAN. &c. T. RAWLINS. F. Gold and silver. Oval. Size 1·6. Cast and chased; with rings for suspension. By T. Rawlins.
130. Another. Similar: bust of King crowned, wearing robes, collar of the Garter, &c., legend in relief and varied. Silver-gilt. Oval. Size 1·6. Cast and chased; with rings for suspension. By T. Rawlins.
131. Another. Obv. Bust of King r., wearing deep lace collar, &c. CAROLVS D.G. MAG. BRI. FRA. ET HI. REX, engraved. Rev. ORTV MAGNVS CONIVGIO ET PROLE MAIOR VIRTVTE MAXIMVS; engraved; wreath border. Copper-gilt. Oval. Size 2. Cast and chased; with ring for suspension. By T. Rawlins.
132. Another. Bust of King r., as on preceding: within wreath-border; crown above. Silver. Oval. Size 2. Cast and chased. By T. Rawlins.
On this badge all the plain ground has been removed leaving only the portrait, border, and crown. It was probably an ornament for a book-cover.
133. Another. Obv. Bust of King l., wearing doublet, &c. Rev. Shield, royal arms within the Garter, crowned: engraved. Gold. Oval. Size 1·1. Cast and chased; with ring for suspension.
134. Another. Obv. Bust of King, three quarters l., crowned, wearing robes and collar of the Garter, &c. Carolus Rex. Reverse plain. Silver. Oval. Size 2·35. An engraved plate similar to those executed by Simon Passe: but not by that artist, and of later date.
135. Death of Charles I., 1649. Obv. Bust of King l., wearing decorated armour, &c. DIVVS CAROLVS BRT. PIVS; two roses; in field, C. R., beneath which, H. M. engraved (later). Rev. Hammer striking diamond on anvil. INEXPVGNABILIS.
| 1648: in field, engraved (later) | R N | Silver. Size 1·65. Cast |
| W R | ||
| I K |