Emperor Charles V (obverse); The Infante Philip II on Horseback (reverse)

Inscriptions

Inscribed, on front: IMP+CAES+CAROLUS+V+AUG+; inscribed, on reverse: PHILIPVS+AUSTR+CAROLI+V+CAES+F+

Label

Portrait medals were important components of making and remembering the past. In particular, the portrait medal was a key means of making history between 1400 and 1750. Echoing the form of ancient coins, which were sought after by early modern collectors, portrait medals celebrated contemporary people and events as they occurred, supplementing written documents. While kings and emperors were obvious subjects for such medals, which could be made at the time of important battles or treaties, religious leaders and even wealthy merchants were also commemorated in metal. Preserving the likenesses of individuals on one side and allegories of their deeds on the other, portrait medals forged links to the past, preserved the present, and anticipated the future.

From the 2024 exhibition Living with Sculpture: Presence and Power in Europe, 1400–1750, curated by Elizabeth Rice Mattison, Andrew W. Mellon Curator of Academic Programming and Curator of European Art, and Ashley B. Offill, Curator of Collections

Course History

GOVT 86.43/MES 12.14, Intellectual History of Racism, Michelle Clarke and Jonathan Smolin, Spring 2022

HIST 43.02, European Intellectual History 1400-1800, Darrin McMahon, Fall 2022

History 42.01, Women's Gender, and Sexuality Studies 22.01, Gender & European Society, Patrick Meehan, Spring 2024

History 96.39, Saints and Relics, Cecilia Gaposchkin, Spring 2024

Italian 1.01, Introductory Italian I, Noemi Perego, Spring 2024

Italian 11.01, Intensive Italian, Floriana Ciniglia, Spring 2024

Italian 2.01, Introductory Italian II, Floriana Ciniglia, Spring 2024

Italian 3.01, Introductory Italian III, Tania Convertini, Spring 2024

Italian 3.02, Introductory Italian III, Giorgio Alberti, Spring 2024

Exhibition History

European Bronzes from the Collection of Roger Arvid Anderson, Class of 1968, Gene Y. Kim, Class of 1985, Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 19, 1996-June 22, 1997, no. 39.

From Titian to Sargent: Dartmouth Alumni and Friends Collect, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 12-November 1, 1987.

Living with Sculpture: Presence and Power in Europe, 1400–1750, Citrin Family Gallery and Engles Family Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, March 23, 2024–March 22, 2025.

Renaissance Bronzes From The Collection of Roger Arvid Anderson, Class of 1968, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, May 13-August 29, 1993

The Power of Appearances: Renaissance and Reformation Portrait Prints and Medals, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 7-December 3, 2000.

Publication History

Roger Arvid Anderson, The Roger Arvid Anderson Collection, Medals, Medallions, Plaquettes and Small Reliefs, Paintings, Sculpture, Works on Paper and Textiles, San Francisco: Roger Arvid Anderson (published privately), design by David L. Wilson, 2015, p. 62-63.

Barbara J. MacAdam and Hilliard T. Goldfarb, From Titian to Sargent: Dartmouth Alumni and Friends Collect, Hanover, New Hampshire: Trustees of Dartmouth College, 1987, no. 5a/b.

Provenance

Acquired by Roger Arvid Anderson, San Francisco, California, date unknown; lent to present collection, 1987; given to present collection, 2016.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu

Subjects