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Pope, Cristoforo primarily produced variations of two different medals. The first was oval shaped and made to commemorate his pontification and political shrewdness. The second medal was circular and was produced to recognize his various campaigns at the
Palazzo San Marco. One side has Pope Paul II's profile. The inscription on it reads "PAVLO VENETO PAPE II - ITALICE PACIS FVNDATORI - ROMA", which translates to "Pope Paul II Venetian - Founder of the Peace of Italy - Rome". The back shows Pope Paul II's coat of arms, from his status as the Venetian cardinal
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116:. The pope strategically employed Cristoforo to use the antique concepts he was known for, but had him also cater to Pope Paul II's liking. Under the papacy, Cristoforo made a plethora of medals for Pope Paul II. Pope Paul II often buried medals in the foundations of buildings he was restoring. Many of these medals have since been recovered and attributed to Cristoforo di Geremia, despite the lack of a signature.
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in medallion form. The medallion shows
Cristoforo's passion for the art of antiquity through the construction of the profile of Trevisan. The medal is similar to the busts of a late Roman emperor. The reverse of Trevisan's medal is also indicative of Roman ties based on other coins of that period. It
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on the front and a pseudo-classical group on the back. Although the intended meaning of the back is unknown, some attribute the representation to the
Constantinian Peace of the Church. Others argue that the two figures and the inscription are the deliberate imitation of a Roman coin, the inspiration
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on April 25, 1468. Versions of the medal were most likely distributed to notable attendees of the event as well as sent to secular rulers of the peninsula. As with many of
Cristoforo's works, this papal medal has components inspired by antiquity. There is evidence that the profile side of the medal
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employed
Cristoforo di Geremia as his primary medallist. Pope Paul II is considered the first pontiff to realize the potential of medals as an instrument of the state and for personal propaganda. Because of this, he had more medals produced than any other 15th century Pope. While in service to the
49:'s techniques are seen in Cristoforo's work. Although very little is known about his early professional career, it is known that Cristoforo was very interested in the art of antiquity. Many of his works contain various nuances gathered from ancient Roman coins.
62:, a known admirer and collector of ancient art. With Cardinal Trevisan as his patron, Cristoforo traveled with the commander of the papal troops to Perugia in 1461 and to Florence in 1462. During this time, Cristoforo di Geremia was also employed by the
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Cristoforo di
Geremia arrived in Rome around 1456. He spent the majority of his life in Rome, but his teachings from the Mantuan school were the most influential on his work. Cristoforo worked independently until 1461, when he was employed by Cardinal
22:(1410–1476) of Mantua was a Renaissance sculptor, goldsmith, and medallist. He worked in Rome beginning sometime around 1456 and was active until 1476. He is most famous for his bronze medallion work under
66:. He stayed as a guest for a month with Lodovico at the Gonzaga court. Upon his departure, he gifted his hosts four antique busts. Cristoforo also produced a characterized portrait of
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Cristoforo di
Geremia's date of birth is unknown. He was most likely the son of Geremia di Nicolino dei Geremei, a Mantuan goldsmith whose name was prevalent in documents from
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Cristoforo di
Geremia was superseded by his nephew, the medallist Lysippus the Younger, who, along with other artists, borrowed figures and compositions from Cristoforo.
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between the years of 1438 and 1480. Cristoforo di
Geremia died at the age of 46, while at what was considered the peak of his professional career.
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De Winter, Patrick M. “Recent
Accessions of Italian Renaissance Decorative Arts, Part I: Incorporating Notes on the Sculptor Severo Da Ravenna.”
92:, and includes a rampant lion, the papal keys, and a tiara. The medal was produced in conjunction with the pope's announcement of peace in the
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when Cristoforo was making his medal of Constantine. The two figures, the Emperor and the Church are clasping hands.
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One of the most prominent commissions that brought Cristoforo fame was the restoration of the equestrian statue of
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26:. Cristoforo did a number of medals and jewellery for royal and noble commissions.
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There are two surviving medals signed by Cristoforo di Geremia. The first shows
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in 1468. In 1469, he was commissioned to make medals for the restoration of the
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stemming from the inherently imperial nature of the peace proclamation in 1468.
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Cristoforo di Geremia studied at the Mantuan school and was most influenced by
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After Trevisan died in 1465, Cristoforo was employed by the papal court.
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450:, vol. 73, no. 3, 1986, pp. 74–138., www.jstor.org/stable/25159934.
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467:. London: British Museum Publications Limited. pp. 68–70.
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The second signed medal from Cristoforo di Geremia shows
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The Currency of Fame: Portrait Medals of the Renaissance
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is rumored that in 1466, Cristoforo made jewelry for
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427:. New York: The Frick Collection. p. 119.
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448:The Bulletin of the Cleveland Museum of Art
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391:"Cristoforo di Geremia"
359:"Cristoforo di Geremia"
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94:Basilica of San Marco
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509:Artists from Mantua
264:Alfonso V of Aragon
138:Alfonso V of Aragon
75:, Duke of Ferrara.
53:Early works in Rome
494:Italian medallists
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120:Signed works
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90:Pietro Barbo
85:Pope Paul II
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73:Borso d'Este
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24:Pope Paul II
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489:1476 deaths
484:1410 births
395:www.nga.gov
368:28 February
478:Categories
400:2017-02-28
340:References
319:Plaquette
288:1461-1481
188:1461-1465
172:Work Type
316:ca. 1470
142:Pisanello
103:Augustus
47:Mantegna
43:Mantegna
312:Priapus
146:Bellona
131:Plotina
175:Front
36:Mantua
241:1468
178:Back
169:Year
166:Work
159:Works
370:2017
280:n/a
150:Mars
148:and
30:Life
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