See also:

• MEDAL (Fr. medaille, from Lat. metallum)

MEDAL (Fr. medaille, from See also:

• LAT

Lat. metallum)  , strictly the See also:

• TERM

term given to a memorial piece, originally of See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal, and generally in the shape of a See also:

• COIN
• COIN (older forms of the word are coyne, quoin and coign, all derived through the O. Fr. coing, and cuigne from Lat. cuneus, a wedge)

coin, used however not as currency but as an See also:

• ARTISTIC

artistic product . " Medallion " is a similar term for a large See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal, but is now usually restricted to a See also:

• FORM (Lat. forma)

form of bas-See also:

• RELIEF

relief in See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture . The term " medal " is, artistically, extended by See also:

• ANALOGY (Gr. avaXo-yLa, proportion)

analogy to pieces of the same See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character not necessarily shaped like coins . The See also:

• HISTORY

history of coins and medals is inseparable, and is treated under the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general heading of See also:

• NUMISMATICS
• NUMISMATICS (Lat. numisma, nomisma, a coin; from the Greek, derived from voj4 u', to use according to law)

NUMISMATICS . That See also:

• ARTICLE (from Lat. articulus, a joint)

article may be supplemented here by an See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of (I) the more See also:

• RECENT

recent progress in the See also:

• ART

art of the medallist, and (2) the use of medals for See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war decorations . 1 . The medal—as it is understood to-See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day—enjoys a See also:

• LIFE

life entirely See also:

• INDEPENDENT

independent of the coin on the one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, and, on the other, of the sculptured medallion, or bas-relief; and its See also:

• RENAISSANCE, THE

renaissance is one of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief phenomena in art during the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period since about 1870 . It is in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France that it has risen to the greatest perfection . Its popularity there is well-nigh universal; it is esteemed not only for memorials of popular events and of public men, but also for private celebrations of all kinds . No other nation approaches in excellence—in artistic feeling, treatment, and sensitiveness of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution—the artists and the achievements of France . In See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, although the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy seeks to encourage its students to practise the art, the See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize it offers commonly induces no competition . The art of the medallist is not properly appreciated or understood, and receives little or no support .

The prevailing notion concerning it is that it consists in stamping cheap tokens out of See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white metal or See also:

• BRONZE

bronze, on which a See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, more or less vulgar, stands out in frosty relief from a dazzling, glittering background . These See also:

• WORKS

works, even the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of military and civic medals, demonstrate how the exquisite art of the Renaissance had been degraded in England—Almost without protest or even recognition —so that they are, to a See also:

• WORK

work of Roty or See also:

• CHAPLAIN

Chaplain, what a nameless See also:

• DAUB, KARL (1765-1836)

daub would be to a picture by See also:

• REMBRANDT (1606-1669)

Rembrandt or Velasquez . It is probable that Jacques Wiener (d . 1899), of See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, was the last of the medallists of See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note who habitually cut his See also:

• STEEL, FLORA ANNIE (1847– )

steel See also:

• DIES, CHRISTOPH ALBERT (1755-1822)

dies entirely with his own hand without assistance, though others in some measure do so still . Although most See also:

• MODERN

modern workers, exclusively medallists, have themselves cut dies, they now take See also:

• ADVANTAGE

advantage of the newest methods; and the graveur en medailles has become simply a medailleur . His knowledge of effect is the same—though the effect sought is different: in earlier times the artist thought chiefly of his shadows; now he mainly regards his planes . Otherwise his aims are not dissimilar . At the See also:

• PRESENT

present day the medallist, after making conscientious studies from life (as if he were about to paint a picture), commonly works out his design in See also:

• WAX

wax, or similar substance, upon a disk of See also:

• PLASTER

plaster about 12 or 14 inches The See also:

• GREAT

great majority of the artistic medals at present in the See also:

• WORLD

world (in the great. collection of France there is a See also:

• TOTAL

total of not fewer than 200,000 medals) are See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast, not struck . There is in them,a See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of See also:

• SURFACE

surface, of See also:

• PATINA (probably from the Latin word for a flat dish, from patere, to lie open; cf. " paten ")

patina, of the metal itself, which the struck medal, with all the added beauties which it allows of delicate finish and exquisite detail, can hardly give . But the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of the cast medal is much slower, much more uncertain, and the number of See also:

• FINE

fine copies that can be produced is infinitely smaller . All the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early medals were cast, being first modelled in wax, and then cast by the cire perdue (See also:

• WASTE (O. Fr. wast, guast, gast, gaste; Lat. vastus, vast, desolate)

waste wax) 1 The method of preparing the dies, &c., is the same for medals as for coins, See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save that for larger and heavier work more strokes are required, as in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of L . Coudray's popular " Orphce "—rather a sculpture-relief than a medal .

The dies are capable of a great yield before becoming quite worn-out; it is said that no fewer than three million copies were struck of See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor J . Tautenhayn's See also:

• AUSTRIAN

Austrian See also:

• JUBILEE (or JUBILE), YEAR OF

jubilee medal of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

Emperor See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph . In France, Thonelier`9 perfected See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine, substituting the See also:

• LEVER (through O. Fr. leveour, levere, mod. levier, from Lat. levare, to lift, raise)
• LEVER, CHARLES JAMES (1806-1872)

lever for the See also:

• SCREW (O.E. scrue, from O. Fr. escroue, mod. ecrou; ultimate origin uncertain; the word, or a similar one, appears in Teutonic languages, cf. Ger. Schraube, Dan. skrue, but Skeat, following Diaz, finds the origin in Lat. scrobs, a ditch, hole, particularl

screw, has been in use for coins since 1844; but for the striking of medals the same old-fashioned screw-See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press is retained which had till then been employed both for coins and medals since the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XI V . In its present form the machine consists of an See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron or bronze See also:

• FRAME

frame, of which the upper See also:

• PART

part is fitted with a hollow screw wherein works an inner screw . This screw, moved by See also:

• STEAM
• STEAM (0. Eng. steam, vapour, smoke, cf. Du. steam; the origin is unknown)

steam or See also:

• ELECTRICITY

electricity, drives the dies, set in iron collars, so that they strike the See also:

• BLANK (from the Fr. blanc, white)

blank placed between them . This machine can deliver a strong See also:

• BLOW, JOHN (1648-1708)

blow to produce a high relief, or a delicate See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch to add the finest finish . In the See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• MINT
• MINT (Lat. moneta; Mid. Eng. mynt)

Mint large medals can be struck with See also:

• COMPARATIVE

comparative ease and rapidity . A See also:

• HYDRAULIC

hydraulic press of nearly two million pounds pressure is utilized for testing the dies TI See also:

• PROCESS

process, and were usually worked over by the chaser afterwards; indeed, it was not until the beginning of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century that dies, hitherto used only for coins executed in See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low relief, were employed for larger and bolder work . The medallists of those days always cast in bronze or See also:

• LEAD
• LEAD (pronounced iced)

lead, and only proceeded to use See also:

• SILVER

silver and See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold as a luxurious See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste began to demand the more See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious metals . There is little doubt that the material to be preferred is dull silver ( See also:

• MAT (O. Eng. meatt, from late Lat. mattes, whence Ital. mallet, Ger. and Dan. matte, Du. mat, &c.)

mat or See also:

• SABLE
• SABLE, AMERICAN
• SABLE, CHINESE
• SABLE, MADELEINE DE SOUVRE, MARQUISE DE (1599—1678)
• SABLE, RUSSIAN

sable—See also:

• SAND
• SAND, GEORGE (1804-1876)

sand-blasted), as the work, with all its See also:

• VARIATIONS
• VARIATIONS, CALCULUS
• VARIATIONS, CALCULUS OF

variations of See also:

• LIGHT

light and shade, can be better seen in the delicate See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey of the surface . The medal, properly considered, is not sculpture . See also:

• VASARI, GIORGIO (1511-1571)

Vasari was happy in his See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition when he described the medallic art as the See also:

• LINK

link between sculpture and See also:

• PAINTING

painting—that is to say, painting in the See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round with the See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour See also:

• LEFT

left out .

Less severe than sculpture, it need not be less dignified; it is See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound down by the conventions of low relief, and by compulsions of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and design, dependent on shape, from which sculpture, even when the relief is the lowest, is in a great measure See also:

• FREE

free . In the medal, otherwise than in sculpture, elaborate See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective and receding planes are not out of See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . The See also:

• GENIUS (from Lat. genere, gignere)

genius of the modern Frenchman rebelled against the See also:

• RULE

rule that commonly governed the medal during the decadence, and has triumphed in his revolt, justifying the practice by his success . The modern medal and the plaquette aim at being decorative yet vigorous, reticent and dignified, delicate and See also:

• TENDER

tender, graceful and pure; it may be, and often is, all these in turn . See also:

• IMAGINATION

Imagination, See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, symbolism, may always be brought into See also:

• PLAY

play, allied to a sense of form and colour, of arrangement and execution . By the demonstration of these qualities the artist is to be differentiated from the skilful, See also:

• MECHANICAL

mechanical See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

die-sinker, who spreads over the art the blight of his heavy and insensitive hand and See also:

• BRAIN (A.S. braegen)

brain . So with See also:

• PORTRAITURE

portraiture . Accurate likeness of feature as well as character and expression are now to be found in all fine works, such as are seized only by an artist of keenly sensitive temperament . It is thus that he casts the events and the actions of to-day into metallic history, beautifully seen and exquisitely recorded; thus that the figure on the medal is no longer a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere sculpturesque See also:

• SYMBOL (Gr. o-uµ(3oXov, a sign)

symbol, but a thing of flesh and See also:

• BLOOD

blood, suave and graceful in composition, and as pleasing in its purely decorative design as imagination can inspire or example suggest . It is thus that the art, while offering easy means of permanent memorial, has afforded to men of restricted means the eagerly seized opportunity of forming small collections of masterpieces France.—In France the example of Oudin6, coming after that of See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David d'See also:

• ANGERS

Angers, did much to revolutionize the spirit animating the modern medallist, but See also:

• CHAPU

Chapu, by his essentially modern treatment, did more . To Ponscarme (See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

• OUDINE, EUGENE ANDRE (1810--1887)

Oudine) is chiefly due the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of rendering mat the ground as well as the subject on the medal, the suppression of the raised rim, and the, See also:

• ABANDONMENT (Fr. abandonnement, from abandonner, to abandon, relinquish; abandonner was originally equivalent to mettred banddn, to leave to the jurisdiction, i.e. of another, bandon being from Low Latin bandum, bannum, order, decree, " ban ")

abandonment of the typographic lettering hitherto in See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue, together with the mechanical regularity of its arrangement . Degeorge, with his semi-pictorial treatment, was followed by See also:

• DANIEL
• DANIEL (DANIL)
• DANIEL, BOOK
• DANIEL, GABRIEL (1649-1728)

Daniel See also:

• DUPUIS, CHARLES FRANCOIS (1742-1809)

Dupuis,' whose delicate and playful fancy, almost entirely pictorial, makes us forget alike the material and the die .

J . C . Chaplain is unsurpassed as a modeller of See also:

• NOBLE, SIR ANDREW (1832- )

noble heads, including those of four presidents of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• REPUBLIC (Lat. respublica, a commonweal or common-wealth)

Republic—See also:

• MACMAHON, MARIE

Macmahon, Casimir-See also:

• PERIER, CASIMIR PIERRE (1777-1832)

Perier, See also:

• FAURE, FRANCOIS FELIX (1841–18gg)

Faure and Loubetand his allegorical designs are finely imagined and admirably worked out (see See also:

• PLATE

Plate) ; but L . Oscar Roty (pupil of Ponscarme) is at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the whole modern school, not only by virtue of See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute mastery of the technique of his art, but also of his originality of arrangement, of the poetic charm of his symbolism and his allegories, the delicate fancy, the exquisite touch, the chasteness and purity of taste—See also:

• WEDDING

wedding a modern sentiment to an obvious feeling for the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek . Though expressly less virile. than Chaplain, Roty is never effeminate . To Roty belongs the See also:

• CREDIT (Lat. credere, to believe)

credit of having first revived the form of the plaquette, or rectangular medal,, which had been abandoned and forgotten along with many other traditions of the Renaissance (see Plate) . Alphee See also:

• DUBOIS
• DUBOIS, FRANCOIS CLEMENT THEODORE (1837– )
• DUBOIS, GUILLAUME (1656–1723)
• DUBOIS, JEAN ANTOINE (1765-1848)
• DUBOIS, PAUL (1829-1905)
• DUBOIS, PIERRE (c. 1250-c. 1312)

Dubois, See also:

• LAGRANGE, JOSEPH LOUIS (1736-1813)

Lagrange, and Borrel must be mentioned among those who are understood to engrave their own dies . Followers are to be found in Mouchon, Lechevrel, See also:

• VERNON
• VERNON, EDWARD (1684-1757)

Vernon, See also:

• HENRI

Henri Dubois, See also:

• PATEY, JANET MONACH (1842-1894)

Patey,' Bottee (see" Plate) -all See also:

• STERLING
• STERLING, ANTOINETTE (d. 1904)
• STERLING, JOHN (1806-1844)

sterling artists if not innovators . Medallists of more striking originality but less finish, and of far less elegance are See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel Cazin, Leviliam (who loves as much as See also:

• BANDINELLI, BARTOLOMMEO

Bandinelli to make over-display of his knowledge of See also:

• MUSCULAR

muscular See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

anatomy), See also:

• CHARPENTIER, FRANCOIS (1620-1702)

Charpentier, and their school, who aim at a manner which makes less demand of highly educated artistry such as that of Roty or of Chaplain . It is learned and accomplished inits way, but lumpy in its result; breadth is gained, but refinement and distinction are in a great measure lost . It may be added—to give some idea of the See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry of the modern medallist, and the encouragement accorded to him—that between 1879 and 1900 M . Roty executed more than 150 pieces, each having an obverse and a See also:

• REVERSE

reverse .

See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria.—The two leading medallists of the Austrian school are Josef Tautenhayn (see Plate) and Anton Scharff, both highly accomplished, yet neither displaying the highest qualities of taste, ability and " keeping," which distinguishes the French masters . About 330 pieces have come from the hand of Antori Scharff . Stefan Schwartz, See also:

• FRANZ, ROBERT (1815-1892)

Franz Pawlik,Staniek, Marschall and J . Tautenhayn, junior, are the only Other artists who have risen to See also:

• EMINENCE (Lat. eminentia)

eminence . See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany.—A characteristically florid See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style is here cultivated, such as lends itself to the elaborate treatment of See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume, armorial See also:

• BEARINGS

bearings, and the like; but delicacy, distinction, and the highest excellence in modelling and draughtsmanship—qualities which should accompany even; the most vigorous or elaborate designs—are lacking'in a great degree . Professors See also:

• HILDEBRAND, LAY OF (Deis Hildebrandslied)

Hildebrand and Kowarzik have wrought some of the most artistic works there produced . Belgium.—Although sculpture so greatly flourishes in Belgium, medal work shows little promise of rivalling that of France . The See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of the three See also:

• BROTHERS, RICHARD (1757-1824)

brothers Wiener (Jacques, See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold and See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles) —See also:

• GOOD, JOHN MASON (1764-1827)

good medallists of the old school—has not yet been shaken off . The remarkable architectural See also:

• SERIES (a Latin word from serere, to join)

series by the first-named, and the coinage of the second, have little See also:

• AFFINITY (Lat. affinitas, relationship by marriage, from offinis, bordering on, related to; finis, border, boundary)
• AFFINITY, CHEMICAL

affinity with the spirit of the modern medal . Lemaire has perhaps done as well as any, followed by See also:

• PAUL
• PAUL (PAULUS)

Paul Dubois, J . See also:

• DILLENS, JULIEN (1849-1904)

Dillens (a follower of the French), G . Devreese and Vincotte (see Plate)—whose plaquette for the See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels See also:

• EXHIBITION

Exhibition See also:

• AWARD (from O. Fr. ewart, or esguart, cf. " reward ")

award (1887) is See also:

• ORIGINAL

original, but more admirable in design thanin finish .

See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland.—In Holland not very much has been done . Patriotism has called forth many medals of See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen Wilhelniina, and the best of them are doubtless those of See also:

• BART, JEAN (1651-1702)

Bart See also:

• VAN

van See also:

• HOVE

Hove and Wortman . Baars is a more virile artist, who follows Chaplain at a distance . Wienecke is interesting for the See also:

• SAKE

sake of his early Netherlandic manner; the incongruity is not unpleasant . See also:

• SWITZERLAND

Switzerland.—The medal is also popular in Switzerland . Here Bovy is the See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader of the French tradition and Hans Frei of a more See also:

• NATIONAL

national sentiment . The last-named, however, is more remarkable as a revivalist than as an original artist . Great See also:

• BRITAIN (Gr. Hperavuml vi7vot, Bperravia; Lat. Britannia, rarely Britannia)

Britain.—In England only two 'medallist's of repute can be counted who practically confine themselves to their art—G . W. de Saulles, of the Royal Mint, best known by the See also:

• DIAMOND

Diamond Jubilee medal of Queen See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and by his medal of See also:

• SIR

Sir See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel See also:

• STOKES, SIR G
• STOKES, SIR GEORGE GABRIEL, BART
• STOKES, WHITLEY (1830-1909)

Stokes, and See also:

• FRANK, JAKOB (1726-1791)

Frank Bowcher (see Plate) by that of See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• HUXLEY, THOMAS HENRY (1825–1895)

Huxley . These artists both cut their own dies when necessary . Emil See also:

• FUCHS, JOHANN NEPOMUK VON (1774-1856)
• FUCHS, LEONHARD (15o1-1566)

Fuchs, working in England: in the manner of the French medallists, but with greater freedom than is the wont of the older school, has produced several examples of the art: the medals commemorative of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• AFRICAN

African War and of Queen Victoria (two versions), all of 1900; and many portrait medals and plaquettes of small See also:

• SIZE

size have come from the same hand . Besides these, the leading See also:

• ENGLISH

English sculptors have produced medals—See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• LEIGHTON, FREDERICK LEIGHTON, BARON (183o–1896)
• LEIGHTON, ROBERT (161x—1684)

Leighton, Sir, See also:

• EDWARD

Edward See also:

• POYNTER, SIR EDWARD JOHN, BART

Poynter, Hamo See also:

• THORNYCROFT, WILLIAM HAMO (1850- )

Thornycroft, T .

See also:

• BROCK, SIR ISAAC (1769—1812)
• BROCK, THOMAS (1847— )

Brock, See also:

• ONSLOW, ARTHUR (1691-1768)
• ONSLOW, EARL OF

Onslow See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford, G . Frampton and Goscombe See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John; but, practising more continually in sculpture, they do not claim See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank as medallists, nor have they sought to acquire that class of dexterity which See also:

• CONSTANT, BENJAMIN (1845-1902)

constant See also:

• HABIT (through the French from Lat. habitus, from habere, to have, hold, or, in a reflective sense, to be in a certain condition; in many of the English senses the French use habitude, not habit)

habit alone can give . See also:

• ALPHONSE, COUNT OF TOULOUSE AND OF POITIERS (I220-1271)

Alphonse See also:

• LEGROS, ALPHONSE (1837– )

Legros, who has cast a certain number of portrait medals, is usually included in the French school . See also:

• UNITED

United States.—Among See also:

• AMERICAN

American medallists See also:

• AUGUSTUS (a name 1 derived from Lat. augeo, increase, i.e. venerable, majestic, Gr. Ee0avr6s)

Augustus St Gaudens (see Plate) is perhaps the most prominent; but he is not, strictly speaking, a medallist, but a sculptor who can See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model in the See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat . (M . H .