Gifts of Grandeur: Portrait medal of Isotta degli Atti, 1453-1455

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Portrait Medal of Isotta degli Atti
Italy, 1453-1455
The Victoria & Albert Museum

This is interesting. This cast bronze object, dating to 1453-1455, is an early example of a Renaissance portrait medal. The piece was commissioned to commemorate an Italian beauty called Isotta degli Atti who was celebrated for her incredible gorgeousness. Isotta was the mistress, and, later the third wife of the theatrically named Sigismondo Malatesta, Lord of Rimini.

The obverse depicts a portrait profile of Isotta while the reverse shows an elephant. This may seem to be an odd choice, but when considered in heraldic terms, the elephant was a fitting symbol of the Malatesta family which was meant to convey their strength and power. In this case, it’s an especially fitting choice as it is a definitive link between Isotta and the Malatesta family—created during a time when the woman was still the aristocrats mistress and not his wife. It was a daring proclamation indeed. 

Though the medal was made later, it is inscribed with the date 1446. What’s the significance? 1446 was the year that Isotta became the Lord of Rimini’s mistress as well as the year that she began to encourage him to consolidate his political power.

What was the medal for? Well, it was a way for Lord Rimini to proclaim to the world that this woman—an object of desire for many—was his. Isotta yearned for fame—and this was it. And, to ensure her enduring fame and to forever preserve his conquest, Malatesta had copies of these medals buried within the walls and foundations of the many, many buildings which he commissioned—following the classical Roman tradition of doing such self-conscious things. I’m glad he did. Because of it, many examples of such medals survive to this day, having been uncovered over centuries of remodeling.

According to my pals at the V&A, this design was created by the Veronese medalist Matteo de'Pasti. It’s probable that this was actually meant to be part of a pair of medals—one showing Malatesta and one depicting his mistress. Example of a medal of Malatesta have been found and seem to be by the same artist. The reverse of those shows the palace that he called home.

Drawing of the Day: Da Vinci's Pulcinella, c. 1490

Fragment of a Drawing of Pulcinella by Leonardo da Vinci, 1490
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

From the Royal Collection, here’s a very interesting pen and ink drawing. Created in 1490, here is Leonardo da Vinci’s idea of Pulcinella’s traditional grotesque visage.

The work was acquired by Charles II, King of Great Britain (1630-85), who purchased it from Thomas Howard, 2nd Earl of Arundel. The early history of this fragment is unknown, really. By 1582, it was in the collection of Francesco Melzi from whose heirs the drawing was purchased by Pompeo Leoni. How the piece came into the hands of the Earl of Arundel us unknown. Da Vinci depicts Pulcinella in profile to the left. Only this fragment—with odd intersecting lines drawn on the verso—remains of the original drawing which is believed to have been from da Vinci’s “Codex Atlanticus,” folio 173 verso-a.

At some point in the last five-hundred and some years, someone--while cataloging this in the Royal Collection--wrote a number on Pulcinella's chin (either 29 or 24).  Why?  I'm sure Queen Mary would have clobbered them if she knew.

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Mastery of Design: The Castellani Ruby Pendant, c. 1860

Pendant by Castellani
1860-1900
Rome, Italy
The Victoria & Albert Museum

The famed Castellani family of jewelers drew much of their inspiration from the jewels which were made during the Renaissance of their native Italy.  This jeweled pendant is an excellent example of their Renaissance revival work.  The pendant which also features a brooch mounting is a work of enameled gold set with table-cut rubies and emeralds, and hung with pearls.

The piece was made in Rome between 1860 and 1900.

Painting of the Day: The Tintoretto Self Portrait, 1548

The Victoria & Albert Museum

One of the greatest painters in Italy in the Sixteenth Century, Tintoretto (1519-1594) has become known throughout the world for his bold and dramatic work. This early and forceful self-portrait, by the great Venetian painter, was created with the aid of a mirror. Self-portraits such as this, by popular artists, became desirable with collectors during the Renaissance.

The bust-length portrait of a young Jacopo Tintoretto dates to about 1548.

Gifts of Grandeur: The Castellani Pendant: 1860-1900

Pendant-Brooch
Castellani, Rome
1860-1900
The Victoria and Albert Museum

Designed to be worn as both a brooch and a pendant, this piece is a triumph of gold, pearls, sapphires, rubies and enamel. Designed in the Renaissance Revival made by the Roman firm of Castellani, this pendant was intended for export to England. The maker, Castellani, was celebrated for its jewelry designs which had been inspired by archaeological gold-work.
While it is clearly inspired by European jewelry of the 1600s, it’s important to note that this he brooch-pendant is not a direct copy. This is one of several versions of a similar design by Castellani-- three of which accompany this piece in the V&A.

This piece was a gift to the museum from The American Friends of the V&A.

Gratuitous Bertie Dog Picture: The Vision of St. Bertie

"So, you see them, too?"

Image: The Vision (Dream) of St. Helen, Paolo Veronese, 1570, The National Gallery, London

Painting of the Day: “The Adoration of the Kings,” by Jan Gossaert, 1510-1515

Adoration of the Kings
Jan Gossaert, 1510-1515
The National Gallery, London

Jan Gossaert, also known as “Mabuse,” was one of the first Sixteenth Century Flemish painters to travel from Flanders to Italy in order to study the work of Italian Renaissance painters. He employed the methods that he learned from the Italians to produce stunning, monumental paintings upon returning to his homeland.


This tremendous painting entitled The Adoration of the Kings dates between 1510 and 1515 and was painted as an altarpiece for the Lady Chapel at St. Adrian’s at Grammont which is near Brussels in present-day Belgium. As was typical of Italian paintings of the era, Graesart has included a contemporary sitter into the composition. The figure of the king, Caspar, was modeled after Johannes de Broemer who was appointed Abbot of St. Adrian’s in 1506 and who most likely commissioned the painting.

The scene shows the Christ Child and the Holy Family being visited by the Magi. Above the Holy Family, the famed star shines brightly—symbolizing God, the Father. From the star, the Dove of the Holy Spirit, descends toward the Holy Family as throngs of angels hover above.

The painting has always been heralded for its magnificent colors and Gaesart’s ability to render realistic looking fabrics and textures. Today, the piece is housed in the National Gallery in London.

Building of the Week: The Uffizi Gallery, Florence

Most people commonly refer to The Palazzo degli Uffizi (Uffizi Palace) as “The Uffizi Gallery” though, technically, the gallery is housed within the palace itself. Commissioned by Cosimo I de Medici in 1560, the original palace was initially designed by Giorgio Vasari and was intended to house the offices of Florentine Magistrates. The name “Uffizi” means “Offices.”

The initial phase of building was completed in 1581 by Alfonso Parigi and Bernardo Buontalenti based on Vasari’s original designs. As envisioned, the palace stretches toward an uninterrupted view of the Arno River, visible through a Doric columned screen. Vasari was also a painter, and, in designing the palace employed his knowledge of perspective so that the whole of the structure would resemble a stylized streetscape. Designed to include long expanses of unbroken cornices, Doric columns and niches (which were finally filled with sculptures by world-famous artists in the Nineteenth Century,” the palace appears to reach out over the river.

With the offices of the Tribunal and the State Archive housed in one location, a committee was formed under the direction of Buontalenti and de Medici to select the finest masterpieces from both the de Medici art collection and also from Florentine artists to house within the palace. Soon, the palace became the home of a fine exhibition of art, thereby making it one of the first museums in the Western world. Though open to visitors as early as the Sixteenth Century, the Uffizi Gallery was opened to the public in 1765 and has stayed open ever since.

Not only is the Uffizi a museum, it is also a gathering place for artists to share, to learn, to relax and observe. Early in the palace’s history, Michelangelo and Leonardo da Vinci could be found enjoying the sights and tranquility of the gallery.

Photo by Craig Porter

Today, the Uffizi continues to house some of the finest treasures of the art world. The collection includes works by Donatello, da Vinci, Cimabue, Giotto, Titian, Uccello, Duccio, Artemisia Gentileschi, Caravaggio, and Rembrandt Van Rijn among many others. It’s only fitting that a magnificent building designed by a painter should become the permanent home of the works of the art world’s most talented painters and sculptors.