PUBLTCATIONS medallists with their most important opportunities, Cupperi also discusses the broadening aPPeal of medals across the social scale, with commissions coming even from'merchants and bankers who have never seen an unsheathed sword'. This had its effect on the iconography and Cupperi analyses the various solutions that were adopted for the reverses of both male and female subjects' The second Part discusses the Italian artists who made the medals, with sections on Leoni, facoPo da Trezzo, Annibale Fontana, Pietro Paolo Romano and Cesare Federighi da Bagno, and Leone Leoni's son PomPeo' In the case of Fontana, Cupperi argues that the medals signed ANN, ANIB and RNrNtsaL are all the works of that artist, thereby following earlier ltalian authorities. Coming to the question of the medallist signing himself ren, he rightly distinguishes this artist from the assistant of Cellini (Pietro Paolo Galeotti) who went on to make a celebrated series of medals of Cosimo de' Medici - a distinction convincingly made by Silvio LeYdi and Susanna Zanuso in their article of zor5. The connection between the artist PPR and the Pietro Paolo de'Tomei Romano who witnessed Leone Leoni's will, suggested by LeYdi and Zanuso, is described by CuPPeri as a 'temPting prospect' (prospettiva allettantel, as indeed it is. Less convincing to the current reviewer is CupPeri's removal of a cast medal of fean de Lorraine from the orbit of Milan in favour of a link with Cellini. In rgro George Hill noted a similarity between the figure of Prudence on its reverse and the Peace on Cellini's struck medal of Clement VII, but a closer parallel would seem to be provided by the figure of HoPe (and the arrangement of the legend) on the reverse of Leone Leoni's cast 44 medal of Martin de Hanna. The links between central and northern ltaly, diminished as they are by the separation of Galeotti and Pietro Paolo Romano, are to an extent restored by Cupperi in his account of Cesare da Bagno, who worked in Florence and then Brescia before moving to Milan in 156o. On stylistic grounds Cupperi adds a number of previously unattributed medals, particulaÙ of Emilian subiects, to the oeuvre of PomPeo Leoni. The book ends with an aPPendix in which nine previously unpublished letters, now in archives in Madrid and Brussels, are transcribed, throwing additional light on Granvelle's medallic commissions. Copious annotations and a lengthy bibliography are final indications of the extensiveness of Cupperi's reading, unsurPrising perhaps given that his zoo8 thesis for the Scuola Normale SuPeriore Pisa was on this subject and that he has already published various articles on related topics. This volume, Published bY the Scuola Normale, represents a significant advance in our understanding of sixteenth-century north Italian medals and the multiplicity of cultural links between northern Italy and the Netherlands. It is essential reading for anyone interested in this crucial moment in medallic historY. @ DIE SILBERNE STADT. ROM IM SPIEGEL SEINER MEDAILLEN VON PAPST PAUL BIS ALEXANDER VII', II. EDITED BY MATTEO BURIONI AND MARTIN HIRSCH Munich: Staatliche Mùnzsammlung Mùnchen and Hirmer, zozr ISBN 978 3777+3253.3 464 pp.,with numerous colour illustrations Nicolas Bock Of all the cities in the world, Rome has produced an unsurpassed quantity of medals commemorating its fame and fortune. Ancient and modern monuments, ecclesiastical ceremonies, the sovereign pontiff and the members of his court, the cardinals, constitute a vast reservoir of themes and motifs. Some of these themes were rePeated throughout the centuries, others were more innovative and remained isolated. With the exception of a few loans from other institutions, the exhibition on which this book is based relies mainly on the important collection of PaPal medals in the Mùnzsammlung Mûnchen, which have been recently digitised in collaboration with the Bibliotheca Hertziana in Rome. This Bavarian perspective explains the title of the exhibition, as the holdings in the Munich collection are mostly in silver - the papal collection with its gold medals was long ago brought to Paris' The magnificent exhibition catalogue testifies to the new position Munich has attained as a centre for research on medals. The exhibition is the fruit of a collaboration between the museum (Martin Hirsch) and the university (Matteo Burioni), and these two editors brought together a Iarge number of specialists in various domains to elucidate the history of Rome as shown through medals. The catalogue follows a series of major THE MEDAL No. 79, 2021 PUBLICÂ.TIONS publications by the Mùnzsammlung Mùnchen, notably the catalogue Wettstreit in Erz. Portrritmedaillen der deutschen Renaissance (Munich, Dresden and Vienna, zor3-r5), also edited by Martin Hirsch, among others. Six essays form the first part of the catalogue. Martin Hirsch, Matteo Burioni and Giancarlo Alteri introduce the reader to some of the general aspects of Roman medals and papal politics. In a more specific article, Ulrich Pfisterer then deals with papal medals struck for the occasion of the Holy Year. First introduced by Boniface VIII in 13oo, this festivity took place every twenty-five years, thus becoming one of the most prolific occasions in contemporary church history. From Alexander VI Borgia f49z-r5ql onwards, medals and coins were ceremoniously inserted into the walls of the Holy Door at St Peter's, and this event became the most prolifically illustrated ceremony in papal numismatic propaganda. Pfisterer shows the evolution of its iconography, its echoes in anti-Catholic propaganda and the strong ties between medals and graphic illustrations. The following essay, by Matthias Barth and Martin Hirsch, is an important contribution to the history of medal-collecting, as it analyses some two hundred auction catalogues, from the seventeenth to the beginning of the nineteenth century. Their list of early auction catalogues at the end ofthe book (pp. 4r4-zr) is also very useful. The essay by Claudia Steinhardt-Hirsch concentrates on architectural representations on northern Italian quattrocento medals. Although the paper has no connection with the specifically Roman theme of the exhibition, she is able to demonstrate the different juridical and poetic meanings that architectural THE MEDAL No.79,2021 representations could assume and reveals the versatility of medals and their imagery. The catalogue that follows is divided into eight, sometimes overlapping thematic sections, each one preceded by a short introduction to the subject matter. The sections follow the exhibition's structure and present different approaches to the general theme. The first section (Ihe glory of the cityl, on antique coins and medieval seals as predecessors of modern Roman medals, gives the reader a general introduction to the exhibition topic. Conceding an additional one or two pages to the introductory essay would have made it possible to linger more on the question of the longue durée of the image of Rome. The long tradition that images of Rome had in medieval manuscript illumination and painting (pilgrim books, but also Cimabue, Giotto, Masolino) meant that almost everyone was familiar with much of the topography of the Eternal City. Two interesting sections (VI, VII) discuss medal publications and medal collecting, confirming the role that these objects played in establishing the ubiquity and the longevity of the image of Rome, its popes and monuments. Prints, drawings, books and inventories, as well as collectors' cabinets, boxes and even a ry36 papal open up an interesting view on the expanding relationship between the city and its surroundings. The role of the artists and technical aspects of medal making are discussed by Lucia Simonato in a short but relevant introductory essay (V). The last section (VIII) on the echoes of papal medal culture in Europe is somewhat arbitrary, but allows the editors to end with Goethe. The illustrations are of the usual excellent quality one is accustomed to in all Hirmer publications. The size of the reproductions varies widely: some medals are reduced at life-size; however, most are enlarged. This enables the reader to discover striking details and to enjoy the often overwhelming artistic rffinesse of The workmanship. Somewhat problematic is the graphic layout of the book. The choice to crop many illustrations - probably in order to give a more dynamic, or even'sexy', impression of the subject matter - has no excuse, as it reveals a lack of respect for medals as works of art and for their value as historical documents. This is too bad, as it considerably reduces the value of this magnificent publication, which should be present in every library. @ screw pressr are presented. A section (II) on popes and cardinals as patrons of medals leads us to the heart of the exhibition. Medals on the city of Rome are grouped again thematically: first, city walls and fountains (III), then papal buildings inside the city (IVa), and finally monuments outside the city (IVb). The last part in particular, on medals commemorating papal interventions beyond Rome, brings together a unique and quite heterogenous group of medals, which 45 THE MEDAL No.79 Autumn zozr Editorial 3 Four Renaissance medals Articles 4 Holy riders Constantine the Great and the seals of Baldwin II Benedict Carpenter van Barthold r3 Nicholas Y as gubernator naviculae The first papal medal and the pope's funeral orations Agnie s zka Smolucha- Sl adkow ska 22 Freedom, exile and murder An unfinished medal for Alessandro de'Medici Caylen Ferguson Heckel 29 Imagining Marian queenship facopo daTrezzo's medal in context John M. Adrian Publications 46 Book Reviews Publications noted 47 News 42 FIDEM BAMS Great Britain Canada tu The Netherlands Portugal Argentina USA fapan Belgiu m Medals from BAMS New medals Medals still available THE MEDAL No. 79,2021 Poland