 
From the days when Roman militarism dominated the world down to the present time, the deeds of successful soldiers have been commemorated by the striking of medallions. Needless to say these metal pieces, which so admirably recall the outstanding events in war and soldiery, are highly prized by antiquarians, and the labour spent in gathering together a collection of them is richly rewarded. Medallions have been fashioned from all the usual metals, but gold, silver, copper, bronze, and lead have been generally employed. The processes followed in making them have been as numerous as the metals: ordinary casting was, at one time, the favourite method, but striking, engraving, and hand modelling have all been employed in turn. MediÆval medallists often resorted to the "lost wax" "A process of bronze founding in which the core is covered with an accurate representation of the object to be cast in wax, the wax being of the intended thickness of the metal. The wax is then coated with a porous clay, and the whole mass is put in a pit and baked. During the process of baking the wax melts and runs off through apertures left for the purpose. The space left after the wax is melted is occupied by the metal. This, the oldest method of bronze founding, is probably the best, and in the present day it is being pretty generally adopted. In the method, which for some time has been in vogue, the core was made of the exact size of the object to be cast and afterwards pared down, so as to leave space for the metal to run in between the core and the mould." The earliest medallions date from very remote times, but the Hadrian era may be considered the period in which these souvenirs of memorable actions first became popular. From Hadrian's time to the fall of the Roman Empire they were struck to commemorate every deed of note, but after the decline we hear little of them until the Renaissance, when such Italian artists as Pisano and Guaciolotti revived their popularity. From the Renaissance onwards, the art of medallion-making flourished in Italy under the guidance of Benvenuto Cellini, of Albert DÜrer in Germany, and of Jacques Primavera in France, but it was not until the time of Henry VIII that English workers turned their attention to this pleasing way of marking important military and civil events. Of course, we find medallions commemorating glorious deeds which took place in periods other than those mentioned; in such cases, the pieces were probably struck long after the occurrence took place. It is a little difficult to know what specimens to include and what to exclude from a collection of No catalogues exist of the English medallions issued since Henry VIII's time, but the pieces which are the most interesting were struck by:— 1. Simon, who grew to fame in the reign of Charles II. He engraved the royal seals and executed many fine medallions. 2. Rawlings. 3. The Wyon family. William Wyon, the most renowned of at least three engravers of this family, engraved the royal seals, the Peninsular medals, and the dies for the first postage stamps, besides many medallions of a military and civil interest. Collectors of these metal souvenirs should examine the exhibits in the British Museum and the Royal United Service Museum, whilst an occasional glance in the windows of Messrs. Spink & Sons in Piccadilly will often reveal specimens of more than ordinary interest. This well-known firm issue a monthly circular which contains much of interest A few illustrations depicting some of the most noted medallions may be given with advantage. The specimen below, one of the oldest in existence, was struck in gold to commemorate the glorious deeds of Julius CÆsar. Speaking of the medallion, Plutarch says:— "Julius CÆsar, on his return to Rome, after having won a successful issue at the Battle of Pharsalus, was named the 'Liberator, the head of the Fatherland, the permanent dictator,' and received for the first time, the title of Emperor. The Senators, wishing to reward him for the humane treatment which he accorded those who fought against him, during the civil wars, erected a temple of Mercy, circular in shape, supported by six columns, in the middle of which is the figure of 'Concord' holding in the right hand the horn of Plenty and in the left a spear." The first medallion given on this page was struck to commemorate the victory gained by William III at the Battle of the Boyne. The obverse shows a familiar portrait of the King, whilst the reverse depicts him in the act of crossing the river at the head of his troops. The next medallion shows James II on the obverse, and an orange-tree laden with fruit by the side of an old oak, falling to the ground, on the reverse. The piece was evidently struck to The fourth medallion is one of the numerous specimens which were struck to do honour to Marlborough and his victorious army. The obverse shows Prince EugÈne and the Duke, who are likened to the Roman deliverers, Castor and Pollux. On the reverse, a picture representing the rout of the French and the surrender of Marshal Tallard at Blenheim is given. The fifth piece illustrated here was struck to com Another specimen in the Marlborough series is given below. The obverse represents Marlborough and EugÈne as Castor and Pollux whilst the reverse presents a view of the battle and town of Oudenarde. The medallion given at the foot of the previous page was struck to commemorate the surrender of Lille in 1708. Victory is shown, on the front face, taking the civic crown from the head of a prostrate female, who represents the city of Lille, whilst the under face depicts Britannia, with the Ægis, striking France with terror. The eighth medallion commemorates the Battle of Dumblane. The ninth medallion was struck in honour of the A CHECK TO CORSICAN ASSURANCE. By Cruikshank. |
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