Jacques Wiener's Most Remarkable Edifices of Europe: The Man, Monuments, and Medals 0897223594, 9780897223591

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Ross

Jacques Wiener’s Most Remarkable Edifices of Europe

Michael Ross is a life-long collector with a multidecade interest in the medals of Jacques Wiener. He displayed an innate numismatic passion early in life, picking wheat cents from his grandfather’s change before he was even of school age. His interests evolved to encompass United States half dimes and French Feudal coinage of the Middle Ages before discovering these mid-nineteenth century gems from the hand of Mr. Wiener. The history, architecture, and virtuosity of these medals inspired him to explore, research, and write in order to appreciate even more fully the genius they display. Mr. Ross never ceases to enjoy learning from the coins and medals he collects.

The American Numismatic Society publishes books, journals, and monographs on coins, medals, and related objects of all periods and cultures. The American Numismatic Society 75 Varick Street, 11th floor New York, NY 10013

Jacques Wiener’s Most Remarkable Edifices of Europe The Man, Monuments, and Medals

Michael Ross

ISBN 9780897223591

Front cover: Westminster Abbey and the Lady Chapel. Back cover: St. Paul’s. Photos © Michael Ross. Both medals are from the personal collection of Michael Ross.

9 780897 223591

Printed in Canada

Studies in Medallic Art 4

The nineteenth century medal series The Most Remarkable Edifices of Europe by Belgian engraver-medalist Jacques Wiener is examined in detail. The work begins by providing a biographical background for Wiener, integrating two primary, existing sources, supplemented by information from Wiener family descendents. The overall medal series is then addressed starting with its inception as defined in Wiener’s original 1853 prospectus through its quietly incomplete conclusion. The scope of the series, its range of issue dates, and elements and characteristics of its production are presented. For each edifice commemorated, the associated medals, including new and unpublished varieties, are presented, legends translated, die characteristics examined, contemporary supporting documentation cited, issue dates revised, and source images used by the artist are identified in limited cases. Where applicable, instances of divergence between the state of the actual monument and Wiener’s renderings are noted as well. The intent of the work is to provide a greater understanding of the medal series through a contextual approach.

Jacques Wiener’s Most Remarkable Edifices of Europe

Jacques Wiener’s Most Remarkable Edifices of Europe The Man, Monuments, and Medals Michael Ross

The American Numismatic Society New York

© 2019 The American Numismatic Society ISBN 978-0-89722-359-1 ISSN 2166-4757 Library of Congress Cataloging-in-Publication Data Names: Ross, Michael, author. Title: Jacques Wiener's most remarkable edifices of Europe : the man, monuments, and medals / Michael Ross. Description: New York : The American Numismatic Society, [2019] | Series: Studies in medallic art, 2166-4757 ; v. 4 | Includes bibliographical references. | Summary: "The nineteenth century medal series The Most Remarkable Edifices of Europe by Belgian engraver-medalist Jacques Wiener is examined in detail. The work begins by providing a biographical background for Wiener, integrating two primary, existing sources. The overall medal series is then addressed starting with its inception as defined in Wiener's original 1854 prospectus through its quietly incomplete conclusion. The scope of the series, its range of issue dates, and elements and characteristics of its production are presented. For each edifice commemorated, the associated medals, including new and unpublished varieties, are presented, legends translated, die characteristics examined, contemporary supporting documentation cited, issue dates revised, and source images used by the artist are identified in limited cases. Where applicable, instances of divergence between the state of the actual monument and Wiener's renderings are noted as well. The intent of the work is to provide a greater understanding of the medal series through a contextual approach"— Provided by publisher. Identifiers: LCCN 2019023006 | ISBN 9780897223591 (board) Subjects: LCSH: Medals—Europe—History—19th century. | Architecture in numismatics—Europe—History—19th century. | Wiener, Jacques, 1815-1899. | Medalists—Belgium—Biography. | Engravers—Belgium—Biography. Classification: LCC CJ6223.5.W54 R67 2019 | DDC 737/.22094—dc23 LC record available at https://lccn.loc.gov/2019023006 The American Numismatic Society 75 Varick Street, 11th floor New York, NY 10013 Printed in Canada

For my Wife Carol who suffered through many hours of diverted attention as this project expanded beyond anything I originally envisioned—without your patience and support it simply could never have been…

Acknowledgements

This book is the result of many converging sources of inspiration; the author requests the reader’s brief indulgence in order to thank a number of individuals who were instrumental in some way in the creation, improvement, and completion of this book. Many provided direct assistance, but just as importantly, others gave words of encouragement along the way—often of profound if unwitting timeliness—when doubts about the feasibility of my project or its usefulness began to diminish my enthusiasm and progress. First I must thank my parents Gene and Sue, grandparents, and other extended family who lovingly and actively encouraged a very young boy’s passion for coin collecting. This unceasing nurturing set the stage for a lifetime of numismatic inquisitiveness and passion that I suspect mystifies and perplexes many of those who come to know of it. Without this early, foundational support, this book simply would never have come to pass. To Debbie Williams of the Texas Numismatic Association whose steady encouragement to try my hand at exhibiting led to a measure of exhibiting success, but more importantly, provided me the opportunity to develop an appreciation for the joys of research and writing. My first exhibit was on the topic of the Most Remarkable Edifices series and was ultimately the predecessor to this book. Also to the late Mike Grant, a friend and local coin dealer, who provided me the opportunity to sharpen my skills at research and coinage attribution for many years, and unbeknownst to either of us at the time, assisted in setting the stage for this larger project. To Pascale Falek-Alhadeff of the Jewish Museum of Belgium in Brussels whose innocent question, “would you ever come to Belgium to consult documents and archival material?”, made me realize that my early naïve notion of a hobby research project could and should be taken to a more serious level. My casual research thus became more focused and earnest as a result of her query. The suggestions and contacts

provided by her early on in this endeavor were instrumental in getting the project off the ground. To Janet Larkin and Philip Attwood of the British Museum’s Department of Coins and Medals whose invitation to speak about this research project at the October 2017 meeting of the British Art Medal Society opened my eyes to the potential value of the work therein. In addition, their assistance with my examination of the Wiener medals in the British Museum collection and related suggestions were invaluable and directly impacted the content of this work. To Johan van Heesch, Alain Renard and the staff at the Royal Library of Belgium who were kind enough to accommodate this upstart and unknown researcher from Etats-Unis who desired to sift through the myriad of dies then recently received from the Belgian Royal Mint in his quest to find, admire, and study those of Jacques Wiener. Their graciousness and enthusiastic assistance in facilitating my study of their unique holdings significantly impacted the content of this work. The experience of holding one of Wiener’s hand-engraved dies is perhaps the closest one could come to understanding the artistic genius of the man. I extend additional thanks to Julie Van Roy, also of the Royal Library of Belgium, for heeding my plea for digital photographs of the previously undigitized letters from Jacques Wiener to Henry Mogford. This single trove of data provided an incredible amount of insight into Wiener’s design and production process and addressed many heretofore unanswered questions. The value of these letters to this book cannot be overstated. To Barbara Gregory of the American Numismatic Association and Ben Weiss, both fellow admirers of this series, whose early positive reviews of my manuscript and subsequent encouragement provided timely motivation as I began the search for a publisher. I would also like to thank Dr. Erhard Wacker who graciously responded to my inquiries regarding St. Apollinariskirche in a lively and fruitful email exchange, vii

as well as Øystein Ekroll, cathedral archaeologist at Nidaros Cathedral, who likewise very kindly assisted with my inquiries into this wonderful building. Thanks go to Firmin De Smet in whom I found a kindred soul in the appreciation of Wiener’s work. Many of the medal images in this work are ultimately from his collection, and now that of the author. The brief time spent together sharing his home, family, and a passion for medals are a treasured memory. Thanks also go to Gerald Stern (a descendent of Jacques’ sister Rosetta) and Rik Nulens who enthusiastically embraced my inquiries into the Wiener famly history. In addition, it was a privilege to have Fernand Wiener, Jacques Wiener’s great-great grandson, review the biographical chapter. All have provided not only practical and valuable information and insight, but

have added a personal dimension to this project that I had never anticipated, but deeply appreciate. Heartfelt thanks go to the American Numismatic Society for taking a chance and nurturing this work into its final form. The confidence shown by Andrew Reinhard and the various reviewers and editors is greatly appreciated. The comments and suggestions generated by all made the work you now hold much better than the version the author originally submitted. Lastly, to Jacques Wiener himself, who, so many years after his life and death, provided a legacy that has inspired and intrigued this admirer of his artistic genius.

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Contents

Acknowledgements vii Preface xi I. Introduction 1. Existing Literature 2. A Brief Biography 3. The Series and Its Buildings 4. Medal Design 5. The Medals II. Monuments and Their Medals 1. Saints Michael and Gudula 2. Cologne Cathedral 3. Amsterdam State House 4. Cathedral of Aachen 5. Monastery of Batalha 6. St. Apollinaris at Remagen 7. St. Paul’s, London 8. York Cathedral 9. St. Mark’s Basilica, Venice 10. Bonn Minster 11. Notre Dame, Paris 12. Winchester Cathedral 13. Westminster Abbey 14. Lincoln Cathedral 15. Tournai Cathedral 16. St. Peter’s, Vatican City 17. Hagia Sophia, Istanbul 18. St. Isaac’s, St. Petersburg 19. Church of St. Geneviève 20. Cordoba Cathedral 21. Walhalla 22. St. Ouen at Rouen 23. Cathedral of Reims 24. Milan Cathedral 25. St. Stephen’s Cathedral, Vienna 26. Kaiser Dom, Speyer 27. Strasbourg Cathedral ix

1 1 4 13 23 39 43 43 50 77 81 91 95 103 113 121 127 131 137 143 149 155 161 167 175 181 185 193 199 205 209 215 221 227



28. Chartres Cathedral 29. Cologne Synagogue 30. St. Olaf ’s, Trondheim 31. Basilica of St. Paul Outside the Walls, Rome 32. Duomo of Pisa 33. St. Stephen’s at Caen 34. St. Front, Périgueux 35. Duomo of Siena 36. Duomo of Florence 37. Bamberg Cathedral 38. Cathedral of Magdeburg 39. Cathedral of Mainz 40. St. Maria of Belém, Lisbon 41. Burgos Cathedral

231 235 241 247 253 257 265 271 275 281 285 289 294 298

III. Conclusion 303 Appendix 1. Cataloguing Wiener’s Medals and Jetons 305 Appendix 2. Purchase Histories of the Victoria & Albert Museum and the British Museum 323 References 325 Index 335

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Preface

Some three decades ago I opened the day’s mail, and my eye was drawn to the cover of the American Numismatic Association’s July 1987 issue of The Numismatist1—a monochromatic drawing of a flying buttress and a black-and-white photo of Jacques Wiener’s 1855 medal depicting the Cathedral of Notre Dame in Paris. Intrigued, I quickly flipped back to the accompanying article by Darran Huggins. It drew heavily on the nineteenth-century works of Victor Bouhy2 and Leonard Forrer3 (though both were unknown to me at the time), and provided a few tantalizing photos and a list of the medals comprising Wiener’s series known as “The Most Remarkable Edifices of Europe” (Forrer called it “Remarkable Monuments in Europe”). From that point forward, I was hooked. To this day, I still have this worn and dog-eared periodical; in the preinternet days it served as my checklist—a tangible reminder of both what I had collected and what was still left to be acquired. As I slowly assembled my little collection, I grew in appreciation of Wiener’s talent, “for his careful and perfect execution of subjects, by the elegance and exactness of the small details…render[ing] the interiors of buildings with a correctness, a depth that confound and excite genuine admiration.”4 Many times I have pleasantly witnessed the “genuine excitement,” if not astonishment, elicited from fellow coin collectors when viewing Wiener’s architectural medals for the first time. The perspective rendering and deep relief naturally and gradually draw one’s gaze down the lengthy interior of the monument, imparting a subcon-

scious mental stroll past arches and aisles, pilasters and pendentives, with fleeting upward glances given to the magnificently rendered vaulted and domed ceilings—the viewer briefly forgetting that the object is merely a disc of bronze, a scant 60 mm in diameter. In this sense, one interacts with Wiener’s medals, one does not merely view them—and that dynamic is unlike any other I have experienced as a numismatist, more akin to the experience of engaging a great work of art than just looking at a medal. There were other engraver-artists in the nineteenth century who produced architectural medals, some employing a similar design approach in depicting exteriors and interiors on their medals, but in almost all cases, they simply appear less inspired by comparison. Wiener’s medals, instantly recognizable, do not boast their level of artistry but confidently wait for the beholder to reach the inevitable conclusion—that these are special. Jacques Wiener was the master of a genre he helped to define. As the years have raced by, my small printed window into this wonderful world expanded as the internet gradually began to provide what is now an incredible and chaotic level of access to images, auction appearances, and many nineteenth-century records that documented or referenced Wiener’s work and life. For the internet-savvy collector, it is truly a wondrous and prodigious, albeit disorganized, trove of data. Once systematically arranged, this data provides a much more complete and in-depth understanding of both the man and his medallic works. I offer this work with a two-fold purpose: 1) to place this series of medals in a larger context—including the edifices themselves—not static, unchanging structures, but works of, and for, humanity—which Wiener captured at a point in their evolutionary lifespan, integrating relevant contemporary documentary evidence citing these medallic works, as well as exploring and speculating on Wiener’s methods of production and distribution, and 2) to identify a definitive list of varieties and record their individual die characteristics,

1. Darran N. Huggins, “The Genius of Jacques Wiener Master of the Architectural Medal,” The Numismatist Vol. 100, No. 7 (Colorado Springs: American Numismatic Association, 1987), 1407–12. 2. Victor Bouhy, “Jacques Wiener graveur en médailles et son oeuvre” in Revue belge de numismatique Vol. XXXIX (Brussels: Gobbaerts, 1883), http://www.numisbel.be/1883_1.pdf. 3. Leonard Forrer, Biographical dictionary of medallists (Volume 6); Coin, Gem, and Seal-Engravers, Mint-masters, &c., ancient and modern, with references to their works B. C. 500–A. D. 1900; compiled by L. Forrer Volume VI T–Z (London: Spink & Son, 1916), https://archive. org/details/biographicaldict06forriala/page/2. 4. Victor Bouhy, “Jacques Wiener graveur en médailles et son oeuvre” in Revue belge de numismatique Vol. XXXIX (Brussels: Gobbaerts, 1883), 9, http://www.numisbel.be/1883_1.pdf.

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while introducing a new numerical referencing scheme that accommodates new varieties while maintaining a temporal sequence in the numbering system. My hope is that by drawing all these elements together a more comprehensive and complete picture of this medallic series is obtained. This work, almost by definition, remains incomplete—one can identify a myriad of questions still needing answers, and

answering one question seems inevitably to lead to at least one more question. These I largely leave to future efforts and to researchers who likewise may be inspired by this nineteenth-century work of genius— The Most Remarkable Edifices of Europe.

MR

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Jacques Wiener’s Most Remarkable Edifices of Europe

I. Introduction

Existing Literature Many targeted, scholarly articles on specific medals of Jacques Wiener have been written since the debut of his Belgian Cathedral series in 1845. A rich literature exists in the decades of annual publications of the Revue de la numismatique belge alone. For expediency, I shall briefly set aside this set of literature except as needed to address a point relative to a particular medal. However, works of a more broad and encompassing nature are addressed here with the intent of establishing a baseline of literature regarding Wiener’s full body of work; since 1851 there have been a number of reference works that address Jacques Wiener’s broad artistic production to varying degrees. J. L. Guioth’s Histoire Numismatique de la Belgique, published in two volumes in 18511 and 1869,2 catalogs the coinage, medals, and postage stamps produced in Belgium through 1856. Wiener’s medallic works are included, though they are obviously incomplete given that only Belgian subjects are addressed and that Wiener continued to produce a prodigious number of medals beyond the range of dates addressed in the work. Guioth provides basic descriptions, transcriptions of medal legends, and for a significant number of issues provides an historical narrative as context. Of note, however, is that there are no medals from the Most Remarkable Edifices series included in his work. This has significant implications for the Sts. Michael and Gudula medal traditionally considered to have begun the series; this point is considered in the chapter on this medal.

From a numismatic point of view, Victor Bouhy’s 1883 work Jacques Wiener graveur en médailles et son oeuvre is the first comprehensive reference work on Wiener’s corpus of medals, postage stamps, and jetons. Bouhy shows a deep reverence and respect for Wiener’s work and had the distinct advantage of collaborating directly with Jacques Wiener in producing his work. One must therefore treat Bouhy’s work as a foundational benchmark and assume its details had at least tacit concurrence from the medalist himself— a point we shall struggle with in short order. Bouhy sketches a brief biography of Wiener’s life, which is almost invariably the basis for similar biographical summaries found in later reference works. Each medal, postage stamp, and jeton is described, and some limited commentary is provided for selected issues. These commentaries are frustratingly rare and scattered in the work;3 researchers in the subsequent centuries are largely left to ponder their questions with little illuminating assistance from Wiener’s friend. Bouhy organizes Wiener’s work into three groupings, the largest of which (medals) is further divided into various categories: Group 1—Medals • Most Remarkable Edifices of Europe • Churches of Belgium • Prisons and Courthouses • City Halls of Belgium • Municipalities of Belgium • Portraits • Miscellaneous

1. J. Léon Guioth, Histoire Numismatique de la Belgique, Faisant Suite a L’Histoire Numismatique de la Révolution Belge, ou Description Raisonée des Médailles, des Jetons et des Monnaies qui ont été Frappés depuis le Commencement de cette Révolution jusqu’a ce Jour Tome 1 (Hasselt: Milis, 1851. Facsimile edition Torhout: Flandria Nostra, 1987). 2. J. Léon Guioth, Histoire Numismatique de la Belgique, Faisant Suite a L’Histoire Numismatique de la Révolution Belge, ou Description Raisonée des Médailles, des Jetons et des Monnaies qui ont été Frappés depuis le Commencement de cette Révolution jusqu’a ce Jour Tome 2 1869. (Brussels: Mertens, 1869. Facsimile edition Torhout: Flandria Nostra, 1987).

Group 2—Jetons 3. In contrast to Guioth who does a masterful job of providing context and commentary on many of the issues addressed in his work.

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Group 3—Postage Stamps

Leonard Forrer’s prodigious Biographical dictionary of medallists; Coin, Gem, and Seal-Engravers, Mintmasters, &c., ancient and modern, with references to their works B. C. 500–A. D. 1900 (Vol. 6, 1916) likewise offers an abbreviated biography of the medalist and then provides a compendium of his medallic output (largely courtesy of Bouhy’s earlier work). However, the contents of Forrer’s listing differ slightly from that provided by Bouhy—although based on what specific data we cannot be sure. Establishing the definitive series content is an issue addressed later in this work. We then fast-forward to the latter twentieth century to Emiel Van Hoydonck’s 1972 work Jacques Wiener (1815–1899) Medailles et Jetons8 which addresses only medals and jetons (omitting postage stamps) and does so in a chronological fashion for each of these two broad categories of work. Photographs are provided for a number of the issues, as well as indications of the known metals, and occasional hints at rarity. His compilation of Wiener’s medals also differs somewhat from that of Bouhy—each author asserts a handful of issues not acknowledged by the other. Van Hoydonck’s is a supremely useful book. However, despite having become the late twentieth century’s standard reference, Van Hoydonck, like Bouhy before him, is incomplete in his documentation of Wiener’s corpus of medallic work. Time, luck, and some investigative zeal have all contributed to the revelation of additional issues and varieties unknown to Van Hoydonck when he penned his work. Hiltrud and Klaus Reinecke’s Jacob Wiener—Europa in Münzen, Medaillen, Briefmarken9 published some 17 years later provides a more completely photographed reference work, albeit organized differently from both Bouhy and Van Hoydonck in that geographic location and broad obverse subject are the primary organizing attributes. The Reinecke work is the catalogue of an exhibition held in commemoration of the 90th anniversary of Wiener’s death. The intent of the exhibit was to broadly reveal the man and his work; as such, the catalogue was never intended to document Wiener’s medals in their entirety. Though relatively incomplete as compared to both Bouhy and Van Hoydonck, it has the distinct advantage of complete photography for the medals and jetons it contains.

Within each of these groupings or categories, the individual works are listed chronologically. Each medal and jeton entry provides basic information: date of issue, diameter, a general description, and a transcription of both the obverse and reverse legends. Postage stamps are described by their date of issue, denomination, length and width, color, paper color, and a general description of the design. Although obviously written prior to Wiener’s death, Wiener produced few medals after 1874 (there is some disagreement among sources as to the exact medals issued during this late timeframe) and therefore this study represents a broad, though ultimately incomplete, look at Wiener’s body of work. With its availability augmented by the internet, Jacques Wiener graveur en médailles et son oeuvre provides a fundamental starting point in the study of Wiener’s medals. Belgian numismatist Fred Alvin (1864–1949) worked at the Royal Library of Belgium’s Cabinet of Medals from 1882–1902, and from 1902–1919, he was the Curator of the Cabinet of Medals.4 A prolific author, Alvin wrote a number of articles in the last quarter of the nineteenth century that generally stressed Wiener’s artistry and did their best to ensure another generation of numismatic admirers. Among these is an 1892 article on all three brothers—Jacques, Léopold, and Charles— an homage titled “The Brothers Wiener: Medallists” appearing in The Magazine of Art.5 Notably, Alvin also wrote an obituary for Wiener in the Revue belge de la numismatique6 which draws on information found in his Magazine of Art article eight years prior, as well as Bouhy’s work. Narrative in nature, Alvin’s publications regarding Wiener do not attempt to provide any comprehensive or categorical listing of the medalist’s work but are rather biographical and extolling, attempting to place Wiener in a broad historical context as well as highlighting Wiener’s importance to the nascent Belgian state.7 4. Fernand Baillion, “Nécrologie—Frédéric Alvin,” Revue belge de numismatique et de sigillographie Vol. XCV (Brussels: Société Royale de Numismatique, 1949), 163–68, http://www.numisbel. be/1949_M.pdf. 5. Frederic Alvin, “The Brothers Wiener: Medallists,” The Magazine of Art (London, Paris, and Melbourne: Cassell and Company, 1892), 55–60, https://books.google.com/books?id=1MzlAAAAMAAJ. 6. Frederic Alvin, “Nécrologie—Jacques Wiener,“ Revue de la numismatique belge Vol. LVI (Brussels: Société Royale de Numismatique, 1900), 234–36, http://www.numisbel.be/1900_M.pdf. 7. Alvin did, however, pen two works similar in structure and content to that of Bouhy but geared to Charles (Charles Wiener Graveur en Médailles et son Oeuvre; published in 1888) and Léopold

(Léopold Wiener Graveur en Médailles et son Oeuvre; published in 1892). 8. Emiel Van Hoydonck, Jacques Wiener (1815–1899) Medailles et Jetons (S.I. : s.n., 1972). 9. Hiltrud and Klaus Reinecke, Jacob Wiener—Europa in Münzen, Medaillen, Briefmarken (Kamp-Lintfort: Verlag Europäische Begegnungsstätte am Kloster Kamp, 1989).

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Subsequent to Reinecke, no follow-up work of a comprehensive nature has been published on the subject of Wiener’s broad body of work. However, the twenty-first century’s expanding breadth of digitized data and its (equally important, if not more so) searchability have illuminated certain deficiencies when it comes to the existing documentation of Wiener’s medals:

the data from these myriad sources and to offer a more complete narrative on Wiener’s Most Remarkable Edifices series than has heretofore been available. In doing so, I offer my own observations on die varieties, known metal varieties, and suggested revisions to some traditionally-accepted issue dates within the series. Due to the significant number of these revisions, Van Hoydonck’s original date-oriented reference numbering sequence becomes broken, thus necessitating a new reference numbering system. The introduction of this system also has the distinct advantage of facilitating the incorporation of newly discovered issues and varieties without resorting to letter suffixes. Though the author initially hesitated, the advantages of clarity and completeness easily outweigh the downside of introducing yet another referencing scheme. See Appendix 1 for a fully updated listing of Wiener’s medal and jeton issues cross-referenced to the contents of Bouhy, Van Hoydonck, and Reinecke. In the pursuit to improve our understanding of this series, the wider context to be explored is three-fold: 1) Wiener the man and engraver, 2) the monuments whose history and aesthetics provided the inspiration for the medals, and finally 3) the manifestation of these two elements in the medals themselves.

• A number of issues (outside the Most Remarkable Edifices series) are unpublished; • Varieties (both within and outside the Most Remarkable Edifices series) are not universally acknowledged; • Referencing conventions for varieties, when addressed, are inconsistent; • Variations in metals are not consistently addressed or acknowledged; and • The attribution of specific dates to otherwise undated medals is often inconsistent with other historical records. Thus, the shortcomings of the existing literature illuminate the need for an updated reference work which, at a minimum, incorporates the wider contextual (largely mid-nineteenth century) written record. Consequently, this work attempts to carefully integrate

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A Brief Biography ist, this author has generally given precedence to the words of the engraver himself. That being said, Wiener’s reflections are also occasionally at odds with the larger written record; these are noted and addressed on an individual basis. Jacob11 Wiener was the eldest of 10 children born to Hannah and Marcus Wiener,12 born in Hörstgen, Prussia on February 27, 1815.13 A talent for engraving appears to have been pervasive in his mother’s family, making the occupation, or vocation, perhaps inevitable.14 Two years after his birth, the young family moved to Venlo, Holland.15 Wiener recalls a rather idyllic childhood—“All I remember from my early years was that I was happy, very happy; I remember how beautiful were these early years!” Wiener adored his mother, remarking that she was “this holy and sublime woman… Always cheerful, always of equally good humor, remaining a lady in all occupations and tribulations, my worthy mother had faith, kindness and energy…” Wiener likewise seems to have very fondly recalled and respected his father, noting that:

Figure 1. Engraved portrait of Jacques Wiener. Illustrirte Zeitung Band XX, No. 506 (Leipzig: J. J. Weber, March 12, 1853), 168. Stern, Gerald, Personal correspondence, September 9, 2017. Image courtesy of Rik Nulens.

11. Jacob is his legal, given name. “Jacob” is the etymological ancestor of “Jacques” and it would seem that his eventual use of the name “Jacques” was a matter of convenience after settling in Brussels (located in the French-speaking part of Belgium) rather than any attempt to thinly conceal his Jewish heritage. He continued to sign legal documents almost invariably as “Jacob”; he signed his Most Remarkable Edifices dies (with only five exceptions) uncommitingly as “J. Wiener”—the same as he signed all his correspondence with Henry Mogford. Since the engraver is most commonly known by his French moniker, that is the name that will be used throughout the book. Stern, Gerald and Rik Nulens, Personal correspondence, April 8, 2018. 12. The surname Wiener was taken in 1808 in response to the French imperial decree of July 20, 1808, demanding that Jews within the empire adopt family names, subject to certain rules and limitations. The rationale for choosing “Wiener” is unknown; the name is the German genitive of “Vienna”, translated as “of Vienna” or “Viennese.” Marcus Wiener’s grandfather Jacob Ha’Levi hailed from Pressbourg (Bratislava) a relatively short distance from Vienna. An earlier ancestor may have hailed from Vienna itself, but this is currently only speculative. Rik Nulens, Personal correspondence, October 3, 2017. 13. Alvin’s Nécrologie cites the date March 2, 1815, however Jacob Wiener’s birth certificate gives the date of birth as February 27. Rik Nulens, Personal correspondence, September 5, 2017. 14. Two of Wiener’s aunts, his uncle Baruch, and his maternal grandfather were all practicioners of the engraving art. Daniel Friedenberg notes that, “Pewter, seal, and gem engraving were traditional Jewish crafts in Europe, and these skills were often handed down from father to son through several generations.” Friedenberg, Daniel, Jewish Minters and Medalists (Philadelphia: The Jewish Publication Society of America, 1976), 34. 15. The reason for this relatively short distance (35 km by modern roads) move is unknown, but fundamentally the family chose to leave Prussia and settle in the Netherlands; Venlo is just inside the Dutch border.

As noted previously, the biographical rudiments of Jacques Wiener’s (Fig. 1) life have been covered by Victor Bouhy in 1883, Fred Alvin in 1892, and supplemented more recently by Reinecke in 1989. Dratwa10 published a transcription of the medalist’s brief autobiography, titled “Mon Passé,” and written by Wiener at age 75 “at the request of [his] children and grandchildren in the hope that they will find in these memoirs education for them and theirs.” Although biographical information is readily available from these individual sources, I offer the following brief biography of Wiener’s early life, drawn heavily from Bouhy (as others have done), augmented by the artist’s own reflections as published by Dratwa, and supplemented with inputs provided by Wiener family descendants. It should be noted that Wiener’s “Mon Passé” and Bouhy’s work differ with regard to the dating of some events. Where such discrepancies ex10. Daniel Dratwa, Médailles à thème juif de Belgique suivi de/ Gevolgd door “Mon Passé” de/van Jacques Wiener (Brussels: Musée juif de Belgique, 1997), 87–99. The quotes from Wiener throughout this chapter are from this work.

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ternal grandfather18 whom he loved very much, going to synagogue with him and enjoying his good humor, wise counsel, and engaging conversation. Baruch Wiener focused on intaglio plate engraving, seal engraving, and the engraving of precious stones. Young Jacques was apprenticed in intaglio plate engraving and seals, though not precious stones. Jacques’ beloved grandfather did give him a lathe for engraving stones, which he surreptitiously used at night in his bedroom by lamplight. After four years of apprenticeship, Baruch began to allot one-third of the price charged for Jacques’ work to Jacques himself. In 1835, Kivi Baruch passed away on the seventh day of Passover (April 20) with Jacques at his side. The death of this man who provided so much comfort and solace to Jacques in counterbalance to his daily existence and environment led Jacques to resolve to leave Aix. He ultimately acted on this decision in December of 1837.19 Baruch was genuinely dismayed, having grown fond of the young man with whom he had lived and worked daily for nine years. Seemingly without a plan, Jacques “went on diligently to Liège, hoping to find employment for some time. My search having been unsuccessful, I embarked for Brussels where I found a sister of my mother, at the head of a large family.20 A few days afterward, I took the stagecoach, which led me in two nights and a day to Paris.” He settled at an inexpensive hotel, the “Vieux Augustins,” on the eponymous Vieux Augustins street.21 The next day he spied an engraver’s shop on the same street,22

This man was really happy; on Friday night he rested well after six long days of hard work…I will never forget those moments of happiness when, accompanied by his children, he sang the psalms in a well-lit room, all gathered around the table. The Sabbath lamp lit a peaceful and happy interior. We always had one or more poor people as guests…Oh! How my father loved the countryside and the fields!

As Jacques approached the age of 13 it was decided that he would not go into the family business16 due to some unspecified “infirmity of foot.” Rather, the family accepted the offer of Hannah’s brother Loeb Baruch17 for Jacques to live with him and his family in Aix-laChapelle (Aachen) and be apprenticed in the art of engraving. Wiener recalled the departure thusly: One morning early in 1828, a horse cart, covered with a canvas, awaited us. There were placed pillows and a chair; my mother and my brother Baruch accompanied me. Like all children, the novelty and change charmed me. I did not suspect that this separation, amid so much affection, so much love, would cost me many nights of tears.

Wiener described his uncle Baruch as “good but weak, [leaving] his workshop only for dining and sleeping. He never went anywhere; his time was spent sitting at his workbench.” With the convenient perspective offered by writing late in life, Wiener also noted that among the array of products engraved by his uncle, he did not engrave medals. Baruch’s wife Maria, Jacques’ aunt, would be the source of much unhappiness for the young lad. He describes her as “…very educated. Her face, with regular features, had a cold, hard expression. Very efficient; I might add that she was an accomplished woman; but whose heart was missing!” Wiener reflected that, “When I arrived in this house, I was greeted coldly and soon I felt the void. The difference was so great; hitherto accustomed to being surrounded by loving hearts, that I had difficulty myself in this inferior existence, this icy regime.” The days were uniformly spent from morning until 9:00 at night working for his uncle. The apparent lone bright spot in his existence in these years was the presence of his ma-

18. Kivi Baruch—also an engraver. 19. Bouhy ascribes this event to 1835, which is clearly inconsistent with other documentation. 20. Sarah Baruch, married to Jacques Nathan Maurice. The family would have included seven children when Jacques arrived; ultimately there would be nine. All but the first child were born in Brussels. Gerald Stern, “Sara Sarah Sare Baruch,” Stern and Löbl Families Database, accessed November 12, 2017, http://sternmail. co.uk/sld/getperson.php?personID=I7046&tree=SLtree. 21. Renamed Rue d’Argout in 1867 for Antoine Maurice Apollinaire d’Argout. The span running between Rue Étienne Marcel and Rue Coquillière was renamed Rue Herold on February 21, 1881, for composer Ferdinand Herold born in No. 10. It is this section of the street that Wiener appears to have lived and briefly worked. 22. The 1841 Annuaire général du commerce, de l’industrie, de la magistrature et de l’administration lists a Hôtel Vieux-Augustins run by Mr. Blainville and located at 9 Vieux-Augustins. The 1839 Annuaire lists a Mr. Elie as a “Graveur sur Métaux” at 25 Vieux-Augustins; however the 1841 Annuaire lists Mr. Elie as a “Graveur sur or” at this same address. The 1841 Annuaire also lists a “Graveur sur Métaux” by the name of Bouveret located at 12 Vieux-Augustins. Annuaire général du commerce, judiciaire et administratif de France et des principales villes du monde (Paris: La Société des Annuaires, 1839), 442, https://gallica.bnf.fr/ark:/12148/bpt6k63243601/f462.item. r=442. Annuaire général du commerce, de l’industrie, de la magistrature et de l’administration ou Almanach des 500,000 Adresses publié par Firmin Didot Frères (Paris: Firmin Didot Frères, 1841), 97, 107, 168, https://gallica.bnf.fr/ark:/12148/bpt6k62931221/f176.image (and .../f186.image, and .../f247.image).

16. Marcus Wiener was a linen merchant. 17. Loeb Baruch would collaborate with Jacques and Léopold on a medal celebrating the first German-Flemish singing festival (Deutsch-Flämischer Sängerbund) held in Cologne on June 14–15, 1846 (M29).

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introduced himself and displayed samples of his work. The proprietor said that if Jacques were in fact the creator of these works then he would be hired at two francs per day. Wiener accepted the employment offer and moved in the next day. The salary was rather spartan; he noted, “My room cost me one franc. The other franc was enough for my food… The daily menu of my lunch was bread and water: sometimes I allowed myself an appetizer, a piece of sausage, etc. I was not unhappy with this situation. To reassure them of my means, I wrote to my parents that I was earning six francs a day and nothing was missing.” Wiener also was linguistically challenged as his schoolboy French lessons were proving inadequate for daily life in Paris. After a few days of work in the shop, Wiener disappointingly realized he was actually more skilled than the proprietor. In his broken French, Wiener begged the man for assistance in finding work elsewhere. Acting on the proprietor’s instructions, Jacques “quickly found a better position to an engraver ([Pierre] Lévêque at the Palais Royal;23 six francs a day they gave me).” Wiener noted that he was now, “richer than [he] had ever been.” Wiener met an acquaintance in Paris, a Mr. Tarenne, who as a young man in Aix had taken drawing lessons with Wiener. Sundays were fondly spent with young Mr. Tarenne, and Tarenne’s mother, taking walks and their meals together over the course of the entire day. In addition, two friends of Wiener’s mother also lived in Paris and ensured that the young man was present at their households for various social events. Wiener admits to being very shy, and “doubly vis-à-vis the fair sex,” because of the deformity of his foot. He notes, however, at these houses, “I was made splendid offers: advancing me the funds for the purchase of an establishment, offering me beautiful dowries if I wanted to marry.” Nevertheless, the young man was frustrated in Paris; he longed for open skies and green spaces but admitted (from his late perspective in life) that he could “not understand now the reason for the repulsion. I was seen and welcomed by everyone; I can not really explain the desire I had to leave Paris.” After two relatively short years there, Wiener decided to leave. He recalled that his employer was sorry to see him go, that he left many friends, and that he owed Paris a debt of gratitude for giving him the resources and opportunity to improve his artistry and skills:

Again with seemingly little notion of a plan other than to seek employment at the mint in Utrecht, Wiener returned to Venlo. He initially opted to spend some time at the family home; he had departed so early in life that he had brothers and sisters whom he barely even knew. In the meantime, the reluctant Dutch recognition of the separatist movement in its southern provinces, brewing since before 1830, was codified in the 1839 Treaty of London that officially carved out an independent Kingdom of Belgium from the United Kingdom of the Netherlands. As part of the peace treaty’s provisions, a portion of the Limburg province was allotted to Belgium, and the remainder (including Venlo) to the Netherlands. Friends, including the mayor of Venlo, suggested to Wiener that a medal be issued to commemorate this event. Wiener accepted the recommendation and subscription lists were circulated.24 Wiener notes that these “lists were covered with signatures; all classes of society contained therein; even the poor workers who transport sand, who, without exception wanted to have their token done by a Venlonais; which proves how my family was loved and honored.” Wiener thus had his first order for a medal, and began engraving the dies in Venlo with his brother Léopold assisting him. From that brief collaboration, it was decided that Léopold would join Jacques as soon as the elder brother settled somewhere. After six weeks, Jacques finally sought out employment in Utrecht at the mint. He met with three engravers who painted such a bleak picture of what awaited an engraver in Holland that Jacques instead chose to seek his fortunes in Brussels. With the assistance of a family friend, Jacques rented the second floor in the house of a tailor by the name of Géré, on the rue de la Montagne,25 and set up shop.

23. Located at 121 Galérie Valois, Palais Royal. Jetons and/or tokens of Lévêque are occasionally available on the market.

24. The Dutch press announced the circulation of these subscriptions in October 1839 (see below). If one assumes that Wiener’s “two years in Paris” statement is slightly overstated, we arrive at the December 1837 departure date from Aix. 25. The 1840 Indicateur Belge has an entry for “Géré, tailleur, rue de

Before going, I possessed no notion of engraving medals. I owe these two years in Paris to becoming like an artist. When I went to Paris, I was an engraver of cachets; I would engrave intaglio letters; I had a notion of engraving precious stones: there was all of my knowledge limited. I drew poorly and I had no concept of modeling. My relationship with artist engravers, my frequent visits to the Louvre, the lessons at the School of Beaux-Arts, the full influence of this city of art and taste opened to me a new horizon.

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the young Jacques, as it placed him in a spotlight with which he was uncomfortable. Yet, it was to have a profound effect on his establishment as an artist of recognized importance among the political establishment in both countries. Wiener recounts how he received “a visit from an old man plagued by gout and climbing my two floors with extreme difficulty. After making sure that I was the author of the medal, he asked me to send him examples of silver and bronze.” It turns out this elderly gentleman was the Dutch Ambassador to Brussels and in fact had signed the peace treaty between the two countries.28 The Ambassador promptly paid the bill for the medals the next day. Two weeks later the Ambassador again visited Wiener, asking:

Figure 2. Wiener’s first medal which celebrated the return of the town of Venlo to the Netherlands. Bronze, 28 mm. (Collection of the author). Wiener received his next order from a button manufacturer named Mr. Lassen, who was also the President of the local Jewish Community.26 After a few weeks and having assessed the young Wiener’s work, Lassen had Wiener execute all of his button dies. Several jewelers also gave orders to Wiener, such that after four months he sent for his brother Léopold to join him. Although Wiener had engraved the dies for the Venlo medal, he had yet to have the medal struck. “After several steps and a lot of research, I found a workshop where you could strike the tokens I had engraved dies for in Venlo. The subject was very simple: on one side the arms of Venlo, on the reverse an inscription” (Fig. 2). Numismatically this medal is now known as Van Hoydonck 1, and in this work as M1. Tensions still simmered over the separation of Belgium from the Netherlands after Belgium’s 1830 independence declaration. Several Dutch newspapers noted that it was a Belgian artist (Wiener) who had created a medal honoring the return of Venlo to the Netherlands in 1839.27 This attention was not terribly welcomed by

me why I did this medal. After telling him all the details, he said he had sent these tokens to the King of Holland. The latter wanted to offer a memento; I could choose between a decoration or money. Then turning and seeing my more than modest setup, he added that the florins would be most useful to me now. Moreover, he promised to recommend me to his friends and acquaintances….

The Ambassador kept his word, Wiener observing that, “every day one or more carriages stopped at my door. The Dukes of Ursel, the Arenberg, Princes of Ligne, etc., etc., gave me orders.” The King of Holland also made good on his word and sent Wiener 300 florins—15 20-florin pieces.29 “Never, never had I had in my hands so large a sum. I received the shipment on a Saturday morning…. Each of us, Léopold, he [a former schoolmate and friend by the name of Hendrix] and I, counted and recounted these 15 20-florin pieces. After lunch, we three went to bring this gold to the bank.”

la montagne, 81.” as well as an entry in the “Graveurs” section for “Wiener J., sur métaux, rue de la montagne, 81.” Indicateur Belge, ou Guide Commercial et Industriel, de l’Habitant et de l’Étranger dans Bruxelles et la Belgique pour l’An 1840 (Brussels: Bauchard-Rinche, 1840), 65, 233, https://books.google.com/books?id=UV5bAAAAQA AJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=o nepage&q&f=false. 26. Louis Lassen, president of the Consistoire Central de Belgique for almost 29 years. Lassen does not appear in the 1840 Indicateur Belge, but in Tarlier’s 1854 Almanach du commerce et de l’industrie is listed as “Lassen, boutons, arm. blanch. Pl. Ste-Gudule, 21.” Tarlier, Hippolyte, Almanach du Commerce et de l’Industrie (Brussels: Tarlier, 1854), 408, https://books.google.com/books?id=nqc_AAAAcAAJ An undated tin advertising token indicated his firm had the capability to strike medals as well as manufacture buttons (Stefan De Lombaert, “Medal Producers in Belgium (19th–21st C.),” Colloquium Belgian Numismatics in Perspective (S.l.: s.n., 2017), 131–75.). Lassen’s necrology can be found in the November 1, 1873, issue of the Archives Israélites (Isidore Cahen, “Nécrologie Louis Lassen, de Bruxelles,” Archives Israélites (Paris: Bureaux des Archives israélites, 1 November 1873), 665-67, https://books.google.com/books?id=2m4pAAAAYAAJ. 27. For example: The October 18, 1839, Groninger Courant notes, “There is a successful subscription list circulating for a bronze medal, amounting to the size of a two franc piece, as a memorial to the memory of the return of this city…This medal will be fabricated by the skilled engraver J. Wiener, who has learned his art in Germany, and recently returned from Paris where he perfected it, and

who has now returned to his hometown.” (“Venlo den 12 October” Groninger Courant, October 18, 1839, 2. Rik Nulens, Personal correspondence, September 12, 2017). A slight variation of this same text can also be found in the October 19, 1839, edition of Journal de La Haye. This publication notes that the announcement came in a letter from Venlo dated October 12. (Journal de la Haye, October 19, 1839, 3. Rik Nulens, Personal correspondence, September 12, 2017.) 28. Anton Reinhard Falck, the first Dutch ambassador to Belgium and commemorated by Wiener with a medal upon his death in 1843 (M11). 29. A curious monetary unit for Wiener to cite. The Dutch Gulden was also referred to as a florin; however, 20-Gulden (or florin) pieces were last issued under Louis Bonaparte in 1810. The denomination would not be issued again until 1848 and even then only until 1853, intermittently, and in very low mintages. Given the political history with Bonaparte’s causing his father to flee, it seems odd for William I to have made such a personal gesture to Wiener using the coinage of a foreign-installed regime. On the other hand, Dutch gold coins of the 10-Gulden denomination had been issued starting in 1818 in commercial quantities.

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Wiener’s orders and clientele increased day by day. It was during this period that Wiener recalls developing his dream “to reproduce monuments on medals. These topics and especially the interior perspective views had never been attempted either by sculptors, or by engravers.” Wiener proceeded by devoting his mornings to preparing the tasks for “the workers” and using the remainder of the workday to work “on a large project that was to reproduce the main monuments of Belgium in twenty medals.” This statement is interesting on two fronts. First, Wiener cites the use of “workers,” meaning he employed more than just Léopold even in this early phase of his career. Unfortunately, Wiener does not give insight into the specific tasks allocated out to these other workers. The second is that Wiener claims to have envisioned what is now referred to as his Belgian Cathedral series as one of 20 medals rather than the 10 medals that we know today.30 Wiener’s recollections likewise gloss over a few years of effort as the Venlo medal is an 1840 issue, whereas the first medal of the Belgian Cathedral series, Sts. Michel et Gudule, was issued in 1845 according to Bouhy. Wiener’s claim that “perspective views had never been attempted either by sculptors or by engravers” in the context of medals is not fully supported from an historical context (see the discussion below regarding English medalist Joseph Davis as an example); however, as Bouhy correctly notes, “such work had not been pushed to the degree of perfection that J. Wiener had attained.” Wiener himself is more circumspect noting that the “first medals themselves depict a level of trial-and-error. Never before me had anyone treated these subjects. My inexperience was felt in the first six or seven medals.”31 Wiener was guided in the selection of Belgian monuments “by a very competent man—[Antoine

Guillaume Bernard] Schaeyes [sic], curator of antiquities at the Porte de Hal museum.32 It is with him that I was preparing the prospectus.” This is notable in its admission of drawing in outside sources to assist in the selection and creation of the medal series subjects as discussed below. “Immediately upon completing the first medal (Ste Gudule in Brussels),” Wiener initiated his prospectus. Léopold not only assisted in the engraving of the medals, he solicited subscribers for the nascent collection. “He brought from one of his visits in Venlo many subscriptions from Dutch Limburg: Count Beaufort, count for the Beaux-Arts, several sovereigns, etc., etc., were among the subscribers. After a few months, the number of orders placed represented a fine result.” Such subscriptions would provide a solid customer base and income, not merely relying on sales driven by what might now be termed “marketing” or “retailing.” Wiener’s days were full and he reflects that he “never left [his] studio before eleven, most often it was midnight” and that he rarely took time for meals. Wiener, here, unwittingly or not, echoes his own critical observations regarding his uncle so many years before. Ultimately, Wiener produced a quantity of 10 50mm bronze medals, comprising his Belgian Cathedral series, over a three-year period (dates as provided by Bouhy): • Sts. Michel & Gudule—Brussels (1845)—M16 • Notre Dame—Antwerp (1845) (2 varieties)—M14 and M15 • Notre Dame—Tongres (1846)—M17 • St. Bavon—Ghent (1846)—M18 • St. Jacques—Liège (1846)—M19 • St. Rombaut—Malines (1846)—M21 • St. Sauveur—Bruges (1846)—M22 • Notre Dame—Tournai (1846)—M23 • St. Aubain—Namur (1846)—M25 • St. Martin—Ypres (1847)—M32

30. Interestingly, the November 1852 Numismatische Zeitung notes that F. C. Eisen has available, “the most beautiful monuments of Belgium in 20 different bronze medals.” It does not mention cathedrals specifically, and given the date of publication, may have included the various city hall medals issued by that point. Leitzmann, Johann Jakob, Numismatische Zeitung Vol. 19, No. 24 (Weissensee: Grossmann, November 1852), 192, https://babel.hathitrust.org/cgi/pt? id=chi.098543296;view=1up;seq=97;size=125. 31. Wiener is being honestly self-critical here. For example: The longitudinal floor tiling lines on the reverse of the Notre Dame— Antwerp medal (M14) point to two different “vanishing points” despite the general single point perspective approach being taken. The perspective view of the apse windows on the reverse of the Sts. Michel & Gudule medal (M16) is opposite what it should be—the apse appears convex instead of concave; the floor also appears to be “heaving” along the longitudinal tiling lines. The horizontal floor tiling lines on the reverse of the Notre Dame à Tongres medal (M17) have inconsistent spacing, interrupting the implied distance perspective.

Wiener recalled that the Journal de Bruxelles had given an account of these medals and provided “exaggerated praise and enthusiasm.” During this period the young man was quickly outgrowing the second floor of Géré’s home, a situation 32. Now part of the Royal Museum of Art and History, the Porte de Hal was originally a fourteenth-century city gate in the defensive walls surrounding Brussels which faced the Flemish city of Halle. A late nineteenth-century restoration gave the building a charm that its original medieval builders never would have envisioned.

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that the tailor himself pointed out to Wiener. Géré went so far as to find a suitable location for Wiener, took out the lease in his own name as the medalist was unknown to the landlord, and even kept an eye out for sales to acquire the furniture Wiener would need to furnish his new larger house and workshop. So in the midst of executing his Belgian Cathedral series Wiener moved to a new location—not much more than 100 m around the corner—at 17 rue de Loxum. The accelerating publicity and favorable reviews brought yet more orders, “not only for medals but also for the work of governments, among other things the Post Offices.” Bouhy notes that in 1848 the Belgian minister of public works wrote J. Wiener that, “it is proposed to introduce in Belgium the system of letter postage using intaglio stamps, as is practiced in England ...” He asked the artist to inform him at what price he would undertake the supply of various objects and utensils necessary for such manufacture. Wiener commented, “England at that time was the only country that had adopted postage stamps. I had no idea of the way to reproduce the dies. After signing the contract, I went to England, where after much research, testing and approaches, I could establish this manufacturing nine months after the signing of my contract.” Wiener would continue to support the Belgian government’s postage stamp production into the early 1860s by engraving dies, testing inks, and developing a mixed intaglio and typographic printing process to combat counterfeiting. Postage stamps aside, the medallic momentum must have been clear to Wiener for he notes that he had to give up “the regular work, cachets, etc.” Wiener himself only calls attention to one more specific medal (the aforementioned one dedicated to Mr. Falck), referring the reader interested in his overall medallic corpus to “a brochure published by one of my friends Mr. Bouhy, engineer in Liège” (Bouhy’s 1883 work noted above). Wiener fondly recalls a number of friends and acquaintances, at least one of whom is of relevance to this work—“Geerts that struck my medals.” This is a reference to J. Geerts, who owned a workshop (or workshops) in Ixelles (now in the southern part of Brussels). In the midst of this burgeoning business, one morning in 1843, the Wiener brothers “received a visit from a gentleman, very noble, walking with forced difficulty, speaking only English” and making inquiries regarding a young man who had offered Jacques Wiener’s name as a reference. While chatting, this gentleman fell

asleep. Wiener, annoyed, went back to work and asked his maid to apprise him when the gentleman awoke. At the sound of rattling dishes in preparation for lunch, the gentleman—Mr. Newton33—awakened, and embarrassed, explained his condition as being the result of a heart condition. Contrite, he invited the Wiener brothers to call on him at his home at 10 rue de Pole. Jacques, very busy, ignored the invitation, however the brothers unexpectedly met Mr. Newton and his wife after Rosh Hashana services some six weeks later. Newton reiterated his invitation and this time Wiener relented. The Newtons had two daughters—Annette, aged 26, and Sarah, aged 18, along with a son Samson, aged 20. Wiener was smitten from the very first visit. “After lunch, the girls made music that I have always loved so much; they talked literature and I was surprised to find so much solid and varied education.” The busy Jacques at first, “limited my visits to two evenings a week. My brother always urged me to go more often, so I ended up sacrificing three to four evenings of my work.” After some unspecified number of visits, Jacques “declared in the most formal manner, in attending Newton, there was not the least thought of marriage despite the presence of two charming girls. Too much concern for my family keeps me from such a thought. Shyness as I explained above also had its share. And then I considered myself well below those young ladies. No marriage thought could come to my mind; I considered myself to be deformed and of a lower condition.” These social engagements, however, continued for two years. At one point during a walk with Mrs. Newton, she inquired of Jacques as to whether or not he had considered getting married. Wiener, perhaps caught off guard, replied, “that the idea had never come to my mind…However the question from the mother of one I dare not claim, made me think 33. Alexander Levi Newton. Wiener notes that Newton had been in the export business in Jamaica. The death of the family’s eldest son Edouard in a horseriding accident left Newton shattered. Mrs. (Mary) Newton contracted an un-named illness in the aftermath. A year after the accident they left for the south of France in the hopes of aiding Mary Newton’s recovery. They arrived in Antwerp, and made it only as far as Brussels - her declining health being incompatible with further travel. His death on January 21, 1847, was noted in The Gentleman’s Magazine issue of March 1847 (Urban, Sylvanus, The Gentleman’s Magazine Vol. XXVII (London: John Bowyer Nichols & Son, 1847), 335, https://books.google.com/ books?id=jwUJAAAAIAAJ). Her death in Brussels was noted in Volume V of The Patrician as March 19, but of an unspecified year. She is referred to as “relict, Alexander Levi Newton, Esq.”; given that Vol. V was published in 1847, and she is listed as Alexander’s widow, Mary Newton appears to have passed away a mere two months after her husband (Burke, John Bernard, The Patrician Vol. V (London: E. Churton, 1847), 511, https://books.google.com/ books?id=NN88AQAAIAAJ).

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Figure 3. The marriage certificate for Jacques Wiener and Annette Newton. (Image courtesy of Gerald Stern). a lot. Finding myself alone the same night with the young Samson, I told him of my conversation with his mother, and I added that if I knew my request would be approved, I would ask the hand of his sister Annette." Samson replied that he was sure Annette would approve. The ever-shy Jacques could not bring himself to ask for Annette’s hand in marriage in person; rather, he wrote a note, which Samson gave to his sister. Annette accepted immediately. The young couple wed on May 22, 1845 (Fig. 3),34, 35 moving into a house just down the street from her parents at 1 rue de Pole. Over the course of the next six years they would welcome a daughter and three sons.36

At this point, Wiener lays down his autobiographical pen. However, Wiener’s career continued on its positive trajectory. The completion (or perhaps early termination) of the Belgian Cathedral series in 1847 provided the opportunity to initiate the envisioned 50-medal “Most Remarkable Edifices of Europe” series, along with medals of various Belgian civil monuments and a wide range of other medallic masterpieces—over 300 in all. The lifetime of detailed and tedious work took its toll on Wiener’s eyesight. Wiener’s output temporarily ceased in 1868; in 1872, he had cataract surgery on both eyes.37 Bouhy notes that at this point, “Wiener could still produce a little, but his recovery

34. Wiener cites May 25, 1845, however the marriage certificate is clearly dated May 22. Gerald Stern and Rik Nulens, Personal correspondence, August 28, 2017. 35. Younger brother Léopold, who so encouraged Jacques early-on, married younger sister Sarah Newton on August 23, 1848, in Brussels. Rik Nulens, Personal correspondence, June 11, 2018. 36. Gerald Stern, “Jacob Jacques Wiener,” Stern and Löbl Families

Database, Accessed August 27, 2017, http://sternmail.co.uk/sld/getperson.php?personID=I953&tree=SLtree. 37. Dr. Albert Mooren, a well-known ophthalmologist in Düsseldorf, performed the surgery. Charles Wiener would later engrave a medal honoring Mooren in 1880. Rik Nulens, Personal correspondence, September 6, 2017.

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was not complete and the danger of a relapse was to be feared. He finally had to give up the exercise of his favorite art—since 1874 he has not engraved any more medals.” Despite Bouhy’s firm stance, a small handful of medals were issued from 1875 through 1877, with additional, sporadic medals produced in subsequent decades—even after Wiener’s death. These late medals were generally issued from obverse working dies produced from master dies of earlier medals, with new inscriptions applied. The corresponding reverse dies for these late issues are typically unsigned by any engraver. Wiener’s perhaps reluctant relinquishment of his engraving art coincides with an increased level of involvement with the Jewish community in his adopted home of Brussels. The Almanach royal officiel de Belgique lists Wiener as a member going back to at least 1868.38 From 1878 to 1884 he filled the role of president of the Communauté israélite de Bruxelles,39 and from 1884 until his death he was president of the Consistorie central israélite de Belgique.40 Wiener’s work and assistance to various European governments resulted in his recognition by way of a number of decorations and commendations. Portugal granted him the decoration of the Military Order of Christ in 1854. From Prussia came the Order of the Red Eagle in 1860. Belgian King Léopold II named him a Knight of the Order of Léopold following the exposition of Fine Arts in Brussels. Pope Pius IX gave Wiener a cameo “in recognition of the services that the skilled artist has rendered to art.”41 However, perhaps most important, Wiener’s autobiography communicates the self-recognition of a man who—late in life—is able to marvel at his success, his life, family, and his friends, and tell us he feels it was a life well-lived. Jacques Wiener died in Brussels on November 3, 1899, at the age of 84. J.-B. Moens wrote a necrology in the December 1899 Le Timbre-Poste et le Timbre Fiscal noting that, “Jacques Wiener has just died at the venerable age of 85 [sic] years, without losing any of his spirit. He lived in Boitsfort in a peaceful retirement

where he rested from a life devoted to medal engraving. For many years he and his brothers Leopold and Charles had, in Belgium, the monopoly of this difficult and delicate art.”42 Fred Alvin’s necrology in Vol. 56 of the Revue belge de numismatique provides brief biographical highlights and acknowledges Wiener’s pioneering contribution to medallic art. The 16 November 1899 issue of the French journal Archives israélites43 provides a reflective and circumspect tribute to the man: The funeral of Mr Jacques Wiener was celebrated on Monday, November 6th in Brussels in great solemnity. The deceased was a knight of the order of Leopold and several other foreign orders, but conforming until his last day his feelings of simplicity and modesty to the conduct of his whole life, he had formally renounced the military honors to which he was entitled. The carriage disappeared beneath the numerous crowns: to the front of the hearse were carried collars sent by the Central Consistory of Belgium, the various Societies of Charity, the Orphanage of the Young Girls, the Society of Apprentices, the Poor of the Boitsfort Commune, of which he had been a benefactor for more than half a century, etc., etc. At the mortuary, speeches recalling the virtues of this good man were spoken by the Grand Rabbi Mr Bloch; the Baron Lambert, vice-president of the Consistory, expressed in a concise manner, but with a sincere emotion, the feelings Members of the Consistory; other speeches were given by Mr Léon Level, Vice President of the Brussels Temple Administration, and H. Hirsch, Vice President of the Charity Society. The burial took place in the cemetery of Ucelles44 in the presence of a considerable crowd of friends and notables of the country. The Archives have made it their duty to render to the memory of Jacques Wiener, who was perhaps not known in France as he deserved to be (but who was well beyond the limits of the country in which he had settled) the homage which their mission imposes upon them on the part of all our co-religionists who have marked in the principal spheres of human ac-

38. “Culte Israélite” Almanach royal officiel de Belgique (Brussels: Guyot, 1868), 419, https://books.google.com/ books?id=J6BCAAAAcAAJ. 39. Communauté israélite de Bruxelles, La Grande synagogue de Bruxelles, 1878–1978: contributions à l’histoire des Juifs de Bruxelles (Brussels: Communauté israélite de Bruxelles, 1978), 35, https:// books.google.com/books?id=syERAQAAIAAJ. 40. Milantia Errera-Bourla, Les Errera: une histoire juive: parcours d’une assimilation (Brussels: Éditions Racine, 2000), 45, https:// books.google.com/books?id=o2BmAAAAMAAJ. 41. Samuel Cahen, “Belgique et Hollande,” Archives israélites (Paris: Bureaux des Archives israélites, April 1858), 237, https://books.google. com/books?id=y2opAAAAYAAJ.

42. Jean-Baptiste Moens, “Nécrologie Mort de M. Jacques Wiener,” Le Timbre-Poste et le Timbre Fiscal (Brussels: J. B. Moens, December 1899), 191, https://library.si.edu/digital-library/book/timbreposteetlet1893brus. 43. Isidore Cahen, “Nécrologie Jacques Wiener,” Archives israélites (Paris: Bureau des Archives israélites, November 16, 1899), 368-69, https://books.google.com/books?id=i3QpAAAAYAAJ. 44. Fernand Wiener, great-great grandson of Jacques, indicates that the actual burial place is Uccle rather than Ucelles. Fernand Wiener, Personal correspondence, October 30, 2017.

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tivity. This homage was all the more compulsory as it is shared with two brothers and with ascendants: It is therefore not merely a deserving individual but a glorious family, a pleiad of artists whom we would like to point out. This name is not extinguished: it goes back to other careers, and to furnish only a proof of it, we can still quote in Brussels that of the son of the deceased, Mr. S. Wiener a lawyer at the Court

of Appeal, Vice President and Provincial Council of Brabant. But when it comes to the living, we are particularly sober, and if we have pronounced this name, it is because the expression of the public regrets and ours must address itself more directly to those who, perpetuating the name, have also the honorable and often heavy burden of bearing it worthily. In this case everyone is reassured in this regard.

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The Series and Its Buildings Initiating the Series Wiener is sometimes carelessly credited with being the founder of the medallic genre which depicts the exterior of a building on one face of a medal and the corresponding interior on the other face. The medalist himself remarked of his desire to produce monuments on medals and, as noted earlier, claimed that perspective views on medals had not been attempted by sculptors or engravers up to that point. Bouhy more correctly assessed the medallic history by noting rather that Wiener had excelled in this genre of medallic art like no one before. The perspective from the twentyfirst century certainly suggests that Bouhy’s claim is the more readily substantiated one. At a minimum, Birmingham (England) medalist Joseph Davis created a series of 10 medals of a similar size and design type, with cathedrals as their subject, starting in the mid-tolate 1830s as noted by Taylor (Fig. 4).45 Even Taylor remarks that Wiener “demonstrates a precision and delicacy of touch never quite equaled by the interiors of the earlier Davis series of cathedrals.”46 Although it is unknown whether Wiener was aware of Davis’ series of cathedral medals, it is not implausible that Wiener had at least some level of familiarity with Davis’ work. As noted in his memoir, Wiener developed and executed his concept of an architectural series of medals early in his career, shortly after Davis’ medals were published, commencing his 10-medal Belgian Cathedral series in 1845 and completing it in 1847. This dramatic foray into architectural medals met with rather immediate

Figure 4. Joseph Davis’ medal commemorating St. Paul’s Cathedral in London, ca. 1840. Compare Wiener’s rendering of the same edifice as shown in Figs. 7.2–7.4. Davis’ exterior is perceived as relatively flat, whereas Wiener’s choice of perspective makes for a more compelling image. Wiener’s interior is executed with much greater relief, expanse, subtlety, and detail—resulting in a much more dramatic image. (Collection of the author).

45. Jeremy Taylor, The Architectural Medal England in the Nineteenth Century (Bristol: British Museum Publications Ltd, 1978), 215-16. 46. In addition to Davis, Wiener “contemporaries” Thomas Halliday, William Wyon, Benjamin Wyon, and Giuseppe Bianchi— though an incomplete list—deserve mention with regard to their architectural medals and use of perspective. Halliday’s architectural exteriors were generally executed in an accomplished perspective view—his Salisbury Cathedral and Prior Park medals of ca. 1830s being particularly attractive. However, he tended not to produce interior views. William Wyon’s architectural medals of the 1830s and 1840s likewise tended to focus on exteriors, alternating between plan and perspective views. Benjamin Wyon began engraving architectural medals in the 1830s and tended toward plan view exterior images, though his 1852 Coal Exchange interior is a masterpiece. Giuseppe Bianchi most closely adopted the combined exterior and interior perspective view format chosen by Wiener. He started engraving medals somewhat late in life, being seven years older than Wiener but engraving his first medal only in 1851. Bianchi consistently and ably engraved a perspective view, whether as an exterior or interior; however, he typically chose a 44 mm format that consistently undersells his artistry and technical acumen. Bianchi’s 82 mm interior renderings of the four Papal Basilicas in Rome, on the other hand, are spectacular in detail and magnitude, matching or exceeding Wiener’s best work.

success, buoyed by the positive publicity and press received. Clearly, the idea to expand the concept in both scope and geography was conceived during the successful execution of this 10-medal set as Wiener created the first medal of this expanded, and as-yet unnamed and undefined follow-on series within a year of completing the Belgian Cathedral series.

Series Content There are two natural questions to ask regarding the original intended scope, and the de facto scope of this medallic series: 13

• What was the original list of 50 monuments to be commemorated? • Which issued medals actually comprise the series?

the Middle Ages in Europe. The medal is struck on both sides to represent the two main devices of the monument. Perhaps we will eventually dedicate two or even three medals to each of the very remarkable monuments and then we will have four or six surfaces for sections, elevation plans, and details. The legend indicates the various epochs of the foundation and construction of the monument. The medals of the cathedrals of France will be 28 to 30 lignes in diameter instead of 2248 and will cost 10-12 francs in bronze; those of Belgium are 6 francs 50 c. priced separately; the collection of ten enclosed in a small cardboard medal case is 60 francs.

Although the last question may strike the reader as prosaic, there is some level of disagreement among early sources, examined below. As a precursor to investigating the original list of monuments, one is inevitably led to ask what inspired Wiener to choose those particular monuments that he executed? At first glance, there does not seem to be a clear pattern to his choices or the series’ evolution as the years passed by. The medals were not issued in any sort of evident sequence based on geography, function, or type; nor were they issued in any sort of chronological order based on the monuments’ ages. In contrast to the narrow, well-defined subject matter of the Belgian Cathedral series, the Most Remarkable Edifices series is particularly striking with regard to the range and somewhat eclectic nature of the architectural monuments included. It is a series not strictly of medieval monuments, nor sacred structures, nor national buildings. Interestingly, it does not include any ancient edifices, the remains of which may be found scattered throughout Europe and would arguably be considered among the greatest on that continent (e.g., the Pantheon in Rome). Rather, the series is comprised of buildings both sacred and secular, medieval and modern (at least to the contemporary nineteenth-century observer), geographically broad within the definition of “Europe”—ranging from St. Petersburg to Constantinople to Lisbon to Trondheim—and somewhat theologically and culturally diverse through its inclusion of Jewish, Christian, Islamic, and secular structures. A very early, albeit vague, reference to the Most Remarkable Edifices series can be found in the May/ June 1848 issue of the Annales Archéologiques.47 After noting the Belgian Cathedral series and the subsequent Belgian civil monument issues, the article remarks that after

There are a number of interesting points to be considered. First, this seems a somewhat tangential publication to be apparently spearheading the announcement of Wiener’s planned series; it is neither numismatic nor strictly architectural in its focus, though Wiener’s medals were to clearly overlap the authors’ interest in things medieval. Secondly, many of the “details” are rather vague—only three countries outside of Belgium are mentioned, (incorrect) speculation is given to the medals actually completed, hope is offered for multiple medals per monument in order to fully render their details, and the size (diameter) specified is in a range (63–67.5 mm), which is approximately correct, though in excess of the actual 60 mm diameter of the medals produced. The tenuous level of detail leads us to consider this announcement as premature, though for what we reasons we do not currently know—perhaps early correspondence between Wiener and one or both of the Didron brothers. However, it seems reasonable to conclude that Wiener had at least conceptualized a follow-on series of medals of greater scope and grandeur as he completed his Belgian series. Lastly, of course, we are given insight (also incorrect) to the notional price of the medals, as well as a comparison to the Belgian series and the alternatives for their purchase. As it happens, we do have insight to some of the series development details through the fortuitous survival of an extraordinary set of letters, written by Wiener starting in early 1853 to English artist Henry Mogford.49 This correspondence provides a brief but

the monuments of Belgium those of Germany, France, and England will arrive; Cologne Cathedral has already begun and we believe also the cathedrals of France. There will thus be in a reduced and indestructible form the most important monuments of

48. Twenty-two lignes corresponds to the 50mm diameter of the Belgian Cathedral medals. 49. Henry Mogford was an English artist, art dealer, art restorer, and author. He is perhaps best known for crusading against the manufacture and trade of fake old master paintings in mid-nineteenth century England. He was also the manager of the Picture

47. Adolphe N. and Edouard Didron, Annales archéologiques Vol. 8 (Paris: Libraire Archéologique de Didron, 1848), 235–36, https:// books.google.com/books?id=XfBAAAAAcAAJ.

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fascinating glimpse into the timeline and decisionmaking process with regard to establishing the specific English monuments to be included in the series, with particular emphasis on the development of the first English medal, that of St. Paul in London. Though one must be exceedingly careful about extrapolating in detail from this one medal to the remainder of the series, one can draw some general conclusions with relative assuredness. Mogford provided ongoing assistance to Wiener, starting in the critical first year (185350) and continuing through the early 1860s. The first surviving letter, dated March 5, 1853,51 inserts the reader part-way through the selection process for the English edifices to be included in the series. In this letter, Wiener clearly indicates that he has drawn upon the opinions of (at least) three different individuals, seeking their inputs52—these individuals are Mogford, Sulpiz Boisserée, and Dr. Ludwig Puttrich of Leipzig.53 Boiserée, discussed below, was a pivotal figure in reinvigorating the construction and completion of Cologne Cathedral. His inputs were the first received, although Wiener does not provide insight to Boiserée’s specific suggestions. However, Puttrich’s subsequent inputs apparently differed significantly from Boiserée’s, causing considerable consternation on the part of Wiener. Puttrich suggested that Wiener choose Westminster Abbey, the Chapel of St. George at Durham, York Cathedral, Salisbury Cathedral, Canterbury Cathedral, Bristol Cathedral, Ely Cathedral, and Windsor Castle for his English monuments. Wiener, Gallery at the famed Crystal Palace. 50. The surviving correspondence does not appear to contain the initial written contact between the two men; it is possible that the process started prior to 1853. 51. Jacques Wiener to Henry Mogford, March 5, 1853, Royal Library of Belgium. 52. Wiener, in his Mon Passé, notes that for the Belgian series he drew upon the resources of Antoine Guillaume Bernard Schayes; Schayes authored a number of books including the Histoire de L’Architecture en Belgique in 1849. (In Tome I of this work Schayes acknowledges the assistance of, among others, “the engravers Wiener” to produce the book’s plates) Thus, the precedent for leveraging the expertise of a guide was established with the issuance of the Belgian Cathedral series. Schayes, Antoine Guillaume Bernard, Histoire de L’Architecture en Belgique (Brussels: Jamar, 1849), IV, https://books.google.com/ books?id=69Y9AAAAcAAJ. The illustration on p. 86 is particularly compelling as a possible Wiener image—a perspective view of the interior of the Basilica of Constantine at Trèves, skewed slightly off the longitudinal axis centerline, with generic floor tiling—all characteristics similar to most reverses of the Most Remarkable Edifices series. Another example can be seen on p. 229 of Tome II that depicts an interior view of St. Jacques of Liège that is clearly the same as that used to produce the reverse of Wiener’s medal of the same church. 53. Ludwig Puttrich was a lawyer and art historian with a particular focus on medieval architecture. He was the author of the multivolume work Denkmale der Baukunst des Mittelalters in Sachsen published between 1836 and 1843.

Figure 5. Wiener's 1853 announcement, or prospectus, of the Most Remarkable Edifices series. 15

Wiener’s ultimate choices for the English monuments. In the wake of this initial flurry of letters there is a gap in the correspondence relative to the content of the Most Remarkable Edifices series. However, in a lengthy August 25 missive, Wiener makes the offhand comment that he has at that point “successfully commenced the necessary connections for the European monuments with Germany, France, Italy, and the East.” Wiener then goes on to lament that for the Low Countries he had not yet found “the suitable man I need for my enterprise.”57 Based on his broad statement regarding the other countries, Wiener clearly took a consistent approach to defining the content of the overall series by addressing it in geographic units and drawing on outside expertise, though we are unfortunately not privy to the names of any additional individuals.58 Although we leave the details to be discussed in the chapter on St. Paul’s (London), Wiener assures Mogford on October 2159 that, “I have started St. Paul’s in London. I hope to have it completed by the end of the year…”. In this same letter, he confirms his selection of the five English monuments as Lincoln, Winchester, York, The Chapel of Henry VII, and St. Paul’s (London). Segueing from this assertion, Wiener requests that Mogford “send…in abridgement the periods of construction, restoration, the least of the architects, and under whose reign the edifices were built, etc.”, thus providing us an awareness into the type of information Wiener sought to include in his medal inscriptions. Wiener does not apprise Mogford of when his prospectus leaflets were actually printed or distributed; however, based on his letters this would have occurred some time between late March and the beginning of November of 1853. The six-month gap between Mogford’s suggestions and Wiener’s confirmation of the definitive English series content is somewhat perplexing—implying that Wiener modified Mogford’s original inputs (perhaps trimming down the suggested list)—given the lack of necessity in otherwise repeating back to Mogford his own inputs. Nonetheless, through the lens of the English monuments one sees Wiener reaching out to multiple, country-specific artists and experts for suggestions both on the series content and

somewhat frustrated, then chose to place greater weight on Mogford’s opinion as an Englishman, telling him that, “being on the scene I submit to your judgement in the choice of monuments of England.” Wiener then considerately offers Mogford an alternative, “in case your numerous occupations prevent you from taking care of this information, you would do me a great service if you would, in a moment of leisure, indicate to me who I can address to aid in the choosing the profound English, Scottish, and Irish buildings.” Thus, we see that Wiener did not a priori limit himself to English structures, but was willing to consider any within Great Britain. Mogford apparently wrote twice—Wiener later acknowledges receiving letters on the 7th and 10th of March—indicating the steps he was taking to fulfill Wiener’s request.54 On March 29, Wiener thanks Mogford, “very much for sending me the list of the monuments for England, as soon the leaflets55 will be printed.”56 In this brief message Wiener unfortunately does not actually echo back the suggestions of Mogford so one is left to draw one’s own conclusions as to whether or not the requested list exactly matches

57. Jacques Wiener to Henry Mogford, August 25, 1853, Royal Library of Belgium. 58. We can confidently surmise a larger role in this regard for Sulpiz Boisserée given Wiener’s acknowledged consultations with him for the English series. E. F. Zwirner should also be considered—given that he had a key architectural role in the construction or restoration of three of the 10 German edifices commemorated. 59. Jacques Wiener to Henry Mogford, October 21, 1853, Royal Library of Belgium.

54. Jacques Wiener to Henry Mogford, March 15, 1853, Royal Library of Belgium. 55. Wiener’s soon to-be-released prospectus—see Fig. 5. 56. Jacques Wiener to Henry Mogford, March 29, 1853, Royal Library of Belgium.

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the historical information to be rendered in the medal inscriptions. The burst of activity to define these edifices was also conducted in a relatively short timespan during this pivotal year of 1853; as a result the English monuments were to be the only fully-defined subseries (geographically speaking) at the time of Wiener’s prospectus publication—perhaps reflecting their emphasis, or chronological head-start as the content of the series solidified. Shortly thereafter, the Société Royale de Numismatique de Belgique publication Revue de la numismatique belge, announced the Most Remarkable Edifices series thusly in its 1854 volume:60 Mr. J. Wiener, elder, is undertaking the publication of a series of fifty medals, 26 lignes in diameter (68 mill.61), representing major monuments of Europe, seen internally and externally. We know that this artist has a special talent to reproduce in medals the most delicate details of the architecture and give his reliefs the perspective and depth of an engraving or a painting.

Spawning the Revue de la numismatique belge announcement was Wiener’s 1853 prospectus announcing his ambitious series (Fig. 5). Wiener himself offers the following context and rationale for this series: Encouraged by the reception given to the collection of medals representing the principal monuments of Belgium, Mr. J. WIENER has undertaken a new publication which will include the principal monuments of Europe and will form, as a whole, the comparative history of the various kinds of architecture introduced at the same period in the various European countries. The whole will form a complete sequence, which the author endeavors to render as interesting from the artistic point of view as it will be from the historical point of view. The collection will be divided by country and in chronological order and will offer the main buildings erected at different times. 60. Société royale de numismatique de Belgique, Revue de la numismatique belge Volume X (Brussels: Librairie polytechnique d’Aug. Decq., 1854), 138, https://books.google.com/ books?id=a59MAAAAcAAJ. 61. A note regarding the medal diameter—the announcement from the Revue de la numismatique belge is self-contradictory. A “ligne” is 1/12 of a French inch, or 0.0888 English inches. A diameter of 68 mm corresponds to 30.15 lignes; however a diameter of 26 lignes corresponds to 60 mm, which is in fact the diameter of the resultant series of medals.

The series of each country will form a complete whole, independent of the others. The medals will be 26 lignes in diameter; They will represent on one side the exterior and on the reverse a perspective view of the interior of the building with a historical and archaeological inscription drawn from the most authentic sources. The collection will consist of 50 medals which will be distributed according to the table attached.

The prospectus then goes on to list, with varying specificity, 52 edifices allocated to a dozen countries. Wiener notes that the “choice of buildings whose indication is lacking has not yet been definitively decided,” thus addressing the first obvious question after scanning the list. However, Wiener clearly does not address the second obvious issue, which is the disparity in quantities cited. It is interesting how the prospectus gives a temporal context for the defined edifices in addition to implying their release in chronological order by country. Clearly as we shall see, this intended order of release was quickly abandoned. Lastly, the terms of the subscription are then described: The medals will regularly appear every two months. They will be given to the subscribers in boxes containing the series of each country. By subscribing to the entire collection, the price is 6 francs per example in bronze and 30 francs in silver. By subscribing individually the price is 7.50 francs per example in bronze and 32 francs in silver.

Sadly, the somewhat obsessive desire to identify the original 50 structures is ultimately, and forever, dashed by Wiener’s launch of his ambitious series without actually having selected all the edifices ahead of time—15 of the 52 edifices being undefined. The English monuments, the selection of which we do have insight into, are fully defined in the prospectus. As noted above, Wiener acknowledges having already reached out to appropriate experts in all but perhaps the Low Countries by late August 1853, though he claimed as early as March 29 of that year to be ready to print the prospectus. We can only speculate as to why he felt compelled to publicize the series prior to defining its content in full. Perhaps Wiener wanted to sense the level of demand for the series before fully committing to it, or he needed the subscription income at a relatively early point in order to enable him to continue producing the 17

pleted; now we may see Aachen65 and the cathedral at York Minster. Just as on the first, on the one side is illustrated the exterior, the interior of the buildings being on the other side. According to the prospectus Mr. Wiener will provide them in this way: ten buildings in Germany, five in England, three in Belgium, two in Denmark, seven in Spain and Portugal, eight in France, one in Greece, two in the Netherlands (St John’s Church in ‘s-Hertogenbosch and the town hall in Amsterdam), eight in Italy, three in Russia, two in Sweden and Norway, and the St Sophia66 Church in Constantinople. The vast majority of those buildings will be cathedrals or basilicas, and although the choice of some is not exactly fixed yet, the statement in the prospectus adequately proves that Mr. Wiener has attempted, as far as possible, to incorporate all ages and all styles of Christian architecture in his enterprise; one complete set equally important from an artistic and from a historical point of view…The subscription to the above collection is open to the Netherlands by the bookseller Martinus Nijhoff in The Hague.

series, whether fully defined or not. Wiener acknowledges on October 21 that he had reached an agreement with Elkington & Co. to publish his English medals; that agreement included a timeline for producing the medals (see discussion below). It may be that to meet the temporal obligations of this agreement the prospectus needed to be released. In parallel with the Revue de la numismatique belge announcement, the June 1854 issue of the German numismatic periodical Numismatische Zeitung,62 in addition to announcing the release of the St. Apollinaris medal, notes that, “it will be good news that medalist J Wiener, in conjunction with Mr. F. E. Eisen, has made the decision to issue related medals of the most beautiful and most remarkable monuments of Italy, of Germany, of France, of England, and of Belgium, in the period of the Renaissance. According to the preliminary work already done, the number has been ascertained for 60 medals.” The article concludes by listing the German issues to-date, which include Cologne, Aachen, and St. Apollinaris. The claim of 60 medals, the assertion of only Renaissance-era structures, and the reference to “F. E. Eisen” rather than “F. C. Eisen” together indicate a certain inattention to detail; as such the series quantity can be dismissed as merely erroneous. The role of F. C. Eisen will be discussed shortly. Yet another publication was issued effectively in parallel with that of the Revue de la numismatique belge and the Numismatische Zeitung—the Dutch art and literature review journal Algemeene Konst- en Letterbode, issue of July 8, 1854, which makes this more comprehensive announcement:63

The announcement clearly uses Wiener’s original prospectus as the source of its information, even unabashedly perpetuating the mathematical error. As of the journal’s mid-1854 publication date, the series was already clearly underway, with St. Paul’s (London), Aachen, and York Minster acknowledged as already having been produced. The list of completed medals provided by the Algemeene article is curious in its brevity though; of the twelve medals Wiener displayed at the 1854 Exposition Générale des Beaux-Arts in Brussels,67 five were from the Most Remarkable Edifices series. In addition to the three mentioned in the Algemeene Konst- en Letterbode article, Wiener also exhibited his St. Mark’s and St. Apollinaris medals. One additional medal of the exhibit is questionable; the Beaux-Arts catalogue entry lists it as the exterior view of “l’hotel de ville de Cologne.” Wiener did issue a 60mm medal in 1854, the reverse of which does depict

Mr. J Wiener, known engraver at Brussels, is currently working on representing fifty of the most remarkable buildings in Europe, presenting the medals in the same way as he treated the main monuments of Belgium. Mr. J. Wiener, the known engraver at Brussels, is adhering to the same approach as when we discussed the enterprise in one of our previous issues (see BL 4664) when only St. Paul’s in London was com-

65. The implication that this medal was completed in the spring of 1854 is contradicted by the medal’s explicit date and other documentary evidence suggesting it was issued in November/December 1852. See the Contemporary References discussion under the Cathedral of Aachen. 66. A misleading presentation of the edifice name, perhaps drawn from the common word for “Holy” and “Saint” in a number of European languages. The proper translation from the Greek is “Holy Wisdom” rather than “St. Sophia.” Throughout this work the translation used by the source document will be quoted – whether correct or not. 67. Exposition générale des Beaux-Arts: 1854 (Brussels: Stapleaux, 1854), 126, https://books.google.com/books?id=7YhBAAAAcAAJ.

62. Andreas Zipser, “Numismatische Novitäten," Numismatische Zeitung. Blätter für Munz-, Wappen-, und Siegel-Kunde (Weissensee: Grossmann, June 1854), 103, https://books.google.com/ books?id=37M7AQAAMAAJ. 63. Algemeene Konst- en Letterbode (‘s Gravenhage: Martinus Nijhoff, Haarlem: Loosjes, 8 July 1854), 218–19, https://books.google. com/books?id=ug8VAAAAQAAJ. 64. A reference to the February 10, 1854, issue in which the St. Paul’s London medal is introduced as just having been completed, though no mention is made of the larger context of the Most Remarkable Edifices series. This timeline is consistent with that given by Wiener’s correspondence with Henry Mogford.

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this edifice (M142). On the other hand, we can readily identify at least one error in the catalogue listing—San Marco is listed as “Sainte-Marie.” It is remotely possible that this entry is likewise an error, and represents either “l’hotel de ville de Amsterdam” or the “Cathedrale de Cologne.” Based on traditional dating of these latter two medals either interpretation is possible. Starting two weeks after the noted article, in the July 15, 22, and 29 issues, Mr. Nijhoff placed an advertisement (Fig. 6) offering the as-yet largely unavailable medals. Although the advertisement continues to perpetuate the 52-structure error, it goes on to provide details absent from the original Algemeene Konst- en Letterbode article. Namely, it provides the names of structures where known (though utilizing the Dutch names in lieu of the French for two of the issues), and indicates that the remainder had not yet been determined (consistent with Wiener’s prospectus). It is interesting when comparing the 1854 BeauxArts catalogue with Mr. Nijhoff ’s advertisement and Wiener’s prospectus—all contemporary documents— one sees that the intended list of German monuments—as suggested by Nijhoff ’s advertisement—was already incorrect at the time of publication given the production of the St. Apollinaris medal, its showing at the Beaux Arts exposition, and its absence from the other two documents. Therefore, Wiener’s own prospectus was essentially incorrect from the moment of its release. Given this seemingly casual accuracy regarding the initial scope of the series, one finds another interesting variation some six years later. The Building News and Architectural Review, Vol. 6,68 published in London includes the following intriguing article in its July 13, 1860, issue:

Figure 6. Martinus Nijhoff's advertisement in the 15, 22, and 29 July 1854 Algemeene Konst- en Letterbode. The advertisement lists the planned allocation of medals based on Wiener's prospectus.

MEDALLIC ARCHITECTURE It may be interesting to our readers to be informed that a complete suite of medals is in course of publication in this country representing in chronological order the most remarkable edifices in Europe. M. J. Wiener of Brussels, who has just finished a set of medals of the principal monuments in Belgium, has undertaken this more extensive work, which is intended to form the history of the different epochs in architecture from the earliest to the latest period. The publication will

consist of 50 medals; and the collection will be thus divided. For England 5 medals, beginning with views of Winchester Cathedral and ending with St Pauls; France will require 8 medals, from the Cathedral of Périgueux to the Pantheon; Germany 10, comprehending the States of the Germanic Confederation, Münster Kirche of Aix-la-Chapelle and concluding with the Walhalla; Greece 1 medal; Holland and Belgium 4 medals, from the Cathedral of Tournay to the Hotel de Ville, Amsterdam; Italy 7, St Pauls’ Basilic[a]

68. “Medallic Architecture,” Building News and Engineering Journal Volume the Sixth (London: Building News, July 13, 1860), 555, https://books.google.com/books?id=9h5JAQAAMAAJ.

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at Rome to the Basilic[a] of St Peter; Russia 3 medals; Spain and Portugal 7, Monastery of Batalha, Cathedral of Seville, &c; Sweden, Norway and Denmark 1 medal each; Switzerland 1; and Turkey 1 (of course St Sophia at Constantinople). The medals will therefore embrace the most ceblebrated [sic] buildings from the 4th to the 18th centuries. Each medal will give the exterior and interior of the building to which it is devoted, and from the specimens already finished we safely conclude that while both views render the character of the architecture with great fidelity, the perspective of the interiors is managed with a skill—a rare occurrence in its application to bas relief—very nearly approaching perfect illusion.”

Letterbode. This would imply that both were generated from a common source, which was in turn a derivative of the prospectus. Despite the assumption of a planned series of 50 structures, the series was in fact only partly planned and its content evolved away from the initial plan essentially from the very start. Having demonstrated a lack of crisp definition in the Most Remarkable Edifices series’ inception, one must divert attention briefly to establishing the definitive series content upon its completion. Unfortunately, the details regarding the specific medals comprising the series are muddied somewhat by conflicting nineteenth-century sources. When one examines the body of work left by Wiener, the Most Remarkable Edifices series displays not only a consistency in medal size, but also a cohesiveness of design and execution that clearly identifies the individual issues as belonging to the series. Bouhy cites 41 monuments; Forrer does likewise, likely having used Bouhy as his source, but differs on the specific medals to be included for the year 1867—the last year Wiener apparently produced medals for this series, and in contrast to the claimed end date of 1865 (by Bouhy, Forrer, and Alvin but with no acknowledgement of the discrepancy by any of them). Bouhy cites Wiener’s medal for St. Maria of Belém in Lisbon, whereas Forrer instead specifies a medal for the Cathedral of Toledo (Spain) (Fig. 7). Forrer’s inclusion of this medal is quizzical in that this medal is clearly signed only by Charles Wiener (on both the obverse and reverse dies) and is not co-signed by Jacques Wiener. It would appear that its inclusion in Forrer’s list is in error (or he had access to information that we do not) and Bouhy’s list is more correct with regard to the specific edifices to be included. And yet, before we get too comfortable in our assessment, the catalogue of Belgian objects exhibited at the 1873 Universal Exposition in Vienna70 in fact lists the Toledo medal under the objects exhibited by Jacques Wiener; the exhibited offerings of Charles Wiener are separately listed under his name and do not include the Toledo medal. The Victoria & Albert Museum purchased a specimen of this medal in 1870 (inventory 656-’70) and attributes it to Jacques Wiener. Similarly, the British Museum’s August 1, 1870, acquisition from Wiener includes an example of the Toledo medal (1870,0801.15). The design of the Toledo medal with its concentric obverse legends compares

It is interesting that the announcement presents the series as though “new news” and yet was published some six years after the Revue de la numismatique belge and Algemeene announcements. It indicates that the medals are “in the course of publication” in England. This of course begs the question as to who would be publishing (see further discussion below), and the strong indication that all medals in the series would be available through that publisher. One also sees, though incompletely, that the series content has evolved to a degree. The Cathedral of Seville is cited as one of the Spanish cathedrals to be commemorated, but such a medal was never struck by Wiener.69 Medals for Denmark, Sweden, and Greece are still mentioned. Switzerland has now been added relative to the initial list provided by Wiener (and as repeated by Nijhoff ). Auspiciously, this article allocates just 50 medals—and thus refrains from perpetuating the original quantity error. In the accounting, this 1860 list reduces the Italian medals by one, reduces the Danish medals by one, reduces the Dutch/Belgian medals by one and adds one medal for Switzerland—thus a net reduction of two medals. The upper end of the chronological range cited—fourth through the eighteenth centuries—is a careless reference; of the named medals Walhalla dates from the mid-nineteenth century, negating the upper end of the suggested range. Note that The Building News and Engineering Journal provides the initial and final entries in the list of edifice names for countries actually having named lists; its bookended names are fully consistent with the list in Algemeene Konst- en 69. By Jacques Wiener anyway. Brother Charles, however, did exhibit a Cathedral of Seville medal executed in a similar format— exterior on the obverse and interior on the reverse at the 1876 International Exhibition in Philadelphia.

70. Exposition Universelle de Vienne en 1873 Belgique Catalogue des Produits Industriels et des Oeuvres d’Art (Brussels: E. Guyot, 1873), 292–93, https://books.google.com/books?id=B3r0YW58_gYC.

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favorably with a number of Jacques Wiener’s (by then) much earlier Belgian Cathedral medals (e.g., Notre Dame (Antwerp), St. Sauveur (Bruges), Sts. Michel & Gudule (Brussels), St. Bavon (Ghent), St. Rombaut (Malines), Notre Dame (Tongres), and Tournai Cathedral), and yet, this design approach is distinct from, and not replicated on, any of the other dies of the Most Remarkable Edifices series knowingly engraved by Jacques Wiener. For the purposes of this work, the medal signatures take precedence over the other

documentary evidence and Toledo is not included in the series. St. Maria of Belém clearly should be included, as Jacques Wiener has signed both the obverse and reverse dies. Thus, Bouhy’s list of Most Remarkable Edifices medals should be considered definitive. Table 1 summarizes the derived reconstruction of the initial structures planned for commemoration and the evolution to actual issues.

Figure 7. Charles Wiener’s Toledo Medal. Note the stylistic similarity to many of the Belgian Cathedral medals as well as the Most Remarkable Edifices medals. (Collection of the author).

Table . Evolution of the medal issues of the Most Remarkable Edifices series from Wiener’s prospectus to actual execution co uN TRy

WIe Ne R  

england

Winchester

France

BuIlDIN G Ne W S 

ac T ual

Winchester

Winchester

Lincoln

unspecified

Lincoln

York

unspecified

York

Chapel of Henry VII in London [Westminster Abbey]

unspecified

Chapel of Henry VII in London [Westminster Abbey]

St. Paul’s (London)

St. Paul’s (London)

St. Paul’s (London)

Périgueux

Périgueux

Périgueux

St. Étienne a Caen

unspecified

St. Étienne a Caen

Chartres Cathedral

unspecified

Chartres Cathedral

“Cathedral of Paris” (i.e., Notre Dame)

unspecified

Notre Dame (Paris)

Reims

unspecified

Reims

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Germany

Italy

Netherlands Belgium

Turkey

Strasbourg

unspecified

Strasbourg

St. Ouen at Rouen

unspecified

St. Ouen at Rouen

Panthéon

Panthéon

Panthéon

Aachen

Aachen

Aachen

Soest

unspecified

(Not Issued)

Speyer

unspecified

Speyer

Mainz

unspecified

Mainz

Bonn

unspecified

Bonn

Magdeburg

unspecified

Magdeburg

Cologne

unspecified

Cologne

Bamberg

unspecified

Bamberg

Vienna

unspecified

Vienna

Walhalla

Walhalla

Walhalla

—

—

St. Apollinaris

—

—

Cologne Synagogue

St. Paul’s (Rome)

St. Paul’s (Rome)

St. Paul’s (Rome)

St. Mark’s Venice

unspecified

St. Mark’s Venice

Pisa

unspecified

Pisa

Siena

unspecified

Siena

Florence

unspecified

Florence

Milan

unspecified

Milan

Pavia

unspecified

(Not Issued)

St. Peter’s Rome

St. Peter’s Rome

St. Peter’s Rome

St. Janskerk ‘s-Hertogenbosch

(combined with Belgium)

(Not Issued)

Amsterdam State House

Amsterdam State House

Amsterdam State House

Tournai

Tournai

Tournai

St. Waudru of Mons

1—unspecified

(Not Issued)

St. Gudula of Brussels

1—unspecified

St. Gudula of Brussels

St. Sophia

St. Sophia

St. Sophia

2—unspecified

1—unspecified

(None Issued)

1—unspecified

1—unspecified

(None Issued)

3—unspecified

3—unspecified

St. Isaac’s

7—unspecified

Batalha Seville 5-unspecified

Sweden and Norway

Batalha St. Maria of Belém Cordoba Burgos

2—unspecified

2—unspecified

Nidaros Cathedral

Total Number

—

1—specified

(None Issued)

52

50

41

Denmark Greece Russia

Spain/Portugal

Switzerland

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Medal Design Once the subject of a medal was selected, the next logical step (or perhaps a parallel step) would have been to establish the illustrative source material from which to render the medal’s dies. Taylor, in his work addressing English architectural medals of the nineteenth century, notes that the majority of architectural medalists opted for depicting their subject buildings using a “plan view”—the view offered by the architectural drawing as opposed to a perspective view which renders the image as from a viewer’s eyepoint71 at some distance from the building or within the building. Wiener resolutely chose to stay with a perspective view. Wiener was particularly lauded by his nineteenth-century admirers for his unexcelled artistry in portraying building interiors, combining perspective and deep relief to draw the viewer’s eye down an extensive sightline to the minute detail at the single perspective vanishing point. This perspective view literally draws the viewer in, resulting in a more engaged viewing experience than merely observing the features of the medal’s surface. The perspective view is that of an observer or artist; the plan view is that of the architect or draftsman. Wiener’s choice is not only of artistic interest, but it also intimates at the type of visual source used to execute his medals. Both Weiler72 and Taylor identify source images for two of Wiener’s Most Remarkable Edifices medals; in both cases, the engravings of other artists are used as the foundation for the medals’ designs. This work identifies other similar source images for a subset of the edifices; one can resolutely conclude that Wiener’s artistic compositions rely vicariously on other artists who rendered images, perhaps in the first person, or perhaps even from yet other artists. It should be noted that the nineteenth century was absolutely awash in such images, and architectural subjects were popular. The July 1, 1862, Art Journal73 contains a brief but extraordinary glimpse into the design of the Most Re-

markable Edifices medals. Referencing Charles Wiener’s medal celebrating the late Prince Consort Albert, the editors note that the “large and very beautiful medal struck in memory of the lamented Prince Consort has been shown us by the Baron Van der Cruysse a Belgian artist who we understand prepared the designs for its execution and who also made the drawings for the series of medals illustrating the most remarkable edifices of Europe engraved by Wiener of Brussels.”74 The initial reaction is to question whether this was bravado on the gentleman’s part or an accurate representation of his role in Wiener’s process for producing the medals. Thus, one needs to stop and examine the Baron for a bit; the first task is to connect him conclusively to Wiener outside of the article’s claim. As it turns out, the British Museum purchased a grouping of 26 Most Remarkable Edifices medals on July 24, 1862, and another 16 (out of a total 20-medal purchase) on August 1, 1870—from a “Baron de Vandercruysse” and “Mr. Cruysse” respectively.75 Included in the 1862 grouping is a specimen of the Prince Consort medal mentioned in the Art Journal article. Given the coincident timing of Mr. Vandercruysse’s sale to the British Museum and the appearance of the Art Journal article, and their common reference to his title of “Baron” one can reasonably conclude it to be the same person. Based on the wording in the accession logs at the Victoria and Albert Museum, the institution appears to have purchased a subscription in 1862.76 The 1864, 1866, 1867, and 1868 acquisitions are noted as being purchased from Wiener. However, the accession notes for the 1870 purchase of the Burgos medal and a specimen of Charles Wiener’s Toledo medal tie these two medals directly to Wiener through Vandercruysse, noting that they were, “Bought from Messrs. Wiener & Co, in Brussels per M. Van der Cruysse.” So, we are able to connect Vandercruysse to both museum purchases and, via the Victoria and Albert, can identify him as being a representative of (if not in the employ of ) Jacques Wiener. Validation of this circumspect conclusion

71. The eyepoint is the location of the observer and can be defined by its location along the longitudinal, lateral, and vertical axes of the edifice. In effect—from what point down the central aisle, how far to either side of the centerline of that aisle, and from what height. The same concept holds true for the exterior view. The relative positions of all details to the observer change based on changing any one or more of these three variables. 72. Hanno Weiler, Kölner Dom-Medaillen. 3. Teil: 19. Und 20. Jahrhundert (Domweiterbau und moderne Zeit) (Kölnische Medaillen) (Krefeld-Hüls: H. Kaltenmeier Söhne, 1979), 50. 73. “Minor Topics of the Month,” The Art Journal (London, New York: Virtue, July 1, 1862), 163, https://books.google.com/ books?id=gd5MAQAAMAAJ.

74. This brief article is mixing the medallic output of two of the brothers. The “large” medal of the Prince Consort would be the 68 mm medal engraved by Charles Wiener (Eimer 1552); no equivalent medal was produced by Jacques. 75. From the British Museum’s 1862 and 1870 accession logs. 76. For example, the entry for the 1864 purchase of the Pisa medal (under the “5. Date of Minute for Purchase” line) directs the reader to, “See Reg’d letter 8228/62. (By Subscription).” Similar entries are seen for other 1864 and 1866 acquisitions. Kikawa-Sanchez, Tomoko, Records and Archives Assistant, Victoria & Albert Museum, Personal correspondence, November 9, 2017.

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Figure 8. A grouping of Jacques Wiener's master dies. Clockwise from top left: St. Stephen's Vienna obverse, St. Stephen's of Caen obverse, Walhalla obverse, and the Cathedral of Cordoba reverse.

can be found in Wiener’s correspondence with Henry Mogford; on June 11, 1860, Wiener takes “the liberty of presenting to you Mr. Vandercruysse who goes to London for the placement of my collection of medals (the principal monuments of Europe) to which I am still always occupied.”77 Thus, the Art Journal claims appear to have merit. There is, unfortunately, no further illuminating information about Vandercruysse from Wiener himself, or either museum.78,79 On the other hand, given the veracity of the other information, it is the author’s hypothesis that the Baron Vandercruysse indeed assisted in the design of the later Most Remarkable

Edifices medals, not necessarily by directly creating drawings, but by sifting through the myriad choices of potential images once the specific edifice was chosen and selecting the ideal images to be utilized by Wiener. It was already noted earlier, using the St. Paul’s London medal as an example, that part of what sets Wiener’s work apart from other medals of the same genre is their artistry—separate from the engraving virtuosity. The off-center vanishing points of the medal reverses make them more artistically pleasing and interesting than they might have been otherwise. Tight vanishing points just beyond the bounds of the medals’ edges make for more dynamic and dramatic exteriors than one necessarily sees on the medallic works of others. The eye of an artist can certainly be seen in the choice of images, and for now, it is assumed that the Baron Vandercruysse supplied that eye for Jacques Wiener at least for the latter part of the series. With the assumption that the Baron Vandercruysse supplied the critical artistic eye (and perhaps some other or others before him), one must consider the actual choices for images used. The level of detail

77. Jacques Wiener to Henry Mogford, June 11, 1860, Royal Library of Belgium. 78. Neither the British Museum nor the Victoria and Albert Museum possess any further records beyond that written in their respective accession logs. 79. Spink Auction 17004 held on March 29, 2017, Lot 156, contained a grouping of all 10 Belgian Cathedral medals in a case stamped “A Vandercruysse, Éditeur, Court Rue Neuve no. 11, Bruxelles.” Although potentially a reference to our Baron, this has yet to be proven and is still being researched. Just to make the connection more tantalizing, the 1840 Indicateur Belge lists “Cours de dessin et d’architecture” (drawing and architecture classes) as being held at this address by a J. Férauche.

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incorporated by Wiener in his work is often articulated as “precision” or “accuracy.” However, when compared to other historical evidence in some cases it is clear that his rendered view of a building’s interior or exterior captures a view different from that borne by the actual edifice at that contemporary point in time. Taylor notes that Wiener’s interior view of Winchester Cathedral includes a stone screen, which in fact had been removed in the 1820s. Albrecht80 in her examination of the medals commemorating the Cathedral of Mainz and St. Stephen’s in Vienna contrasts the exteriors of these two monuments with contemporary photographic evidence and highlights differences between the medallic renditions and the actual state of the buildings at the time. The same exercise can be easily accomplished with regard to Trondheim Cathedral, Notre Dame (Paris), and St. Front among others. This evidence suggests that Wiener’s supporting materials were not necessarily contemporary, nor were they necessarily reflective of the contemporaneous state of the edifice at the time of the medal’s engraving. The burning question of course is “what exactly were the source images?” The identification of these images is an at once daunting and humbling exercise, as the sheer quantity of candidate nineteenth century images is immense, guaranteeing this pursuit to be the equivalent of finding the numismatic needle in a haystack. However, in the course of conducting research for this work, a number of individual images have been identified as being the source for a small subset of the medals in the Most Remarkable Edifices series. These source documents or images are cited, and in many cases reproduced, in the “Source Images” section accompanying the individual medal summaries later in the book. There is an investigative challenge in front of the intrepid collector or researcher to seek out and identify other source images. The conclusion however is obvious—Wiener consistently used engravings of other artists as the source images for his medals. The next logical element of the medal design process to be considered is that of the engraving of the actual dies. Here we are rather limited to observation and associated analyses. This is, of course, when medallic art was made. Most of Wiener’s working dies for this series have luckily survived; deposited first with the Belgian Royal Mint, and upon its drive toward

privatization, subsequently transferred to the Medals Cabinet of the Royal Library of Belgium. What briefly follows are the author’s observations and reflections after having examined each of the extant dies. When one studies the Most Remarkable Edifices medals closely, particularly those having distinct die varieties, it is clear that Wiener executed the edifice in a master die and produced the working dies from the master. These observations were confirmed by the existence of a number of the master dies in the Royal Library of Belgium inventory. Lettering was punched into the working dies, which were then used (typically, but not always) until die-failure and continued demand conspired to necessitate another working die be produced. It is fascinating, actually, to carefully study these master dies that reveal the hand of the master in their choreographed combination of both coarse and fine engraving that raise the edifice out of the blank die (Fig. 8). It should be noted that the vast majority of the working dies kept at the Royal Library of Belgium have no corresponding master dies; the author is extrapolating and making assumptions (albeit seemingly reasonable ones) based on the sample that still exists. One is left to speculate why damaged dies were continued in use to strike medals for some issues when theoretically another set of working dies could have been produced and the quality of the struck medals maintained at a consistently higher level. Were the master dies damaged perhaps as a result of producing the working dies? Did Wiener dispose of some master dies shortly after the working dies were produced? If so, that approach seems to have gone awry for such issues as Aachen in which three varieties were wrung from a single pair of working dies—which amazingly survived their lengthy usage and modifications. One wonders whether the production of other issues terminated prematurely due to die failure (often deep, fatal cracks through the full body of the die) which could not be remedied due to a lack of a master die (the Winchester and Westminster Abbey medals for example). A curious attribute of the inventory of dies is that master dies generally (but not always) exist only for those medal issues that had separate sets of working dies created (and therefore distinct varieties as a result). Thus, we see master obverses for St. Stephen’s of Caen, Walhalla, St. Stephen’s in Vienna, the Cathedral of Cordoba, etc., but not for the Amsterdam State House, St. Mark’s in Venice, or Notre Dame in Paris for example. Nor are there master

80. Albrecht Kerstin, “Jacques Wiener Medaillenserie mit berühmten Kathedralen," in Monats Anzeiger #227 (Nürnberg: Germanisches National Museum, February 2000), 5–7, https://journals.ub.uniheidelberg.de/index.php/ma/article/view/28247.

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Production of the Medals

dies for the unusual two-piece dies whose failures led to distinct varieties such as those for St. Paul’s in London and St. Isaac’s. While it is possible that the analysis of the engraving and production process herein is in error, it seems more likely that the master dies were disposed of after the sales of a particular medal were assumed to be exhausted, or perhaps after Wiener’s death. Nonetheless, the retention of the specific extant master dies was seemingly done with some forethought and purpose. Another consistent feature noted after examining the dies is the extensive use of lapping to extend the die life and improve the quality of the medal specimens struck. The dies for some medals (e.g., Westminster Abbey) were lapped multiple times to maximize die life until dire failure rendered the dies simply unusable. Occasionally the lapping was performed across the face of the die, other times very specific areas were targeted; this can be seen in the mix of weakened and unweakened lettering strength on a given die. Lastly, there are at least two examples of lapping being used to intentionally remove specific details of the die (Aachen and Cologne Cathedral; see discussion in their respective chapters). One speculative element with regard to the production of working dies is the nature of the lettering. If there is an inconsistency in Wiener’s medals, it is in the quality of lettering applied to the working dies. It is the author’s weakly substantiated opinion that lettering was a task delegated to the “workmen” that Wiener cites in his Mon Passé. Re-punched and misaligned letters are a frequent, if not constant, problem. While the quality is uneven in early issues, it becomes more consistently poor late in the series. It is not difficult to envision Wiener being consumed with the production of the primary subjects of the dies, particularly given the sheer number of dies he produced in his 32-year engraving career. Wiener’s own engraving work is maintained at a consistent and high level of quality, even towards the end of the series when his eyesight was gradually betraying him, albeit perhaps only because of the assistance provided by Charles at that point. Nonetheless, there is a clear dichotomy between the quality of the engraving knowingly attributable to Wiener, and the quality of the lettering applied—thus the assumption of the lettering tasks having been delegated.

Beyond considering the sources of inspiration for these medals, the remaining questions tend to revolve around what could be summarized by the dreary modern term “supply chain.” What firm or mint struck the medals using his supplied dies? How many examples of any given issue were struck? Were there single or multiple mintages? How were the medals distributed and/ or marketed? How much did the medals cost? There are a few clues, but alas, much of the detail remains ambiguous if not downright unknown. The striking of the medals is the first element of production to be considered. Wiener himself provides an indirect clue by identifying “Geerts that struck my medals” in the context of his Belgian Cathedral series completed shortly before the commencement of the Most Remarkable Edifices series. The 1857 Almanach du commerce et de l’industrie81 lists Geerts as a “mécanicien Atelier spécial pour la fabrication des médailles” located at 1 rue des Drapiers in Ixelles. Wiener’s reference places Geerts as supporting him no later than the mid-1840s. In Medailles Historiques de Belgique,82 M. J. Geerts is noted as striking the Hôtel de la banque nationale à Bruxelles medal for Jacques Wiener (M284) in 1867. This work also references workshops in the plural (“ateliers”). We thus have references to Geerts striking Wiener’s medals both prior to the initiation of the Most Remarkable Edifices series, and at the final year of the series’ production (albeit for a non-series medal). The medalist professes a great respect and admiration for Geerts in his Mon Passé. It is reasonable therefore, in lieu of any other evidence, to conclude that Geerts struck all of Wiener’s Most Remarkable Edifices medals. Although Elkington & Co. possessed the capacity to strike medals, and had some sort of lien (if you will) on Wiener’s English cathedral dies (see discussion below), evidence suggests that the firm marketed the medals but did not necessarily strike them. This assumption contradicts some casual nineteenth- and twentieth-century references, and is certainly subject to change in the face of any relevant new information. Mintages of these medals are unfortunately 81. Hippolyte Tarlier, Almanach du commerce et de l’industrie (Brussels: Vanbuggenhoud, 1857), 131, https://books.google.com/ books?id=0ac_AAAAcAAJ. 82. Camille Picqué, et al. Médailles Historiques de Belgique Publiées sous les Auspices de la Société Royale de Numismatique (Brussels: Goemaere, 1890), 49–50, https://books.google.com/ books?id=aYY6AAAAcAAJ.

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unknown. Speculative estimates opined to the author range in magnitude from approximately 150–500 per monument. Mintages for individual varieties apparently varied greatly based on their surviving populations. The medals likely required three to four strikes each to be fully struck up, suggesting an initial crude estimate of perhaps 2,000 strikes per die. The extant dies exhibit various degrees of failure—from none to catastrophic, reflective of not only the quantity of strikes but (unfortunately) also the metallurgy and quality of die preparation. These latter two characteristics prevent any sort of mintage estimate strictly based on the state of the die and expected die life. Yet, it is clear that some medals were more popular than others, surviving to this day in relatively larger quantities than others; an attempt to categorize this level of relative scarcity or abundance is provided in each of the individual medal chapters. Beyond quantity, a number of questions linger with regard to the minting of the medals. Were there multiple mintages? Were entire runs struck at a single time, or did Geerts (and let us assume for now that it was Geerts) strike quantities essentially on demand? Insight on striking the medals can be gleaned from the Victoria and Albert Museum’s purchase history83 supplemented by the museum website (www.vam. ac.uk), and the British Museum’s somewhat parallel purchase history, where one finds the Wiener medals acquired by the museums, the date acquired, and the price (Appendix 2). Both museum purchase histories commenced in 1862 and completed in 1870. The Inventory of the Objects forming the Art Collection of the Museum at South Kensington Supplement No. 1 for the year 1864 specifically states that the four medals acquired in that year were purchased directly from Jacques Wiener84 (despite having been struck two years prior in 1862). As another example, both museums purchased their St. Paul’s London medal (struck starting in 1853) in 1862—some nine years after specimens of this design were first struck. If medals were struck on demand, one might surmise the possibility of environmental damage to the dies (e.g., rust, pit-

Figure 9. Weight-range distribution for bronze specimens of the Most Remarkable Edifices series based on a total population of 280 medals. ting) over the course of time though evidence of such a progression of damage has only been occasionally noted on extant medals. Aachen Cathedral variety M190, first observed by the author in the British Museum collection, provides solid evidence for issues having been struck on demand for some period of time. This variety lacks both the pilgrimage inscription on the obverse perimeter, and the VERLAG VON F. C. EISEN IN KÖLN inscription at the bottom of the obverse. One could initially assume that this was merely a lapping exercise performed to extend the die life, however the lapping in this instance was very localized—the Eisen inscription is not merely weak, it has been carefully removed in its entirety. In addition, the top perimeter of the die was lightly lapped as well (see discussion in the Aachen Cathedral section). This conclusion was verified when this obverse die was examined at the Royal Library of Belgium. For reasons discussed below, the removal of the Eisen inscription likely occurred in 1856; this on a die pair whose reverse had been explicitly dated 1852. Only one working obverse die was used to strike the entirety of the Aachen medals; the logical conclusion is that this die pair was in active use from late 1852 through 1856 (at least), and by being in active use, Wiener was striking specific medals on demand over time. Such an approach was not uncommon at the time (reference the Paris Mint for example) and would have allowed Wiener to maximize his sales.

83. Inventory of the Objects in the Art Division of the Museum at South Kensington: Arranged According to the Dates of Their Acquisition. Volume 1 For the years 1852 to the end of 1867 (London: Eyre and Spottiswoode, 1868), 12-14, 19, 37, 42, https://books.google.com/ books?id=I_E9AAAAcAAJ. 84. Inventory of the Objects forming the Art Collection of the Museum at South Kensington Supplement No. 1 for the Year 1864 (London: Science and Art Department of the Committee of Council on Education, 1864), 13, https://books.google.com/ books?id=EbBbAAAAcAAJ.

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One possible consequence of this on-demand approach to striking the series is the rather maddening characteristic of relatively large deviations (on the order of +/-20%) in the weights of medals not only from one monument type to another, but even within the population of individual medals struck for a single monument. It is the latter attribute that gives us the most pause. Why would the unstruck blanks have varied so much in weight? There does not appear to be an obvious pattern of discrete weights such as might occur if medals were struck in multiple mintages to weight standards that varied by mintage. Unfortunately, the weights of specimens brought to auction or in fixed-price offerings are often not noted at all, making it difficult to assemble statistically meaningful weight distribution data (at least at the individual issue level) that might at least hint at an explanation. Dedicated research on this topic would likely yield useful information (Fig. 9). The questions regarding striking on demand lead us to the fundamental question of determining when the medals were initially produced. There are arguably three different activities to which this could refer:

wording)—the medals. So it may be (however unlikely) that Bouhy is drawing the distinction between the engraving of the dies (presumably the dates assigned to each individual medal) and their production. Moreover, since the topic is not muddled enough, F. C. Eisen advertised the Cologne Cathedral medal for sale in the October 29, 1848, Kölner Domblatt,85 preceding the presumed production date of 1849 by Bouhy, et al. Also, Wiener himself documented the completion of his St. Paul (London) medal in late 1853. One must keep in mind that Bouhy published his work some 35 years after the first medals of this series were created, and one is not privy to the accuracy or level of detail of any supporting records that may have been used for reference. Nonetheless, a production start date of 1850 significantly pre-dates the announcement of the series, and is in documented conflict with more than one of the early issues. Wiener’s prospectus and Nijhoff both note that the subscriber could expect to receive a new medal every two months. If true, it would imply that the goal was to complete the series in just over eight years, or roughly by 1862 if one starts the accounting with the publication of Wiener’s prospectus. Such a pace would be relatively consistent with that demonstrated by Wiener to produce the Belgian Cathedral series. However, such a pace would likely have precluded the execution of medals outside the series to a large degree.86 Wiener himself sheepishly admits to Mogford on October 16, 1855, that he “had to interrupt for a while these works to execute the multiple medals for the Commission of the Palace of Industry in Paris.”87 The final two medals of the series are also both explicitly dated 1867, thus providing contrary evidence to the planned rate of production and the broad date of issue range provide by Bouhy, et al. Thus, the cited issue date range is inconsistent with individual medal issue dates which are

• When the dies were engraved • When the medals were first struck, perhaps for marketing (e.g. exhibition) purposes • When production occurred—from start to finish Each of these represents a different point in the spectrum of the medal production. The written record clearly suggests (as shown above) that the earliest halfdozen or so medals of the series were engraved, and had been struck in at least small quantities for exhibition purposes by 1854. That all but one of these early medals of the series are devoid of date information, of course merely adds to the confusion. In all, Wiener (inconveniently) chose not to engrave dates on over half of the medals (23 of 41) in the Most Remarkable Edifices series, leaving us to attempt to divine this information from other sources. Bouhy (and Forrer) provide suggested dates for each medal of the series, without intimating at which of the three definitions noted above applies. Setting that aside for the moment, the Sts. Michael and Gudula medal is given a date of 1848, Aachen Cathedral 1849, Cologne Cathedral 1849, and St. Paul’s (London) 1849. Simultaneously Bouhy and Forrer (and Alvin) collectively cite the years 1850–1865 as the general range during which “il livra” (“he distributed,” to cite Bouhy’s

85. Franz Carl Eisen, “Denkmünze,” Kölner Domblatt, October 29, 1848, n. p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1848. 86. Taking Van Hoydonck at face value for a moment, Wiener produced 295 medals and jetons over an approximate 32-year span. He typically, though not always, engraved both dies for a given medal. For illustrative purposes one can assume that Wiener actually produced 500 dies over the course of 1,664 weeks (32 years); therefore, on average each die required just over three weeks of effort. Two dies were required for each medal in this series, thus requiring between six and seven weeks just to produce the dies for a single medal. Thus, an issue rate of one medal every two months would have left a negligible amount of time to complete any other medallic work. Wiener clearly did not account for the impact of additional commissions when he asserted this issue rate in his prospectus. 87. Jacques Wiener to Henry Mogford, October 16, 1855, Royal Library of Belgium.

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inconsistent with other documented evidence. Therefore, each of the undated medals’ date of issue must be critically re-examined. In choosing to suggest revisions to issue dates of the undated medals of the series, two scenarios must be considered. The first is demonstrating that medals were actually issued prior to their traditional dating. This is a relatively straightforward exercise once documentation is found which places the medal in some public venue (a sale or exhibition for example) or which confidently acknowledges the medal’s existence (e.g. Wiener’s letters to Henry Mogford) prior to the traditional date. One can then assign a “no later than” date based on this other documentation—the medal was issued no later than the date of the auction sale or exhibition for example. As a worst case, given that the accessed relevant documentation may be incomplete, the presumed issue date nudges closer to its actual date of issue. The second scenario is much more difficult—that of trying to prove that an issue in fact was not struck until after the traditional issue date assigned by Bouhy, et al. One is then in the unenviable position of trying to prove a negative (which one cannot really do) by claiming that because there is no known corroborating evidence from the (presumed) early date a new “no earlier than” date should be assigned. Simply put, the corroborating evidence certainly may exist but just be unknown to the researcher. This scenario is unfortunately a prevalent one for the early issues of the series. The author has tried to tread very carefully in this area. In some cases, reliance is placed on any temporal wording used in an announcement—such as “has just issued”—that implies a timeframe. Even this approach is not foolproof, as we have already encountered such wording in the relatively late announcement of the Most Remarkable Edifices series in The Building News. There are at least two medals which the author strongly believes to be traditionally dated significantly too early—Sts. Michael and Gudula, and the Cologne medal with the interior reverse. Though strong evidence is offered, “proof ” remains elusive due to its high standard. The rationale for the re-dating of these two issues (among others) is presented in their respective chapters. We do have a handful of documents that allow us to confidently revise some of the attributed dates of issue however—these records include museum acquisitions, advertisements, auction catalogues, and exhibition catalogues that date from the de facto 1848 to 1867 range of the series. The mid-nineteenth century

spawned numerous world exhibitions and expositions following London’s famed 1851 venture. At a minimum, Jacques Wiener exhibited at the following: • Exposition Nationale des Beaux-Arts, Brussels; 184888 • Great Exhibition, London; 185189 • Irish Industrial Exhibition, Dublin; 185390 • Exposition Générale des Beaux-Arts, Brussels; 1854 • Exposition Universelle, Paris; 185591,92 • Exposition Générale des Beaux-Arts, Brussels; 186093 • Exposition Nationale, Antwerp; 186194,95 • International Exhibition, London; 186296 • Paris Salon; 186697 • Exposition Générale des Beaux-Arts, Brussels; 186698 88. Adolphe Siret, Exposition Nationale de 1848: Revue du Salon (Brussels: Ch.-J.-A. Greuse, 1848), 110–12, https://books.google. com/books?id=tn5FAAAAcAAJ. 89. George Wagstaffe Yapp (ed), Official Catalogue of the Great Exhibition of the Works of Industry of All Nations 1851. Corrected Edition (London: W. Clowes & Sons, 1851), 213, https://books.google.com/ books?id=OfMHAAAAQAAJ. 90. This is somewhat a matter of conjecture. There is no mention of Wiener’s wares in the official catalogue of the exhibition. However, Wiener coordinates with Henry Mogford in his March 15, 1853, letter to forward a case of medals to the exhibition, and again in letters dated August 25, 1853, and September 6, 1853, to have the case returned. John Sproule (ed), The Irish Industrial Exhibition of 1853: a detailed catalogue of its contents (Dublin: J. McGlashan, 1854), https://babel.hathitrust.org/cgi/pt?id=hvd.32044051696706;v iew=1up;seq=7. 91. The 1855 Archives Israélites makes a point of identifying Jacques Wiener’s showing at this exposition. It notes that Wiener “exhibited two cases, one containing eleven, the other eighteen medals; they represent for the most part church interiors (it must be remembered that Mr. Wiener lives in Belgium).” Archives israélites, Vol. 16 (Paris: Bureau des Archives Israelites, 1855), 448–49, https://babel.hathitrust. org/cgi/pt?id=hvd.32044105344345;view=1up;seq=7. 92. Exposition Universelle de 1855. Explication des ouvrages de peinture, sculpture, gravure, lithographie, et architecture (Paris: Vinchon, 1855), 54–55, https://books.google.com/books?id=HSLrN96i-pQC. 93. Lot 1099 of the Exposition Générale des Beaux-Arts à Bruxelles. Le Salon de 1860—Catalogue Explicatif (Brussels: Schaefels & Sopers, 1860), 135–36. Rik Nulens, Personal correspondence, October 18, 2017. 94. The 1861 Archives Israélites notes that both Jacques and Léopold received gold medals for engraving at this event. Archives israélites, Vol. 22 (Paris: Bureau des Archives Israelites, 1861), 112, https:// books.google.com/books?id=-nApAAAAYAAJ. 95. Exposition nationale: catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin [...] au Salon d’Anvers. (Anvers: J. P. Van Dieren and Co., 1861), 178–79, https://babel.hathitrust.org/ cgi/pt?id=gri.ark:/13960/t5s75p24q;view=1up;seq=1;size=125. 96. Catalogue des produits industriels et des oeuvres d‘art: Exposition universelle de Londres en 1862. Belgique (Brussels: Lelong, 1862), 267–68, https://books.google.com/books?id=m8c-AAAAcAAJ. 97. Paris Salon 1866 Explication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants des Pensionnaires de l’Académie de France a Rome, et des grands Prix de 1865 Exposés au Palais des Champs Élysées le 1er mai 1866 (Paris: Charles de Mourgues Frères, 1866), 394, https://gallica.bnf.fr/ark:/12148/ bpt6k49756h/f477.image.texteImage. 98. Exposition générale des beaux-arts 1866. catalogue explica-

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• Exposition Universelle, Paris; 186799 • Universal Exposition, Vienna; 1873

along the lines of “a case of medals.” The 1854 Exposition Générale des Beaux-Arts in Brussels is a particularly useful resource to substantiate the adjustment of issue dates for certain early medals. Wiener exhibited, among a handful of other medals, each of his Most Remarkable Edifices medals struck up to that date, with the exceptions of Sts. Michael & Gudula (assuming for a moment that this medal had in fact been issued), either Cologne or Amsterdam (or both) depending on the assumption made regarding the possibly erroneous catalogue entry, and Batalha, thus providing validating evidence for the various date adjustments suggested in this work. The 1855 catalogue of the Exposition Universelle in Paris likewise provides insight into issue dates of the early medals of the series. The 1861 Antwerp exposition does the same for medals relatively late in the series, while the 1873 and later catalogues clearly provide no useful dating information. The most valuable auction catalogue found to-date is the Catalogue des Monnaies et Medailles formant le cabinet feu M. J. B. Th. De Jonghe,104 supporting a series of sales occurring during December 1860. The catalogue provides a list of 22 of the Most Remarkable Edifices medals offered for sale. The medals are consistent with an 1860 publication date and the dates put forth by Bouhy and Forrer, as revised and corrected herein. Given the completeness of the offering, it is a safe assumption that Mr. de Jonghe purchased a subscription to the series. Another particularly useful auction catalogue is the 1860 Catalogue d’une riche et nombreuse collection de médailles et monnaies anciennes, du moyen-âge et des temps modernes, ... délaissée par M. Charles Joseph Antoine Jean de Crane d’Heisselaer,105 lot 4423, which contains 12 examples from the Most Remarkable Edifices series collected prior to October 1857 when Mr. Heisselaer died. Mr. Heisselaer’s unfortunate sudden passing provides a hard and fast reference point for medals produced before and after this date. Table 2 summarizes the medals constituting the series and the suggested dates of issue from past authors, along with proposed revisions to the medal

In addition, his brother Charles exhibited medals from the series at the following: • Exhibition of the Royal Academy; 1863100 • International Exhibition, Philadelphia; 1876101 • Exposition Universelle, Paris; 1878102 Some of these fairs published catalogues with detailed listings of the specific medals exhibited by Wiener. These detailed listings provide us solid “no later than” dates allowing for validation or revision of the traditionally attributed issue dates. London’s Great Exhibition of 1851 official catalogue lists Wiener’s wares as “A collection of medals, representing the principal monuments of Belgium.” Although no particular detail is provided, that the medals were limited to the principal monuments in Belgium is suggestive that the Most Remarkable Edifices series did not yet exist (with the exception of the first Cologne medal, which clearly had been issued). The Exhibition Supplement to the Illustrated London News dated September 6, 1851,103 provides corroboration, noting that Wiener exhibited medals depicting “the principal cathedrals and other public buildings of Belgium.” Three medals are identified and illustrated—Notre Dame of Tongres (M17), St. Martin’s of Ypres (M32), and the just-issued Bishop's Palace in Liège (M86). The 1854, 1855, 1860, 1861, 1873, and 1878 exhibitions noted above each provide specific medal references, and often cite whether the interior or exterior (or both) sides of the medal were being displayed. The remaining events generally published a vague and unhelpful description of Wiener’s exhibit, tive (Brussels: Lelong, 1866), 154, https://books.google.com/ books?id=_4hBAAAAcAAJ. 99. Edouard Dentu (ed), Exposition universelle de 1867 a Paris catalogue général publié par la Commission impériale: Oeuvres d’art groupe 1, classes 1 a 5, Vol. 1 (Paris: Dumont, 1867), 128, https:// books.google.com/books?id=000DFd8q4LQC. 100. Exhibition of the Royal Academy of Arts MDCCCLXIII the Ninety-Fifth (London: William Clowes & Sons, 1863), 47, https:// books.google.com/books?id=4WMEAAAAYAAJ. 101. International Exhibition, 1876: Official Catalogue, Part II, Art Gallery, Annexes, and Outdoor Works of Art. Department IV.—Art, Part 2 (Philadelphia: John R. Nagle for the Centennial Catalogue Company, 1876), 96–97, https://books.google.com/ books?id=CGJKAQAAMAAJ. 102. Catalogue officiel des oeuvres d’art, des produits de l’industrie et de l’agriculture : Section Belge. Second Edition (Brussels: Vanderauwera, 1878), 37–38, https://books.google.com/ books?id=khZAAAAAYAAJ. 103. The Illustrated London News. Exhibition Supplement. Number 515—Volume XIX, 6 September 1851, 301, https://books.google.com/ books?id=RlAjAQAAMAAJ.

104. Ferdinand Heussner, Catalogue des monnaies et médailles formant le cabinet de feu J. B. Th. de Jonghe (Brussels: M. Weissenbruch, 1860), 264–65, https://books.google.com/ books?id=ojcGAAAAQAAJ. 105. Catalogue d’une riche et nombreuse collection de médailles et monnaies anciennes, du moyen-âge et des temps modernes, [...] délaissée par M. Charles Joseph Antoine Jean de Crane d’Heisselaer (Brussels: Devroye, 1860), 142, https://books.google.com/ books?id=hlxDAAAAcAAJ.

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dating based on the research presented in this work. The individual discrepancies and logic for corrected

dates are addressed in detail in the associated medal summaries later in the book.

Table 2. Medal issue dates as given by Bouhy, Forrer, and Van Hoydonck, along with suggested corrections.106 Dates in parentheses are those assigned to otherwise undated medals by each of the authors noted in the title row. Dates without parentheses are for medals with explicit dates engraved. Underlined dates are those assigned by the reference work but that contradict dates explicitly engraved on those medals. B ouhy

(1848) Church of Sts. Michael & Gudula

F orre r

Van H oyd onc k (1848) Church of Sts. Michael & Gudula

(1848) Church of Sts. Michael & Gudula

Ross

(1848) Cologne Cathedral 1849 Cathedral of Aachen

1849 Cathedral of Aachen

1849 Cathedral of Aachen

(1849) Cologne Cathedral

(1849) Cologne Cathedral

(1849) Cologne Cathedral

(1849) Cologne Cathedral (Interior Reverse)

(1849) Cologne Cathedral (Interior Reverse)

(1849) Cologne Cathedral (Interior Reverse)

(1849) St. Paul’s Cathedral (London) Bouhy notes the signature ”a gauche”

(1849) St. Paul’s Cathedral (London) Forrer is silent on the variety

(1849) St. Paul’s Cathedral (London)

(1850) Amsterdam State House

(1850) Amsterdam State House

(1850) Amsterdam State House

(1850) St. Mark’s (Venice)

(1850) St. Mark’s (Venice)

(1850) St. Mark’s (Venice)

(1850) Amsterdam State House

1851 Notre Dame Cathedral (Paris)

1851 Cologne Cathedral

1851 Cologne Cathedral 1852 Cathedral of Aachen (1st and 2nd varieties)

(1853) Monastery at Batalha

(1853) Monastery at Batalha

(1853) Monastery at Batalha

(1853) Monastery at Batalha (1853) St. Apollinaris Church (1853) St. Paul’s Cathedral (London) (1st variety)

(1854) York Cathedral

(1854) York Cathedral

(1854) York Cathedral

(1854) Cathedrale de York (Bouhy does not list the English legend variety) (1854) St. Mark’s (Venice)

(1854) St. Paul’s Cathedral (London) (2nd and 3rd varieties) (1855) Bonn Minster

(1855) Bonn Minster

(1855) Bonn Minster

(1855) Bonn Minster

106. The order of medal issues within a single calendar year is often unknown; the listed order shown within each calendar year should not be construed as definitive unless indicated as such.

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B ouhy

(1855) Duomo at Pisa

F orre r

Van H oyd onc k

1855 Notre Dame Cathedral (Paris)

1855 Notre Dame Cathedral (Paris)

(1855) Duomo at Pisa

(1855) Duomo at Pisa

Ross

1855 Notre Dame Cathedral (Paris) (1855) Winchester Cathedral (1855) Westminster Abbey

1855 Cologne Cathedral (1856) St. Apollinaris Church

(1856) St. Apollinaris Church

(1856) St. Apollinaris Church

(1856) Winchester Cathedral

(1856) Winchester Cathedral

(1856) Winchester Cathedral

(1856) Westminster Abbey

(1856) Westminster Abbey (1856) Westminster Abbey

1855 Cologne Cathedral

(1856) Cathedral of Aachen (3rd variety) (1856) Cathedrale de York

(1856) Lincoln Cathedral (1857) Lincoln Cathedral

(1857) Lincoln Cathedral

(1857) Lincoln Cathedral

1857 Tournai Cathedral

1857 Tournai Cathedral

1857 Tournai Cathedral

1857 Tournai Cathedral

1857 St. Peter’s Basilica (Rome)

1857 St. Peter’s Basilica (Rome)

1857 St. Peter’s Basilica (Rome)

1857 St. Peter’s Basilica (Rome)

(1858) Church of St. Front (Périgueux)

(1858) Church of St. Front (Périgueux)

(1858) Church of St. Front (Périgueux) (1858) Hagia Sophia (Constantinople)

1858 St. Isaac’s Metropolitan Church (St. Petersburg)

1858 St. Isaac’s Metropoli- 1858 St. Isaac’s Metropoli- 1858 St. Isaac’s Metropolitan Church (St. Peterstan Church (St. Peterstan Church (St. Petersburg) burg) burg) (both varieties)

1858 St. Geneviève’s Church (Paris)

1858 St. Geneviève’s Church (Paris)

1858 St. Geneviève’s Church (Paris)

1858 St. Geneviève’s Church (Paris)

1859 Cordoba Cathedral (Bouhy cites the variety with date)

1859 Cordoba Cathedral

1859 Cordoba Cathedral (both varieties)

(1859), 1859 Cordoba Cathedral (both varieties)

1859 The Walhalla (Regensburg)

1859 The Walhalla (Regensburg)

1859 The Walhalla (Regensburg)

1859 The Walhalla (Regensburg) (both varieties)

1859 St. Ouen’s Church (Rouen)

1859 St. Ouen’s Church (Rouen)

1859 St. Ouen’s Church (Rouen)

1859 St. Ouen’s Church (Rouen)

(1859) Reims Cathedral

(1859) Reims Cathedral

(1859) Reims Cathedral

(1859) Reims Cathedral

(1860) Duomo at Siena

(1860) Duomo at Siena

(1860) Duomo at Siena

1860 Milan Cathedral

1860 Milan Cathedral

1860 Milan Cathedral

1860 Milan Cathedral (1860) St. Stephen’s Church (Vienna) (both varieties)

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B ouhy

1861 Strasbourg Cathedral

1861 Chartres Cathedral

F orre r

Van H oyd onc k

Ross

(1860) Kaiser Dom (Speyer)

1861 Strasbourg Cathedral 1861 Strasbourg Cathedral 1861 Strasbourg Cathedral 1861 Chartres Cathedral

1861 Chartres Cathedral

1861 Chartres Cathedral

(1861) Cologne Synagogue

(1861) Cologne Synagogue (1861) Cologne Synagogue (1861) Cologne Synagogue

(1861) Bamberg Cathedral

(1861) Bamberg Cathedral

1861 Cologne Cathedral

1861 Cologne Cathedral

(1861) St. Paul’s Church (Rome)

(1861) St. Paul’s Church (Rome)

(1861) Bamberg Cathedral 1861 Cologne Cathedral

(1861) St. Paul’s Church (Rome) 1862 St. Olaf ’s Church (Trondheim) (1862) St. Paul’s Church (Rome)

(1862) Duomo at Pisa 1862 St. Stephen’s Church (Caen)

1862 St. Stephen’s Church (Caen)

1862 St. Stephen’s Church (Caen)

1862 St. Olaf ’s Church (Trondheim)

1862 St. Olaf ’s Church (Trondheim)

1862 St. Olaf ’s Church (Trondheim)

1862 St. Stephen’s Church (Caen) (both varieties)

(1862) Church of St. Front (Périgueux) (1862) Church of Sts. Michael & Gudula (1862) St. Stephen’s Church (Vienna)

(1862) St. Stephen’s Church (Vienna)

(1862) St. Stephen’s Church (Vienna)

(1863) Kaiser Dom (Speyer)

(1863) Kaiser Dom (Speyer)

(1863) Kaiser Dom (Speyer) (1864) Duomo at Siena

1864 Duomo (Florence)

1864 Duomo (Florence)

1864 Duomo (Florence)

1864 Duomo (Florence)

(1864) Hagia Sophia (Con- (1864) Hagia Sophia (Con- (1864) Hagia Sophia (Constantinople) stantinople) stantinople) (1865) Bamberg Cathedral (1865) Magdeburg Cathedral

(1865) Magdeburg Cathedral

(1865) Magdeburg Cathedral

(1865) Magdeburg Cathedral

(1866) Mainz Cathedral

(1866) Mainz Cathedral

(1866) Mainz Cathedral

(1866) Mainz Cathedral

1867 St. Maria of Belém (Lisbon)

1867 St. Maria of Belém (Lisbon)

1867 Burgos Cathedral

1867 Burgos Cathedral

1867 St. Maria of Belém (Lisbon) 1867 Burgos Cathedral

1867 Burgos Cathedral

(1867) Cologne Cathedral (Interior Reverse) 1867 Toledo Cathedral

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early years of the series. Medals engraved as “Verlag von F. C. Eisen in Köln” (Published by F. C. Eisen in Cologne) include the 1848, 1851, and 1855 Cologne Cathedral issues, Aachen, and St. Apollinaris. • H. F. Münster—H. F. Münster was a book and art dealer who established a bookshop in Venice in early 1846, and later expanded to Verona and Trieste. Münster largely served expatriates from the empire, and his Protestant clientele kept him under the constant watchful eye of the censors in Venice.107 Although H. F. Münster published many works, the firm unfortunately did not leave a known documentary trail with regard to publishing Wiener’s medals. The obverse of the St. Mark’s medal cites Münster’s bookstore. All other medals of this series are silent regarding their source of distribution. Wiener’s correspondence with Henry Mogford sheds some interesting light on Wiener’s desire to have a firm publish his Most Remarkable Edifices series in England. In his September 6, 1853, letter to Mogford, Wiener relays that he had “already addressed two booksellers in London for their business proposal for the gallery of the medals of the monuments of EuFigure 10. Wood engraving from The Graphic (1874) depict- rope. Those are Mr. Mitchell Old Bound [sic] Street108 ing various aspects of the Elkington & Co. Birmingham op- and Thim [sic] Brook Street Grosvenor Square.”109 A erations. The steam stamping vignette may be most relevant lack of reply from either firm drives Wiener to request to the striking of medals. (Collection of the author). Mogford’s further assistance noting that, “if you can put me in contact with a suitable person I would be Once the medals were struck, the next element of much obliged.” Shortly thereafter, on October 21, Wiethe production process to consider is sales and distri- ner documents that he has reached an agreement with bution. Wiener thoughtfully left us tangible clues by Elkington; whether Mogford was responsible for conhaving engraved the names of various firms compris- necting Wiener with Elkington is unclear, though it is ing this part of the supply chain directly on a handful certainly plausible. The July 1, 1861, issue of The Art Journal110 announcof the Most Remarkable Edifices medals. These firms es that: are as follows: • Elkington & Co.—an English metalworking firm known primarily for its silver electroplated decorative wares. In addition to these extensive offerings, Elkington also offered and struck a variety of medals. The Elkington & Co. name is found on the York, Winchester, Lincoln, and Westminster Abbey medals (Fig. 10). • F. C. Eisen—Franz Carl Eisen was a Cologne-based publisher, book and art dealer. An enthusiastic marketer of Wiener’s Most Remarkable Edifices medals, he left a relatively extensive, though ad hoc, written record of retailing Wiener medals during the

Messrs. Elkington and Co., whose efforts to give to every class of their manufactures an elevated Art char107. Mariachiara Mazzariol, “Hermann Friedrich Münster (1817– 1868) libraio tedesco nella Venezia austriaca,” La fabbrica del libro— Bollettino di storia dell’editoria in Italia, Fondazione Mondadori, January 2010, https://www.fondazionemondadori.it/wp-content/ uploads/2018/12/mazzariol.pdf. 108. John Mitchell, a bookseller doing business as “Mitchell’s Royal Library” at 33 Old Bond-Street, London. 109. Franz Thimm, a bookseller and publisher located at 3 Brook Street (later moving to 24 Brook Street) in Grosvenor Square, London. 110. “Minor Topics of the Month,” The Art Journal (London: Virtue, July 1, 1861), 222, https://books.google.com/ books?id=dD8cAQAAMAAJ.

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takes an interest in numismatic works bearing the devices of our noble ecclesiastical edifices.

A number of interesting questions arise, the most obvious point of interest being the lag between the medals’ dates of manufacture (the last English cathedral medal was issued in 1856) and The Art Jounal’s announcement—not unlike the delay in the Building News and Architectural Review announcement of the series in mid-1860. Why should this be so? Also note the erroneous reference to the medals as having been cast. The Elkington & Co. archives in the possession of London’s Victoria and Albert Museum were explored to glean any possible information regarding Elkington’s manufacture and/or marketing of Wiener’s English cathedral medals, or any others for that matter. Unfortunately, the examination did not yield any insight regarding key questions associated with Elkington’s role. The extant company ledgers are disappointingly silent regarding both Wiener and his medals; in fact, there is no mention of a financial or working relationship with any medalist. However, three of the trade catalogues contained in the archive each contain an image of the reverse of Wiener’s Winchester medal. The illustrated medal is described thusly: “Specimen Medal. Interior of Wells Cathedral. Showing Detail and Perspective,” or some slight variation. A number of elements of interest are quickly evident: Figure 11. The catalogue advertisement in Neueste Beschreibung des Domes zu Köln (Description of the Churches of Cologne) published in 1856 by F. C. Eisen listing Most Remarkable Edifices medals available for purchase.

• There is no doubt when a comparison is made of the catalogue medal image to a Winchester medal as to which cathedral is portrayed; also, Wells Cathedral has a ubiquitous “scissor arch” at the crossing which has no counterpart at Winchester. • Wiener is not mentioned at all. The image, which appears to be a photograph, does not display the signature engraved in the medal exergue. It has been perhaps airbrushed out, or the resolution of the photo is just insufficient to render it noticeable. • These catalogues, though undated, all appear to have been published after 1910; one of them refers to “His Majesty King George V,” and cites Elkington as a recipient of a 1910 Grand Prix medal. Therefore, the catalogue is clearly wedged into the 1910–1935 timeframe, and very likely at the early end of that range. Another catalogue mentions Elkington’s Newhall facility in Birmingham having been in operation over 80 years. This facility opened in 1841, thus dating the catalogue to the early 1920s.

acter, entitle them to unqualified praise, have recently produced a series of bronze medals illustrating five of our principal cathedrals, namely, Westminster Abbey, St. Paul’s, York, Winchester, and Lincoln. They are of large size, about two inches in diameter; the reverse side presents an exterior view, the obverse the interior of the nave, except in the Westminster Abbey medal, where the choir is seen. The dies were engraved by Weiner[sic] of Brussels, and, to judge from the sharpness, clearness, and relief of the castings, are very beautifully executed. An inscription upon each notifies the date of the erection of the cathedral, and the various important alterations it has undergone since its foundation. Enclosed in a case lined with crimson velvet, no prettier gift could be offered to any one who

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provides (at best) opaque insight into his contractual relationship with Elkington in his October 21, 1853, letter to Mogford, noting, “I have just concluded with the house of Elkington & Co. for one year on very advantageous terms. I pledged to deliver five medals which will feature for England in my collection…by the end of 1854. After 1854 I am again master of my dies…”. As shown in Table 2, Wiener did not complete his dies within the specified time constraint; what impact this had on his agreement or revised agreements is unknown, nor does Wiener provide insight into the nature of the implied lien placed on his dies. Wiener’s last direct mention of the firm in his letters to Mogford occurs on June 21, 1854, though he discusses various English medals (engraved with the Elkington name) at least through November 16, 1855. F. C. Eisen appears to have been the most active marketer of Wiener’s medals up through the year 1856. Clearly an arrangement between Wiener and Eisen existed as early as 1848, given the inscription on the earliest variety of the Cologne Cathedral medal. Somewhat later, the art journal De Eendragt brings together the names F. C. Eisen and Wiener in the context of a vague series of medals commemorating the predominant German buildings of the Middle Ages in its December 28, 1851, issue;115 this is an early reference to what would formally become the Greatest Edifices series within two years. Wiener refers to Eisen in a February 1, 1854, letter to Mogford as “l’editeur Allemand” (the German publisher).116 As an example, in Eisen’s Neueste Beschreibung des Domes zu Köln (Latest Description of Cologne Cathedral)117 published in 1856, there is a compelling section in the back of the book— a catalogue in which Eisen markets photos, prints, books, medals, etc. Pages 126 and 127 provide a list of medals, “sämmtlich [sic] von J. Wiener geschnitten” (all cut by J. Wiener); Figure 11 illustrates the offering. Such detailed listings provide the opportunity to contrast the book’s 1856 publication date with the accepted production dates of Wiener’s various (undated) medals in this series (as provided by Bouhy and Van Hoydonck). Eisen’s list excludes Sts. Michael and Gudula, Bonn, Pisa, Batalha, and the Amsterdam State House, all of which theoretically would have been

Figure 12. The cardboard case provided by F. C. Eisen with specimens of the Cologne Cathedral medal. (Image courtesy of Ben Weiss, www.historicalartmedals.com). One wonders at the subterfuge in the presumably purposeful misidentification of the medal, convenient lack of a medal signature, and marketing of the image and capability at such an extremely late date—well after Wiener’s death in fact. Another curiosity relative to Elkington is that from 1842 to 1861, the firm was known as Elkington, Mason & Co. After 1861, it traded under the name Elkington & Co.111 The Wiener medals citing Elkington’s publishing role were struck in the 1853–1856 timeframe, clearly during the “Elkington, Mason & Co.” period, but the engraved inscription uses the post-1861 version of the company name. It is perhaps for this reason (or literal acceptance of the Art Journal announcement) that Beaulah’s article on the Art Union of London medal series112 claims that Elkington produced these medals in 1861. It is the author’s belief that the medals were struck by Wiener (i.e., Geerts) and marketed by Elkington in England. This is supported by a postscript to Wiener’s November 21, 1853, letter to Henry Mogford in which he says, “you will receive the medals113 through Mr. Elkington, when I send them to [Elkington] I will add the ones for you...”.114 Wiener also 111. In Wiener’s correspondence with Mogford, he references the firm both ways. 112. G. K. Beaulah, “The Medals of the Art Union of London,” in British Numismatic Journal 36 (Dublin: British Numismatic Society, 1967): 179–85, https://www.britnumsoc.org/publications/Digital%20 BNJ/pdfs/1967_BNJ_36.pdf. Conversely, Beulah may have taken The Art Journal article too literally. 113. Specimens of Wiener’s St. Paul’s London medal. 114. Jacques Wiener to Henry Mogford, November 21, 1853, Royal Library of Belgium.

115. “Mengelingen,” De Eendragt (Ghent: Michiels, December 28, 1851), 64, https://books.google.com/books?id=hYQ-AAAAcAAJ. 116. Jacques Wiener to Henry Mogford, February 1, 1854, Royal Library of Belgium. 117. Franz Carl Eisen, Neueste Beschreibung des Domes zu Köln (Köln: F. C. Eisen, 1856), 126–27, https://books.google.com/books?id=_QxJAAAAcAAJ.

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issued by the time of the publication of this work—at least per Bouhy’s timeline. Given the subject of the book, one might rationalize the exclusion of the Amsterdam State House medal due to its secular nature, but the omission of the remaining medals is problematic; the specific issue date impacts of this and other mid-nineteenth-century advertisements (particularly those of the Kölner Domblatt) are addressed in the individual medal chapters later in the book. The publishing company Avenarius & Mendelssohn of Leipzig published under this name between 1851 and 1855. In their Easter (March 27) 1853 Messkatalog: Verzeichniss der Bücher, Zeitschriften u. Landkarten,118 five medals from Jacques and Léopold Wiener are offered, two of which are part of the Most Remarkable Edifices series—Cologne and Aachen. The catalog entry for the Cologne medal indicates that the obverse depicts the cathedral “im Sommer 1852;” thus implying the 1851 variant. Notes provided on the medal’s cardboard case were provided in German, French, and English (Fig. 12). The other medal is the pilgrimage year variety of the Aachen Cathedral medal. Both medals are acknowledged as ultimately coming from F. C. Eisen. A second part of the Easter catalogue additionally lists the St. Apollinaris medal, again acknowledging F. C. Eisen as the ultimate source. Unfortunately, there is no date information relative to this second portion of the catalog. Another catalog was issued for Michaelmas (September 29) of 1853, but it contains no Wiener medals. The equivalent Michaelmas 1850 / Easter 1851 catalog likewise contains no Wiener medals. One additional firm was licensed to be a distributor for Wiener in the Netherlands, though there are no medals engraved with the name. The aforementioned Martinus Nijhoff was a Dutch bookseller who started his rare bookstore and publishing business in 1853 in The Hague. Nijhoff’s advertisements for Wiener’s Most Remarkable Edifices medals can be found with some regularity in the journal Algemeene Konst- en Letterbode from July 1854 (as discussed above) through January 1856. The July 1854 announcements contain additional bits of information (Fig. 6) including that the medals are provided with cases, that he is the exclusive dealer in the Netherlands, and that those medals already issued are available from him on a daily basis. After the January 12, 1856, issue, research has failed to show any additional distribution of medals by the

Nijhoff firm. Despite the vague assertion of all medals being available for purchase, in this short span Nijhoff only explicitly offered the Notre Dame, Winchester, and Westminster Abbey medals. The period of relatively intensive marketing by both Eisen and Nijhoff appears to cease by late 1856. Eisen’s September 1, 1856, advertisement in the Kölner Domblatt appears to be his last (in any publication), and the last Nijhoff advertisement found is dated January 12, 1856. That both firms should cease their retailing and advertising efforts somewhat in parallel would appear to be uncoincidental. By examining a number of the medal issues, evidence can be found suggesting an apparent termination of these business relationships; this need not have been unamicable as their marketing agreements may have only been for a fixed period from the start. Eisen’s name is given prominence on all German edifice issues through 1855. The undated Bonn medal, traditionally assumed to be an 1855 issue, would have been the next German edifice issue yet it does not include an inscription acknowledging Eisen. The 1855 Cologne Cathedral issues (both varieties—M151 and M152) retain the Eisen inscription. The M152 obverse die was reused for the subsequent 1861 issue, however the exergue of this die was rather inelegantly lapped, fully removing the Eisen inscription (and much of the two lines above). An examination of the die shows that there are no die-cracks (a typical reason for lapping), nor do pre-lapped medal specimens display environmental damage in the exergue—taking away another reason for lapping. The aforementioned Aachen Cathedral (M190) obverse die was much more carefully lapped to remove only the Eisen inscription, leaving the remainder of its exergue legends relatively unscathed and intact. The final die state of the St. Apollinaris obverse die still shows the Eisen legend intact, perhaps suggesting it was not used later than 1856. A cessation of the marketing arrangement with Martinus Nijhof is of course more difficult to ascertain, as we are left to merely interpret the sudden void of documentation rather than deliberate actions taken with regard to dies. One is then left to ponder the working relationship with Elkington, especially in light of the late marketing materials discussed above. The 1861 issue of The Art Journal certainly suggests an active marketing role for Elkington at that date, though the extant correspondence from Wiener is essentially silent after mid-1854, and the last English cathedral medal was issued in 1856. Oddly though, none of the St. Paul’s medals include an Elkington inscription, despite reaching an agreement

118. Avenarius & Mendelssohn, Messkatalog: Verzeichniss der Bücher, Zeitschriften u. Landkarten (Leipzig: Avenarius & Mendelssohn, 1853), 359–60, https://books.google.com/books?id=WbIEAAAAQAAJ.

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are initially offered for 12 Thalers through 1853; the 1855 and later Kölner Domblatt advertisements adjust the price upward to 14 Thalers. Avenarius & Mendelssohn’s 1853 catalogue likewise offers medals in bronze at 1 Thaler 10 Silbergroschen and in silver (with a case) for 12 Thalers. Nijhoff offers two options—for those willing to subscribe to the entire series, the price per specimen is 3 Gulden for bronze and 15 Gulden for silver. For those wishing to buy single examples and not obligate themselves to the entire series, the prices are 3-¾ Gulden and 16 Gulden respectively. In the absence of exchange rates from the period, we can normalize these prices to the weight of silver contained in the specified quantities of the individual monetary units. Thus, 1 Thaler, 10 Silbergroschen equates to 0.69 troy ounces of silver, seven shillings equates to 1.18 troy ounces of silver, and three Gulden equates to 0.91 troy ounces of silver. Silver specimens of Wiener’s medals ranged from 6.4 to 7.5 troy ounces of silver in cost. If we convert these silver weights to the equivalent U.S. coinage of the period, bronze specimens ranged from $0.96 to $1.63 in cost. Despite the Numismatische Zeitung’s claim that the prices were “cheap,” the price of silver medals seems astonishingly high—7.5 troy ounces of silver, or the equivalent of 9.7 U.S. silver dollars of the period. Unsurprisingly, silver specimens are consistently rare. Unfortunately, one must reluctantly accept that few hard facts are known regarding the production and original marketing of the medals. We are left to assess the various bits of information gleaned from nineteenth-century resources with a mix of varying degrees of deductive logic, reasoned speculation, and (worst of all) assumption based on these intermittent sources. This is clearly fertile ground for future archival research.

two months prior to the completion of the dies and initial issue of the medal—and thus providing an opportunity to add the Elkington & Co. inscription to the exergue die as well as the replacement exergue dies of the subsequently issued varieties. We of course do not know with certainty the timeframe during which the need for these replacement dies occurred. We do know, however, that the French legend variety of the York Cathedral medal has no Elkington inscription either, and that it was the latter of the two varieties issued (see discussion below). Unfortunately, the specific date of its issue is unknown as well, nor is it clear that we should interpret this variety as evidence of a cessation of a business relationship or obligation between Elkington and Wiener. For those of us attempting to reconstruct the sequence of issues and their dates, the apparent termination of these business relationships unfortunately leaves a significantly reduced documentation trail to examine. The last element of sales and marketing to be considered is that of pricing the medals. Wiener’s prospectus provides two tiers of pricing—7-½ Belgian Francs for bronze specimens bought individually, and 6 Francs each if the entire series was bought as a subscription. The silver specimens are likewise offered at 32 Francs each if purchased individually, and 30 Francs each if purchased through the subscription. The Victoria and Albert Museum’s meticulous records indicate consistent payments of seven shillings for each bronze medal of the Most Remarkable Edifices series purchased from 1862 through 1870. The British Museum likewise paid seven shillings for each of the specimens acquired in 1862; the 1870 accession log is silent on the price paid. F. C. Eisen’s retail pricing is seen in its publications and advertisements; bronze examples are consistently offered for 1 Thaler, 10 Silbergroschen (later advertisements are written as 1-⅓ Thalers). Silver specimens

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The Medals In the late twentieth century, two books have become the most widely referenced for most numismatic citations of Wiener’s work—Emiel Van Hoydonck’s 1972 Medailles et Jetons de Jacques Wiener, and Reinecke’s 1989 Jacques Wiener in Medaillen und Briefmarken. Weiler is also occasionally cited as a reference, though this work is not focused on Wiener specifically; rather it addresses the topical subject (Cologne Cathedral medals) of which Wiener’s works comprise but a part. Other works in this category include Eimer (British Commemorative Medals and Their Values),119 Diakov (Medals of the Russian Empire),120 and Eidlitz (Medals and Medallions Relating to Architects)121 among others. Of these, the de facto standard reference work for the medallic works of Jacques Wiener has been Van Hoydonck. Each medal is assigned a unique identification number based on the presumed chronological sequence of issue (leveraging Bouhy’s assigned dates)—starting with Wiener’s earliest works and ending with his latest. Reinecke takes a different approach. This work groups medals by subject matter and within subject categories assigns a numerical identifier. This author finds such a grouping scheme to be more numismatically difficult to use, but it effectively supported the context of the museum exhibition for which it was written. The Most Remarkable Edifices series of medals obviously exists within the larger body of Wiener’s work; in order to establish a referencing scheme to acknowledge varieties within the series, the referencing scheme for the entire corpus must be addressed. Both Van Hoydonck and the later Reinecke works were published before the advent of the online information age; the researcher or collector now has instantaneous access to a worldwide database and marketplace 24/7, and the sheer quantity of material and available images soon point out varieties not acknowledged in these reference works. The author initially considered a schema in which the Van Hoydonck system would be extended using a system of letters to distinguish varieties. However, the advantage of such a system in associating varieties of a given issue was quickly overshadowed

by having to insert otherwise unpublished issues with new numbering that broke the chronological sequence of Van Hoydonck’s numbering system. In order to avoid such a confusing result, a new numbering system has been adopted in this work. This is the product of researching various museum collections, the author’s collection, and published articles in order to cast the widest possible net. Though not likely perfect, (perfect, after all, is not terribly attainable—not within a reasonable period of time anyway), the new numbering system incorporates over 80 issues and varieties not found in Van Hoydonck. The “complete” corpus and numbering system can be found in Appendix 1. The following conventions were followed in constructing this revised listing: • Die varieties derive from the use of explicit working dies, the purposeful replacement of dies (or portions of die in the case of the two-piece dies), the intentional alteration of an existing die to add or remove design or inscription elements, or a unique combination of dies • Any issue recognized by Bouhy, Van Hoydonck, or Reinecke has been retained • Any additional die varieties not recognized by the authors above must be validated by a known specimen; this validation has been primarily accomplished by examining the Belgian Royal Library catalogue and the author’s collection, along with other miscellaneous articles and modern (i.e., photographed) auction sources • Wiener’s dies, as catalogued by Jan Lippens,122 are assumed to have been used to strike medals and/or jetons; therefore varieties are assigned for these dies or die pairs—whether or not specimens are currently known; the “Medal Notes” section for each medal references the Lippens numbering for the corresponding dies • Medal specimens displaying inscriptions in negative relief, that is having been engraved after being 122. Jan Lippens catalogued the dies in the inventory of the Royal Mint of Belgium Museum in the 1970s and published his work in a two-volume sequence. The first volume catalogues the coinage dies, the second volume catalogues the medal dies. Neither volume is widely available, and the second volume can be particularly difficult to find. Upon the privatization of the Royal Mint, the dies were transferred to the Royal Library of Belgium. Jan Lippens, Catalogus van de patrijzen & matrijzen van het museum van het Munthof, Boekdeel II. (s.l.: Koninklijke Munt van Belgie, n.d.).

119. Christopher Eimer, British Commemorative Medals and Their Values. 2nd Edition (London: Spink & Son, 2010). 120. Mikhail E. Diakov, Medals of the Russian Empire, Part 5 1855–1881 (Moscow: Mikhail E. Diakov, 2006). 121. Robert James Eidlitz, Medals and Medallions Relating to Architects (New York: Privately Printed, 1927).

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struck, are not recognized as distinct varieties as their final forms were not produced by the working dies, nor can their provenance be confidently attributed to Wiener.

The evidence for this can be seen in lettering that is still “sharp” but in significantly lower relief—since the highest part of the metal die was ground down closer to the recessed depths of the letters. It is not uncommon for medals struck by dies in such a state to be missing thin uprights and serifs leaving ghostly, partial lettering (e.g., Notre Dame medals struck using the lapped obverse die), or missing lettering in its entirety (e.g., Wiener’s signature on the Cathedrale de York medal shows only a partial “J” and the left-most upright of the “W”). Reverse dies are almost invariably more susceptible to die fatigue due to their sharp changes in relief in depicting the interior views, but the positive die relief renders them largely ineligible for full-scale lapping, though localized lapping or filing is noted. The exception to this treatment of die state, however, is the case where dies have been lapped in a focused manner to remove specific design elements; such exercises constitute a deliberate action to alter the design—and thus meet the varietal criterion noted above. What follows is an examination of each of the Most Remarkable Edifices medals, focusing first on the edifice itself, followed by Wiener’s associated medallic rendering. Each medal is described and its legends transcribed and translated into English. Peculiar characteristics of each medal are described, including die fatigue, lettering issues (e.g., re-punched lettering, etc.), and other surface characteristics such as engraved guide lines, die gouges, etc. Given the not outrageous assumption that the dies will never be used to strike medals again, a description of the so-called “terminal die state” is given, reflecting the current state of the working dies as examined. For bronze specimens, an estimation of relative rarity is provided, using a scale of “C” through “R5” based on the author’s assessment:

The format of the new numbering system prefixes the unique identifier with an “M” for medals and a “J” accompanied by a “B”, “T”, or “Y” for jetons (the secondary letters identifying Brussels, Tournai, and Ypres respectively). This prefixing scheme helps avoid confusion between the newly assigned numbers and those of Van Hoydonck. The traditional Latin abbreviations for metal elements are provided to distinguish metallic variations in medals; however metal is not an attribute used to distinguish varieties herein as it is independent of the dies. Where necessary, additional abbreviations are suggested for medals not struck in a traditional or elemental metal. For consistency, the following naming conventions have been utilized: • • • • •

”AE” denotes bronze “AR” denotes silver “WM” denotes white metal “AV-AR” denotes vermeil (gold-plated silver) “AV” denotes gold

Further lettering definition is left to future researchers as required. Medals plated in the aftermarket are purposefully not given a specific designation, but should obviously be described as such. Silver-plated bronze (“silvered AE”) medals are by far the most common of the aftermarket alterations found. In fact, a number of the medals purported to be silver, even in museum collections, are in reality silver-plated bronze. Die state was considered as an attribute for catalogue recognition, but this has generally been relegated to qualitative description rather than varietal numbering. Die states exist at points on a continuous spectrum between fresh dies and failed dies, with occasional discrete interventions of lapping, and thus do not lend themselves to a strict numbering system. It is difficult to ignore irregular, rough metal flow arising (literally) from a medal’s surface due to crumbling dies, or die-cracks extending from rim to rim without comment, but such characteristics are acknowledged only descriptively. Included in this spectrum is the generalized lapping of dies—intentionally grinding them down—to extend the life of the die and to (perhaps) improve the appearance of the struck products.

• “C” denotes a relatively common issue, readily available • “R1” denotes an issue that is usually available • “R2” denotes an issue that is occasionally available • “R3” denotes an issue that is not typically available • “R4” denotes an issue that appears only infrequently on the market • “R5” denotes an issue that is rarely, if ever, seen on the market Documentary references generally ranging from 1848 to 1868 are cited to provide context. For undated medals, these references are then used as a basis for 40

validating or revising the traditionally assigned issue dates. Lastly, where found, engravings and/or lithographs identified as the source images for specific medals are discussed and presented. The naming convention chosen for the medals is a purposeful mix of English and vernacular. In general, the author has given preference to Anglicized names, except where general convention or tradition suggests otherwise. To refer to “Our Lady (Paris)” would most likely elicit a quizzical raised eyebrow at best, whereas “Notre Dame (Paris)” is of course immediately clear.

For better or worse, the translations presented are the author’s (unless noted otherwise); the intent is to successfully communicate the information rather than provide linguistic perfection. Inputs from readers are encouraged—those who have any illuminating information, who can fill in gaps in the data, answer any questions raised in the text, or have questions of their own. Please contact the author at [email protected]. In the meantime, please enjoy your journey through Jacques Wiener’s Most Remarkable Edifices of Europe.

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II.  Monuments and Their Medals

1. Saints Michael and Gudula (1862)

The Edifice The subject of the first medal ascribed to the “Most Remarkable Edifices” series is the (then) Collegiate Church of Sts. Michael and Gudula in Brussels (Fig. 1.1). A chapel in honor of St. Michael is believed to have occupied the current church site on Treurenberg Hill starting perhaps as early as the eighth century. In the eleventh century, Lambert II, Count of Louvain and Brabant, founded a college of canons and began constructing a new Romanesque church in place of the old chapel. In 1047, he arranged to transfer the relics of St. Gudula from nearby St. Géry Church to this new church. Thus, the new edifice was dedicated to two saints, and established both as patron saints of Brussels. In the early thirteenth century, Henry I, Duke of Brabant, commissioned a renovation of Lambert’s original mid-eleventh century church. Henry founded a second college of canons and proceeded to enlarge the Romanesque edifice. The old church structure was incrementally demolished to make way for newly constructed sections. This updated construction was designed in the then-new Gothic style. By 1240, the choir was completed, with further updates incorporated late in the thirteenth century. Subsequent construction gradually worked its way westward over the next two centuries. An eighteenth-century renovation was performed in a relatively contemporary Baroque style; however, subsequent restorations starting in 1839 attempted to return the edifice to its original appearance. A grand stairway fronting the western façade was added from 1855 to 1861. The church has experienced a relatively constant series of restorations of varying magnitude since the mid-nineteenth century; the most recent—a significant, multi-phase effort—was undertaken between 1983 and 1999 to restore the cathedral to its “original” state. As with many modern restoration efforts, vigorous debate then ensued as to what exactly constitutes originality. During this activity, remains of Lambert II’s eleventh-century predecessor structure

were discovered beneath the current cathedral floor; these ruins are now accessible to visitors, providing a temporal journey as one descends the stairs within the nave of today’s structure. In keeping with the changes

Figure 1.1. A late nineteenth-century view of the church. Note the monumental stairways leading to the western entrance—a feature completed in 1861. Photograph by Andries Jager. (Collection of the author). 43

wrought by the Second Vatican Council, the high altar was moved westward to the crossing of the transept and nave, with a newly sculpted altar installed in 2000. Accompanying the new altar was a new Grenzing pipe organ installed the same year. Despite, or perhaps because of, the tinkering and care given to the cathedral in the centuries since its nominal 1519 completion, the Cathedral of Saints Michael and Gudula largely retains a form and character its original architects would still recognize. The cathedral is not only a spiritual home for the Belgian Catholic faithful, but since 2004 has become the literal home for a nesting pair of peregrine falcons

atop the northern tower. This avian species had disappeared from Belgium and most of Europe, but this ecclesiastical home has been the catalyst for what are now 12 pairs of falcons in the city. Although originally founded as a collegiate church, Saints Michael & Gudula was elevated to Cathedral status in 1962. It shares a role with St. Rumbold’s in Mechelen as the seat of the archdiocese of MechelenBrussels, and owing to its location in Belgium’s capital, often serves as the location for Catholic events of national interest – such as royal marriages and state funerals.

The Medal Variety

Die Combination

Date

Metals

Weight Range

Van Hoydonck

Reinecke

Rarity

M251

M251 / M251

Undated (1862)

AE, AR

85.3–103.0 g

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5

R2

Medal Description

Figure 1.2. The Collegiate Church of Saints Michael and Gudula in Brussels. (Collection of the author). Obverse: Facing view of the western façade of the church, the eyepoint being just left of center (Fig. 1.2a). Around the perimeter: ÉGLISE CO LLÉGI a LE D ES S.S.M I Ch EL ET GU D U LE a bRUX ELLES

CO LLEGI aTE Ch U RCh O F SaI NTS M I Ch aEL aN D GU D U L a I N bRUSSELS

In the exergue: J. W I EN ER

J aCq U ES W I EN ER

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Reverse: Interior view of the church with a relatively symmetric view straight down the nave toward the apse (Fig. 1.2b). Vertically in the left field: baTI E paR L a M bERT I I, C TE D E LO U VaI N

bU I LT by L a M bERT I I, CO U NT O F LO U VaI N

ET D E bR abaNT

aN D O F bR abaNT

1047.

1047.

Vertically in the right field: LE Ch O EU R aCh E V É

Th E Ch O I R CO M pLETED

1240.

1240.

Horizontally in the exergue: LES TR aVaUX D E RESTaU R aTI O N

RESTO R aTI O N WO RKS

CO M M EN CÉS 1839.

CO M M EN CED 1839.

J. W I EN ER

J aCq U ES W I EN ER

Medal Notes Medals are known from a single working obverse die (Lippens 1735) and a single working reverse die (Lippens 1736) (Fig. 1.3).

Figure 1.3. The working dies for M251, Lippens 1735 and 1736. (Images used with permission of the Belgian Royal Library, www.kbr.be).

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As with all Most Remarkable Edifices medals, known specimens are overwhelmingly in bronze with a few examples reported in silver. On the obverse, the second “E” of ÉGLISE has been re-punched; the serif of the foot of the initially punched “E” can be seen distinctly to the right of the final location of the letter. The “B” of “BRUXELLES” is punched low and is rotated slightly counterclockwise. The “S” of the same word overlaps the grand staircase slightly. A characteristic die ding can be seen just left of the cross atop the pediment of the central portal. There is also a horizontal die gouge in the base section of the rightmost pediment of the north tower. Lastly, a stray diagonal engraved line can be found in the second level from the bottom of the leftmost pediment. Relatively early in its usage the obverse working die failed between the central pediment and the north tower. Most (though not all) specimens exhibit the characteristic rough protrusion of metal flow in this area. Further degradation of the die is not evident as the terminal obverse working die largely reflects this state. On the reverse, the “U” and “R” of CHOEUR, the “V” of ACHEVÉ, and the “4” of 1240 have all been repunched. The vertical placement of the exergue lettering varies slightly. The “R” of WIENER is low. On early specimens, there is a long, slightly arcing die scratch in the reverse exergue from above DE to the top of the “N” in RESTAURATION and finally to the rim. Later specimens only display the deeper, rightmost portion of the scratch. The reverse die state likewise shows some signs of fatigue over the life of the die. Where the arch atop the leftmost foreground column meets the rim, a tiny mass of rough metal evidences a small crumbled area of the die on most specimens. On later strikes, just to the right side of the same column but within the peak of the Gothic arch a similar failure can be seen. To the right of the rightmost foreground column small rough areas evidencing die failure can be found at the rim and just to the left of the “CH” in CHOEUR. A small patch of die pitting is evidenced on the surface of later medals by very small raised bumps to the right of “BRABANT” and below the “O” of LOUVAIN. The terminal die state of the working reverse die exhibits a rather catastrophic crack starting at the 12:00 rim position, extending along the peaks of the nave vaulting and ending just prior to the transept crossing—penetrating through approximately one-third of the die diameter. The author has not seen specimens struck from the cracked state of the die. Wiener also issued a 50 mm medal commemorating

Figure 1.4. An 1835 image of the Church of Saints Michael and Gudula—note the much simpler stairway leading to the western façade. Engraving by J. Shury & Son. (Collection of the author). the church of Sts. Michael and Gudula in 1845 as part of his Belgian Cathedral series (M16). This early medal depicts the contemporaneous simple stairway design leading to the western façade of the church (Fig. 1.4). Wiener again commemorated this church with additional 50 mm medals in 1851 (M831 and M96), 1852 (M107), and 1857 (M205); the latter depicts a variation on the new grand staircase, its exergue legend proclaiming “NOUVEL ESCALIER.” The larger Most Remarkable Edifices medal of the same church depicts this much more extensive and elegant set of stairways leading to the western entrance as well, albeit slightly 1. M83 represents a conundrum. Van Hoydonck’s described medal appears to be a mule of a M83 obverse and M204 obverse, rather than the expected 1851 Conseil Communal reverse represented by Guioth 108 (which is missing from Van Hoydonck, but is listed herein as M96). An 1857 or later muling would explain the otherwise anachronistic 1851 date and updated stair configuration as described by Van Hoydonck.

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differently than variety M205. The stairs were constructed between 1855 and 18612—completed some 13 years after this Most Remarkable Edifice medal’s alleged date of issue (see discussion below).

christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland3 contains an advertisement that offers the “third Cologne Cathedral medal,” St. Apollinaris, York, Aachen, St. Paul’s (London), Notre Dame (Paris), Westminster Abbey, and finally St. Mark’s. Conspicuous by its absence is the Sts. Michael and Gudula medal (as is Batalha, Amsterdam, and perhaps Bonn and Pisa). The 1860 D’Heisselaer catalogue does not contain an example among the 12 specimens collected prior to October 1857. The Catalogue des monnaies et médailles formant la collection de feu M. Braemt,4 an 1865 sale containing an extensive set of Belgian medals up through the mid-1850s, contains only an unspecified variety of the Cologne medal from the series. Admittedly, the collection also does not contain any of the Belgian Cathedral series medals either. A St. Gudula medal is offered as lot 1009 in the Catalogue d’une collection intéresante de médailles historiques, de monnaies, ... pour la plupart délaissée par feu Mr. Gerbrand Patijn5 issued in 1866, but it appears to be M16 based on the lot title. The Catalogue d’une très-belle et nombreuse collection de médailles, jetons et méreaux, relatifs à l’histoire des dix-sept provinces des Pays-Bas, et d’une suite très-riche de monnaies pour les Flandres, en or, argent et en cuivre, délaissée par M. Pierre-Jacques Goetghebuer,6 documenting a sale taking place on March 27, 1867, lists two entries for Wiener medals of Sts. Michael and Gudula—but these appear to be M16 and M205 rather than M251. Three St. Gudula varieties are collected as a single lot (5617) in the 1860 de Jonghe catalogue. Unfortunately, devoid of description, we can only speculate (at the moment) as to what combination of M16, (perhaps M83), M96, M205, and M251 these might be. However, the catalogue specifically groups together the issues of the Most Remarkable Edifices series; the three St. Gudula medals are listed separately, thus implying that none of the three medals are of the series. Lot 4833 (a group lot of Most

Contemporary References Bouhy, Forrer, Van Hoydonck, et al. attribute this medal to the year 1848. However, there is seemingly no ancillary documentary evidence supporting this early issue date. The case for assigning a later issue date shall be examined forthwith. The Annales Archeologiques article of 1848 cites a Sainte Gudule medal in the context of the ten medal series of Belgian cathedrals—all of which are specifically named. When mentioning the nascent Most Remarkable Edifices series, various countries to be represented are named and the Cologne Cathedral medal is the only one cited as having been produced. This medal was not among the nine types exhibited by Wiener at the (April 1–September 30) 1854 Exposition Générale des Beaux-Arts held in Brussels. Wiener’s exhibit at the 1855 Exposition Universelle in Paris included one medal titled as “Église de Saint-Gude, à Bruxelles;” however, it is unclear if the exhibited medal is M16 or M251 as neither the description nor the context provide sufficient evidence for a conclusion. This medal was not among the 24 Wiener exhibited at the 1860 Beaux-Arts in Brussels. Wiener likewise chose not to include this medal in his exhibit at London’s 1862 International Exhibition, nor at the 1873 Universal Exposition in Vienna. This undated medal is not listed in Eisen’s 1856 Neueste Beschreibung, Avenarius and Mendelssohn’s 1853 Messkatalog, or Nijhoff ’s 1854–1856 Algemeene Konsten Letterbode documents. The Victoria and Albert Museum lists this medal as initially being purchased in 1867 (inventory number 51-1867), and an additional specimen was purchased in 1868 (inventory number 36-1868); this is in spite of its theoretical availability for each of their earlier purchases from 1862 through 1866. The British Museum acquired its specimen on August 1, 1870, from Wiener’s representative Mr. Cruysse; there was not a specimen included in the previous July 24, 1862, acquisition. The last page of the January 15, 1856, Organ für

3. Friedrich Baudri, Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland (Köln: DuMont-Schauberg, January 15, 1856), 24, https://books.google.com/books?id=sA1BAAAAcAAJ. 4. Catalogue des monnaies et médailles formant la collection de feu M. Braemt: 20 et 21 mars 1865 (Brussels: Devroye, 1865), 44, https:// books.google.com/books?id=9w5HAAAAcAAJ. 5. G. Theodore Bom and Patijn, Gerbrand, Catalogue d’une collection intéresante de médailles historiques, de monnaies, [...] pour la plupart délaissée par feu Mr. Gerbrand Patijn (Amsterdam: G. Theodore Bom, 1866), 41, https://books.google.com/ books?id=SH9SAAAAcAAJ. 6. Ferdinand Verhulst, Catalogue d’une très-belle et nombreuse collection de médailles, jetons et méreaux, relatifs à l’histoire des dix-sept provinces des Pays-Bas, et d’une suite très-riche de monnaies pour les Flandres, en or, argent et en cuivre, délaissée par M. Pierre-Jacques Goetghebuer (Ghent: De Busscher et Fils, 1867), 20, https://books. google.com/books?id=7B1HAAAAcAAJ.

2. Jean-Auguste Jourdain, Dictionnaire encyclopédique de géographie historique du royaume en Belgique (Brussels: F. Vromant, 1869), 151, https://books.google.com/books?id=x4pMAAAAcAAJ.

47

Figure 1.5. Wiener's grand staircase in his 1857 medal above (M205) and M251 below. (Top image courtesy Royal Library of Belgium; bottom image collection of the author). Remarkable Edifices medals) of Theodore Bom’s 1870 Catalogus der penningen en munten, noodmunten, ridderorden, leuzen, draagteekenen, enz...7 does, however, contain a specimen of M251. Fred Alvin’s 1892 article in the The Magazine of Art comments on Wiener’s 1845 medal of Sts. Michael and Gudula and the adulation it received. He goes on to remark that Wiener had only 60mm diameter of space to achieve such a feat, and yet immediately cites it as the first of the Belgian Cathedral series. However, Wiener’s 1845 medal of this subject is clearly M16, and only 50mm in diameter. Alvin’s recollection almost 50 years after the fact is clearly in error. Most damning perhaps is the medal’s absence from J.L. Guioth’s Histoire numismatique de la Belgique, both the 1851 vol. 1 (which catalogs numismatic works through 1849) and the 1869 vol. 2 (which catalogs numismatic works from 1850 through 1856). Guioth profiles M16 and M96, but does not acknowledge M205 (which would have been issued post-volume 2) or M251. One can then confidently interpret M251’s exclusion as implying a post-1856 issue. The Bibliothèque nationale de France possesses a

specimen of M251 and claims an acquisition date of October 25, 1847, which is difficult to comprehend, particularly in light of the paucity of any other references in this timeframe, yet nonetheless there it is. Upon examining the remaining specimens of the Most Remarkable Edifices series held by the institution, the only other medal provided with a known acquisition date is a specimen of the Cathedral of Tournai that is claimed to have been acquired on—October 25, 1847. Given the obvious error for the latter specimen, we can disregard the acquisition date for their Sts. Michael and Gudula medal as likewise being erroneous. The lack of appearances in the (admittedly few) documents offering the Most Remarkable Edifices medals for sale, and the absence of this medal in Wiener’s exhibition offerings leads one to conclude that the purported issue date is in error. It seems highly unlikely that the grand staircase design would have existed in 1848 (enabling its portrayal on the medal) given the project’s 1855 initiation. Therefore, let us turn our attention to Wiener’s rendering of the grand staircase partway through its construction in 1857 (M205) against that rendered on M251. Compare the grand staircase at the top of Fig. 1.5 (M205) with the late nineteenth-century photograph above (Fig. 1.1). On the medal, note how the primary balustrades at left and right are unbroken, and how the stairs are of equal width until their termination

7. G. Theodore Bom, Catalogus der penningen en munten, noodmunten, ridderorden, leuzen, draagteekenen, enz Munt- en Penningkundige Boeken, Fraaije en Doelmatig Ingerigte Penning- en Muntkasten, Nagelaten door wiljen de Herren W. Jamieson, Mr. G. L. Feijens, J. D. Landré, P. F. Van Der Wallen (Amsterdam: G. Theodore Bom, 1870), 268, https://books.google.com/books?id=KhNVAAAAcAAJ.

48

at ground level. In addition, observe that there is no curved, ground-level fencing connecting the base of the main western stairs with the smaller staircases facing north and south. Contrast these details with the photograph showing a break in the balustrades (at the lower rest, perhaps one-third of the way down the main stairs) and how the lateral span of the stairs flairs at the bottom upon reaching the ground. The details in the cathedral photograph are accurately replicated in M251 as shown at the bottom of Fig. 1.5. This strongly suggests that M251 was, in fact, issued near the completion of the stairs (if not afterward). Lastly, the British Museum and Victoria and Albert Museum’s purchases of their specimens would be inexplicably late for an alleged 1848 issue. Based on the contrast in Wiener’s rendering of the stairs in his explicitly dated (1857) medal M205 with his rendering on M251, and the comparison of each to the completed stairs, the issue date of M251 should be revised to a

date significantly later than 1848. The author suggests an issue date of (late) 1862 in order to coincide with the completion of the staircase and acknowledge the lack of appearance in either the Victoria and Albert or British Museums’ 1862 purchases; however any issue date between 1861 (completion of the stairs) and 1867 (completion of the series and the Victoria and Albert purchase date) is plausible. This logic is also compatible with interpreting the de Jonghe collection as containing specimens of M16, M96, and M205—all consistent with its 1859/1860 cutoff date for acquisition of specimens for the collection.

Source Images The source images used by Wiener for the design and execution of this medal have not yet been identified by the author.

49

2. Cologne Cathedral (1848), 1851, 1855, 1861, (1867)

Figure 2.1. Photo of the cathedral under construction ca. 1855. Note the similar level of progress as depicted on Wiener’s 1855 medal and the still extant centuries-old construction crane. (Collection of the author).

The Edifice Excavations suggest that Christian buildings have occupied the site of the current cathedral since the fourth century. Construction of the so-called “old cathedral” was driven by Hildebold—bishop and then archbishop of Cologne and friend of Charlemagne— and was completed in the early ninth century. An attempt to demolish its eastern choir with a controlled burn in April 1248 instead resulted in a massive fire, destroying this cathedral and paving the way for the construction of a new edifice. The foundation stone for the new cathedral was laid as part of a celebration conducted from August 14–16, 1248. Some seventyfour years later, with a temporary wall installed at the west end of the choir to enable the conduct of services, the chapels and the choir were consecrated on September 27, 1322. Upon completion of these elements, work commenced on the transept, nave, portal, and

towers. Construction gradually became intermittent as disagreements and squandered funding eroded progress. Finally, around the year 1500, construction ceased. The reform movement initiated by Martin Luther shortly thereafter likewise established an unfavorable atmosphere in which to re-initiate construction of such a large and Catholic project. Consequently, the incomplete edifice kept silent vigil over the city for approximately three centuries. The construction crane atop the western façade’s south tower was even abandoned in-place for the duration. Like many northern European cathedrals, Cologne Cathedral too suffered indignities during its occupation by Napoleonic troops beginning in 1794. It returned to religious service in 1801, but in a rather poor state. Beginning in 1810, Sulpiz Boisserée—a wealthy Cologne art collector and historian—established much of the 50

momentum to complete the construction of the massive cathedral, including surveying the building, publishing drawings, finding and acquiring original thirteenth-century drawings, and lobbying Crown Prince Frederick Wilhelm of Prussia to engage the project. A second laying of the foundation stone1 on September 4, 1842, by the then Prussian King Frederick Wilhelm IV officially re-commenced the construction effort. Architect Ernst Friedrich Zwirner was recommended by the Prussian chief architect to oversee this enterprise; although a number of original drawings were discovered earlier in the nineteenth century, Zwirner had to supplement the incomplete plans with his own design choices. In fact, decisions made during this reconstruction would have far-reaching effects on other German restoration and conservation projects.2 On August 14, 1848, the 600th anniversary of the laying of the first foundation stone was celebrated with a Jubilee, attended by both the Prussian King and Austrian Archduke. Wiener’s first medal chronicling the rejuvenated completion effort coincided with this event. The obverse shows the cathedral exterior in its theoretical form at completion, and the reverse offers a rendering of the cathedral exterior in its actual state of incompletion. Wiener ultimately issued a series of medals in this format from 1848 through 1861. The reverses chronicle the gradual progress of the building—for example, one sees the south transept build up to the clerestory level (1851), then gain a completed facade (1855) (Fig. 2.1), and finally a nave roof and lantern (spire) at the crossing of the nave and transept appears (1861) (Fig. 2.2). In 1863, the western wall of the choir was removed, opening up the full interior expanse of the monumental structure. A rare 1867 issue then depicts the usual obverse with an interior view along the choir similar to the format of the majority of the medals in this series.

Figure 2.2. Another construction-era photo ca. 1860s. Note the similar level of progress as depicted on Wiener’s 1861 medal. (Collection of the author). Unfortunately, Wiener’s eyesight failed before the last stonemason stepped away, so the series lacks a medal depicting the monument in its final form. The completion of the cathedral was celebrated on October 15, 1880 (the late King Frederick Wilhelm IV’s birthday), the dedication being attended by the Emperor Wilhelm I (who was also King of Prussia), the Royal family, and various other officials. The celebration belied significant tension between the Catholic Church (whose archbishop was in exile) and the Protestantleaning Prussian government, with each trying to claim the celebration and monument as their own.3 The badly damaged cathedral survived the allied bombings of World War II, standing sentinel over a largely destroyed city. The foundation of the north tower was hit and structurally compromised, much of the interior vaulting collapsed, the organ and most of the nineteenth-century windows were destroyed (the medieval windows had been safely removed); despite the significant damage the cathedral survived the war essentially structurally intact, at least in part due to the strength of the iron roof structure. It would take more than a decade to sufficiently repair the damage to bring the grand edifice back to its full glory; the

1. In a masterful display of temporal closure, the heretofore abandoned crane atop the south tower was used to move the stone into place. "Quarterly Review on Cologne Cathedral," The Westminster and Foreign Quarterly Review, Vol. XLVII (London: George Luxford, 1847), 90, https://books.google.com/books?id=SIAVAQAAIAAJ. 2. Restorations at Bamberg, Magdeburg, and Speyer (each commemorated by Wiener in this series of medals) would be influenced by the early thought applied to reconstructing Cologne Cathedral— what constituted authenticity and conservation in an era of Gothic revival construction. Glendinning, Miles, The Conservation Movement: A History of Architectural Preservation: Antiquity to Modernity (New York: Routledge, 2013), 82–4, https://books.google.com/ books?id=-083NjUm2rsC. In the digital age, authenticity has taken on a meaning perhaps never envisioned in ages prior; Cologne Cathedral’s interior and exterior were digitally mapped starting in 2017, generating a detailed three dimensional model—virtually preserving the detail of the cathedral as it existed at that moment in time. Sean Higgins, “3D Scanning the Largest Building in the World (Circa the 1800s),” Spar 3D Newsletter, May 24, 2017, www. spar3d.com/news/lidar/3d-scanning-largest-building-world-1800s/.

3. Jonathan Sperber, Rhineland Radicals: The Democratic Movement and the Revolution of 1848–1849 (Princeton: Princeton University Press, 1991), 305–13, https://books.google.com/ books?id=0L5LL6P7y1AC.

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interior of the choir and transept was adequately repaired in time to support the 700th anniversary of the laying of the first foundation stone in 1248, but repairs to the nave would extend until 1956. This just in time to begin a focused effort to address the windows and general accumulated environmental damage. There was some level of debate during this time as to what period the cathedral restoration should represent— some modernists wishing to incorporate details more in keeping with mid-twentieth-century artistic trends. However, the restoration generally held to the Gothic

and neo-Gothic heritage of the building. To this day, a team of over 80 stonemasons, glaziers, roofers, et al. are currently employed to tackle the insidious, pervasive, and relentless foes of weather, age, pollution, and bird excrement. Cologne Cathedral’s recognition as a World Heritage Site was flagged as being endangered in 2004 due to urban development which, while not directly impacting the structure, was beginning to threaten the view of the monument.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M50

M50 / M50

Undated (1848)

AE, AR, WM

86.5–106.1 g

47

25

R1

M81

M81 / M81

1851

AE, AR, WM

86.5–94.4 g

78

26

C

M82

M82 / M81

1851

AE

87.3 g–

—

—

R4

M151

M81 / M151

1855

AE, WM

90.1 g–

124

27

C

M152

M82 / M151

1855

AE

84.5 g–

125

—

R3

M240

M82 / M240

1861

AE, AR, WM

85.9–89.0 g

—

28

R1

M286

M82 / M286

Undated (1867)

AE

85.5–96.0 g

48

24

R4

M287

M240 / M286

Undated (1867)

AE

92.2 g

—

—

R5

Medal Descriptions

Figure 2.3. M286—one of the rare medals in the Most Remarkable Edifices series. (Collection of the author). 52

M286 Obverse: Exterior view of the cathedral from the south-southeast (Fig. 2.3a). Around the perimeter: D ER D O M ZU KO ELN I N SEI N ER ZU KU EN FTI GEN VO LLEN D U N G

Th E C aTh ED R aL O F CO LO GN E I N ITS FUTU RE CO M pLETED STaTE

In the exergue (though the last line is largely illegible): GESTO Ch EN VO N J. W I EN ER.

EN GR aV ED by J aCq U ES W I EN ER.

N aCh D E M VO M D O M baUM EISTER E. F. ZW I RN ER

a FTER Th E C aTh ED R a L a RCh ITECT E. F. ZW I RN ER‘S

ERG aENZTEN baU pL aN E.

CO M pLETED pL aNS.

M286 Reverse: Interior view with a sightline looking eastward down the choir, from an eyepoint located to the right side of the central aisle (Fig. 2.3b). In the exergue: J. ET Ch. W I EN ER.

J aCq U ES aN D Ch aRLES W I EN ER.

The exergue lettering is located just below the base of the cathedral at the 5:00 position.

Figure 2.4. M50 depicting the state of cathedral construction in 1848. (Collection of the author). M50 Obverse: Same exterior view as depicted in variety M286 (Fig. 2.4a). Around the perimeter: D ER D O M ZU KÖ LN I N SEI N ER ZU KÜ N FTI GEN VO LLEN D U N G.

Th E C aTh ED R aL O F CO LO GN E I N ITS FUTU RE CO M pLETED STaTE.

U NSERE h O FFN U N G.

O U R h O pE.

53

In the exergue: GESTO Ch EN VO N J. W I EN ER.

EN GR aV ED by J aCq U ES W I EN ER.

N aCh D E M VO M D O M baUM EISTER E. F. ZW I RN ER

a FTER Th E C aTh ED R a L a RCh ITECT E. F. ZW I RN ER‘S

ERG ÄNZTEN baU pL aN E.

CO M pLETED pL aNS.

V ERL aG VO N F. C. EISEN I N KÖ LN.

pU bLISh ER F. C. EISEN I N CO LO GN E.

M50 Reverse: Exterior view of the cathedral from the south-southeast. Early stages of the recently restarted construction with no structure visible above the main arcade level between the western façade towers and the choir area east of the transept (Fig. 2.4b). Around the perimeter: JU bELFEI ER a M 14 aUGUST 1848 D ER ERSTEN GRU N DSTEI N LEGU N G D ES D O M ES ZU KÖ LN a M 14 aUGUST 1248.

JU bI LEE O N 14 aUGUST 1848 O F Th E FI RST FO U N DaTI O N STO N E L ayI N G O F Th E C aTh ED R aL O F CO LO GN E O N 14 aUGUST 1248.

U NSERE FREU D E.

O U R J Oy.

In the exergue: EI N W EI h U N G D ES h O h EN Ch O RS a M 27 SEpT. 1322.

I N aUGU R aTI O N O F Th E h I Gh Ch O I R O N 27 SEpTE M bER 1322.

O FT U NTERbRO Ch EN ER FO RTbaU bIS ET Wa 1500.

CO NSTRUCTI O N O FTEN I NTERRU pTED U NTI L 1500.

G ÄNZLI Ch ER STI LLSTaN D bIS ZU R ZW EITEN

ENTI RELy h a LTED U NTI L Th E SECO N D

GRU N DSTEI N LEGU N G a M 4 SEpT. 1842

L ayI N G O F Th E FO U N DaTI O N STO N E O N 4 SEpTE M bER 1842

D U RCh FRI ED RI Ch W I Lh EL M I V

by FRED ERI CK W I LLI a M I V

KÖ N I G VO N pREUSSEN

KI N G O F pRUSSI a

Figure 2.5. M81 depicting the state of construction in 1851. (Collection of the author).

54

M81 Obverse: Same exterior view as depicted in varieties M286 and M50; legends similar to M50 (Fig. 2.5a). Around the perimeter: D ER D O M ZU KÖ LN I N SEI N ER ZU KÜ N FTI GEN VO LLEN D U N G

Th e C ath edr al of Cologne in its future com pleted state

U NSERE H O FFN U N G

O ur h o pe

GESTO CH EN VO N J. W I EN ER.

Engr aved by J acq ues W iener.

N ACH D E M VO M D O M BAUM EISTER E. F. ZW I RN ER

After th e c ath edr al arch itect E. F. Zwirner‘s

ERG ÄNZTEN BAU PL AN E.

CO M PLETED PL ANS.

V ERL AG VO N F. C. EISEN I N KÖ LN.

Pu blish ER F. C. Eisen in Cologne.

In the exergue:

M81 Reverse: Exterior view of the cathedral from the south-southeast. Three years of further construction depicted with the appearance of a clerestory level in the façade of the south transept, and the beginnings of triforium and clerestory-level structures over the nave (Fig. 2.5b). Around the perimeter: JU BELFEI ER A M 14 AUG: 1848 D ER ERSTEN GRU N DSTEI N LEGU N G D ES D O M ES ZU KÖ LN A M 14 AUG: 1248

Ju bilee on 14 August 1848 of th e first foundation stone l aying of th e C ath edr al of Cologne on 14 August 1248

U NSERE FREU D E

O ur J oy

In the exergue: EI N W EI H U N G D ES H O H EN CH O RS A M 27 SEPT: 1322.

I n augur ation of th e High Ch oir on 27 Septem ber 1322.

O FT U NTERBRO CH EN ER FO RTBAU BIS ET WA 1500.

Construction often interru pted until 1500.

G ÄNZLI CH ER STI LLSTAN D BIS ZU R ZW EITEN

Entirely h alted until th e second

GRU N DSTEI N LEGU N G A M 4 SEPT: 1842

L AYI N G O F TH E Foundation stone on 4 Septem ber 1842

D U RCH FRI ED RI CH W I LH EL M I V

By FrED ERI CK W i LLI A M I V

KÖ N I G VO N PREUSSEN.

King of Prussi a.

1851

1851

55

Figure 2.6. Another specimen of M81 but struck in white metal. (Collection of the author).

Figure 2.7. M82—a new obverse working die paired with the reverse die of M81. (Collection of the author). M82 Obverse: Same exterior view as depicted in varieties M286, M50, and M81; perimeter legend same as M286, exergue legend similar to M50 and M81 (Fig. 2.7a). Consistent with M152 and M286, “UNSERE HOFFNUNG” is not present on the obverse. The perimeter legend differs from M81 by replacing Ä, Ö and Ü with AE, OE and UE respectively. Around the perimeter: D ER D O M ZU KO ELN I N SEI N ER ZU KU EN FTI GEN VO LLEN D U N G

Th E C aTh ED R aL O F CO LO GN E I N ITS FUTU RE CO M pLETED STaTE

In the exergue: GESTO Ch EN VO N J. W I EN ER.

EN GR aV ED by J aCq U ES W I EN ER.

N aCh D E M VO M D O M baUM EISTER E. F. ZW I RN ER

a FTER Th E C aTh ED R a L a RCh ITECT E. F. ZW I RN ER‘S

ERG aENZTEN baU pL aN E.

CO M pLETED pL aNS.

V ERL aG VO N F. C. EISEN

pU bLISh ER F. C. EISEN

I N KO ELN.

I N CO LO GN E.

56

M82 Reverse: Exterior view of the cathedral from the south-southeast. Three years of further construction depicted with the appearance of a clerestory level in the façade of the south transept, and the beginnings of triforium and clerestory-level structures over the nave (Fig. 2.7b). Around the perimeter: JU bELFEI ER a M 14 aUG: 1848 D ER ERSTEN GRU N DSTEI N LEGU N G D ES D O M ES ZU KÖ LN a M 14 aUG: 1248

JU bI LEE O N 14 aUGUST 1848 O F Th E FI RST FO U N DaTI O N STO N E L ayI N G O F Th E C aTh ED R aL O F CO LO GN E O N 14 aUGUST 1248

U NSERE FREU D E

O U R J Oy

EI N W EI h U N G D ES h O h EN Ch O RS a M 27 SEpT: 1322.

I N aUGU R aTI O N O F Th E h I Gh Ch O I R O N 27 SEpTE M bER 1322.

O FT U NTERbRO Ch EN ER FO RTbaU bIS ET Wa 1500.

CO NSTRUCTI O N O FTEN I NTERRU pTED U NTI L 1500.

G ÄNZLI Ch ER STI LLSTaN D bIS ZU R ZW EITEN

ENTI RELy h a LTED U NTI L Th E SECO N D

GRU N DSTEI N LEGU N G a M 4 SEpT: 1842

L ayI N G O F Th E FO U N DaTI O N STO N E O N 4 SEpTE M bER 1842

D U RCh FRI ED RI Ch W I Lh EL M I V

by FRED ERI CK W I LLI a M I V

KÖ N I G VO N pREUSSEN.

KI N G O F pRUSSI a.

1851

1851

In the exergue:

Figure 2.8. M151 depicting the state of the cathedral in 1855. (Collection of the author). M151 Obverse: Same exterior view as depicted in varieties M286, M50, M81, and M82; legends same as M50 and M81 (Fig. 2.8a). Around the perimeter:

57

D ER D O M ZU KÖ LN I N SEI N ER ZU KÜ N FTI GEN VO LLEN D U N G

Th e C ath edr al of Cologne in its future com pleted state

U NSERE H O FFN U N G

O ur h o pe

In the exergue: GESTO CH EN VO N J. W I EN ER.

Engr aved by J acq ues W iener.

N ACH D E M VO M D O M BAUM EISTER E. F. ZW I RN ER

After th e c ath edr al arch itect E. F. Zwirner‘s

ERG ÄNZTEN BAU PL A N E.

CO M PLETED PL ANS.

V ERL AG VO N F. C. EISEN I N KÖ LN.

Pu blish ER F. C. Eisen in Cologne.

M151 Reverse: Exterior view of the cathedral from the south-southeast. An additional four years of construction depicted in a completed south transept façade and additional clerestory-level structure over the nave (Fig. 2.8b). Around the perimeter: JU BELFEI ER A M 14 AUG: 1848 D ER ERSTEN GRU N DSTEI N LEGU N G D ES D O M ES ZU KÖ LN A M 14 AUG: 1248

Ju bilee on 14 August 1848 of th e first foundation stone l aying of th e C ath edr al of Cologne on 14 August 1248

U NSERE FREU D E

O ur J oy

EI N W EI H U N G D ES H O H EN CH O RS A M 27 SEPT: 1322

I n augur ation of th e High Ch oir on 27 Septem ber 1322

O FT U NTERBRO CH EN ER FO RTBAU BIS ET WA 1500

Construction often interru pted until 1500

G ÄNZLI CH ER STI LLSTAN D BIS ZU R ZW EITEN

Entirely h alted until th e second

GRU N DSTEI N LEGU N G A M 4 SEPT: 1842

L AYI N G O F TH E Foundation stone on 4 Septem ber 1842

D U RCH FRI ED RI CH W I LH EL M I V

By FrED ERI CK W ilLI A M I V

KÖ N I G VO N PREUSSEN

King of Prussi a

1855

1855

In the exergue:

58

Figure 2.9. M152—A muling of the M82 obverse and M151 reverse. (Image © The Trustees of the British Museum). M152 Obverse: Same exterior view as depicted in varieties M286, M50, M81, M82, and M151; legends same as M82 as specimens were struck from the M82 die (Fig. 2.9a). Consistent with M286 and M82, “UNSERE HOFFNUNG” is not present on the obverse. The perimeter legend differs from M151 by replacing Ä, Ö and Ü with AE, OE and UE respectively. Around the perimeter: D ER D O M ZU KO ELN I N SEI N ER ZU KU EN FTI GEN VO LLEN D U N G

Th E C aTh ED R aL O F CO LO GN E I N ITS FUTU RE CO M pLETED STaTE

In the exergue: GESTO Ch EN VO N J. W I EN ER.

EN GR aV ED by J aCq U ES W I EN ER.

N aCh D E M VO M D O M baUM EISTER E. F. ZW I RN ER

a FTER Th E C aTh ED R a L a RCh ITECT E. F. ZW I RN ER‘S

ERG aENZTEN baU pL aN E.

CO M pLETED pL aNS.

V ERL aG VO N F. C. EISEN

pU bLISh ER F. C. EISEN

I N KO ELN.

I N CO LO GN E.

M152 Reverse: Same exterior view and legends as M151 as it is struck from the same die. Exterior view of the cathedral from the south-southeast. An additional four years of construction are depicted in a completed façade for the south transept, and additional clerestory-level structure over the nave (Fig. 2.9b). Around the perimeter though largely illegible due to lapping: [ JU bELFEI ER a M 14 aUG: 1848 D ER ERSTEN GRU N DSTEI N LEGU N G D ES D O M ES ZU KÖ LN a M 14 aUG: 1248.]

JU bI LEE O N 14 aUGUST 1848 O F Th E FI RST FO U N DaTI O N STO N E L ayI N G O F Th E C aTh ED R aL O F CO LO GN E O N 14 aUGUST 1248.

U NSERE FREU D E

O U R J Oy

59

In the exergue: EI N W EI h U N G D ES h O h EN Ch O RS a M 27 SEpT: 1322

I N aUGU R aTI O N O F Th E h I Gh Ch O I R O N 27 SEpTE M bER 1322

O FT U NTERbRO Ch EN ER FO RTbaU bIS ET Wa 1500

CO NSTRUCTI O N O FTEN I NTERRU pTED U NTI L 1500

G ÄNZLI Ch ER STI LLSTaN D bIS ZU R ZW EITEN

ENTI RELy h a LTED U NTI L Th E SECO N D

GRU N DSTEI N LEGU N G a M 4 SEpT: 1842

L ayI N G O F Th E FO U N DaTI O N STO N E O N 4 SEpTE M bER 1842

D U RCh FRI ED RI Ch W I Lh EL M I V

by FRED ERI CK W I LLI a M I V

KÖ N I G VO N pREUSSEN

KI N G O F pRUSSI a

1855

1855

Figure 2.10. M240 depicting the state of the cathedral in 1861. (Collection of the author). M240 Obverse: Same exterior view as depicted in varieties M286, M50, M81, M82, M151, and M152; legends same as M286 (Fig. 2.10a). Around the perimeter: D ER D O M ZU KO ELN I N SEI N ER ZU KU ENTFI GEN VO LLEN D U N G

Th E C aTh ED R aL O F CO LO GN E I N ITS FUTU RE CO M pLETED STaTE

In the exergue: GESTO Ch EN VO N J. W I EN ER.

EN GR aV ED by J aCq U ES W I EN ER.

N aCh D E M VO M D O M baUM EISTER E. F. ZW I RN ER

a FTER Th E C aTh ED R a L a RCh ITECT E. F. ZW I RN ER‘S

ERG aENZTEN baU pL aN E.

CO M pLETED pL aNS.

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M240 Reverse: Exterior view of the cathedral from the south-southeast. An additional six years of construction are revealed in the completed nave roof, a completed transept roof, flying buttresses emanating from the south transept, and most evidently the addition of the tower at the crossing of the transept and nave (Fig. 2.10b). Unlike previous exterior reverse varieties, there is no perimeter legend.

In the exergue: EI N W EI h U N G D ES h O h EN Ch O RS a M 27 SEpT. 1322.

I N aUGU R aTI O N O F Th E h I Gh Ch O I R O N 27 SEpTE M bER 1322.

O FT U NTERbRO Ch EN ER FO RTbaU bIS ET Wa 1500.

CO NSTRUCTI O N O FTEN I NTERRU pTED U NTI L 1500.

G ÄNZLI Ch ER STI LLSTaN D bIS ZU R ZW EITEN

ENTI RELy h a LTED U NTI L Th E SECO N D

GRU N DSTEI N LEGU N G a M 4 SEpT. 1842

L ayI N G O F Th E FO U N DaTI O N STO N E O N 4 SEpTE M bER 1842

D U RCh FRI ED RI Ch W I Lh EL M I V

by FRED ERI CK W I LLI a M I V

KÖ N I G VO N pREUSSEN.

KI N G O F pRUSSI a.

1861

1861

To the right of the edifice: J. W I EN ER

J aCq U ES W I EN ER

Figure 2.11. M287, a mule of the reverse of M240 and the reverse of M286. (Collection of the author). M287 Obverse: Exterior view of the cathedral from the south-southeast. The 1861 state of construction depicts the completed nave roof, completed transept roof, flying buttresses emanating from the south transept, and most evidently the addition of the tower at the crossing of the transept and nave (Fig. 2.11a). In the exergue: EI N W EI h U N G D ES h O h EN Ch O RS a M 27 SEpT. 1322.

I N aUGU R aTI O N O F Th E h I Gh Ch O I R O N 27 SEpTE M bER 1322.

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O FT U NTERbRO Ch EN ER FO RTbaU bIS ET Wa 1500.

CO NSTRUCTI O N O FTEN I NTERRU pTED U NTI L 1500.

G ÄNZLI Ch ER STI LLSTaN D bIS ZU R ZW EITEN

ENTI RELy h a LTED U NTI L Th E SECO N D

GRU N DSTEI N LEGU N G a M 4 SEpT. 1842

L ayI N G O F Th E FO U N DaTI O N STO N E O N 4 SEpTE M bER 1842

D U RCh FRI ED RI Ch W I Lh EL M I V

by FRED ERI CK W I LLI a M I V

KÖ N I G VO N pREUSSEN.

KI N G O F pRUSSI a.

To the right of the edifice and scarcely legible: J. W[I]E[N E]R

J aCq U ES W I EN ER

M287 Reverse: Interior view with a sightline looking eastward down the choir, from an eyepoint located to the right side of the central aisle (Fig. 2.11b). In the exergue: J. ET Ch. W I EN ER.

J aCq U ES aN D Ch aRLES W I EN ER.

The exergue lettering is located just below the base of the cathedral at the 5:00 position.

• The obverse master die depicting the cathedral in its future completed state (Lippens 1808) (Fig. 2.12a) • The reverse master die depicting the 1848 state of the cathedral (Lippens 1818) (Fig. 2.12b) • The lapped, obverse working die depicting the cathedral in its future completed state (Lippens 1809) (Fig. 2.13a) • The lightly lapped reverse working die depicting the 1861 state of the cathedral (Lippens 1819) (Fig. 2.13b) • The reverse working die depicting the cathedral interior (Lippens 1810) (Fig. 2.14)

Medal Notes Medals are known from a single obverse master die, three working obverse dies, two master reverse dies, and five working reverse dies. There is, unfortunately, only a subset of these Cologne Cathedral dies extant in the Royal Library of Belgium inventory:

Figure 2.12. The master dies for M50, Lippens 1808 and 1818. (Images used with permission of the Belgian Royal Library, www.kbr.be). 62

Figure 2.13. The working dies for M240, Lippens 1809 and 1819. (Images used with permission of the Belgian Royal Library, www.kbr.be).

Figure 2.14. The reverse working die for M286, Lippens 1810. (Image used with permission of the Belgian Royal Library, www.kbr.be). Unfortunately, this leaves us to make some assumptions about the interim dies created and used between 1848 and 1861. The engraved monument of the reverse die appears to be common across the 1848, 1851, and 1855 issues. The edge of the rightmost window is angled slightly relative to its nearby pilaster to the right. In addition, there is a characteristic small, engraved horizontal line to the right of the base of the first pilaster to the right of the south tower—minute characteristics seen in each of these issues. The likely scenario seems to be that Wiener repeatedly created working reverse dies from the 1848 master reverse die and then engraved the new, incremental construction details into the subsequent working die. The south

tower’s construction crane, and the cross atop the choir roof were individually engraved into the working dies, rather than the master die. In variety M50, the tower crane detail is significantly different from that of the other varieties. The crane on the east roof has a higher vertical post than crossbar on variety M50 as well. On varieties M81 and M151 the tower crane structure is similar, but the crane boom is placed slightly differently relative to the crane base. It would appear that a new master reverse die was engraved for M240; the differences between the two master dies are most readily evident in the placement of the buttress peaks along the nave. There is no such master die in the inventory of the Royal Library of Belgium however. 63

M286: One of the rare medals of the Most Remarkable Edifices series. The obverse working die is common with varieties M82, M152, and M240. As evidence, note that the alignment of all letters in the obverse exergue is identical across these varieties. In addition, other common attributes can be identified, such as the “MB” of DOMBAUMEISTER being shorter than the adjacent “O” to the left and “A” to the right, among others. These characteristics would not have been consistently replicated in re-lettered working dies. The obverse exergue lettering is strong in M82 (1851 issue) but by the time another decade had passed the die’s exergue had been lapped—the third line of the five-line legend is weak and the fourth and fifth lines are simply missing in M240 (an 1861 issue). Specimens of variety M286 likewise display a lapped exergue with the same weak third line and missing fourth and fifth lines. This lapping appears to coincide with the ostensible termination of the publishing relationship between Wiener and F. C. Eisen in late 1856 as discussed earlier. The missing fourth and fifth lines of inscription were the ones referring to Eisen. Given that, the traditional issue date of 1849 is clearly in conflict with the die-states of the specimens examined. In addition, of the early primary source references to Wiener’s Cologne medal found and examined, none can be confidently ascribed to being M286 (see general discussion below). In light of the above, a revised issue date must be considered. Variety M152, an 1855 issue, was struck from the common (unlapped) obverse die, thus providing a “no earlier than” date of 1855 for M286. Thus, the lapping occurred after 1855 (and no later than 1861 based on variety M240), and therefore M286 could have been struck anytime between 1855 and, say, 1867 (1867 being the latest date for which Wiener’s Cologne medals are known). Based on the aforementioned apparent cessation of publishing ties in 1856, this date becomes a much more likely “no earlier than” issue date. Lastly, Stack’s Bowers August 2009 Coin Galleries sale4 offered a very interesting Wiener Cologne medal pertinent to this analysis. Lot 6093 was a mule of the M240 reverse (showing the 1861 state of the cathedral) and the interior reverse of M286 (See Fig. 2.11 for another example). Such a pairing is highly improbable if in fact M286 was an 1849 issue. Rather, one would expect those dies to have been relatively contemporaneous—

narrowing the potential date of issue range to between 1861 and 1867. Let us also consider brother Charles’ participation—the medal is signed by both Jacques and Charles. Charles was born in 1832 and studied at the Brussels Fine Arts Academy from 1844 to 1852. He then proceeded to Paris and other locales, not settling back in Brussels until 1867. Charles and Jacques collaborated on the Notre Dame (Paris) medal of 1855, St. Maria of Bélem of 1867, and the Burgos Cathedral medal of 1867—the latter two neatly fitting Charles’ return to Brussels. It is unlikely that Charles would have participated in the engraving of the M286 reverse die at the somewhat tender age of seventeen, only halfway through his schooling at the Brussels Fine Arts Academy. As noted below, Charles himself exhibited the reverse of M286 at the 1876 Exhibition in Philadelphia. Charles’ assistance, his age, and the relatively late exhibition of the medal suggest that an issue date of 1867, consistent with his reappearance in Brussels and coproduction of other medals, is much more likely than 1849.5 Obverse: In addition to the exergue lapping characteristics noted above, the perimeter legend words “DER DOM” are somewhat weak. The “V” of VOLLENDUNG is very weak. A small bit of die fatigue is evidenced in the far right extreme of the exergue. The terminal die-state also exhibits a die-crack through the tops of the letters in SEINER ZUKUENF. Reverse: The “C” of CH is punched low. Otherwise the reverse die has no particularly notable die characteristics, except that the cathedral floor is depicted as a smooth surface—there are no tiling lines engraved, in contrast to the treatment of floors on every other interior reverse of the series. M50: Obverse: The “F” of ZUKÜNFTIGEN has been re-punched over a previously punched “E.” The letters “I” and “N” of IN have been re-punched. Minor die fatigue is evidenced by rough metal flow at the rim above the “N” of KÖLN and the “EI” of SEINER. The “M” of DEM is punched high. The exergue lettering is smaller than that used on the other varieties. Evidence of very small bits of die-breakage show at the base of the left-most pilaster of the nave and another at a slightly higher location, just left of the flying buttresses. Reverse: Ultimately, a significant die-crack is seen starting at the rim and running through the base of the

4. Ancient and Modern Coins of the World and the United States, Medals, Tokens, Orders & Paper Money Mail and Internet Bid Sale (New York: Stack’s Numismatists, August 18, 2009), http://www. stacksbowers.com/Pages/CatalogLibrary.aspx.

5. Weiler likewise suggests an 1867 date for this issue.

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letters “UNDSTEINLEGUNG DES D”; a fork of this crack can also be seen running through the tops of the letters “UNDSTE.” An additional die-crack forms at the “O” of OFT in the exergue, runs through the initial “E” of EINWEIHUNG and proceeds into the base of the left-most tower. Yet another crack forms at the intersection of the top of the exergue and rim at left, and runs parallel to the first crack into the same tower base. The “W” in EINWEIHUNG has been re-punched. The “R” in CHORS is likewise re-punched. The “S” of BIS has been re-punched over what appears to be an “I.” The details of the tower crane are also slightly different in this variety from the others. Only the master reverse die of this variety remains in the inventory of the Royal Library of Belgium; thus the terminal working die-state is unknown.

die-crack from the leftmost (southern) tower to the rim, indicating that the white metal specimens were struck prior to the bronze. Also, comparing the clarity of the re-punching of various letters and numerals in the white metal variety versus the slightest traces of the same on the bronze variety suggests that the dies were polished or very lightly lapped to remove the distracting mistakes. This would be suggestive of the use of the soft white metal for die trials. On the other hand, white metal specimens were offered for sale in rare instances; see the discussion below. Scarce, but the most common of the Cologne Cathedral off-metal strikes. The working dies of this variety are not in the inventory of the Royal Library of Belgium; thus the terminal working die-state is unknown. M82: A previously unpublished variety that introduces a new obverse working die M82 and pairs it with the reverse working die M81. The author is only aware of two specimens, but more may exist. This new obverse working die performed yeoman’s service as it was used again for M152, M240, and M286. Obverse: This variety is most readily noticeable in its use of the alternate spellings of “ERGAENZTEN,” “KOELN” and “ZUKUENFTIGEN” in lieu of “ERGÄNZTEN,” “KÖLN” and “ZUKÜNFTIGEN” respectively, as well as the absence of “UNSERE HOFFNUNG.” Reverse: Struck with the same reverse working die as M81, as the same characteristics are exhibited by this variety. The striking occurred relatively late as the die break from the south tower to the rim is more pronounced than on M81. In fact, the die has been lapped slightly (with emphasis on the left side) to remove vestiges of the die break; this has left the lettering of JUBELFEIER particularly weak, relatively weak lettering for “AM 14 AUG: 1848,” and slightly weaker lettering overall relative to variety M81. As noted above, the obverse working die is the same as that used for M152, M240, and M286. Thus, the terminal die-state for this die is in the M240 / M286 state—as described under M286 above. The reverse working die is not in the inventory of the Royal Library of Belgium; thus its terminal die-state is unknown.

M81: Obverse: Based on nuanced characteristics in the rendering of the cathedral exterior, the master die is common for M50 and M81, however separate working dies were utilized. UNSERE HOFFNUNG and the exergue lettering are punched using larger lettering than that employed for M50. The lettering is perfect. The merest hint of a die-crack begins forming in this issue at the cathedral base, just below the third pilaster from the right. Reverse: Same master die as M50. The additional transept and nave architectural details, representing progress since the 1848 issue, have been engraved into a new M81 working die created from the M50 master die. In addition, the construction crane atop the south tower and the cross above the apse were handengraved into the working die as they differ in detail between M50 and M81, whereas the pre-1851 edifice details are identical. A die-crack extends from the leftmost top of the south tower through the top of the “A” of AM to the rim in later specimens. The “4” of 1848 has been re-punched over an initial “8.” Note that the numeral punches used for date lettering differ from the M50 variety. In addition, the punctuation for abbreviations is now “:” instead of “.” The perimeter lettering is of larger size than on variety M50. The “7” of 27 has been re-punched; the ghost image of the initial numeral is visible at the left edge of the “S” of SEPT. The “D” of DURCH is re-punched as well. Both re-punched letters are more evident on M81 white metal examples. Specimens of variety M81 struck in white metal are from the same obverse and reverse working dies used to strike the bronze specimens. At the time of striking, the reverse die of M81 does not yet exhibit the

M151: Note the now more advanced clerestory level of the nave. The south transept now has a completed façade, but no roof. Obverse: Not only the same master die of the cathedral exterior, but also the same working die as M81; the characteristic relative alignment of letters is identical, 65

thus leading to the conclusion of it being the same working die. The working die has been lapped since its use on M81—the perimeter legend is of slightly lower relief, particularly “DER D” of DER DOM and “GEN” of ZUKÜNFTIGEN, and the lettering in the exergue is of significantly shallower relief. The die-crack that was barely evident on the M81 issues is now significantly more prominent. It appears at the 4:00 position—starting at the rim running diagonally downward and leftward, somewhat parallel to the rim, through the base of the cathedral and terminating at the lower edge of the base. The now somewhat advanced state of this diecrack may have been the genesis for lapping the die. Reverse: Same initial master die as M50; the resultant working die is now engraved with additional transept and nave architectural details, representing progress since the 1851 issue to create the M151 cathedral state. The “D” of DES has been re-punched, as has the “N” of HOHEN and the “C” of CHORS. The “C” of UNTERBROCHENER has been re-punched; its initial placement being between the final “O” and “C.” The second “L” of STILLSTAND has been re-punched. The ghost images of a number of indeterminant letters can be seen throughout “STAND BIS ZUR.” The reverse die was lapped at some point, rendering the perimeter legend somewhat weak in subsequent strikes. The working dies of this variety are not in the inventory of the Royal Library of Belgium; thus the terminal die-states are unknown.

this variety is not in the inventory of the Royal Library of Belgium; thus, its terminal die-state is unknown. M240: On the reverse, the nave now exhibits a completed roof. The transept likewise has a roof and a lantern (spire) has been added at the crossing of the nave and transept. Note, however, that the reverse lantern spire differs slightly from that on the obverse. The obverse depiction represents the envisioned configuration while the reverse more closely resembles the asbuilt. The western towers have yet to be completed. It is curious that Van Hoydonck did not account for the 1861 issue of the Cologne medal, as the issue is not particularly scarce and both Bouhy and Forrer account for it. Obverse: This variety utilizes the obverse working die of M286 (and M82 and M152). The die has been heavily lapped between the 5:00 and 7:00 positions; ERGAENZTEN BAUPLANE is only partially visible, and VERLAG VON F. C. EISEN IN KOELN has been totally and purposefully erased from the die (see the discussion under The Series and Its Buildings). UNSERE HOFFNUNG is missing from this variety—just as on the obverses of M286, M82, and M152. The terminal obverse die-state displays a crack through the tops of the letters in SEINER across through to the F of ZUKUENFTIGEN. Reverse: The M240 working die has been produced from a new M240 master die. Note that the perimeter legend of previous issues recalling the groundstone laying of August 14, 1848, has been omitted, as has UNSERE FREUDE. The “S” of CHORS has been repunched; traces of the initial letter can be seen well to the right of its final position. The first “E” of UNTERBROCHENER is rotated counter-clockwise. The “L” of GÄNZLICHER has been re-punched and the “E” is rotated counter-clockwise. The “ND” of STILLSTAND is punched low. The “D” of GRUNDSTEINLEGUNG has been re-punched. The terminal die-state for this die is the M240 / M286 state—as described under M286 above. The terminal die-state of the reverse working die shows no signs of damage or fatigue.

M152: This variety pairs the M82 working obverse die with the M151 working reverse die. Design-wise, variety M152 differs from M151 by the absence of UNSERE HOFFNUNG on the obverse, and the alternate spellings “KOELN” in lieu of “KÖLN”, “ZUKUENFTIGEN” in lieu of “ZUKÜNFTIGEN”, as well as “ERGAENZTEN” instead of “ERGÄNZTEN” in a similar manner as M82 and M81 differ; M152 is the 1855-equivalent of M82. The same obverse working die was used for M82, M152, M240, and M286. Thus, the terminal die-state for this die is in the M240 / M286 state—as described under M286 above. Variety M152 was struck, however, prior to the extreme lapping of the obverse die as seen on M240 and M286. Thus the reference to F. C. Eisen is intact in this issue. The reverse was struck using the same die as M151. However, the die has been heavily lapped in the perimeter legend area (almost fully obliterating this legend), and lightly lapped in the exergue since its use on M151 issues. The working reverse die of

M287: This variety utilizes the reverse die of M240 for its obverse; as such, the lettering characteristics are as described above. However, the die has been somewhat lightly lapped. This is most notable in the weaker umlauts of GÄNZLICHER and KÖNIG, the weakness of Wiener’s signature, as well as the disappearance of the 66

miniscule date at the 6:00 position. The M286 reverse die is used for this variety’s reverse. The lettering characteristics are of course the same. The die remained unlapped, however a miniscule bit of breakage in the left extreme of the exergue is found on M287, but not M286. This along with the lapping of the obverse after its use on M240 consistently identify M287 as being issued after both M240 and M286.

revolutionary fervor swept through Europe in 1848; in Germany, reaction against the political structure of the German Confederation gave rise to the so-called “March Revolution.” The resultant Constituent National Assembly was elected and began meeting on May 18, 1848, in Frankfurt am Main, charged with uniting the various German states and writing a constitution. Despite the general level of upheaval and chaos, minutes were recorded of the year-long session; these were collected and published in the Stenographischer Bericht über die Verhandlungen der Deutschen Constituirenden Nationalversammlung zu Frankfurt am Main. In the second volume, amid the gravitas of the work being performed, on August 10, 1848, the following announcement was made by the President of the Assembly, Heinrich von Gagern:6

Contemporary References Wiener exhibited a case of medals in Belgium’s 1848 Exposition Nationale des Beaux-Arts which ran from August 15 to October 2 that year. In the associated Revue de Salon, the works of Jacques and Léopold are the initial focus of discussion within the topic area of “Gravure en Médailles.” Two specific medals of Jacques Wiener are discussed—his 1847 Fête-Dieu medal, and his Cologne Cathedral medal “that represents the church of Cologne as it is and as it will be at its completion”—clearly a reference to variety M50. Interestingly, Wiener appears not to have exhibited a Cologne medal at the Brussels Exposition Générale des Beaux-Arts in 1854; this seems surprising given the publicity of the medal courtesy of F. C. Eisen and that it was already being issued in a second variety (M81) by this time. Shortly thereafter Wiener did exhibit a Cologne medal at the Paris Exposition Universelle in 1855, though the catalogue does not indicate which variety or which face of the medal was shown. Similarly, the 1860 Brussels Beaux-Arts catalogue lists a medal showing the exterior of the Cathedral of Cologne, but does not specify if it is the completed or incomplete view. At the Exposition Nationale held in Antwerp in 1861 Wiener exhibited a Cologne medal (exterior) but the catalogue does not indicate if the medal depicted the incomplete or completed view. Wiener exhibited an unspecified variety of his Cologne medal at the 1862 London International Exhibition; given the date of the event one can speculate that M240 was likely the variety shown. His exhibit at the 1873 Universal Exposition in Vienna would likely have been a specimen of either M240 or M286. Charles Wiener likewise exhibited the medal reverse of the M286 variety at the 1876 International Exhibition in Philadelphia and the 1878 Exposition Universelle held in Paris. The Cologne series is perhaps the most extensively referenced of all the Most Remarkable Edifices medals. We shall start at the proverbial top. A wave of

Gentlemen! I have a double incentive to bring up a subject which has already been brought to the attention of you in the 51st meeting of 31 July, the invitation of the Dombauverein in Cologne to the imminent jubilee. At that time, as you shall recollect, I reserved the right to resume this matter with your permission in a later session. You will recall in what uplifting manner the religious and political importance of the 600th anniversary celebration, which will be held in Cologne in the future, is to the National Assembly, and the mood seemed to me to be that the invitation should be comprehensively complied with. Now I received another letter from the Central Dombauvereins7 yesterday, and I also report it to the National Assembly.

The follow-on letter was then read, exhorting the assembly to provide names, etc. so that such persons might be accommodated at the celebration. The president then goes on to say: Besides this letter, I have to make a further communication, which also relates to this subject, and which deserves general attention because of its beauty. It is by Franz Carl Eisen of the Central Dombauverein, Association of the Friends of Antiquity of the Rhineland in Bonn, Royal Society of Sciences Member, Book and 6. Stenographischer Bericht über die Verhandlungen der Deutschen Constituirenden Nationalversammlung zu Frankfurt am Main Vol. 2 (Frankfurt am Main: Johann David Sauerländer, 1848), 1466–67, https://books.google.com/books?id=cZhaAAAAcAAJ. 7. A group formed in 1842 to promote and preserve the cathedral—and still in existence. The Zentral-Dombau-Verein of Cologne has published a newsletter of varying frequency over the years (but typically monthly) called the Kölner Domblatt.

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Figure 2.15. An advertisement for Wiener’s Cologne medal (M50) in the October 29, 1848, Kölner Domblatt placed by F. C. Eisen. Eisen offers a description of the obverse and reverse, and a transcription of the legends. Note that Eisen only offers the medal in bronze, for a price of 1 Thaler, 10 Silbergroschen. (Image courtesy of the Zentral-Dombau-Verein zu Köln).

Figure 2.16. A later advertisement for Wiener’s Cologne Cathedral medal in the October 5, 1851, issue of the Kölner Domblatt placed by F. C. Eisen; “the Cathedral how it is and how it will be.” It proclaims “Mit Text in deutscher, französischer, oder englischer Sprache,“ referring to the medals’ packaging. Here, the medal is offered in both bronze and silver, with the silver specimens selling for the princely sum of 12 Thalers. The same advertisement was placed in the November 30, 1851, March 6, 1853, April 3, 1853, November 6, 1853, December 4, 1853, March 5, 1854, and April 2, 1854 issues. The offered medal in each case is presumably the 1851 variant (M81 or M82). (Image courtesy of the Zentral-DombauVerein zu Köln). 68

Figure 2.17. F. C. Eisen's December 30, 1855, advertisement in the Kölner Domblatt. Eisen notes that the previous two versions of the medal, dating 1848 and 1851, have now been superseded by this offering depicting the cathedral as it appeared in 1855 (M151 or M152). Note the now expanded offering of Most Remarkable Edifices medals. (Image courtesy of the Zentral-DombauVerein zu Köln).

Figure 2.18. F. C. Eisen's September 1, 1856, advertisement in the Kölner Domblatt. Winchester and Lincoln Cathedral medals have been added to the series since the previous advertisement eight months prior. (Image courtesy of the ZentralDombau-Verein zu Köln).

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closing ceremonies of August 16. The article notes that architect E. F. Zwirner presented silver medals to 16 of the most “efficient and industrious” master workmen, with some unquantified number of “similar” bronze medals being given to other workmen as prizes or recognition. Somewhat in parallel, the September 24, 1848, issue of the Flemish journal of arts and sciences De Eendragt10 includes a brief article announcing Wiener’s medal celebrating the 600th anniversary of the laying of the first foundation stone. The article briefly describes the one side depicting the cathedral’s current state with “Unsere Freude,” and the other side showing the completed state with “Unsere Hoffnung.” The article is clearly referencing variety M50. Slightly later, we find a brief mention of the medal’s issue in Johann Georg Cotta’s June 28, 1849, Kunstblatt insert of his Morgenblatt für gebildete Leser.11 The medal is described as depicting both the current state of the cathedral and its future completed state (variety M50). The medals are acknowledged as being available from F. C. Eisen. The Kölner Männer-Gesang-Verein unter Leitung des königlichen Musik Direktors Herrn Franz Weber12 is a compendium of the first decade’s performances and activities of the Kölner Männer-Gesang-Verein, or Cologne Men’s Choir,13 published by F. C. Eisen in 1852. The book notes that on July 11, 1849, F. C. Eisen himself “honored the society” with the presentation of an engraving of Cologne Cathedral in its final state by Carl Mayer, and a medal by J. Wiener commemorating the Cologne Cathedral jubilee celebrations of August 14–15, 1848—again clearly a reference to the M50 variety. F. C. Eisen extensively advertised the Cologne Cathedral medal in various issues of the Kölner Domblatt. The first mention of the medal is in the October 29, 1848, issue (Fig. 2.15). Based on the description the offered medal is variety M50. Subsequent advertisements are noted in the October 5, 1851 (Fig. 2.16);14

Art dealer. The letter reads: ‘High Imperial Assembly: On the 14th of August next, the important jubilee celebrations take place on the first foundation of Cologne Cathedral 14 August 1248. A common desire for men, inspired by religion and art, and a feeling of paternal sentiment made the House of the Lord a symbol of German unity and grandeur; it is the temple of the German people. Cologne Cathedral deserves this high destiny; it is celebrated by word and writing, and art seeks to present its image in many ways… If, therefore, the high Imperial Assembly would like to receive the enclosed examples of a medal, which have just appeared to me, and which are so closely related to the imminent jubilee, as a sign of the greatest respect. The medal, based on the drawings of the cathedral master E. F. Zwirner and engraved by Mr. Wiener, a proven German artist in Brussels, depicts the cathedral, as it will appear on the 14th of August, with the heading “Our Joy”, including historical indications up through the second foundation of 4 September 1842, and on the reverse the cathedral in its future completion, after the building plan of the master of the cathedral, with the heading “Our Hope,” along with the indications of the jubilee celebrations. With great reverence…Franz Carl Eisen, of the Zentraldombauverein, of the Association of Antiquities in the Rhineland of Bonn, of the Royal Society of Science and Art of Ghent, book and art dealer.’

President von Gagern then concludes, noting that he will make the letter and medals available for viewing, and that, “we will have to express to the remitter the thanks of the National Assembly for this work of art.” F. C. Eisen had quite the penchant for marketing his wares—and F. C. Eisen. An early announcement of the Most Remarkable Edifices series’ commencement—the May/June issue of Vol. 8 of the Annales Archéologiques—vaguely announces the series as a whole, noting that it follows Wiener’s depiction of ten Belgian cathedrals and Belgian civil monuments. The only medal of the series given specific mention is that of Cologne (M508) stating that the medal for Cologne Cathedral “has already begun.” The August 21, 1848, issue of the newspaper Neue Münchener Zeitung9 recounts the events of the Jubilee’s

1848, https://books.google.com/books?id=ziREAAAAcAAJ. 10. De eendragt: veertiendaegsch tijdschrift voor letteren, kunsten en wetenschappe No. 9 (Ghent: Michiels. September 24, 1848), 36, https://books.google.com/books?id=XppTAAAAcAAJ. 11. Johann Georg Cotta, Morgenblatt für gebildete Leser: 1849 Kunstblatt Nr 24 (Stuttgart: Cotta, June 28, 1849), 96, https://books.google. com/books?id=pItEAAAAcAAJ. 12. Der Kölner Männer-Gesang-Verein unter Leitung des königlichen Musik-Direktors [...] Franz Weber (Köln: Franz Carl Eisen, 1852), 88, https://books.google.com/books?id=kw9KAAAAcAAJ. 13. The choir, which goes by the acronym KGMV, is still in existence, having celebrated its 175th anniversary, and continues to give performances. 14. Franz Carl Eisen, “Denkmünze von J. Wiener,” Kölner Domblatt,

8. Early references (pre-1851) are assumed to be regarding M50, unless they provide specific wording that would indicate otherwise. This is based on the rationale provided above for re-dating M286 to the year 1867. 9. “Das Dombaufest zu Köln,” Neue Münchener Zeitung, August 21,

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November 30, 1851;15 March 6, 1853;16 April 3, 1853;17 November 6, 1853;18 December 4, 1853;19 March 5, 1854;20 April 2, 185421; December 30, 185522 (Fig. 2.17); and September 1, 1856,23 issues (Fig. 2.18). Note that these last two advertisements acknowledge two of the previous Cologne varieties (M50 and M81/M82) but now offer the latest variety M151 (or possibly M152; in either case an 1855 issue). These last two advertisements begin to incorporate additional Most Remarkable Edifices medals beyond just Cologne specimens. However, conspicuous by their absence are the medals of Sts. Michael and Gudula, Amsterdam State House, Batalha, Bonn, and Pisa—given their traditionally assigned dates of issue. The post-1848 advertisements offer the medal in both silver and bronze. The November 1852 Numismatische Zeitung (No. 24) notes that F. C. Eisen is offering the 1848 Cologne medal for sale in silver (12 Thalers), Bronze (1-⅓ Thalers), and “Brittaniametall”24 for 24 Silbergroschen, or 5/6 Thaler. This is one of the rare instances of a Wiener medal offering in what is now generically referred to as “white metal.” It is unclear if the white metal specimens were in fact used for press setup and were perhaps being “clearanced,” or whether there was thought to be some limited demand for such lower cost specimens. Eisen also advertised the medal at the back of the 1854 Die neuen Glasgemälde im Dome zu Köln,25 a work commissioned by the firm. The

medal is again noted as being offered in silver, bronze, and Brittaniametall, though the cost of the silver specimens has increased to 14 Thalers. The Cologne medal is likewise called out in the Numismatische Zeitung issue of June 1854; the article focuses on the St. Apollinaris medal, but goes on to mention the existence of both the Cologne and Aachen medals as well. Avenarius & Mendelssohn’s Easter (March 27) 1853 Messkatalog: Verzeichniss der Bücher, Zeitschriften u. Landkarten includes a Cologne Cathedral medal in its Wiener medal offerings. The 1856 issue of the German construction and architecture trade magazine Zeitschrift für Bauwesen26 contains a listing for four of Wiener’s Most Remarkable Edifices medals, including the 1855 Cologne cathedral medal. F. C. Eisen’s Neueste Beschreibung des Domes zu Köln, published in 1856, offers the Cologne medal for sale in both bronze and silver. The last page of the January 15, 1856, Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland contains an advertisement for the “third Cologne Cathedral medal engraved by J. Wiener in Brussels.”27 The advertisement acknowledges the first two varieties issued in 1848 and 1851, depicting the cathedral as it was then, and presents the latest medal which depicts the cathedral “as it is to be and as it now is.” The text lastly remarks that this latest medal would be an appropriate souvenir of the (then) recent foundation-stone laying of the socalled Cathedral Bridge held on October 3, 1855. This same advertisement also notes that additional medals by this same artist are available—and goes on to list St. Apollinaris, York, Aachen, St. Paul’s (London), Notre Dame (Paris), Westminster Abbey, and finally St. Mark’s (Venice), consistent with Eisen’s December 30, 1855, Kölner Domblatt advertisement. A somewhat late reference can be found in the 1861 book Die mediatisirten freien Reichsstädte Teutschlands28 by Georg Victor Schmid. The obverse and reverse are briefly described as depicting the cathedral’s “past and future,” thus clearly referencing the dual exterior motif.

October 5, 1851, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1851. 15. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, November 30, 1851, n.p., https://digi.ub.uni-heidelberg.de/diglit/ koelnerdomblatt1851. 16. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, March 6, 1853, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1853. 17. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, April 3, 1853, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1853. 18. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, November 6, 1853, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1853. 19. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, December 4, 1853, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1853. 20. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, March 5, 1854, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1854. 21. Eisen, Franz Carl, “Denkmünze von J. Wiener,” Kölner Domblatt, April 2, 1854, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1854. 22. Eisen, Franz Carl, “Dritte kölner Dom-Denkmünze,” Kölner Domblatt, December 30, 1855, n.p., https://digi.ub.uni-heidelberg.de/ diglit/koelnerdomblatt1855. 23. Eisen, Franz Carl, “Dritte kölner Dom-Denkmünze,” Kölner Domblatt, September 1, 1856, n.p., https://digi.ub.uni-heidelberg.de/ diglit/koelnerdomblatt1856. 24. Brittaniametall is an alloy primarily of tin and antimony, often alloyed with small amounts of other metals. 25. Weyden, Ernst, Die neuen Glasgemälde im Dome zu Köln

(Cologne: J. P. Bachem, 1854), n.p., https://books.google.com/ books?id=LSFhAAAAcAAJ. 26. Erbkam, Georg, Zeitschrift für Bauwesen Vol. 6 (Berlin: Ernst & Korn, 1856), 289, https://books.google.com/ books?id=j44hAQAAMAAJ. 27. Note that this wording is consistent with the idea of a significantly later issue date for variety M286. 28. Georg Victor Schmid, Die mediatisirten freien Reichsstädte Teutschlands (Frankfurt am Main: Sauerländer, 1861), 49, https:// books.google.com/books?id=MpMAAAAAcAAJ.

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The Kölner Domblatt issue of August 31, 1867,29 briefly mentions that the Dombaumeister (Richard Voigtel30) forwarded to the Zentral-Dombau-Vereins board the names of 19 workers who had been associated with the revitalized construction project since its inception some 25 years prior. As a token of appreciation, a fine silver medal was to be presented to each worker at the 25th Anniversary festival. It was proposed that Jacques Wiener produce these medals; if he was agreeable the board would pay the expenses. The festival was held just days later on September 4, with the Crown Prince Friedrich Wilhelm in attendance, standing in for King Wilhelm I. The second folio of the subsequent Kölner Domblatt issued on September 3031 lists the 19 individuals, and notes they received the large silver medal and a letter saying, “As a sign of our satisfaction with your achievements, and to commemorate this celebration, we ask you to accept the accompanying medal, which we leave to you with the wish that your activity on the marvelous cathedral will be preserved for a long time.” Also struck in bronze, this medal could be either the M286 or M240 variety. Given the discussion of rationale for re-dating the M286 variety, there is an inescapable desire, however, to link this announcement with the M286 medal. The specific event and associated limited distribution would be consistent with the rarity of this particular variety. Alternatively, the aforementioned M287 variety (pairing the 1861 exterior view with the interior view) could have been produced for this event, assuming that M286 had already been produced prior to the board’s request. Again, this speculative scenario would be consistent with the extreme rarity of this variety as well—and also its production with little forewarning given the Kölner Domblatt timeline as both dies would have already been in existence. A specimen of this medal appears as lot 5603 in the 1860 de Jonghe catalogue. Lot 5604 in the same publication is noted as being another specimen but “with date.” This second specimen would then be either the 1851 or 1855 variety, implying that the prior specimen was an example of variety M50. A specimen of this medal appears as lot 700 in the Catalogue des monnaies et médailles formant la collection de feu M.

Braemt, a sale conducted on March 20–21, 1865. No indication is given of the variety. A handful of examples of the Belgian Cathedral series were also included in this sale, but no other Most Remarkable Edifices medals. Such a grouping suggests a mid-to-late 1840s acquisition timeframe which would imply the Cologne medal as likely being M50. A specimen of Wiener’s Cologne medal appears as lot 468 in the March 27, 1867, Goetghebuer sale; the specimen is listed as being made of tin—presumably white metal. This could have been any of the dual-exterior format medals as all are known in white metal. The Victoria and Albert Museum in London purchased a Cologne Cathedral specimen from Wiener in 1862 as part of their initial acquisition of Most Remarkable Edifices medals. The Museum likewise purchased an example of variety M240 (an 1861 issue) in 1884. The British Museum purchased its specimen (variety M152) from Wiener’s representative the “Baron de Vandercruysse” on July 24, 1862. It is of interest that the British Museum specimen is M152 and not M240; given the timing of the purchase one would have expected the 1861 variety depicting the latest construction progress. This would suggest Wiener kept some level of inventory on-hand.

Source Images Weiler identifies the source images used by Wiener in executing the extensive Cologne Cathedral series of medals as being from a series of steel engravings by Carl Mayer of Nürnberg. Three of his four construction-state views of the cathedral were reproduced in the Kölner Domblatt. The July 30, 1848, Kölner Domblatt32 contains an illustration that is clearly the source image for the M50 variety. The image was published in conjunction with the festival program held on August 14–16, 1848, to celebrate the sixth anniversary of the foundation stone laying. Wiener’s medal was subsequently advertised in the same publication’s October 29 issue. The May 4, 1851, Kölner Domblatt33 likewise includes an illustration depicting further progress in the nave and south transept that unmistakably matches the M81 and M82 varieties of the Cologne Cathedral medal. Surprisingly, none of the 1854, 1855, or 1856

29. Kölner Domblatt, August 31, 1867, n. p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1867. 30. Voigtel started as deputy Cathedral Master in 1855; he succeeded E. F. Zwirner as Cathedral Master upon Zwirner’s death in 1861. 31. Kölner Domblatt, September 30, 1867: n.p., https://digi.ub.uniheidelberg.de/diglit/koelnerdomblatt1867.

32. Kölner Domblatt, July 30, 1848, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1848. 33. Kölner Domblatt, May 4, 1851, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1851.

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Kölner Domblatt issues include Mayer’s 1855 engraving that was the source for the M151 and M152 medals. Lastly, the June 3, 1860, Kölner Domblatt34 reproduces Mayer’s last view of the construction and is clearly the source image for the M240 variety. Reproductions of the three published Carl Mayer engravings are shown in Figs. 2.19–2.21. The search for Wiener’s source image for the M286 reverse interior view leads us immediately back to the conundrum of the issue date for this variety. Figure 2.22 depicts a wood engraving of a painting by Karl Emanuel Conrad, of the interior of Cologne Cathedral.

The engraving was published in the March 26, 1864, issue of Illustrirte Zeitung.35 The eyepoint is at the correct location, and the horizontal and vertical fields of view are correct relative to Wiener’s medallic rendering. In addition, when one examines the far-field detail of the engraving, particularly in the side aisle to the right, this image is clearly the source image for the medal—but only if one accepts that the traditional dating of Wiener’s medal is incorrect. Given the logic outlined in the Medal Notes above, Wiener’s use of this image to create the M286 variety is entirely consistent with the revised issue date of 1867.

34. Kölner Domblatt, June 3, 1860, n.p., https://digi.ub.uni-heidelberg.de/diglit/koelnerdomblatt1860.

35. Illustrirte Zeitung XLII Band Nr 1082 (Leipzig: Johan Jacob Weber, 1864), 209, https://books.google.com/books?id=x04jyIVR9IEC.

Figure 2.19. Carl Mayer's engraving of the state of Cologne cathedral in 1848, as reproduced on an early twentieth century postcard. The engraving was reproduced in the July 30, 1848, Kölner Domblatt. (Collection of the author).

Figure 2.20. Carl Mayer's engraving of the state of Cologne cathedral in 1851, as reproduced on an early twentieth century postcard. The engraving was reproduced in the May 4, 1851, Kölner Domblatt. (Collection of the author).

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Figure 2.21. Carl Mayer's engraving of the state of Cologne cathedral in “1861,” as reproduced on an early twentieth century postcard. The engraving was reproduced in the June 3, 1860, Kölner Domblatt. (Collection of the author).

Figure 2.22. Engraving after Karl Emanuel Conrad's painting of the interior of Cologne Cathedral, as published in the March 26, 1864, issue of the Illustrirte Zeitung. The image is of the nave and choir, looking toward the apse, which had been completed by the early sixteenth century. (Collection of the author). 74

Figure 3.1. Amsterdam City Hall, ca. 1875. (Collection of the author).

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3. Amsterdam State House (1850)

The Edifice Amsterdam’s burgeoning economic and political importance in the seventeenth century outpaced the old Gothic town hall’s capacity to effectively support the recently independent Dutch Republic. Construction of the new Amsterdam State House (or town hall) commenced on January 20, 1648, during the socalled Dutch Golden Age (Fig. 3.1). Dutch artist and architect Jacob Van Campen was commissioned to design and build the structure, the construction of which lasted well beyond the building’s July 29, 1655, opening. Van Campen drew inspiration from Roman public buildings in keeping with the mindset of the burgomasters who saw themselves as the Consuls of the new Rome of the north.1 The interior of the building was replete with artwork from famous artists and artisans as befitting the powerful Dutch empire. The city council commissioned sculptures from Flemish sculptor Artus Quellinus in 1650. Paintings by Rembrandt and marble maps inlaid on the ground floor of the hemispheres highlighting the country’s empirical holdings are examples of the prestige given to the building. In the aftermath of the War of the Spanish Succession, Dutch influence and power declined during the eighteenth century; the spillover from the French Revolution resulted in the French-assisted creation of the Batavian Republic, and the country eventually fell victim to Napoleon who appointed his brother Louis as King of Holland in 1806. In 1808, the State House was converted into a royal palace for Louis Bonaparte who occupied it starting that same year. Briefly reestablished as a town hall in 1813, the building reverted to being a royal palace yet again some two years later, this time for the newly restored House of Orange and its head, King William I. The

royal palace then gradually fell into disuse, so much so that a legal effort had to be initiated in the early 1930s to determine what political entity actually held title to the structure—the conclusion being that the city owned it. After considering its reversion back to a town hall, the city opted to sell the building to the state of the Netherlands in 1935 for ten million guilders (ironically to build a new town hall); the state then provided it to the royal family for its use as one of their palaces. Prior to the sale, a lengthy renovation effort commenced in 1913, lasting until 1968. The initial modifications—up to the point of the sale—primarily addressed structural issues. Central heat, new windows, fire safety, and livability improvements soon followed in an attempt to make a livable twentiethcentury space with harmonized seventeenth-century architecture and nineteenth-century furnishings.2 The twenty-first century has seen interior updates and renovations from 2005 through 2009, and an exterior cleaning from 2009 through 2011. Updates and public accessibility since the mid-twentieth century have been in the context of a tension and debate between the building’s competing municipal and royal histories.

1. An assertion by Katharine Fremantle in her 1959 book, The Baroque Town Hall of Amsterdam, as summarized in Wayne Franits, The Ashgate Research Companion to Dutch Art of the Seventeenth Century (London and New York: Routledge, 2016), 342–43, https://books.google.com/books?id=uTMrDwAAQBAJ.

2. Pieter Vlaardingerbroek, “Bouw- en restauratiegeschiedenis van het Amsterdamse stadhuis en Paleis in vogelvlucht (1648–1968)" in Bulletin Knob, Vol. 112 (Delft: Technical University of Delft, 2013), 63–65, https://journals.open.tudelft.nl/index.php/knob/issue/ view/112_2.

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The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M66

M66 / M66

Undated (1850)

AE, AR

81.9–97.7 g

64

64

R1

Medal Description

Figure 3.2. Amsterdam State House. (Collection of the author). Obverse: Three-quarter exterior view of the building (Fig. 3.2a). In the exergue: STaD h U IS TE a MSTERDa M

a MSTERDa M STaTE h O USE

D E EERSTE STEEN GELEGD 20 J aN: 1648

Th E FI RST STO N E L aI D 20 J aN UaRy 1648

I N GEW yD 29 JU Ly 1655.

I N aUGU R aTED 29 JU Ly 1655.

J aC : VaN C a M pEN bO UWM EESTER

J aCO b VaN C a M pEN aRCh ITECT

a. q U ELLI N US bEELD h R

aRTUS q U ELLI N US SCU LpTO R

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Reverse: Interior view of the State House (Fig. 3.2b). In the exergue: J. W I EN ER bRUSSEL

J aCq U ES W I EN ER bRUSSELS

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Figure 3.3. The working dies for the Amsterdam State House medal M66, Lippens 1861 and 1862. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medal Notes Medals are known from a single, two-piece working obverse die (Lippens 1861) (Fig. 3.3a) and a single, one-piece working reverse die (Lippens 1862) (Fig. 3.3b). Note that the reverse is devoid of historical information (unusual), and that Wiener softly depicts the hemispherical maps, the paintings and Quellinus’ sculptures on the facing wall at the far end of the gallery, as well as on the barrel-vaulted ceiling. In its conversion to a royal palace in 1808, a first floor balcony was added to the building exterior. Though a subtle architectural element, this balcony is missing from Wiener’s depiction of the structure and hints at a source image likely predating the 1808 modification. In the face of a dearth of evidence for its genesis, it is surprising that this medal was issued in 1850—missing the 300th anniversary of the start of construction by two years and pre-empting the 300th anniversary of its opening in 1655. On the obverse, the “D” of STADHUIS has been repunched, the first impression being very light and too high by approximately 1/3 the letter height. The “H” in the same word shows slight doubling. Early strikes exhibit strong lettering. In later strikes, the “U” of STADHUIS exhibits a bit of die fatigue as it crumbled slightly along the left stem of the letter. Similarly, the “S” of AMSTERDAM and the “A” of JAN eventually display small areas of die fatigue. Die fatigue evidence can also be seen between the base of the cupola and the chimney to the immediate left. A lengthy (~1.0 cm), shallow

vertical die scratch emanating from the second chimney from the right can be seen on later specimens as well. Ultimately the obverse die was lapped, rendering Wiener’s signature weak and removing the die gouge as well as the mis-punched “D” of STADHUIS. The terminal die state includes a weak die-crack starting at the 5:00 position and proceeding through the superscript R of BEELDHR, the “S” of BOUWMEESTER, the final “5” of 1655, and finally terminating in the die chip in JAN. The obverse working die is an example of Wiener’s occasional use of a two-piece die—the exergue and the edifice portions of the die are separate; the exergue die abuts the edifice die along the base of the ground below the building; a ring or collar of ca. 8 x 5 mm cross section holds the two pieces firmly together for striking. The deep relief of the reverse die is executed such that the change is very gradual from one design element to the next, leaving it largely devoid of the sharp relief changes found on other medals that exacerbate die fatigue; consequently the reverse working die exhibits no evidence of breakage. Two small die characteristics are of note on the reverse: a small bit of die pitting on the second hemisphere from the bottom, and a shallow vertical die gouge in the top quarter of the left field.

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Contemporary References Similar to the Sts. Michael & Gudula medal, the Amsterdam State House medal was not exhibited by Wiener at the Exposition Générale des Beaux-Arts in Brussels in 1854 (or 1860), the Exposition Universelle in Paris in 1855, Exposition Nationale held in Antwerp in 1861, London’s International Exhibition of 1862, nor at the 1873 Universal Exposition in Vienna. In a similar vein, the usual sources are silent regarding the issue of this medal with neither Eisen nor Nijhoff3 announcing its arrival or availability for sale. The January 15, 1856, Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland contains an advertisement that offers the “third Cologne Cathedral medal,” St. Apollinaris, York, Aachen, St. Paul’s (London), Notre Dame (Paris), Westminster Abbey, and finally St. Mark’s. Conspicuous by its absence— given the sequence of medals cited and the publication date—is the Amsterdam medal (and a number of others). Jan Jakobus Franciscus Wap’s 1856 Astrea (Volume 5),4 gives a brief mention of both Jacques and Léopold Wiener, providing some very brief biographical information and lauding their capabilities. Wap cites three of Wiener’s Dutch-oriented medals, but despite the alleged date of issue and Dutch source of the work, he makes no mention of Wiener’s Amsterdam medal. Likewise, the medal is missing from the 1860 auction of the D’Heisselaer collection. Mr. D’Heisselaer collected until his sudden passing in October 1857; he was only missing four medals of the Most Remarkable Edifices series (based on their traditional issue dates), three of which can be explained by the revisions to medal dates as presented herein. Unfortunately, the

collection is missing the Amsterdam medal with no known rationale. A specimen of this medal does appear as lot 5600 in the 1860 de Jonghe catalogue. Lot 5921 of Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle5 is a specimen of the Amsterdam medal. Interestingly, it was not listed as part of the large group lot (number 2108*) consisting of 28 Most Remarkable Edifices medals and 21 other medals by Wiener; rather it was included with another lot of Dutch-themed medals. In addition, this catalogue acknowledges the medal as undated, but attributes it as an 1848 issue—placing its issue coincident with the 300th anniversary of the start of construction. The medal appears in a number of auction catalogues from the latter half of the nineteenth century with claimed issue dates ranging from 1848 through 1855. Using the D’Heisselaer and de Jonghe collections as reference points, it seems likely that the Amsterdam medal was issued in 1858 or 1859. However, in lieu of any definitive documentation, the traditional issue date of 1850 is reluctantly retained—though only until more definitive dating information can be found. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862—likely from Wiener but the extant documentation is not definitive. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images Wiener’s interior and exterior source images have yet to be identified.

3. This is particularly surprising given that Nijhoff’s firm was located in the Netherlands—implying the medal may have pre-dated or (more likely) post-dated the partnership of Wiener and Nijhoff. 4. Jan Jakobus Franciscus Wap, Astrea (Utrecht: J. D. Doorman, 1856), 465–66, https://books.google.com/books?id=_Q0oAAAAYAAJ.

5. G. Theodore Bom. Catalogue d'une collection intéresante, précieuse et universelle. (Amsterdam: G. Theodore Bom, 1868), 296. https://books.google.com/books?id=8X5SAAAAcAAJ.

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4. Cathedral of Aachen 1852, (1856)

Figure 4.1. Photograph of Aachen Cathedral ca. 1870. Note that the Westwerk at the upper left still sports its temporary late seventeenth-century bell tower. (Collection of the author).

The Edifice Aachen (or Aix-la-Chapelle) Cathedral is the oldest cathedral in northern Europe (Fig. 4.1). The building consists of two distinct parts. The oldest section of the structure is the octagonal-domed Palatine Chapel—part of the palace complex—initiated by Charlemagne in 792 and consecrated by Pope Leo III in 805. This structure was based on the sixth-century Basilica of San Vitale in Ravenna, and in fact, materials and workers were imported from Rome and Ravenna to complete the construction. The Palatine Chapel is one of the most important examples of Carolingian

architecture to survive to the present day. The chapel houses the remains of Charlemagne, originally buried in a vault in the chapel choir in 814. The newer section of the structure is that of the choir erected on the eastern side of the Palatine Chapel. Records indicate a flurry of religious donations by the former mayor of Aachen, Gerhard Chorus, on January 13, 13531 thus enabling the start of construction. The choir bears 1. Martin Birmanns, Ritter Gerhard Chorus Bürgermeister von Aachen (Aachen: Albert Jacobi & Co., 1913), 7, https://babel.hathitrust. org/cgi/pt?id=uc1.b2640765;view=1up;seq=5.

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similarities to St. Chapelle in Paris, with its minimal structural elements leaving room for great expanses of glass—over 1,000 m2 in the case of Aachen cathedral. Construction of the choir was completed in 1414, though various other chapels were appended to these two primary structures starting in the late fourteenth century. Chorus was allegedly buried in the cathedral, joining Charlemagne and Otto III in his eternal resting place, though there is not consensus on this point. Lightning struck the Westwerk on June 25, 1624, necessitating the removal of its upper sections, and it was later ignominiously capped with a temporary bell tower. This was followed by the devastating Aachen fire of May 2, 1656, which, while destroying the majority of the buildings in the city, left the palatine buildings relatively intact, though roofless. The original roofing was replaced with a Baroque-styled structure in 1664 which is the roofline seen today. In the early eighteenth century there was an impetus to update the building, particularly the interior, which was implemented in the then-popular Baroque style. In addition, the Carolingian Westwerk was faced with a Baroque portal, though fitted with original Carolingian-era bronze doors. This church, like a number of others, suffered depredation during times of warfare, particularly in the Napoleonic era. In the wake of its post-Napoleonic occupation, momentum began to slowly build for a restoration of the (now) cathedral complex. In 1847, a group of local citizens formed an association called the “Karlsverein zur Restauration des Aachener Münsters” (still in existence today) to advocate for the preservation and restoration of the cathedral. Delayed due to the German political upheavals of 1848, restoration efforts began in earnest in 1849, continuing through much of the remainder of the century. The Baroque interior finishes were removed mid-century; this led to inevitable and passionate debate about what constitutes “originality” and “restoration” and thus how to appropriately finish out the interior. The subsequent (and controversial) ceiling mosaic and marble facings were applied in the early

twentieth century.2 The two-century-old “temporary” bell tower was finally replaced with a neo-Gothic spire in 1884. The completion of the interior work was essentially complete by the outbreak of World War I; afterward, attention largely turned to structural issues in the 1920s. The buildings, though surviving, suffered greatly during World War II and a multi-decade restoration effort began immediately upon their Allied occupation. Significant restoration work was again initiated in the mid-1980s and continues essentially uninterrupted to this day. Age, industrial-age pollution, and water continue to be relentless foes. The church first briefly gained cathedral status with the initial creation of the Diocese of Aachen from late 1801 through August 1821, and then again with the recreation of the diocese in August 1930.3 Aachen Cathedral possesses a number of “relics’’ that legend says were given to Charlemagne by the city of Jerusalem in about the year 800. The four relics consist of the swaddling clothes of Jesus, the cloak worn by Mary, the loincloth worn by the crucified Christ, and a cloth that held John the Baptist’s severed head. The relics are put on display every seven years, a practice that has been occurring since 1349.4 The displays elicit pilgrimages of the faithful to the cathedral; this would include the pilgrimage year of 1853 commemorated on the first variety of this medal issue.

2. Jenny Shaffer, Recreating the Past: Aachen and the Problem of the Architectural “Copy” (PhD Dissertation, Columbia University, 1992), 13-58, Columbia University Academic Commons, https://doi. org/10.7916/D8QJ7FDG. 3. David Cheney, “Diocese of Aachen,” Catholic Hierarchy, accessed July 3, 2018, http://www.catholic-hierarchy.org/diocese/ daach.html. 4. For a brief overview of this practice, with many images of associated artifacts and medals (including Wiener’s medal), see Achim Feldmann’s article split across the June 2014 and January 2015 issues of the Münstersche Numismatische Zeitung. Feldmann, Achim, “Die Heiligtumsfahrt in Aachen und in Kornelimünster," Münstersche Numismatische Zeitung (Münster: Holger Dombrowski Munzenhandlung, June 2014 and January 2015), https://www.muenzgalerie. de/assets/data/pdf/mgm_numismatischer_artikel_imk176.pdf, and https://www.muenzgalerie.de/assets/data/pdf/mgm_numismatischer_artikel_imk177.pdf.

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The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M116

M116 / M116

1852

AE, AR

90.2 g

—

21

R2

M117

M116 / M116

1852

AE, AR

81.0–102.3 g

46

20

R1

M190

M116 / M116

Undated (1856)

AE

88.0–96.7 g

—

—

R3

Medal Description

Figure 4.2. Aachen Cathedral variety M116. (Collection of the author). M116 Obverse: Exterior view of the cathedral from the southeast (Fig. 4.2a). At the top perimeter: ZU R FEI ER D ER h EI LI GTh UMSFah RT 1853

TO CELEbR aTE Th E pI LGRI M aGE O F 1853

At the left perimeter: GESTO Ch EN VO N J. W I EN ER

EN GR aV ED by J aCq U ES W I EN ER

At the right perimeter: N aCh ZEI Ch N U N GEN VO N T. STEI N

aFTER D R aW I N GS by Th EO D O R STEI N

In the exergue: MÜ NSTERKI RCh E ZU a aCh EN

M I NSTER Ch U RCh O F a aCh EN

N aCh I h RER

FO LLOW I N G ITS

W I ED ERh ERSTELLU N G

RESTO R aTI O N

V ERL aG VO N F.C. EISEN I N KÖ LN

pU bLISh ER F. C. EISEN I N CO LO GN E

83

M116 Reverse: Interior view of the cathedral looking into the Palatine Chapel (Fig. 4.2b). In the exergue: I N N ERES D ER MÜ NSTERKI RCh E ZU a aCh EN

I NTERI O R O F Th E Ch U RCh O F a aCh EN

Da S O CTO GO N ERbaUT

Th E O CTaGO N Wa S bU I LT

VO N C a RL D E M GROSSEN 796–804.

by Ch aRLE M aGN E 796–804.

Da S h O h E Ch O R GEGRÜ N D ET

Th E h I Gh Ch O I R FO U N D ED

D U RCh GERh aRD Ch O RUS 1353

by GERh aRD Ch O RUS 1353

bEEN D ET 1414

CO M pLETED 1414

1852

1852

Figure 4.3. Aachen Cathedral variety M117—without the obverse pilgrimage legend. (Collection of the author). M117 Obverse: Exterior view of the cathedral from the southeast (Fig. 4.3a). At the left perimeter: GESTO Ch EN VO N J. W I EN ER

EN GR aV ED by J aCq U ES W I EN ER

At the right perimeter: N aCh ZEI Ch N U N GEN VO N T. STEI N

a FTER D R aW I N GS by Th EO D O R STEI N

In the exergue: MÜ NSTERKI RCh E ZU a aCh EN

M I NSTER Ch U RCh O F a aCh EN

N aCh I h RER

FO LLOW I N G ITS

W I ED ERh ERSTELLU N G

RESTO R aTI O N

V ERL aG VO N F.C. EISEN I N KÖ LN

pU bLISh ER F. C. EISEN I N CO LO GN E

84

M117 Reverse: Interior view of the cathedral looking into the Palatine Chapel (Fig. 4.3b). In the exergue: I N N ERES D ER MÜ NSTERKI RCh E ZU a aCh EN

I NTERI O R O F Th E Ch U RCh O F a aCh EN

Da S O CTO GO N ERbaUT

Th E O CTaGO N Wa S bU I LT

VO N C a RL D E M GROSSEN 796–804.

by Ch aRLE M aGN E 796–804.

Da S h O h E Ch O R GEGRÜ N D ET

Th E h I Gh Ch O I R FO U N D ED

D U RCh GERh aRD Ch O RUS 1353

by GERh aRD Ch O RUS 1353

bEEN D ET 1414

CO M pLETED 1414

1852

1852

Figure 4.4. Aachen Cathedral variety M190—without the obverse pilgrimage legend, F. C. Eisen inscription, or reverse date. (Collection of the author). M190 Obverse: Exterior view of the cathedral from the southeast (Fig. 4.4a). At the left perimeter: GESTO Ch EN VO N J. W I EN ER

EN GR aV ED by J aCq U ES W I EN ER

At the right perimeter: N aCh ZEI Ch N U N GEN VO N T. STEI N

aFTER D R aW I N GS by Th EO D O R STEI N

In the exergue: MÜ NSTERKI RCh E ZU a aCh EN

M I NSTER Ch U RCh O F a aCh EN

N aCh I h RER

FO LLOW I N G ITS

W I ED ERh ERSTELLU N G

RESTO R aTI O N

85

M190 Reverse: Interior view of the cathedral looking into the Palatine Chapel (Fig. 4.4b). In the exergue: I N N ERES D ER MÜ NSTERKI RCh E ZU a aCh EN

I NTERI O R O F Th E Ch U RCh O F a aCh EN

Da S O CTO GO N ERbaUT

Th E O CTaGO N Wa S bU I LT

VO N C a RL D E M GROSSEN 796–804.

by Ch aRLE M aGN E 796–804.

Da S h O h E Ch O R GEGRÜ N D ET

Th E h I Gh Ch O I R FO U N D ED

D U RCh GERh aRD Ch O RUS 1353

by GERh aRD Ch O RUS 1353

bEEN D ET 1414

CO M pLETED 1414

Medal Notes

Figure 4.5. The working dies for the Aachen Cathedral medal. Both dies represent the die state for variety M190. Lippens 1820 and 1821. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 1820) (Fig. 4.5a), and a single onepiece working reverse die (Lippens 1821) (Fig. 4.5b)— despite the three distinct varieties. See the discussion below. Minute obverse legends indicate the engraving by J. Wiener is from a design by T. Stein, and in the case of the first two varieties “published” by F. C. Eisen— the Cologne book and art dealer. Theodor Stein was the “Baumeister”, or architect, in charge of the midnineteenth-century restoration effort. Van Hoydonck only acknowledges the M117 variety and lists this medal as being issued in 1849 (consistent with both Bouhy and Forrer) but does not include a date in his transcription of the legends. Reinecke attributes a date of 1853 and likewise does not cite a date 86

in the transcription of the legends. However, specimens of M116 and M117 are clearly dated “1852” at the 6:00 position on the reverse. Specimens of M190 are undated—again, see the discussion below. The obverses of the three varieties utilize a single working die ultimately with three significant and intentional die states. Other Most Remarkable Edifices medals with distinct varieties (e.g. St. Paul’s (London), Cordoba, etc.) clearly have common master dies and distinct working dies with the legend lettering applied to the working dies. However, for the three Aachen varieties, the legend lettering characteristics are identical (setting aside the Heiligthumsfahrt legend of M116 for a moment). Having a common obverse working die, one might jump to the immediate conclusion that the

pilgrimage lettering of M116 was simply added to the unadorned 1852 M117 die. Close examination of the medals suggests precisely the opposite however. The obverse exergue lettering of M116 is consistently stronger—that is, in greater relief—than the corresponding lettering on M117. This is particularly apparent on the signature and citation of F. C. Eisen. Upon examining the top obverse perimeter of variety M117 one sees that the cross atop the cupola of the dome is missing and the leftmost arch of the cupola roof is likewise missing. Focusing in on the cupola area, we can see the tiniest remnant of the bottom serifs of the letters “I”, “R”, and “D” of FEIER DER. Therefore, counter-intuitively, it appears that the pilgrimage year variety was issued first and the top half of the die subsequently lapped to remove the pilgrimage legend. We are left to wonder why Wiener would not have simply created a new working die from the master (though admittedly there is no specific master die for this medal currently in the inventory of the Royal Library of Belgium), and merely re-lettered the die as needed. Variety M190 was struck after yet further lapping of the obverse die, by lightly lapping the top left perimeter, removing most of the remaining M116 lettering evidence and weakening Wiener’s signature (GESTOCHEN is largely removed), and heavily lapping the bottom of the exergue to (relatively) carefully remove the VERLAG VON F. C. EISEN IN KÖLN inscription. Upon close examination one can see the exergue field “roll” up to the rim where the legend had been, whereas to either side the field remains relatively flat as it meets the rim. The exergue of the reverse working die was lapped as well—removing the previous date of 1852 and leaving the die and subsequent specimens dateless. Based on the logic outlined in the chapter on The Series and its Buildings, this lapping likely occurred in 1856—thus giving this variety a revised 1856 issue date. Die erosion can be seen on the reverse die accompanying this obverse variety, as some of the exergue lettering begins to depict “doubling.” On the obverse, the lettering is punched somewhat unevenly as the strength, or relief, of the letters varies noticeably—particularly in the word IHRER. On the reverse, most of the word INNERES has been repunched; the initial placement of the letters in the right part of the word being too far to the left—and thus leaving insufficient space for the entire word. The word DAS in the fourth row of lettering was originally engraved DER, and then re-punched correctly. Both letters “A” of AACHEN have been re-punched. The

same reverse die characteristics are seen on varieties M116, M117, and M190—indicating a common working reverse die. The terminal die state of the single piece obverse die is obviously the M190 variant with its weak signature and removed exergue inscription. The terminal state of the common M116/M117/M190 reverse die includes a massive die chip at the 8:30 position at the rim. The reverse die exergue has also been lapped, rendering the bottom two lines of the inscriptions weak, with BEE almost obliterated, and as noted above, the date fully so. Figure 4.4b clearly shows the loosened 8:30 chip, still precariously in-place, but likely not for much longer.

Contemporary References Like the St. Paul (London) medal, Wiener’s Aachen medal was extensively exhibited and referenced during the mid-nineteenth century. Wiener exhibited both the obverse and reverse of the Aachen medal at the Brussels Exposition Générale des Beaux—Arts in 1854, the Paris Exposition Universelle in 1855, the Brussels Exposition Générale des Beaux—Arts in 1860, the Antwerp Exposition Nationale in 1861, London’s International Exhibition of 1862, the 1866 Paris Salon, and the 1873 Universal Exposition in Vienna. However, none of these catalogues provides sufficient detail to determine if the exhibited medals were M116, M117, or (eventually) M190. Clearly, Wiener thought highly of this medal given the pervasive exhibiting of both the obverse and reverse. Tucked away in the bottom right corner of the last page of the November 1852 Numismatische Zeitung is a brief announcement indicating that F. C. Eisen had for sale the 1848 Cologne Cathedral medal and notes that “the restoration of the Münsterkirche in Aachen by J Wiener will be finished shortly.” If we assume the note was timely and accurate, it would appear that the Aachen medal was issued very late in 1852; the announcement does not indicate a price or any means to yet order the medal. Of additional interest is the linkage between the medal’s issuance and the restoration effort started some three years prior. The Deutsches Kunstblatt Beiblatt zu dem Deutschen Kunstblatt, Volume 4, 2 April 1853, has a short article regarding M116.5 This article praises 5. This is a bit of an assumption. The article notes that the medal was released to celebrate that year’s pilgrimage, but it does only quote the exergue legend.

87

the medal’s “excellent and highly successful artistic design, which combines sharp, powerful engraving with daintiness and cleanliness in the working out of details in a very effective manner.” In addition, it provides a descriptive hint regarding the packaging— noting “The publisher has the interesting artwork provided with an envelope to hold it, which on the inside provides a compact and attractive history as well as giving the main dimensions of the structure shown.” The medal is noted as being available in silver and bronze, priced at 12 Thalers and 1 Thaler 10 Silbergroschen respectively, from F. C. Eisen. In a similar manner, Vol. 3 of the Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland (Issue No. 2, January 15, 1853)6 provides a brief article on F. C. Eisen’s offering of the “excellent” Aachen medal celebrating the pilgrimage year (variety M116). The author praises both Jacques and Léopold, noting that their “treatment of architectural forms is [executed] with such ease and freedom that it leaves the perspective effects appearing as we are used to finding only in the best architectural paintings. It testifies to the deep study of the artist and… perfect mastery of the material from which the work is created.” The last page of the January 15, 1856 edition ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the Aachen medal for sale (among other medals in the series); whether the variety is M116 or M117 is not indicated. Avenarius & Mendelssohn’s Easter (March 27) 1853 Messkatalog: Verzeichniss der Bücher, Zeitschriften u. Landkarten includes an Aachen Cathedral medal in its Wiener medal offerings—again of indeterminate variety. An article by Meters in the 1853 Revue de la numismatique belge focused on a twelfth century hoard found in Maastricht contains a footnote as an aside drawing contrasts between twelfth century depictions of the cathedral and “the superb medal on which our J Wiener has recently reproduced the cathedral of Aixla-Chapelle in all its splendor.”7 This medal is likewise called out in the Numismatische Zeitung issue of June 1854; the article focuses on the St. Apollinaris medal but goes on to mention

the existence of both the Cologne and Aachen medals. The July 8, 1854, Algemeene Konst- en Letterbode notes that the Aachen medal was now complete, although its earlier (February 10, 1854) issue only acknowledged St. Paul’s as having been completed. F. C. Eisen ran an advertisement in the December 30, 1855, and September 1, 1856, issues of the Kölner Domblatt offering the Aachen medal (among others) in both silver and bronze at 14 Thalers and 1-⅓ Thalers respectively. Eisen’s Neueste Beschreibung des Domes zu Köln, also published in 1856, offers the Aachen medal for sale in both bronze and silver. A somewhat late announcement is found in the 1861 book Die mediatisirten freien Reichsstädte Teutschlands8 by Georg Victor Schmid which calls Wiener’s Aachen medal, “exceedingly beautiful.” A specimen of this medal appears as lot 5602 in the 1860 de Jonghe catalogue. Lot 4423 of the D’Heisselaer collection contains 12 examples from the Most Remarkable Edifices series, including Aachen Cathedral. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) which includes an example of the Aachen medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. This specimen is variety M190. A specimen of this medal appears as lot 470 in the March 27, 1867, Goetghebuer sale. Interestingly, the specimen is listed as being made of tin—presumably meaning white metal. This is the only reference the author has seen regarding this medal in “tin.” This medal is one of the few for which Bouhy provides commentary in his seminal work. He refers to it as a “Very beautiful medal; it is after the medal of the Jubilee Feast of the Blessed Sacrament in Liège (church of Saint Martin), the most remarkable production by J. Wiener.”

Source Images Wiener notes that the medal was based on drawings by Theodor Stein—and thus drawings presumably qualify as the source images for the medal. However,

6. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 3 (Köln: Dumont-Schauberg, January 15, 1853), 16, https://books.google.com/books?id=kw1BAAAAcAAJ. 7. Société royale de numismatique de Belgique, Revue de la numismatique belge Vol. IX (Brussels: Librairie polytechnique d’Aug. Decq., 1853), 156, https://books.google.com/books?id=YTcFAAAAQAAJ.

8. Georg Victor Schmid, Die mediatisirten freien Reichsstädte Teutschlands (Frankfurt am Main: Sauerländer, 1861), 18, https:// books.google.com/books?id=MpMAAAAAcAAJ.

88

the author has not located images of these drawings to confirm. Nicholas Chapuy's 1844 work titled Allemagne monumentale et pittoresque contains a plate titled "Aix-la-Chapelle Interieur de la Cathedrale" which is from the same eyepoint as the image used

by Wiener and of a similar field of view. The medal and the lithograph differ in the depiction of certain details however. Chapuy's image may have had common ancestry with the image used by Wiener.

89

Figure 5.1. Late nineteenth-century exterior view of the western façade of the Monastery of Batalha. The Founder’s Chapel is seen just to the right of the façade. (Collection of the Author).

90

5. Monastery of Batalha (1853) The Edifice Portugal’s hard-fought independence, established in 1128, was tested by a succession crisis in 1383. King Ferdinand I lay dying in 1383 and faced the decision on who was to marry his only surviving child, his 10-year-old daughter Beatrice; the choice of marriage partner would have a profound effect on the future of the kingdom. Ferdinand selected King John I of Castille, hoping that the marriage alliance would bring peace. The cost of eliminating future Castilian invasions, however, would be the loss of Portuguese independence as King John I would naturally absorb Portugal into Castille. This choice was not a popular one among Portuguese nobility in particular. Ferdinand died shortly after the 1383 wedding; Queen Leonor served as regent for their daughter and her new sonin-law, ostensibly until a future son of the couple could assume the throne. Opposition to this planned course of events would eventually coalesce about Ferdinand’s illegitimate half-brother known as John of Aviz. The forces of John I and John of Aviz first engaged in April 1384; subsequent invasions, sieges, and the occasional intervening outbreak of plague during the interregnum persisted until John of Aviz’s clear victory over John I at the Battle of Aljubarrota on August 14, 1385. On the day prior to the battle, legend has it that John of Aviz and his general Nuno Álvares Pereira stopped near Fatima and vowed to build a monastery dedicated to the Virgin Mary if they were victorious. In the wake of their victory, construction started on a monastery near the battle site in 1386; it was officially known as the Monastery of Saint Mary of the Victory—and more commonly known as the Monastery (or Convent) of Batalha (literally Monastery of the Battle) (Fig. 5.1). A local estate was acquired from a friend and supporter of the king; due to its remote location, resources had to be brought into the area—water, wood, the oolitic limestone, and tradesmen (whose camp evolved into the town of Batalha—later designated by royal decree in 1500). Roughly in parallel with the start of construction,

in 1388 King John donated the monastery to the Dominican order that would occupy and administer the complex until 1834. It was to be the Portuguese monarchy’s primary building project for much of the next two centuries under a succession of architects, until regal attentions turned and focused on Santa Maria of Belém in Lisbon. The Convent of Batalha incubated a highly original, national Gothic style, influenced by Manueline art, seen most tangibly in the fifteenth-century Royal Cloister. The site ultimately included the church, four cloisters, and two royal pantheons—the Founder’s Chapel and the so-called Unfinished Chapel. The Great Lisbon Quake of 1755 caused some damage, with some destroyed buildings never reconstituted, but the most significant damage was that purposefully inflicted by Napoleonic troops in 1810 and 1811. At this point two of the cloisters were destroyed and royal tombs were ransacked. On the heels of this destruction and in a wave of anti-clericalism, all Portuguese monasteries were dissolved in 1834 and the unattended church and convent were briefly left to fall into ruin. In a quest to raise money, the monastery was even put up for auction though it remained unsold due to the high asking price. The willful and benign neglect also resulted in the disappearance of many of the furnishings, liturgical objects, and decorative elements of the site. King Consort Ferdinand II, having visited the ruin in 1836, started a restoration effort that began in 1840 and would last into the early twentieth century. During its period of neglect, portions of the grounds were appropriated for uses as diverse as a school, prison, fire station, post office, and tax office, thus altering the form and function of the fifteenth- and sixteenth-century site.1 The monastery was declared a national monument in 1907, currently houses the Portuguese Tomb of the Unknown Soldier, and began operating as a museum in 1980. 1. “Visitor’s Guide to the Monastery of Batalha,” Mosteiro da Batalha, accessed July 3, 2018, http://www.mosteirobatalha.gov.pt.

91

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M119

M119 / M119

Undated (1853)

AE

81.4–92.6 g

103

55

R1

Medal Description

Figure 5.2. Monastery of Batalha. (Collection of the author).

Obverse: Three-quarter view of the convent from an eyepoint off the southwest corner of the Founder’s Chapel (Fig. 5.2a). In the exergue: CO N V ENTO D E baTaLh a

M O N a STERy O F baTa Lh a

ED I FI C aD O p O R VOTO D E D O M J OÃO I

bU I LT by Th E VOW O F D O M J O h N I

REI D E p O RTUG aL

KI N G O F p O RTUG a L

N OS FI NS D O X I V SECU LO

aT Th E EN D O F Th E 14Th CENTU Ry

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Reverse: Interior view of the church with a sightline down the center nave aisle towards the apse from an eyepoint left of the centerline (Fig. 5.2b). The interior view largely fills the full diameter of the medal, leaving small and narrow anepigraphic side fields. In the exergue: J. W I EN ER bRUX ELLES

J aCq U ES W I EN ER bRUSSELS

92

Medal Notes

Figure 5.3. The working dies for the Monastery of Batalha, M119, Lippens 1957 and 1958. (Images used with permission of the Royal Library of Belgium, www.kbr.be). is pitted. The terminal state of the reverse die is as described above, with the addition of pitting in the exergue, and carbon spotting throughout the face of the die. Both single piece dies have intact exergue corners (no chipping), suggestive of a lower than average mintage.

Medals are known from a single working obverse die (Lippens 1957) (Fig. 5.3a) and a single working reverse die (Lippens 1958) (Fig. 5.3b). On the obverse, CONVENTO DE BATALHA lettering is in a blocky, sans-serif script that is a bit unusual for this series, but is similar to the obverse lettering used for the later Chartres Cathedral medal. On the obverse, the “V” of VOTO is punched low. The “R” of REI is punched slightly too far left, leaving an awkward gap between it and the “EI”; otherwise there are no lettering issues of note. The obverse working die eventually exhibits a few small areas of failure—vertically in the recess formed between the southern transept and closest pilaster to its left, and the Founder’s Chapel where various buttresses intersect the first, fourth, and fifth pilaster spires. A characteristic horizontal die gouge is seen at the base of the Founder’s Chapel, just left of the high relief central pilasters. On the reverse, the “I” of WIENER is punched low, and the letters of BRUXELLES vary in their vertical placement. One sees an area of die breakage wedged in the deep recess between the leftmost cluster of foreground columns and the capital of the subsequent cluster of columns to the right/rear. This breakage gradually extends downward in later and later strikes. Some late specimens show evidence of light die-rust in the column next to the diminuitive right field, and in the archway just left of this column. The terminal obverse die state exhibits the characteristics noted above and the field above the convent

Contemporary References Wiener’s Batalha medal garners little mention in contemporary documents, and Wiener chose not to exhibit the medal until (seemingly) well after its issue. Both the obverse and reverse of the Batalha medal were exhibited at the 1860 Beaux-Arts in Brussels, the Exposition Nationale held in Antwerp in 1861 and at London’s 1862 International Exhibition, though only the reverse was shown at the 1873 Universal Exposition in Vienna. Wiener also exhibited the medal in the Portuguese section of the Paris Universal Exposition held in 1867; though both sides of the medal are described, the catalogue is silent regarding which sides of the medal were actually exhibited. The January 15, 1856, Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland contains an advertisement that offers the “third Cologne Cathedral medal,” St. Apollinaris, York, Aachen, St. Paul’s (London), Notre Dame (Paris), Westminster Abbey, and finally St. Mark’s. Conspicuous by its absence is the Batalha medal given the traditional dating 93

of the medal and the date of this publication. Nor does the medal make an appearance in F. C. Eisen’s advertisements in the late 1855 and early 1856 Kölner Domblatt issues. The Batalha medal is mentioned in the July 13, 1860, article of The Building News and Engineering Journal that (belatedly) announces the Most Remarkable Edifices series. The lead-in to this relatively late announcement notes that Wiener “has undertaken” the work of this series, and although it cites some specific structures to be commemorated (including Batalha), the article intones a strictly future tense. No insight is given as which of the medals may have already been executed. A specimen of this medal appears as lot 5613 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, contains twelve examples from the Most Remarkable Edifices series collected prior to October 1857, including Batalha. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) includes an example of the Batalha medal. Another specimen is found in the October 6–9, 1874, Catalogue of a Private Collection of

Ancient Coins, and at the Close, a Few Modern Coins, with an Addenda2 as lot number 1261. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. The lack of any corroborating evidence in documentary sources prior to 1857 casts significant doubt on the traditional date of issue of this medal. Lack of evidence is obviously not proof, but merely the genesis of reasonable doubt. However, in the absence of solid evidence to the contrary, the 1853 issue date is somewhat reluctantly retained, noting that the actual issue date is likely later, though no later than 1857.

Source Images Wiener’s interior and exterior source images have yet to be identified. 2. Strobridge, William H., Catalogue of a private collection of ancient coins, and at the Close, a Few Modern Coins, with an Addenda (New York: William H. Strobridge, 1874), 94, https://books.google. com/books?id=PjMLAwAAQBAJ.

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6. St. Apollinaris at Remagen (1853)

Figure 6.1. A photo of St. Apollinariskirche dated 1876. The view of the church is from an eyepoint almost identical to that of Wiener’s medal. Photo by M. Foppen. (Collection of the author).

The Edifice Although its beginnings are hazy, a church dedicated to St. Martin existed on this site by the ninth century. Some two centuries later in 1110 the citizens of Remagen agreed to support the founding of a priory as well. Shortly thereafter, on July 23, 1164, the relics of St. Apollinaris were installed into the then-newly erected church near the town. Legend suggests that the Archbishop of Cologne was sailing on the Rhine

river with the relics of the Magi and St. Apollinaris when his vessel became uncontrollable. Not until St. Apollinaris’ relic was taken up to St. Martin’s did the boat’s rudder begin to cooperate once again. More concretely, church records mention St. Apollinaris for the first time in 1295. By the fifteenth century, the church had established itself as a pilgrimage destination. The so-called “Left Bank of the Rhine,” in95

cluding Remagen, later became a target for French Revolutionary troops who advanced into the area in 1793. The relics were transferred that same year away from the city and the threat of the occupying French troops. The French administration secularized St. Martin’s church, the surrounding buildings and land, and in 1807 sold the entirety of the property to Sulpiz Boisserée1 and his brother. The brothers later auctioned this holding in 1836; Count Franz Egon von Fürstenberg-Stammheim, a member of the Westphalian Fürstenberg family, was the successful buyer of the property. Due to its dilapidated state, Count von Fürstenberg-Stammheim, with a fortune in hand and an interest in both art and architecture, began razing the old church in 1838 and commenced building the current neo-Gothic-style structure (Fig. 6.1) at the same location, laying the foundation stone on July 22, 1839. The Count engaged E. F. Zwirner, the architect of two other prominent mid-nineteenth century projects (Cologne cathedral and Cologne Synagogue, both commemorated by Wiener) with the responsibility of design and construction of the new church, St. Apollinariskirche. This new church was erected with the intent of being a pilgrimage destination. Although construction was completed in 1844, work continued as the interior was subsequently decorated with fresco paintings by a group of German artists known as the “Nazarenes.”2 The fresco work required almost a decade to complete, finishing in 1853. The church was consecrated on Count von Fürstenberg-Stammheim’s 60th birthday, March 24, 1857 (Fig. 6.2). A noble affair, Prince William Frederick was in attendance, though the Bishop of Trier was not—seemingly the result of a frictional history between the count and the bishop. Shortly thereafter, on the saint’s feast day of July 23, 1857, the relic of St. Apollinaris was transferred to the church. Secular and spiritual administration of the church was then given to the Franciscan Order. Count Franz Egon von Fürstenberg-Stammheim died two years later and was afterward interred in a family grave on the grounds in 1884. On March 17, 1945, a German V2 rocket exploded

Figure 6.2. The Consecration of St. Apollinariskirche on March 24, 1857. Count von Fürstenberg-Stammheim and E. F. Zwirner are seen facing one another in the doorway at left. From the May 2, 1857, Illustrirte Zeitung. (Image courtesy of Dr. Erhard Wacker). some 80 m south of the church in a failed attempt to destroy the nearby Ludendorff bridge, then recently captured by Allied forces. The concussion from the blast destroyed some windows and roofing; delayed repairs facilitated rain water entry into the interior and damaged portions of the frescoes which were later restored in the 1950s. In 1972 a new monastery was built for the Franciscan monks. Eventually, the few remaining, elderly monks could no longer manage the facility and its services and had to step away in 2006 after almost 150 years of service to the church and its mission. In 2007 the Bishop of Trier placed the spiritual needs of the church and pilgrimage in the hands of a group of nuns and monks drawn from Germany and the Netherlands by the name of the Community of the Crucified and Resurrected Love. The church is still an annual pilgrimage destination for the faithful every July. The building itself is largely unchanged from its original state—a new organ, more pews, and some other minor alterations have been put into place, but the building still serves the function for which it was designed and the Count would still immediately recognize the edifice that he had faithfully constructed.3

1. The same Sulpiz Boisserée who figured so prominently in establishing enthusiasm and momentum to complete the construction of Cologne Cathedral. 2. The Nazarenes were a group of German religious artists living in Rome, seeking to spurn Neoclassicism and the academy system, and desiring instead a return to medieval era roots. Upon gradually scattering back to Germany, one of these artists, Friedrich von Schadow, became the director of the Düsseldorf Academy and was an acquaintance of Count von Fürstenberg-Stammheim. His students Ernst Deger, brothers Andreas and Carl Müller, and Franz Ittenbach painted the interior of the Apollinariskirche.

3. Wacker, Erhard, Personal correspondence, April 16–25, 2018.

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The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M120

M120 / M120

Undated (1853)

AE, AR, WM

71.5–96.4 g

140

31

R2

Medal Description

Figure 6.3. St. Apollinaris at Remagen. (Collection of the author). Obverse: Exterior view of the church. The Fürstenberg-Stammheim arms are positioned above the roof and between towers (Fig. 6.3a). Around the perimeter: S T ap O LLI N a RISKI RCh E bEI RE M aGEN a M Rh EI N

ST. ap O LLI N aRIS Ch U RCh O F RE M aGEN O N Th E Rh I N E

In the exergue: GRU N DSTEI N LEGU N G a M 22 JU LI 1839

GRO U N D STO N E L aI D O N 22 JU Ly 1839

D U RCh D EN baU h ERRN D ER KI RCh E

by Th E OW N ER O F Th E Ch U RCh

FR a NZ EGO N GR a FEN

FR aNZ EGO N CO U NT

VO N FÜ RSTEN bERG-

O F FÜ RSTEN bERG-

STa M M h EI M

STa M M h EI M

Reverse: Interior view of the church looking toward the apse (Fig. 6.3b).

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In the left field: I N N ERES

I NTERI O R

D ER S T a p O LLI N a RISKI RCh E

O F Th E ST. ap O LLI N aRIS Ch U RCh

EI N GERI ChTET I M J ah RE

FU RN ISh ED I N Th E yE aR

1853

1853

pL aN U N D aUSFÜ h RU N G D U RCh E. F. ZW I RN ER

pL aN aN D E X ECUTI O N by ERNST FRI ED RI Ch ZW I RN ER

baUM EISTER D ES KÖ LN ER D O M ES 1839–1844

aRCh ITECT O F CO LO GN E C aTh ED R aL 1839–1844

aUSSCh MÜCKU N G D U RCh E. D EEGER 4

D ECO R aTI O N by ERNST D EGER

F. IT TEN baCh a. & C. MÜ LLER

FR aNZ IT TEN baCh aN D RE a S & C aRL MÜ LLER

In the right field:

In the exergue: N aCh ZEI Ch N U N GEN VO N E. F. ZW I RN ER

aFTER Th E D R aW I N GS O F ERNST FRI ED RI Ch ZW I RN ER

GESTO Ch EN VO N J. W I EN ER

EN GR aV ED by J aCq U ES W I EN ER

V ERL aG VO N F. C. EISEN

pU bLISh ER F. C. EISEN

I N KÖ LN

I N CO LO GN E

Medal Notes

Figure 6.4. The reverse master die for St. Apollinaris at Remagen, M120, Lippens 2072. (Image used with permission of the Royal Library of Belgium, www.kbr.be). 4. The name is properly spelled as Deger.

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Figure 6.5. The working dies for St. Apollinaris at Remagen, M120, Lippens 2071 and 2073. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Medals are known from a single working obverse die (Lippens 2071) (Fig. 6.5a) and a single working reverse die (Lippens 2073) (Fig. 6.5b). The master reverse die (Lippens 2072) (Fig. 6.4) is still extant as well.

legends being weaker than on pre-lapped specimens. The terminal die state also exhibits a small die chip at the 4:00 rim. In a similar fashion as with the St. Mark’s and Amsterdam State House medals, Wiener portrays the frescos and decorative ceiling work on the medal’s reverse.

On the obverse, there are no issues of note in the peripheral legend. In the exergue, the “3” of 1839 has been re-punched. Likewise, the “HE” of KIRCHE was originally punched very low, then correctly repositioned. The second “2” of 22 is punched slightly low. Evidence of die breakage can be seen at the west tower and pediment of the south transept, and between the east façade pediment peak and the north tower just to its right. The obverse was lapped at a point, considerably weakening the exergue lettering – particularly BAUHERRN, DER, and STAMMHEIM as is evidenced by the terminal die state. On the reverse, the “D” of DER has been repunched. The “R” of MÜLLER has been re-punched, its initial placement being too far right. There are no other lettering issues are of note. A characteristic die gouge can be found between the first “R” of APOLLINARISKIRCHE and the “I” of IM. The tall, thin blade of die that created the sharp recess between the top left field and the adjacent arch quickly crumbled away leaving rough metal flow in its place; this breakage extends as one sees later strikes. The left and right corners of the exergue likewise eventually display a small bit of die breakage. The reverse die was lightly lapped at some point, with the last two lines of the left field

Contemporary References Wiener exhibited the St. Apollinaris medal at least four times during the mid-nineteenth century. The reverse (interior view) was exhibited at the Exposition Générale des Beaux-Arts in Brussels in both 1854 and 1860, and at the Exposition Nationale held in Antwerp in 1861. Both the obverse (exterior) and reverse (interior) were exhibited at the Exposition Universelle in Paris in 1855. Somewhat surprisingly, Wiener did not exhibit this medal at London’s 1862 International Exhibition nor at the 1873 Universal Exposition in Vienna. This medal garnered a significant amount of mention at the time of its release, likely a confluence of the completion of the church, an overall peak in the marketing of Wiener’s medallic series, and its simply extraordinary design. Avenarius & Mendelssohn’s Easter (March 27) 1853 Messkatalog: Verzeichniss der Bücher, Zeitschriften u. Landkarten includes a St. Apollinaris medal in its Wiener medal offerings. The medal is offered for 1 Thaler, 10 Silbergroschen in bronze, and 12 Thalers in silver. 99

The 1854 Revue de la numismatique belge, in addition to announcing the Most Remarkable Edifices series as a whole, also announced this medal thusly: Count Franz Egon Fürstenberg, who had erected at the top of a rock near Remagen on the Rhine a Gothicstyle church under the invocation of St. Apollinaris, instructed Mr. Wiener the elder, in the engraving of a large medal representing the interior view and the exterior view of the monument. It is known that for the reproduction of buildings on medals, Mr. Wiener has a special talent and is unrivaled in any country.4

The May 15, 1854, issue of the Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland includes an article extolling Wiener’s medal celebrating Johann Peter Fuchs (M142). The Fuchs medal is noted as being available from F. C. Eisen; parenthetically St. Apollinaris, Cologne, Aachen, York, and St. Paul’s are mentioned as being available from the same firm as well. The aforementioned June 1854 Numismatische Zeitung likewise announces this medal noting: Among the many masterpieces of the Wiener brothers in Brussels is the recently published monument on the building and decoration of the Church of Saint Apollinaris at Remagen. On the obverse, the southern view of the church is seen in the slightest detail, and with unbelievable certainty in the small proportions executed by the burin.

The brief article goes on to provide a short description of the obverse and reverse, remarking in particular on the perspective rendering of the frescoes. It also mentions that the medal was issued in both bronze and silver, and gives the price of each: “Der Preis ist ausserst billig zu 1 Thlr. 10 Sgr. [1 Thaler, 10 Silbergroschen] das Exemplar in Bronze gestellt, in Silber 14 Thlr [14 Thaler].” The silver specimen is two Thalers more expensive than in the earlier Avenarius & Mendelssohn offering, temporally consistent with the price increase noted for silver Cologne Cathedral specimens. F. C. Eisen first introduced the medal at the top of the list in its December 30, 1855, advertisement in the Kölner Domblatt (Fig. 2.17). A similar advertisement appears later in the 1 September 1856 issue (Fig. 2.18). 4. Société royale de numismatique de Belgique, Revue de la numismatique belge Vol. X (Brussels: Librairie polytechnique d’Aug. Decq., 1854), 469, https://books.google.com/books?id=a59MAAAAcAAJ.

Likewise, in this same year the firm offers the St. Apollinaris medal for sale in both bronze and silver in its Neueste Beschreibung des Domes zu Köln. The last page of the January 15, 1856, edition of the Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the St. Apollinaris medal for sale (in addition to York, Aachen, St. Paul’s (London), Notre Dame (Paris), Westminster Abbey, and St. Mark’s). The March 29, 1857, issue of Berlinische Nachrichten von Staats- und gelehrten Sachen5 includes an article describing the consecration of the church some five days earlier, in the presence of Prince William Frederick, E. F. Zwirner, Count von FürstenbergStammheim, and numerous other guests. Among the interesting details provided is that “A pleasant surprise was given afterward in the distribution among those present of an artistically crafted medal representing on one side the exterior, on the other the interior, of Apollinariskirche.”6 Although Jacques Wiener is never explicitly named as the medal’s originator, the reference is clearly to his medal. A specimen of this medal appears as lot 5601 in the 1860 de Jonghe auction catalogue. Somewhat surprisingly, the D’Heisselaer collection did not include a specimen of this medal. A specimen of this medal appears as lot 469 in the March 27, 1867, Goetghebuer sale. Interestingly, the specimen is listed as being made of tin—presumably white metal. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) which includes an example of the St. Apollinaris medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. It is of note that Bouhy attributed this undated medal to 1856, yet the issuance of the medal was clearly announced earlier, and it was exhibited as early as 1854. The Avenarius & Mendelssohn offering is in a “second section” of their Messkatalog but still with the date “1853” atop the verso pages. Theodore Bom’s Catalogue also assigns an issue date of 1853 to the medal, though we do not know the source of the claim. Given the 5. Berlinische Nachrichten von Staats- und gelehrten Sachen (Berlin: Haude & Spene, March 29, 1857), n. p., https://books.google.com/ books?id=ZlNNAAAAcAAJ. 6. The same quote is also found in the March 28, 1857, issue of the Kölnische Zeitung. Wacker, Erhard, Personal Correspondence, April 17, 2018.

100

published offer of sale in 1853 for the St. Apollinaris medal, one assumes the medal was actually available at that point in time. Therefore, the traditional issue date of 1856 should be revised back to 1853.

Source Images Wiener’s interior and exterior source images have yet to be identified.

101

Figure 7.1. A photo of St. Paul’s Cathedral, London ca. 1880s to 1890s, by James Valentine. (Collection of the author).

102

7. St. Paul’s, London (1853), (1854)

The Edifice A cathedral dedicated to Saint Paul has stood on the current Ludgate Hill site since the seventh century. Saint Mellitus arrived in Britain with Saint Augustine on a mission from Pope Gregory the Great and founded the original St. Paul’s in 604. The early cathedral buildings suffered repeatedly from the vicissitudes of both Viking attacks and fire. A conflagration in 1087 destroyed the church and prompted Bishop Maurice, chaplain to William the Conqueror, to initiate the construction of a stone structure that ultimately would stand almost six centuries—now known as Old St. Paul’s. Construction continued throughout the twelfth century and into the thirteenth; its consecration took place in 1240. This structure was the largest medieval building in England—longer, taller, and wider than the edifice we know today. Three centuries later, the Protestant Reformation in England gradually wrenched the building away from the Catholic Church, fully becoming a house of worship for the Church of England with the installation of its first Bishop of London, Edmund Grindal, in 1559. Shortly thereafter, a 1561 lightning strike caused significant damage that was never fully overcome. Responsibility for the needed restoration work was initially given to famed British architect Inigo Jones, though progress ceased with the advent of the English Civil War in 1642. As is the case with many such structures during wartime, the cathedral suffered indignities and additional neglect during this conflict. With the restoration of Charles II in 1660, attention once again returned to the cathedral with many of Britain’s leading architects wrestling with how to restore the structure. Court architect Christopher Wren devised a plan and had just begun the restoration effort when the Great Fire of London intervened in the early hours of September 2, 1666, transforming the “restoration” project into one of rebuilding instead. Wren then designed the current structure, taking nine years to complete

the plans to an approved design. Financed by a portion of the Coal Tax instituted to pay for the recovery from the Great Fire, construction commenced in 1675. Wren lived to see the work completed; his son and the master mason laid the final stone on October 26, 1708,1 and the cathedral was considered completed in 1710 (though Wren did not receive his final payment until 1711) (Fig. 7.1). Wren left the interior relatively unadorned. Early proposals advocating the addition of paintings and sculptures were resolutely rejected as being too Catholic. This resistance would eventually abate as memorials (and their inevitable statuary) to prominent Englishmen were gradually allowed— Westminster Abbey having set a precedent in that regard. This new St. Paul’s quickly waned in popularity with the House of Hanover—it had the reputation of being dreary, dark, and cold; in fact, no monarch crossed its threshold between 1715 and 1789. Considerable nineteenth-century effort was devoted to addressing such issues as cleaning, lighting and (perhaps most important) heating. Mosaics were added in the eastern vaulted ceiling from 1891 to 1907, directly confronting its dreary and dark atmosphere. The screen across the choir entrance (visible on Wiener’s medal) was removed in 1859, opening up the length of the cathedral interior.2 In the early twentieth century, as the momentum toward a world war seemed inevitable, the cathedral’s vulnerability to nighttime Zeppelin raids was recognized. Nightly watches were kept during the Great War and the cathedral emerged unscathed. It would not be so fortunate during World War II; dozens of bombs fell in, on, and around the cathedral 1. The date is somewhat in dispute; it may have occurred on October 20, Wren’s 76th birthday. It was a very quiet affair, non-ceremonial and not documented as being attended by any “noteworthy” personages. 2. Ann Saunders, St Paul’s Cathedral: 1400 Years at the Heart of London (London: Scala, 2012), 82–109.

103

particularly in the years 1940 and 1941. The cathedral suffered direct hits to the choir and north transept, the latter bomb buckling the walls but leaving the great dome solidly unmoved. The foundational repairs of 15 years prior, perhaps over-engineered, may have saved the cathedral from collapse.3 The tallest building in 3. Questions regarding the building’s structural integrity had emerged even during its original construction, and became the subject of greater focus and scrutiny in the twentieth century. Consequently, the cathedral was closed between 1925 and 1930 while its foundations were strengthened.

London at the time, its defiant survival cemented its modern role as an iconic manifestation of the English psyche and culture. Repairs driven by this war damage continued into the 1970s. Having survived the horrors of the war, the cathedral and its chapter have focused on issues of global peace and the betterment of society.4 4. “Cathedral History Timeline 1905—Present,” St. Paul’s Cathedral, accessed June 11, 2018, https://www.stpauls.co.uk/historycollections/history/cathedral-history-timeline.

The Medal Variety

Die Combination

Date

Metals

Weight Range

Van Hoydonck

Reinecke

Rarity

M135

M135 / M135

Undated (1853)

AE, AR

100.4–100.7 g

49

—

R2

M146

M135 / M146

Undated (1854)

AE

85.4–100.1 g

—

34

R4

M147

M135 / M147

Undated (1854)

AE, AR

86.8–89.7 g

—

—

R1

Medal Description

Figure 7.2. St. Paul’s London—the first variety (M135). (Collection of the author). M135 Obverse: Three-quarter view of the Cathedral exterior from the northwest (Fig. 7.2a). In the exergue: S T paU L’S C aTh ED R aL

ST. paU L’S C aTh ED R aL

LO N D O N

LO N D O N

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

104

M135 Reverse: Interior view with a sightline down the central aisle of the nave, from an eyepoint located to the right of the centerline of the aisle and at the western extreme of the interior (Fig. 7.2b). In the exergue: FO U N D ED V I I CENTU Ry. bU RNT X I CENTU Ry.

FO U N D ED 7Th CENTU Ry. bU RNT 11Th CENTU Ry.

REbU I LT I N STO N E X I I a N D X I I I CENTU Ry.

REbU I LT I N STO N E 12Th a N D 13Th CENTU RI ES.

aG a I N bU RNT 1666.

aG aI N bU RNT 1666.

REbU I LT I N ITS pRESENT STaTE

REbU I LT I N ITS pRESENT STaTE

1675–1710.

1675–1710.

a RCh IT. Ch RIST. W REN.

aRCh ITECT Ch RISTO ph ER W REN.

J. W I EN ER bRUSSELS

J aCq U ES W I EN ER bRUSSELS

The signature J. WIENER BRUSSELS is located at the 6:00 position along the rim below ARCHIT. CHRIST. WREN.

Figure 7.3. St. Paul’s London—the second variety with reverse legends in French (M146). (Collection of the author).

M146 Obverse: Same exterior view and legend as depicted in varieties M135 and M147 (Fig. 7.3a). S T paU L’S C aTh ED R aL

ST. paU L’S C aTh ED R aL

LO N D O N

LO N D O N

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

M146 Reverse: Same interior view of the Cathedral as depicted in varieties M135 and M147 (Fig. 7.3b).

105

In the exergue: FO N D ÉE V I I SI ÈCLE. bRU LÉE X I SI ÈCLE.

FO U N D ED 7Th CENTU Ry. bU RNT 11Th CENTU Ry.

REbaTI E EN pI ERRE X I I ET X I I I SI ECLE.

REbU I LT I N STO N E 12Th aN D 13Th CENTU RI ES.

D ÉTRU ITE paR U N I N CEN D I E 1666.

D ESTROyED by a FI RE 1666.

REbaTI E DaNS SO N ETaT aCTU EL

REbU I LT I N ITS pRESENT STaTE

1675–1710.

1675–1710.

Ch RIST: W REN aRCh IT:

Ch RISTO ph ER W REN aRCh ITECT

J. W I EN ER bRUX ELLES

J aCq U ES W I EN ER bRUSSELS

The signature J. WIENER BRUXELLES is located at the 6:00 position along the rim below CHRIST: WREN ARCHIT:.

Figure 7.4. St. Paul’s London—the third variety, reintroducing reverse legends in English (M147). (Collection of the author). M147 Obverse: Same exterior view and legend as depicted in varieties M135 and M146 (Fig. 7.4a).

In the exergue: S T paU L’S C aTh ED R aL

ST. paU L’S C aTh ED R aL

LO N D O N

LO N D O N

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

M147 Reverse: Same interior view of the Cathedral as depicted in varieties M135 and M146 (Fig. 7.4b). In the exergue: FO U N D ED V I I CENTU Ry. bU RNT X I CENTU Ry.

FO U N D ED 7Th CENTU Ry. bU RNT 11Th CENTU Ry.

REbU I LT I N STO N E X I I aN D X I I I CENT y.

REbU I LT I N STO N E 12Th aN D 13Th CENTURI ES.

aG a I N bU RNT 1666.

aG aI N bU RNT 1666.

106

REbU I LT I N ITS pRESENT STaTE

REbU I LT I N ITS pRESENT STaTE

1675–1710.

1675–1710.

a RCh IT. Ch RIST. W REN.

aRCh ITECT Ch RISTO ph ER W REN.

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

The signature J. WIENER F. is located at the 7:00 position wedged between the rim and the “F” of FOUNDED and the “R” of REBUILT. Medal Notes

Figure 7.5. The working dies for St. Paul's Cathedral London. The obverse die (Lippens 1822) is common to all three varieties—M135, M146, and M147. The reverse die configuration shown (Lippens 1823) is that corresponding to the third variety, M147. (Images used with permission of the Royal Library of Belgium www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 1822) (Fig. 7.5a), and a single twopiece working edifice reverse die (Lippens 1823) (Fig. 7.5b) having been paired with three separate reverse exergue dies. On the obverse, the identical relative alignment of the exergue lettering, and a small characteristic die gouge in the base of the western-facing panel at the base of the northwest tower in all specimens leads to the inescapable conclusion of a single working obverse die. Varieties M135 and M147 are very similar, but most easily distinguished by the position of Wiener’s signature on the reverse. M135 displays the signature at the 6:00 position along the rim. In addition, the second line of the inscription ends with “CENTURY” fully spelled out. The reverse lettering of M135 is not quite as strong as that of M147. The M135 reverse generally exhibits two die-cracks at the lower part of the reverse die—one from the rim through the ”U” of

“REBUILT”, and the other from the rim through the “H” of “CHRIST” and the “5” of “1675.” Later specimens display yet another break from the rim through the “W” of WREN and “0” of 1710, as well as a fourth from the rim into the “T” of CHRIST. There is also evidence of minor die fatigue at the capital and very peak of the second archway on the left side of the nave. The updated exergue of M147 has the signature moved to a new position, wedged inartistically between the rim and the initial letters of the first two lines of the reverse inscription—roughly at the 7:00 position. The last word in the second line of the reverse inscription is abbreviated as “CENTy.” This variety also displays strong reverse lettering and ultimately forms a prominent die-crack from the bottom rim though the “CH” of ”ARCHIT”, the “6” of 1675, and the “T” of “ITS.” Aside from the die-crack, this reverse die is starting to show other signs of fatigue—within the second archway at the left along the nave, both at the foot of the

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pilaster and inside the arch from the capitals to the peak, small pieces of the die have broken off and left small, rough areas of metal flow in their place. Later specimens of M147 show evidence of die lapping as Wiener’s signature is rather weak. Variety M146 is interesting in that the reverse exergue die is rendered with French legends—counter to the general practice of incorporating legends in the language local to the monument (see also York Cathedral for a similar anachronistic variety). The Reinecke specimen is—perhaps unintentionally—this rarer French legends variety. Although variety M146 does not exhibit the exergue die-cracks similar to those of M135 and M147, it does naturally exhibit the same die fatigue characteristics within the left side second archway of the cathedral interior as M135 and M147—given that the edifice portion of the die is common to all three varieties. However, the die fatigue at the top of the arch is not as extensive as that of M147, being limited to the upper half of the arch, unlike later specimens of M147 in which the die has failed continuously from the capitals to the peak. The conclusion can then be drawn that the sequence of issues was M135, then M146, and then finally M147 based on the progressive state of the common reverse edifice die failure. One theory would be that cracks in the M135 working die became too extensive for continued use; a new exergue die for M146 was then created, but erroneously with French lettering. If this was considered a mistake at the time, that may have driven the action to quickly produce the third exergue die with the more correct and consistent English legends (M147). This scenario would be consistent with the relatively few specimens of M146 found—and the lack of die-cracks in the exergue of M146 specimens. The existence of two different English-legend die varieties appears to be largely ignored in the reference works. The existence of the pervasive die-cracks is somewhat unusual among Wiener Cathedral medals, though not unknown by any means. However, they are ubiquitous to the English legend varieties of this medal. It is apparent in examining the dies that the likely culprit was the exergue die insert being too thin to withstand the quantity of strikes applied. The Amsterdam State House, St. Mark’s, and St. Isaac’s obverse dies employed a similar two-part die; but given the likelihood that the obverse dies were placed in the anvil position (in contrast to the St. Paul’s reverse die being in the

“hammer” position) the mechanical stresses on these obverse dies would have been less than that experienced by the reverse die dynamically impacting the blank with each strike. However, it should be noted that the St. Isaac’s obverse exergue die did in fact crack as well, necessitating a replacement. M135: The obverse die state exhibits nothing of note beyond the characteristics mentioned above. On the reverse, the “U” of FOUNDED is punched high. The “R” of the second CENTURY is punched low and rotated clockwise slightly. The “S” of ITS has been repunched, possibly over a previous “T.” The vertical placement of the letters in WREN varies. Wiener’s reverse signature is poorly executed with letter spacing problems and rotations evident throughout. This exergue die was lapped at some point during its relatively brief working life, likely in a failed attempt to address the significant cracks forming in the exergue. M146: The obverse of this variety is identical to the other two varieties—perfect lettering, and no diecracks or other die damage evident. The reverse working die uses the common edifice portion of the working die based on consistent die markers (e.g., two vertical lines in the top left pendentive roundel, a stray horizontal line just left of where the third pilaster meets the cornice, etc.). The “E” of REBATIE is punched low, and the “A” of this word is punched high. The second “R” of PIERRE has been re-punched. The light remnant of a letter “S” can be seen in the space between REBATIE and EN. Faint remnants of an “N” can be seen between UN and INCENDIE. The final “E” of PIERRE has been punched over an initial letter “S” which can be seen to the right of the “E.” The lettering of CHRIST: WREN ARCHIT: is poorly placed, arcing across the span of letters rather than being placed in a straight line. The letters “E” of WIENER are likewise poorly placed, each being rotated significantly counter-clockwise. Lastly, a small die chip eventually forms at the 12:30 rim position. M147: In addition to the characteristics noted above, the obverse die has been lapped since its usage in M146; this is most apparent in Wiener’s weaker signature, and slightly lower relief in the main exergue legend. On the reverse, the “X” of XI is punched low. The “R” of CENTRY is punched high. The “EN” of WREN is punched rather low. The “N” of WIENER is punched high.

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The terminal die-state is of course the M147 variety. The obverse die is a single piece die that does not show any signs of fatigue despite its continued use across the three varieties struck. The terminal reverse die state exhibits five die-cracks within the exergue—likely only being held together by the collar or retaining ring. Besides the crack noted above, another runs from the rim through the first “T” in STATE, the last “6” in 1666 and each “X” of both XI and XII. The crack through ITS chipped in the word, removing much of the “TS.” A third crack starts at the rim through the “R” of REBUILT all the way to the “N” of FOUNDED, breaking off a chip at the top edge of the exergue die. A fourth crack emanates from the third, running through the “T” of REBUILT to the “C” of CENTURY and to the edge of the exergue die. The last hairline crack emanates from the “J” in Wiener’s signature.

the aforementioned Antoine Schayes;5 Wiener recommended to Elkington & Co. that they forward the letter to Mogford for review as well. As such, this summary survives and (translated from the French) reads as follows: The cathedral of St. Paul in London Built by Christopher Wren , 1676 to 1711 No monument has suffered more vicissitudes than this church, six times destroyed and six times rebuilt thanks to the persevering soul of the faithful. It was only a small oratory dedicated to the apostle St. Paul that came to England preaching and spreading the new doctrine. This oratory that reversed the era of persecutions of Diocletian was raised by Constantine and destroyed sometime afterward by the not yet converted Saxons. A new church, in wood, was constructed by Melitus Bishop of London under Aethelbert I Saxon Christian king. A fire consumed it in 961; rebuilt immediately with the materials escaping the fire, it lasted until 1086 when its walls crumbled again under a new conflagration that ravaged part of the city. It was rebuilt in 1088 in a very splendid manner by Maurice, bishop of London, who obtained for this purpose materials from the nearby castle called “Palatine Tower.” Its style was the one called Romanesque, or Primordial. After various works that lasted more than a century it was consecrated in 1240, further enlargements were begun in 1276 and completed in 1312. This basilica, whose construction lasted almost 234 years, formed a structure half-Romanesque, half-Ogival, fully beautiful, whose length was 690 feet, the height of the vaults 150 feet, and the crossing tower 534 feet. In 1544, a fire caused considerable damage to it, the repairs to which were not fully complete when on 2 June 1561 the church succumbed almost entirely under a similar event. The last years of Elizabeth were devoted to collecting the subscriptions and drawing up plans in which the new classical style, then the mode, replaced the ogival style. In 1631 the king Charles I placed the first stone of the new church. The works, suspended during the period of the protectorate of Cromwell, were reprised under king Charles II and destroyed again by the Great Fire of 1666.

Contemporary References The St. Paul medal is the most extensively documented variety in the surviving series of letters written by Wiener to Henry Mogford. Wiener acknowledges in his October 21, 1853, letter having “started St. Paul in London, I hope I have completed it by the end of the year…”. In this same letter he requests from Mogford, in abridged form, relevant data ultimately to be used for the inscriptions—not only for the St. Paul’s medal, but for the remaining four English cathedral medals as well. His next letter of November 21 states that he expects to be done with the medal by “the end of the month.” Wiener then requests that Mogford review and approve the following reverse inscription: Cathedrale St. Paul à Londres La Construction Commencée 1676 Sous le Règne de Charles II Terminée 1711 Christophe Wrenn Architecte

Mogford is then requested to have the inscription approved and verified by the Royal Society of Architects, converted to English, and forwarded with any needed revisions. In parallel, Wiener forwarded to Elkington & Co. on November 22 an historical summary which was to be printed and included with the purchased medals. This summary was requested of, and generated by,

5. Jacques Wiener to Henry Mogford, 8 December 1853, Royal Library of Belgium.

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A new and final church (the current monument) was built by Christopher Wren, the work commenced in 1668 and completed in 1711. Except the interior decoration which was only completed in 1723 by the son of Christopher Wren during the reign of George I. This church of classical style is crowned by a magnificent dome, advantageously competing with the basilica of St. Peter in Rome, and we can say without fear that it is a veritable masterwork of skill and taste.6

The proposed reverse legend clearly correlates with the information provided by Schayes. A short note was written to Mogford nine days later noting that, “by the intervention of Mr. Elkington, my medal of St. Paul is now completed,”7 but that the inscriptions were needed in order to proceed to the hardening of the dies. Recall that the reverse inscriptions in question were to be engraved into the exergue die; thus this was the only element of the die pair remaining to be completed at this point in time. Wiener grew increasingly impatient, perhaps even a bit frantic; he confesses in his December 8 missive that, “I have much fear of committing errors in my inscription for the medal of St. Paul’s in London that I dare not finish it until I receive your response. The medal is finished, only the inscription is missing.” The source of Wiener’s apprehension appears to be discrepancies between Schayes’ historical summary and legends submitted to Mogford for approval.8 Wiener indicates that he sent updated inscriptions for Mogford to consider, but this specific communication appears not to have survived. Mogford then replied to Wiener’s satisfaction in relatively short order. On January 3, Wiener thanked Mogford for the updated inscription which he says was incorporated exactly as received.9 Wiener goes on to say that he, “shipped today the medals to Messrs Mason, Elkington & Co., Regent Street”—thus addressing the lingering question of whether Elkington or Wiener (i.e., Geerts) struck the medals. The January 1, 1854, issue of The Art Journal10 proclaims that, “Mr. J. Wiener, 6. Antoine Schayes to Jacques Wiener, November 22, 1853, Royal Library of Belgium. 7. Jacques Wiener to Henry Mogford, November 30, 1853, Royal Library of Belgium. 8. This is somewhat curious as the November 21 letter’s legends correlate with the letter from Schayes postmarked on November 22. The implication is that a subsequent set of legends was transmitted to Mogford after November 21. 9. Jacques Wiener to Henry Mogford, January 3, 1854, Royal Library of Belgium. 10. “Art in Continental States,” The Art Journal (London: Virtue and Company, January 1, 1854), 29, https://books.google.com/ books?id=TuW6CMbcYAIC.

the eminent medallist, has just completed one of the new architectural series of European ecclesiastical edifices. It represents St. Paul’s Cathedral on the obverse, and on the reverse the interior of the building.” The February 1, 1854, Organ für christliche Kunst,11 in a brief and general article on Belgian medallic issues, refers to Wiener’s Most Remarkable Edifices series and notes, “we are looking forward to the issue of St. Paul’s Church in London.” Four months later, the journal’s June 1, 1854, issue12 lauds the release of both the York and St. Paul’s London medals. The St. Paul’s medal is called out “as a masterpiece of the engraving technique with regard to the sharpness and accuracy of the execution.” The February 10, 1854, Algemeene Konst- en Letterbode13 announced this medal thusly: The talented engraver J Wiener of Brussels once again has completed one of the medals belonging to the series in which he intends to show the most remarkable churches of Europe. This has on one side the St Paul’s Church in London from the outside, the same building on the reverse from the inside.

Wiener’s next letter to Mogford, dated February 1, 1854, is much more relaxed in tone: “I hope you will now be in possession of the St. Paul medal for your friend and for you.”14 Apparently, Elkington & Co. did not request Mr. Mogford’s validation of the content in Schayes’ letter; Wiener requests that Mogford forward the validation or any modifications to him for disposition, “because we will print notices with the medals that are sold by the German publisher.”15 This task was still incomplete as of his next letters of both February 1016 and March 7.17 In fact, the letter of February 1 contains Wiener’s last substantive reference to the medal of St. Paul’s in London to Henry Mogford. We are thus given a glimpse of the group effort (if you will) utilized to select the monument, identify 11. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 4 (Köln: Dumont-Schauberg, February 1, 1854), 23, https://books.google.com/books?id=mQ1BAAAAcAAJ. 12. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 4 (Köln: Dumont-Schauberg, June 1, 1854), 87–88, https://books.google.com/books?id=mQ1BAAAAcAAJ. 13. Algemeene Konst- en Letterbode. (‘sGravenhage: Martinus Nijhoff, Haarlem: Loosjes, February 10, 1854), 46, https://books.google.com/ books?id=ug8VAAAAQAAJ. 14. Jacques Wiener to Henry Mogford, February 1, 1854, Royal Library of Belgium. Note that the “friend” is identified in the subsequent letter of February 10 as a “Mr. Grey.” 15. A clear reference to F. C. Eisen. 16. Jacques Wiener to Henry Mogford, February 10, 1854, Royal Library of Belgium. 17. Jacques Wiener to Henry Mogford, March 7, 1854, Royal Library of Belgium.

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relevant inscriptions, and produce this medal, and carefully consider its applicability to at least the majority of the remaining medals of the series. The timeline from die engraving to production of medals appears to be on the order of 8–10 weeks, not inconsistent with the average production rate surmised earlier in this book. Regrettably, we are not given insight to the design process and the selection and use of source images for the medal design. Subsequent to the burst of literary communication between Wiener and Mogford, a number of other references to this medal are noted. The May 11, 1854, Beiblatt zum Deutschen Kunstblatt supplement to the Deutsches Kunstblatt Stuttgart: Zeitschrift für bildende Kunst, Baukunst und Kunsthandwerk: Organ der deutschen Kunstvereine18 lists the St. Paul’s and York medals as being available from F. C. Eisen; the medal is only listed in bronze. F. C. Eisen also advertises the St. Paul’s medal for sale (both in bronze and silver) in the December 30, 1855, and September 1, 1856, issues of the Kölner Domblatt. The same firm’s Neueste Beschreibung des Domes zu Köln, published in 1856, offers the St. Paul’s medal for sale again in both bronze and silver. The last page of the January 15, 1856 edition of Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland 19 ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the St. Paul’s medal for sale (in addition to St. Apollinaris, York, Aachen, Notre Dame (Paris), Westminster Abbey, and St. Mark’s (Venice). The July 1, 1861, issue of The Art Journal contains a brief article on the production of Wiener’s English cathedral medals, mentioning St. Paul’s by name. The article initially focuses on their production from Elkington; the journal’s article of seven years prior (January 1, 1854) was curiously silent on any role being played by Elkington, though this may have been due to the business arrangement between Elkington and Wiener being established relatively late in 1853. See the chapter on The Series and its Buildings for the full text. The St. Paul medal was extensively exhibited during the mid-nineteenth century. Wiener exhibited both the obverse and reverse of the medal at the Exposition Générale des Beaux—Arts in Brussels in 1854, and 18. Friedrich Eggers, Deutsches Kunstblatt Stuttgart: Zeitschrift für bildende Kunst, Baukunst und Kunsthandwerk: Organ der deutschen Kunstvereine&.&. Beiblatt zu dem Deutschen Kunstblatt Vol. 5 (Berlin: Schindler, 1854), 171, https://books.google.com/ books?id=nfNAAAAAcAAJ. 19. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 6 (Köln: Dumont-Schauberg, January 15, 1856), 24, https://books.google.com/books?id=sA1BAAAAcAAJ.

the Exposition Universelle in Paris in 1855. However, neither catalogue provides sufficient detail to determine if the exhibited medals were variety M135, M146, or M147. The reverse of the medal was shown at the 1860 Brussels Beaux-Arts and the Exposition Nationale held in Antwerp in 1861—again of indeterminate variety in both cases. Both the obverse and reverse of the St. Paul’s medal were exhibited as part of Wiener’s extensive showing at the 1862 International Exhibition in London. At the 1873 Universal Exposition in Vienna, Wiener exhibited the interior (reverse) of the medal. Given the late date of these last three expositions and the evidence for the sequence of dies, the exhibited medal was very likely variety M147. A specimen of this medal appears as lot 5595 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, contains 12 examples from the Most Remarkable Edifices series collected prior to October 1857, including St. Paul’s Cathedral. A specimen of this medal appears as lot 466 in the March 27, 1867, Goetghebuer sale. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener in 1862. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. This specimen is somewhat surprisingly variety M146. Traditionally assigned an issue date of 1849 since the days of Bouhy’s publication, the correspondence between Wiener and Mogford clearly refutes such a date. Although there is a bit of a gap in this correspondence between early December 1853 and very early January 1854, Wiener’s claim of being imminently complete with the medal, having multiple specimens shipped to Elkington on January 3, and the appearance of the January 1, 1854, Art Journal article strongly suggests a revised date of issue for variety M135 of midlate December 1853. Given the relative scarcity of M135 specimens, an issue date of 1854 is plausible for M146 issues. The exceeding scarcity of M146 issues likewise suggests that an initial issue date of 1854 for variety M147 is appropriate.

Source Images The ultimate source image of Wiener’s obverse is somewhat unclear in that there are a number of engravings and lithographs from an appropriate date and the correct (and popular) eyepoint northwest of the

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structure. Figure 7.6 depicts T. M. Müller’s engraving first dating from 1753.20 Note the horizontal alignment of tower and dome details is the same, and the vertical alignment of the outside edges of the dome base with details below which define the exact same azimuthal eyepoint in the image as on the medal. The same elevation eyepoint is visually evident as well. The level of detail in the image is consistent with that of the obverse of Wiener’s medal—down to the time on the clock in the south tower. The source image for the reverse of Wiener’s medal appears to be Jules Louis Arnout’s Nave of St. Paul’s cathedral (Fig. 7.7). The horizontal field of view is identical to that of the medal, the vertical field of view is almost identical, and the eyepoint location is correctly placed both horizontally and vertically. More convincingly, the far-field details present in the side aisles and altar are identical in the image and medal. Arnout’s work dates to 1850; Wiener’s use of Arnout’s image is entirely consistent with the revised dating of the medal.

Figure 7.6. T. M. Müller’s A Northwest View of St. Paul’s Cathedral London. Late nineteenth- or early twentiethcentury reprint of the 1823 publication by R. H. Laurie. (Collection of the author).

20. John Bowles, Perspective Views in and about London (London: Henry Overton and Robert Sayer, 1753). Also republished in 1794 by Henry Carington Bowles II and Samuel Carver. Engraving reproduced by Richard Holmes Laurie in 1823. Richard’s father Robert, along with James Whittle, had acquired Robert Sayer’s publishing business in 1794.

Figure 7.7. Artist Jules Louis Arnout—1850. Nave of St. Paul’s Cathedral facing east toward the choir. Clearly the interior source image used by Wiener; the image date dovetails nicely with the suggested revision of the medal issue date.

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8. York Cathedral (1854), (1856)

Figure 8.1. Photograph of York Cathedral from the southwest, ca. 1890. (Collection of the author).

The Edifice Originally occupied by a Roman encampment, the earliest known church building at this site was a small wood structure put in place in 627 to facilitate the baptism of Edwin, King of Northumbria. By the time of Edwin’s death in 633, a new edifice was under construction and would have been completed no later than 642 at the time of successor King Oswald’s death. This structure burned in 741 and was rebuilt anew. An attack by invading Danes in the mid-ninth century subjected the York Minster to fire and destruction, with the rebuilt structure again heavily damaged

by fire as the Normans finally took control of York in 1069. The first Norman Bishop, Thomas of Bayeux, initiated repairs in 1070: enlarging the previous cathedral and making it more “elegant” according to Britton. The degree to which elements of previous structures were maintained and incorporated into newer ones is still not fully understood. Fire is claimed to have damaged the evolving cathedral in 1137, though the written record is not entirely clear with respect to this event. Archbishop Roger began rebuilding the choir in 1171. At this point, the new Gothic style began to be adopted at the expense of the existing Norman structure. The south transept followed in 1227, the north transept in 1260, and the nave foundation stone was laid in 1291. The Chapter-House was added ca. 1320. The choir was rebuilt starting in 1361.1 Construction, except for the western towers, was completed by 1426. As of 1472, the building was considered complete in its entirety (Fig. 8.1). The somewhat relaxed pace of construction left the (current) cathedral with three distinct architectural styles: Gothic (nave), Perpendicular Gothic (east end and central tower), and Early English Gothic (transepts). The cathedral suffered damage during the English Reformation but was largely spared during the English Civil War and the siege of York. Fires, both intentional and unintentional, have plagued the building over the centuries. A 1753 fire in the south transept was unfortunately a harbinger of events to come. Jonathan Martin, usually referred-to in contemporary sources as a “religious fanatic,” hid in the cathedral during the night of February 2, 1829, and intentionally set fire to the choir before escaping. The choir stalls, vaulting, and organ were destroyed and the Great East Window 1. Benjamin Winkles, “York Cathedral,” Architectural and Picturesque Illustrations of the Cathedral Churches of England and Wales, Vol. 1 (London: Tilt and Bogue, 1838), 42–43, https://books.google. com/books?id=CX0_AAAAcAAJ.

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was just saved; the substantial restoration work lasted until 1832. A later accidental fire in 1840 inflicted severe damage from which the cathedral almost did not recover.2 In its aftermath, York Minster fell deeply into debt and services ceased for a period in the 1850s. The Dean became embroiled in a scandal, was replaced, finances recovered and restoration then continued. The South Transept was discovered in 1871 to exhibit severe structural issues, requiring repairs be made to the clerestory walls and flying buttresses. Zeppelin raids in World War I necessitated the removal of the minster’s stained glass for safety, an activity repeated during World War II. In 1967, an engineering survey found significant structural issues requiring immedi-

ate repairs to stabilize the central tower. A lightning strike and subsequent fire during the night of July 9, 1984, destroyed the south transept roof; water had to be pumped from the nearby Ouse River to fight the fire. The transept roof timbers were intentionally felled into the cathedral in order to save the rose window; nonetheless, the window glass suffered some 40,000 heat-induced cracks.3 Repairs were completed 4 years and £2.5 million later. York Cathedral’s Great East Window is the largest expanse of medieval stained glass in Britain, and recently completed an extensive restoration. Though often restored, the cathedral complex as completed in the fifteenth century is essentially that which is seen today.

2. Arthur Clutton-Brock, The cathedral church of York: a description of its fabric and a brief history of the archi-episcopal see (London: G. Bell, 1902), 30–46, https://books.google.com/ books?id=inVTAAAAMAAJ.

3. “Fire’s damage erased at York Minster.” UPI, July 9, 1988, https:// www.upi.com/Archives/1988/07/09/Fires-damage-erased-at-YorkMinster/9108584424000/.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M136

M136 / M136

Undated (1854)

AE, AR

87.0–93.6 g

112

37

R1

M191

M191 / M136

Undated (1856)

AE

87.5–98.0 g

--

--

R3

Medal Description

Figure 8.2. York Cathedral—the variety with English legends on the obverse (M136). (Collection of the author).

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M136 Obverse: Three-quarter view of the cathedral exterior from a southwestern eyepoint (Figs. 8.2a, 8.5 left). At the left perimeter just above the base: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

yO RK C aTh ED R a L

yO RK C aTh ED R a L

bU I LT 630–642. bU RNT 1069.

bU I LT 630–642. bU RNT 1069.

REbU I LT 1070. aG a I N bU RNT 1137.

REbU I LT 1070. aG aI N bU RNT 1137.

RECO NSTRUCTED 1171–1361.

RECO NSTRUCTED 1171–1361.

RESTO R aTI O N FI N ISh ED

RESTO R aTI O N FI N ISh ED

1832.

1832.

In the exergue:

ELKI N GTO N & C LO N D O N

ELKI N GTO N & CO M pa Ny LO N D O N

O

M136 Reverse: Interior view down the nave toward the apse from a viewpoint left of the center aisle centerline (Fig. 8.2b). Two small anepigraphic fields are seen to the left and right. In the exergue: J. W I EN ER bRUX ELLES

J aCq U ES W I EN ER bRUSSELS

Figure 8.3. York Cathedral—the variety with French legends on the obverse (M191). (Collection of the author). M191 Obverse: Three-quarter view of the cathedral exterior from a southwestern eyepoint (Figs. 8.3a, 8.4, 8.5 right). At the left perimeter just above the base: J. W[I EN ER F.]

M aD E by J aCq U ES W I EN ER

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In the exergue: C ATH ED R ALE D E YO RK

YO RK C ATH ED R AL

BATI E 630 À 642. BRU LÉE 1069. REBATI E 1070

BU I LT 630 TO 642. BU RN ED 1069. REBU I LT 1070

BRU LÉE U N E 2 E FO IS 1137.

BU RN ED A SECO N D TI M E 1137.

RECO NSTRU ITE 1171–1361.

RECO NSTRUCTED 1171–1361.

L A RESTAU R ATI O N TER M I N ÉE

TH E RESTO R ATI O N FI N ISH ED

1832.

1832.

M191 Reverse: Interior view down the nave toward the apse from a viewpoint left of the center aisle centerline (Fig. 8.3b). Two small anepigraphic fields are seen to the left and right. In the exergue: J. W I EN ER BRUX ELLES

J ACQ U ES W I EN ER BRUSSELS

Figure 8.4. The careless lettering of variety M191 clearly shows the first attempt at engraving “CATHE” under the final French legend. (Collection of the author).

Figure 8.5. The image at left shows Wiener’s signature on the original English legend variety (M136); the image at right is that same signature on the French legend variety, such that only the first characters are remotely discernible (M191). The lettering after “W” is essentially missing. (Collection of the author). Medal Notes It is of note that Wiener’s legends only mention the restoration after the 1829 fire and are silent on the much more devastating 1840 fire and aftermath. This suggests that the source of information used to populate this medal pre-dates the year 1840. Both Bouhy and Forrer agree on the dating of this medal despite the lack of a date engraved on the

medal itself. Interestingly, Bouhy acknowledges only the scarcer French legend variety, whereas the later Van Hoydonck and Reinecke only acknowledge the English legend variety. The York medals (both varieties) were struck from a two-piece obverse working die (Lippens 1995) and a common single-piece reverse working die (Lippens 1996). Two separate exergue dies account for the two die varieties; the remainder of the die pair is common to both varieties. As with

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Figure 8.6. The working dies for York Cathedral. The configuration of the obverse working die (Lippens 1995) corresponds to variety M191. The reverse working die (Lippens 1996) is common to both varieties M136 and M191. (Images used with permission of the Royal Library of Belgium, www. kbr.be). the majority of the other two-piece dies noted, the exergue piece was held in place relative to the primary die body by means of a retaining ring. The working obverse die of variety M136 was lapped at some point during its working life as later specimens exhibit crisp but very low relief lettering to the point that some letters are missing detail. On variety M191 (Fig. 8.6a), Wiener’s signature is incredibly weak with only the “J” and bottom part of the “W” visible—none of the other letters are visible at all. The French legends of the replacement exergue however are very strong. The lettering of M136 is well placed with no evidence of re-punching. The lettering of M191, though strong, is rife with re-punched lettering. “ATHED” has been engraved atop “CATHE”; it would appear that the full word was engraved, only to discover the “typo” of a missing “D.” The final “E” of CATHEDRALE has been re-punched, as has the “E” of DE. The “B” of the first BRULÉE has been repunched, as has the final “E” of the second instance of BRULÉE. Lastly, the final “1” of 1361 has been re-engraved. The terminal die state (variety M191) exhibits neither die-cracks, nor any die-chipping—just some surface pitting or rust that may have been acquired well past the die’s active usage. The obverse inscription of variety M136 indicates publishing by Elkington & Co. Interestingly, M191

does not have the same acknowledgment. The open question is whether the lack of the publisher inscription should be interpreted as a purposeful reflection of the cessation of a working relationship as has been done with similar Aachen and Cologne medals. If it does reflect the ending of the business relationship, the next logical question is whether this relationship likewise ended in 1856. It seems somewhat unlikely given that the Lincoln medal was issued in 1856 and has the associated inscription— but not impossible as the Lincoln medal was likely issued in very early 1856. In addition, note that the July 1, 1861, issue of The Art Journal references Elkington’s role with all five English Cathedral medals; though as noted earlier the language used with this announcement is somewhat anachronistic given its relatively late publication date. Specimens of variety M136 are not seen with exergue die-cracks (in contrast, say, to the St. Paul’s London medals) which would otherwise account for the need to replace the exergue die—and therefore the driving reason for the variety’s existence could be interpreted as a desire or need to remove the Elkington inscription. Independent of the reason for the variety’s existence, the rationale for its use of French legends is still an unknown one, and the true issue date of this variety remains obscure. 117

Contemporary References In the latter stages of the production of the St. Paul (London) medal, Wiener’s correspondence with Henry Mogford gives some limited mention to the York medal. The intent to create this medal is documented in his October 21, 1853, letter (as noted earlier). The first inprocess acknowledgment of the medal to Mogford arrives the following January 3, with Wiener noting that the “medal of York Cathedral is already very advanced, I will submit to you soon the inscription.” The inscription appears to have accompanied Wiener’s February 1, 1854, letter (though not incorporated as part of the letter text and subsequently not surviving), where Mogford was asked to “verify this inscription for the medal of York Cathedral. This medal will be completed in approximately eight days. This inscription seems to me to be a little long for the medal… see if we can render it shorter.” A mere nine days later, an impatient Wiener implores Mogford “to please send me the inscription for the medal of the Cathedral of York because the dies are ready to be tempered.” Coupled with this plea is one to verify the separate historical summary submitted to Mogford for the cathedral. On March 4, 1854, Wiener acknowledges “sending today to Messrs. Elkington & Co. two medals of the Cathedral of York” for Mogford, and again requests Mogford’s assistance with “the two historical summaries of St. Paul and York Cathedral when you have a moment of leisure.” Later on June 214 Wiener apprises Mogford that he has sent three York medals to Elkington: one for Mogford, and two for Mogford to distribute to Mr. Godwin and Mr. Ackerman.5 No additional mention of the York medal is made in the extant letters. Like the St. Paul (London) and Aachen medals, Wiener’s York medal was extensively exhibited during the mid-nineteenth century. Wiener exhibited both the obverse and reverse of the York medal at the Exposition Générale des Beaux-Arts in Brussels in 1854 and the 1873 Universal Exposition in Vienna. The medal was also exhibited at the Exposition Universelle in Paris in 1855 though the catalogue is vague regarding which side(s) of the medal were displayed. The obverse (exterior view) of the medal was exhibited at the 1860 Brussels Beaux-Arts and the Antwerp Exposition 4. Jacques Wiener to Henry Mogford, June 21, 1854, Royal Library of Belgium. 5. Likely references to George Godwin (architect and a founding member of the Art Union of London) and John Yonge Akerman, both Fellows of the Society of Antiquaries as was Mogford. George Godwin is named specifically in a letter dated June 26, 1860.

Nationale in 1861, and both obverse and reverse were exhibited at London’s 1862 International Exhibition. However, none of the catalogues provides sufficient detail to determine if the exhibited medals were M136 or M191, though it is highly likely that M136 was the exhibited variety. The July 8, 1854, Algemeene Konst- en Letterbode notes that the York medal was now complete; its earlier (February 10, 1854) issue acknowledged only St. Paul’s as having been completed at that date. The June 1, 1854, Organ für christliche Kunst lauds the release of both the York and St. Paul’s London medals (consistent with the wording of the July 8, 1854, Algemeene Konst- en Letterbode); thus, these two periodicals are consistent with Wiener’s implied issue timeframe of February/March 1854. The last page of the January 15, 1856, Organ für christliche Kunst edition ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the York medal for sale (in addition to St. Apollinaris, Aachen, St. Paul’s (London), Notre Dame (Paris), Westminster Abbey, and St. Mark’s). The May 11, 1854, Beiblatt zum Deutschen Kunstblatt supplement to the Deutsches Kunstblatt Stuttgart:  Zeitschrift für bildende Kunst, Baukunst und Kunsthandwerk: Organ der deutschen Kunstvereine lists the York medal (along with St. Paul’s) as being available from F. C. Eisen. The medal is only listed in bronze. F. C. Eisen ran an advertisement at the back of the December 30, 1855, and September 1, 1856, issues of the Kölner Domblatt, offering the York medal (among others) in both silver and bronze at 14 Thalers and 1-⅓ Thalers respectively. The same firm’s Neueste Beschreibung des Domes zu Köln, published in 1856, offers the York medal for sale in both bronze and silver. The 1857 L’Artiste: journal de la littérature et des beauxarts6 notes that Wiener had produced a number of medals and includes York within its abbreviated list. The medal is likewise listed with the other four English cathedral medals in a brief entry of the July 1, 1861, issue of The Art Journal announcing Elkington’s publication of these medals. A specimen of this medal appears as lot 5598 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, includes a specimen of the York Cathedral medal, and Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse 6. Bureaux de L’Artiste, L’Artiste: journal de la littérature et des beaux-arts (Paris: Bureaux de L’Artiste, 1857), 119, https://books. google.com/books?id=Dquhv1w68qAC.

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Figure 8.7. Plate XVI of the York Cathedral portion of Cathedral Antiquities: Historical and Descriptive Accounts.

et universelle group lot number 2108* contains an example of the York Cathedral medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum also purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. The traditional dating of 1854 is consistent with Wiener’s correspondence with Henry Mogford indicating issue of the (English legends) York medal in mid-to-late February or very early March of 1854. The author interprets the lack of an Elkington inscription on the French legend variety as indicative of an 1856 (or post-1856) issue date though not without some risk of being in error.

E. Blore ... [and Others], Vol. 1 (1836)7 Plate XVI (Fig. 8.7) as the likely source illustration for the interior view of the York medal. The eyepoint is identical and the side aisle details seen in the southern nave archways are likewise identical. The medal has a slightly greater horizontal field of view, which would imply that Wiener added the rightmost column details on his own. This image was drawn by English watercolor artist Frederick Mackenzie (noted for his portrayal of Gothic buildings) and engraved by English engraver Samuel Rawle. Plate XXIV may also have provided the detail in the eastern window and screen that is not as detailed in Plate XVI. The Plate XXIV image was likewise drawn by Mackenzie and engraved by Augustus Charles Pugin. The source image for the exterior view has not yet been identified; however, note that the view chosen (or at least executed) by Wiener does not include the fourteenth-century Record Room building structure located off the southwest corner of the south transept. This anachronism may be present in the source image as well.

Source Images See Cathedral Antiquities: Historical and Descriptive Accounts, with 311 Illustrations, of the Following English Cathedrals. Viz. Canterbury, York, Salisbury, Norwich, Oxford, Winchester, Lichfield, Hereford, Wells, Exeter, Worcester, Peterborough, Gloucester, and Bristol. The Engravings, Mostly by J. Le Keux, Esq. from Drawings by 119

7. John Britton, Cathedral Antiquities: Historical and Descriptive Accounts, with 311 Illustrations, of the Following English Cathedrals. Viz. Canterbury, York, Salisbury, Norwich, Oxford, Winchester, Lichfield, Hereford, Wells, Exeter, Worcester, Peterborough, Gloucester, and Bristol. The Engravings, Mostly by J. Le Keux, Esq. from Drawings by E. Blore ... [and Others] Vol. 1, (London: M. A. Nattali, 1836), Plate XVI, https://books.google.com/books?id=LeUDAAAAYAAJ.

Figure 9.1. Exterior photo of St. Mark’s ca. pre-1882. Note the rightmost façade’s upper arch is missing its ogee arch and statue, a reflection of the cathedral’s late nineteenth-century restoration efforts. Photo by Carlo Naya. (Collection of the author).

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9. St. Mark’s Basilica, Venice (1854)

The Edifice Doge Giustiniano Partecipazio initiated the first structure on this site in the late 820s to house the relics of St. Mark, then recently “liberated” from Alexandria. These relics were placed in the church in 836. Later, in 976, Venetians opposed to the rule of then doge Pietro IV Candiano locked him in the Doge’s Palace and set it alight to kill him. Although their goal was successful, the fire spread to the connected St. Mark’s, burning it and a significant part of the city as well. Doge Pietro I Orseolo immediately set about reconstructing the church building the next year. Doge Domenico Contarini used this rebuilt structure to form the basis of what is now the current Basilica. This construction began in 1063 and was completed in 1071, at which point the installation of the interior mosaics began. Finally, in 1094, the basilica was consecrated and the recently rediscovered body of St. Mark interred in the crypt below the basilica (later moved beneath the high altar in the nineteenth century). Venice’s unique position and trading role, connecting east and west, is reflected in the multitude of architectural styles incorporated into the structure—largely Byzantine with Gothic adornments and Islamic elements. Its domed Greek cross floorplan was reminiscent of the Church of the Holy Apostles in Constantinople. Interestingly, the adaptation of this new basilica to existing structures rendered each of the lead-covered wooden domes to be of slightly different size.1 A century later, its interior and exterior were further populated with artifacts obtained from the Venetian sack of Constantinople in 1204 as a result of the Fourth Crusade. These spoils include the well-known four Horses of St. Mark, ancient Roman equine sculptures placed on the terrace of the western façade. A narthex was added, the western façade updated, and the domes made taller in the first half of the thirteenth century. Mosaics, artwork, and further 1. Ettore Vio (ed.), The Basilica of St. Mark in Venice, (New York: Riverside, 1999), 30.

structural modifications continued into the fifteenth century. A baptistery and the Chapel of St. Isidore were added in the mid-fourteenth century. The seemingly inevitable nemesis of medieval buildings—fire— did strike in 1419, damaging the basilica roof. Upon completion of the fourteenth and fifteenth century additions, modifications, and repairs, the resultant building is essentially the same as that we see today (Fig. 9.1). Modifications made in the sixteenth century stabilized the structural integrity of the five cupolas in particular. St. Mark’s most striking interior feature is the pervasive use of gold and mosaics throughout; some 85,000 square feet of surface is decorated in this fashion. Such famed artists as Titian, Tintoretto, and Veronese all contributed to the interior mosaics of St. Mark’s. Mosaics that had fallen into disrepair were replaced during the sixteenth through eighteenth centuries, though within very strict guidelines set forth by the church administrators—the scene content and any wording had to be maintained in order to preserve the intent of the artistic whole. During this period regular maintenance of the facility became a more consistent priority. Maintenance evolved from wholesale replacement of dilapidated elements to careful preservation of others—in keeping with evolving nineteenth-century attitudes toward restoration. Critics of the approach taken to restoring St. Mark’s abounded—including leading English art critic John Ruskin who despaired of Venice’s decay as well as the methodologies employed in reversing the cathedral’s deterioration.2 On the morning of July 14, 1902, the massive 2. Ruskin’s personal collection of art, manuscripts, books, coins, etc. are the foundation of the holdings of the St. George’s Museum near Sheffield, England and administered by the Guild of St. George. In the museum collection are 25 Most Remarkable Edifices medals—including that of St. Mark’s. Five additional medals were lost at some point—these are likely the five English cathedrals. Whether Ruskin personally acquired the medals or were later acquired by the museum is unknown. Pullen, Louise. Curator, Ruskin Collection. Personal correspondence. January 5, 2017.

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campanile, oft beset by the plagues of lightning, fire, and earthquakes over the centuries, and located just meters away to the southwest of the cathedral, abruptly collapsed. This prompted a structural inspection of the church and, in effect, prompted an unending twentieth-century restoration effort in addition to a decade-long rebuilding of the campanile.3 The same storm system that flooded Florence and its cathedral in 1966 inflicted the greatest high water event (“acqua alta”) in Venice’s history; the underground crypt would be closed for 28 years as a result. The Basilica is physically connected to the adjacent Doge’s palace and was utilized as a palatine chapel

until Napoleon’s 1807 decision to move the Patriarchate from Venice’s cathedral of San Pietro di Castello to St. Mark’s, thus conferring cathedral status on the basilica in the process, a decision reinforced in a Papal Bull of Pope Pius VII in 1821. This decision fundamentally altered the role of the long-evolving building from ducal chapel to the diocesan epicenter for the local Catholic faithful. St. Mark’s is one of the most outstanding examples of Byzantine architecture still in existence; one nineteenth-century observer noted, “it is rich almost to excess, and curious to a degree that is quite impossible to conceive without seeing it.”4

3. “The Building Phases,” Basilica San Marco, accessed July 5, 2018, http://www.basilicasanmarco.it/basilica/architettura/fasicostruttive/.

4. Brown, Richard, Sacred Architecture, its rise, progress and present state[…] (London: Fischer, Son, & Co., 1845), 220, https://books. google.com/books?id=HHs_AAAAcAAJ.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M145

M145 / M145

Undated (1854)

AE, AR

79.4–96.4 g

65

52

R1

Medal Description

Figure 9.2. St. Mark’s Basilica. (Collection of the author). Obverse: Exterior view of the basilica from the southwest (Fig. 9.2a).

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In the exergue: ba SI LI C a D I S. M aRCO I N V EN E ZI a.

ba SI LI C a O F SaI NT M aRK I N V EN I CE.

GI À C appELL a D UC aLE. O R a C aT TED R aLE.

FO R M ERLy a D UC aL Ch apEL . N OW C aTh ED R a L .

COSTRUT Ta 828. I N CEN D I aTa 976.

CO NSTRUCTED 828. bU RN ED 976.

RI COSTRU ITa 977. CO NTI N UaTa 1043

RECO NSTRUCTED 97 7. CO NTI N U ED 1043

CO M pITa 1071.

CO M pLETED 1071.

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

bUCh h aN D LU N G VO N h.F. MU NSTER. V EN ED I G. V ERO N a U: TRI EST.

bO O KSTO RE O F h ER M aN N FRI ED RI Ch MÜ NSTER. V EN I CE V ERO N a aN D TRI ESTE.

Reverse: Interior view with a sightline down the nave, from an eyepoint located west of the choir and to the right side of the central aisle (Fig. 9.2b). In the exergue: J. W I EN ER bRUX ELLES

J aCq U ES W I EN ER bRUSSELS

Medal Notes

Figure 9.3. The working dies for St. Mark's Venice, M145, Lippens 1859 and 1860. Note the significant die-crack and broken retaining ring on the obverse die. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

In miniscule lettering, the obverse cites the bookseller/ publisher’s shop of H. F. Münster; his Venice office was located in St. Mark’s Square and was managed by Ferdinando Ongania, who was to become a well-known Italian art history publisher. Note that the medal’s reference to Münster is in German, while the medal’s

remaining legends are in Italian. Medals are known from a single, two-piece working obverse die (Lippens 1859) (Fig. 9.3a) and a single, onepiece working reverse die (Lippens 1860) (Fig. 9.3b). On the obverse, the punch used for the “M” of MARCO appears to be worn. The “C” of DUCALE

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is punched high and is rotated slightly clockwise, the “S” of COSTRUTTA is punched high, and the first “A” of INCENDIATA is punched high. The “O” of RICOSTRUITA is punched low. In the rightmost dome, emanating from the pinnacle of a tower more in the near field there is a characteristic stray, diagonal engraved line (or scratch) terminating in the center of the dome. The obverse die was lapped at least twice; after the initial light lapping the “RI” of RICOSTRUITA is weak as is the left side of the H. F. Münster inscription. The subsequent lapping largely removed the “RI”, rendered the “COST” of COSTRUTTA weak, and weakened the entirety of the Münster inscription with BUCHHANDL now missing. Specimens generally do not exhibit any evidence of obverse die failure, though the terminal die state does exhibit a significant die-crack from the 1:30 rim extending into the nearest dome and then continuing into the far-field central dome. In addition, the retaining ring for the two-piece die failed and is broken clean through. Though weak, the terminal die state retains the engraved reference to H. F. Münster, in contrast to the Aachen and Cologne F. C. Eisen references. On the reverse, Wiener incorporates the figurative mosaics in the upper gallery walls and ceilings of the Basilica. The lettering of WIENER is engraved in a somewhat undulating fashion, otherwise the lettering is perfect. The reverse die appears to have begun failing relatively early in its working life as most medal specimens exhibit one or more of the eventual multitude of light cracks. The initial reverse die-crack starts at the rim’s 6:30 position and extends up to the base of the left pilaster supporting the main arch, continuing vertically and reappearing on the left side of the vaulted ceiling and ultimately to the rim at the 12:00 position. A second crack forms roughly at the 7:00 position, running in parallel to the rim-to-rim crack, though only starting at the base of the floor, between the two foreground columns at left, and terminating in the base of the background column. A third crack appears almost simultaneously with the second and gradually grows from the 10:00 rim inwards; this diecrack appears after the initial lapping of the obverse die. Ultimately, a fourth crack appears at the 9:00 position; this crack appears after the second obverse die lapping. The terminal reverse die state also shows a crack from the 3:30 rim horizontally through the first four columns at right. In addition, die fatigue is evidenced by rough spots at the confluence of the base of the basilica floor and the rim in the rightmost corner

of the exergue, and eventually at the lower-middle edge of the left field. This latter fatigue is progressive with later and later strikes. Surprisingly, given the number of cracks in the reverse die, none grew to be severe or deep into the body of the die.

Contemporary References Like the St. Paul’s (London) medal, Wiener’s St. Mark’s medal was extensively exhibited and referenced during the mid-nineteenth century. Wiener exhibited the reverse (interior) of the St. Mark’s medal at the Exposition Générale des Beaux-Arts in Brussels in 1854 though the catalogue erroneously refers to it as “Sainte-Marie à Venise.” Both sides of the medal were exhibited at the 1855 Exposition Universelle in Paris, the 1860 Brussels Beaux-Arts, the 1861 Antwerp Exposition Nationale, London’s 1862 International Exhibition, and the Paris Salon of 1866. The obverse (exterior) was shown at the 1873 Universal Exposition in Vienna. The October 7, 1854, Algemeene Konst- en Letterbode5 announced the St. Mark’s medal thusly: From the collection of commemorative medals representing the most remarkable buildings in Europe, produced by the famous engraver J Wiener, two more have seen the light of these days; the one presenting the Cologne Cathedral, on the obverse as manifested now, on the reverse, like it will be once the expected completion is achieved; the other shows the St Mark’s Church in Venice from the outside and inside.

This is a very late announcement considering the medal’s traditionally attributed issue date of 1850. F. C. Eisen advertises the St. Mark’s medal for sale (both in bronze and silver) in the December 30, 1855, and September 1, 1856, issues of the Kölner Domblatt (Figs. 2.17 and 2.18 respectively). The same firm’s Neueste Beschreibung des Domes zu Köln, published in 1856, offers the medal for sale also in both bronze and silver. The last page of the January 15, 1856, edition of the Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the St. Mark’s medal for sale (in 5. Martinus Nijhoff, Algemeene Konst- en Letterbode (’s Gravenhage: Martinus Nijhoff, October 7, 1854), 323, https://books.google.com/ books?id=ug8VAAAAQAAJ.

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addition to St. Apollinaris, York, Aachen, St. Paul’s (London), Notre Dame (Paris), and Westminster Abbey). The 1856 issue of the German construction and architecture trade magazine Zeitschrift für Bauwesen6 lists four of Wiener’s Most Remarkable Edifices medals, including the St. Mark’s medal, in its record of “publications” available since “the beginning of 1855.” Volume 23 (1855) of the Messager des sciences historiques: ou Archives des arts et de la bibliographie de Belgique7 lists Wiener’s then-recent Church at Laeken medal and “the latest release from his hands offers us the admirable domes of Saint Mark of Venice and the delicate frescoes of the vaults.” The 1857 L’Artiste: journal de la littérature et des beaux-arts notes that Wiener had produced a number of medals and includes St. Mark’s within its abbreviated list. A specimen of this medal appears as lot 5611 in the 1860 de Jonghe auction catalogue. The D’Heisselaer auction catalogue, lot 4423, contains a specimen of the St. Mark’s medal among the 12 Most Remarkable Edifices medals offered. Lot 3097 of the October 1, 1863, sale catalogue of Generalmajor Eduard Freiherrn von Maretich de Riv-Alpon’s coin and medal collection8

is a bronze medal of St. Mark’s, 26 lignes in diameter (60 mm), depicting the exterior on the obverse and interior on the reverse. Though not explicitly credited, this is without doubt Wiener’s medal; the catalogue attributes the undated medal to 1854. A specimen of this medal appears as lot 467 in the March 27, 1867, Goetghebuer sale. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) including an example of the St. Mark’s medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. The October 7, 1854, Algemeene Konst- en Letterbode and the 1855 Messager des sciences historiques: ou Archives des arts et de la bibliographie de Belgique announcements of the recent completion of the St. Mark’s medal, along with the lack of any other documentary evidence prior to 1854, compel a revision in the issue date from the traditional 1850 to the more supportable date of 1854.

6. Georg Erbkam ed., Zeitschrift für Bauwesen Vol. VI, (Berlin: Ernst & Korn, 1856), 290, https://books.google.com/ books?id=j44hAQAAMAAJ. 7. Société royale des beaux-arts et de littérature (Ghent, Belgium), Société royale d‘agriculture et de botanique de Gand, Messager des sciences historiques: ou Archives des arts et de la bibliographie de Belgique Vol. 23 (Ghent: L. Hebbelynck, 1855), 235–36, https://books. google.com/books?id=1aA8AAAAYAAJ. 8. Josef Bermann, Verzeichnis der von dem k.k. Generalmajor Eduard Freiherrn von Maretich de Riv-Alpon in Wien hinterlassenen Münz-

Source Images Wiener’s interior and exterior source images have yet to be identified. und Medaillen-Sammlung (Vienna: J. Bermann, 1863), 106, https:// books.google.com/books?id=USA7AAAAYAAJ.

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Figure 10.1. The eastern façade of Bonn Cathedral ca. 1880. Note the missing spire of the northwest tower and the bricked-up southwest tower—both addressed as part of the 1883–89 renovation. (Collection of the author).

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10. Bonn Minster (1855)

The Edifice Bonn Minster is a Romanesque-style basilica built on ground that was sacred to the Romans as well as the nascent Christian church (Fig. 10.1). In ca. AD 235, two Christian Roman soldiers stationed in Bonn, Cassius and Florentius, were martyred. Tradition holds that a memorial was built over their graves by St. Helena, mother of the Roman Emperor Constantine. Archaeological excavations indicate that the church does indeed stand on the site of a Roman temple and necropolis. Further additions were made during the sixth through eighth centuries, though the first written records reference the church beginning in the very late eighth century. In the mid-eleventh century this church was demolished and construction began on the current building. Provost Gerhard von Are (erroneously attributed to Gerhard von Sayn, or Sain, in some nineteenth-century sources) rebuilt and expanded the church, including the expansion of the choir, apse and apsidal towers, all of which were consecrated on May 3, 1153, and initiated the addition of the cloister and abbey structures on the south side of the church at this same time. Gerhard’s death and burial in the burgeoning church did not slow down the pace of construction; ribbed vaulting was added to the choir towards the end of the twelfth century, the transept with its apsidal ends was completed in the early thirteenth century, and the south transept was adjoined to the cloister. The north transept even included an organ at this early date. Fighting between German king Philip of Swabia and Holy Roman Emperor Otto IV came at the expense of general destruction in Bonn and may have been the catalyst for the early thirteenth-century rebuilding of the nave. The church suffered significant damage in the Cologne War of 1583–89 (a consequence of the Reformation), including the destruction of the shrines containing the relics of the two Roman martyrs, and leaving the church unusable for a number of

months. Adding insult to injury, a 1590 lightning strike set fire to the bell tower, destroying it and parts of the organ below, the cathedral and abbey roofs, as well as the partially rebuilt archive. The church stood roofless for two years as funds were acquired for its replacement. A new organ was added to the west choir in 1652—one that would much later be used to provide a young Ludwig van Beethoven with lessons. In the 1689 siege of Bonn, bombardment and fire destroyed the relatively new crossing tower roof, choir roof, the nave, one of the small towers, the glass windows, the organ, and side buildings; much eighteenth-century effort was expended in gradually eradicating the damage from this event and giving the interior its updated Baroque charm. New bells were cast and consecrated on December 8, 1756—eight in total, weighing over ten tons. They were cast on-site due to the impracticalities of moving such heavy objects, and it allowed the canons to circumvent guild regulations which did not allow “foreigners” to perform such tasks; since the church grounds were under a different legal jurisdiction, bellmaker Martin Legros of the Wallonia region was legally able to proceed. He would later be given citizenship in Cologne to facilitate practicing his craft in good graces within the Cologne region. Like most churches during their Napoleonic occupation, the Bonn Minster suffered neglect, the results of which began to be addressed starting in 1840. A complete restoration plan was developed in 1869, approved in 1873, and work started in earnest in 1883. Exterior work started on the western façade and its two flanking towers and eventually included repair of the choir and nave walls—all completed by 1889. The spire roofs placed atop both western towers (and seen today) are shorter than their predecessors (and the depiction on Wiener’s medal). Interior work included masonry and vaulting repair, replacement of upper gallery columns and paint. Work

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on the east towers commenced in 1897.1 Not unexpectedly, World War II exacted a toll from the church complex. Heavy damage was sustained in the north transept and the organ was damaged. A working replacement was cobbled together from usable parts and in use until 1961. At this point the current organ was installed (and later expanded). Once a cathedral for the archbishopric of Cologne, the church was named a minor basilica in 1956. A long-term restoration effort completed in 1981;2 however, a study performed start1. Paul Clemen, Die Kunstdenkmäler der Stadt und des Kreises Bonn (Düsseldorf: Schwann, 1905), 56–61, https://books.google.com/ books?id=ZqUNAAAAYAAJ. 2. Jürgen Kaiser, Das Bonner Münster Geschichte—Architektur—

ing in 2014 found many serious structural issues with the minster, necessitating its closure starting in 2017 accompanied by a restoration and renovation project anticipated to last for over two years. Weather, water, incompatible materials, electrical issues, and past restoration mistakes are among the cited contributing factors.3 The minster is also using the shutdown as an opportunity to re-think the use of the worship space for the liturgical needs of its current congregants. Kunst—Kult (Regensburg: Schnell & Steiner, 2002), Inside Front Cover. 3. “Zeitplan,” Bonner Münster, accessed July 9, 2018, http://www. bonner-muenster.de/sanierung/generalsanierung/schaeden-massnahmen/.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M149

M149 / M149

Undated (1855)

AE, AR

84.8–92.4 g

121

23

R2

Medal Description

Figure 10.2. Bonn Minster. (Collection of the author). Obverse: Exterior view of church structure from the southeast (Fig. 10.2a). Around the perimeter: MÜ NSTERKI RCh E ZU bO N N

bO N N M I NSTER

In the exergue: J. W I EN ER F. bRUSSEL

M aD E by J aCq U ES W I EN ER bRUSSELS

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Reverse: Interior view of the church looking down the center aisle of the nave, from an eyepoint to the right side of the center of the aisle (Fig. 10.2b). The interior view fills the entire diameter of the medal (no side fields). In the exergue: ERbaUT VO M pRO bSTE

bU I LT by pROVOST

GERh a RD VO N Sa I N 1130–1180

GERh aRD O F SaI N 1130–1180

bEEN D ET X I I I J a h Rh:

CO M pLETED I N Th E 13Th CENTU Ry

Medal Notes

Figure 10.3. The working dies for Bonn Minster, M149, Lippens 2031 and 2032. (Image courtesy of the Royal Library of Belgium). Medals are known from a single working obverse die (Lippens 2031) (Fig. 10.3a) and a single working reverse die (Lippens 2032) (Fig. 10.3b). This medal exhibits a well-executed, clean design. The obverse perimeter legend is perfect. Wiener’s signature in the exergue is unevenly placed; the “B” of BRUSSEL is high and the subsequent letters are punched downhill through the second “S”, with the “E” and “L” going back uphill. A small die gouge is located just inside the rim at the 8:30 position. The obverse die appears to have been lightly lapped once, manifesting itself primarily with a slightly weakened “B” in BONN. The relief of the reverse is not dramatic which may account for the perfect state of the working die. The engraving of the vaulting, the arcade arches to the right, and the cathedral floor are somewhat coarse; one can see an array of light engraving lines in all these areas, reflecting the marks of the master. The “R” of ERBAUT shows light traces of re-punching, and

the “U” is punched low. The “RD” of GERHARD has been punched slightly high and spaced slightly rightward of its ideal position. The “X” of XIII has been re-punched; the original placement being correctly centered, but somewhat counter-clockwise. The “V” of VON is punched low. A light horizontal line is present inside the “0” of 1180, perhaps the remains of an earlier “6” or “8.” The letters “BEE” of BEENDET are each rotated slightly counter-clockwise and the “N” is punched high. Otherwise all the lettering is strong and well-placed. Traces of lettering guidelines can be seen particularly to the left of ERBAUT. Later specimens also appear to have been struck from lightly lapped dies, removing a number of these low-relief diagnostics. The terminal state of both working dies displays no signs of die fatigue, either as chipping or cracks. Light pitting or surface rust is seen, though it was likely acquired after the active life of the die. The lack of die damage may be indicative of a relatively low mintage.

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Contemporary References Wiener’s Bonn medal garners little mention in contemporary documents, and Wiener chose not to exhibit the medal until well after its issue. The reverse (interior view) of the Bonn medal was exhibited at the 1860 Brussels Beaux-Arts, the Exposition Nationale held in Antwerp in 1861, as well as at London’s 1862 International Exhibition. A specimen of this medal appears as lot 5605 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer auction catalogue, lot 4423, includes a specimen of Bonn Cathedral. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Bonn Cathedral medal as well. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. The medal is mentioned in the 1868 publication Bonn: Beiträge zu seiner Geschichte und seinen Denkmälern : Festschrift überricht den Mitgliedern

des Internat. Congresses für Alterthumskunde und Geschichte,4 which provides a list of Bonn coinage and associated medals compiled by E. A. Wuerst. The Bonn medal is another example in which the primary documentation of the period is thin. However, its inclusion in the D’Heisselaer collection (Mr. D’Heisselaer collected up until his death in October 1857) places a “no later than” issue date of 1857 on the medal, loosely supporting the traditionally assigned issue date of 1855. The lack of an inscription regarding F. C. Eisen may suggest a "no earlier than" issue date of 1856, however this is only speculative. Given the lack of firm data, the traditional issue date of 1855 is retained.

Source Images Wiener’s interior and exterior source images have yet to be identified. 4. E. A. Wuerst, “Die Münzen und Medaillen Bonn’s," in Bonn: Beiträge zu seiner Geschichte und seinen Denkmälern : Festschrift überricht den Mitgliedern des Internat. Congresses für Alterthumskunde und Geschichte, ed. Franz Ritter (Bonn: Carl Georgi, 1868), 42, https://books.google.com/books?id=px4_AAAAcAAJ.

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11. Notre Dame, Paris 1855

Figure 11.1. Photo of Notre Dame ca. 1855. Note the absence of the lantern spire. This photo depicts the contemporary state of the cathedral when Wiener’s medal was issued. (Collection of the author).

The Edifice Perhaps the most iconic of Gothic cathedrals, Notre Dame de Paris is located near the eastern tip of the Île de la Cité—an island in the Seine River in the heart of Paris. Aided by beautiful sight lines across the river, it is one of the most easily recognized cathedrals. Legend suggests that Roman emperor Valentinian I constructed a cathedral in the fourth century just slightly west of the current cathedral’s location. Proving to be too small, a new structure dedicated to St. Stephen was raised in the sixth century. This early cathedral was similar to a basilica in design, boasted a central nave and four side aisles, and was only slightly smaller than the current Cathedral of Notre Dame. However, Maurice de Sully, once appointed as Bishop of Paris in 1160, began advocating for the construction of a new

Parisian cathedral, dedicated to Mary, and built in the new French Gothic style. The old cathedral was demolished, and tradition says that Pope Alexander III laid the first stone of the new cathedral in 1163. Construction of the nave was completed during the reign of Philippe Auguste (1180–1223) and the overall cathedral was largely complete by the year 1260, though further modifications would continue for another century (Fig. 11.1). Changing tastes led to additional modifications away from the Gothic form during the seventeenth and eighteenth centuries—redecoration of the choir, the replacement of the cathedral’s destroyed stained glass windows with clear glass, and modifications to the western facade. The desolate state of the Parisian landmark was notably raised in the public consciousness

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by Victor Hugo in his 1831 Notre-Dame de Paris, better known in English as The Hunchback of Notre Dame. In an eventual response to the desecrations and neglect suffered most pointedly during the French revolution, a competition was initiated in 1842 in which teams of architects proposed their vision of a restoration for the grand monument. The proposal of noted French architects Eugène Viollet-le-Duc and Jean Baptiste Lassus together prevailed and was selected in March 1844. King Louis Philippe publicly announced the effort that same year; funding followed in mid-1845. The project took almost 20 years to complete, with the re-dedication occurring on May 31, 1864. Lassus would unexpectedly die in 1857, leaving the lesser-experienced Viollet-le-Duc to complete the project. The venture stirred much philosophical soul-searching regarding what it meant to restore a building. Viollet-le-Duc, in his definition of the word “restoration”, claimed that “to restore a building is not to preserve it, to repair, or rebuild it; it is to re-instate it in a condition of completeness which could never have existed at any given time.”1 Inevitably perhaps, the merits of the decisions made during the course of the project are still debated to this day (Fig. 11.2). This reimagining of Notre Dame would ultimately coincide with the reimagining of the layout of Paris, courtesy of Baron Haussmann and Emperor Napoleon III. The two initiatives intersected as the Île de la Cité, anchored to the south and east by Notre Dame, was largely transformed. Haussmann forcefully drove the Île de la Cité away from its ancient role as a crowded, medieval neighborhood and into a more grand (if incongruous) space from which monumental architecture could be admired. Amidst the ensuing destruction, updated streets and new bridges, the so-called forecourt area immediately in front of Notre Dame’s western portal was cleared of buildings and finished as an open space now known as the Parvis Notre Dame— Place Jean Paul II. A park was also appended to the eastern end of the cathedral. The evolution of Notre Dame after its mid-nineteenth century restoration is often silently disregarded. However, the building continues to adapt to its place and time. As an example, Viollet-le-Duc’s restoration placed clear panes of glass in the clerestory of the nave. Starting in 1935 an effort commenced to replace 1. Eugène-Emmanuel Viollet-le-Duc, “Restauration,” Dictionnaire raisonné de l'architecture française du XIe au XVIe siècle Vol. 18, trans. Charles Wethered (Paris: Librairies-imprimeries réunies, 1875), 9, https://books.google.com/books?id=9rhCAQAAMAAJ.

Figure 11.2. Photo of Notre Dame ca. 1865. Note the addition of the lantern spire. (Collection of the author). these windows with new windows designed by contemporary artists. Criticism delayed the project long enough to enable the Second World War to intervene and delay it even further. The idea was reconsidered in modified form starting in 1952. Artist Jacques Le Chevallier’s new windows were unveiled on April 26, 1966. The great organ was restored between 1990 and 1992, and the western façade was cleaned at the turn of the millennium. Modifications resulting from the Second Vatican Council continue to bring the building in harmony with the function of the modern Mass as envisioned by the council. Continual effort is made to maintain the cathedral as relevant, “[a]nchored more than ever in our time and far from being a museum, the cathedral is meant, as from its origins, [to be] the House of God and the Home of Men.”2 2. “Historique de la Construction,” Notre-Dame de Paris, accessed June 9, 2018, http://www.notredamedeparis.fr/en/la-cathedrale/ histoire/historique-de-la-construction/.

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As the manuscript for this book was being readied for production, the world watched in stunned horror on April 15, 2019, as modern technology allowed each of us to witness in real-time raging flames aggressively consuming this grand monument. As night fell, the fate of the cathedral was still not yet clear. However, one of the early photos of the interior—taken that night after the fire was largely, but not completely, extinguished—showed the votive candles still lit in the aftermath of the conflagration. The cathedral would

survive; the candles a flickering testament to the heart and resilience of the building—and the fire-impeding properties of stone ceiling vaulting (see the brief discussion in the Bamberg Cathedral chapter). It is one thing to read of fire’s destruction as a matter of dry, factual history; it is another to witness its destructive power, its emotional and physical devastation. The citizens of Paris, France, and around the the world face a reality encountered so many times with cathedrals of ages past—to grieve, resolve, and rebuild.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M150

M150 / M150

1855

AE, AR

94.3–100.0 g

122

40

R1

Medal Description

Figure 11.3. Notre Dame Paris—this specimen is from the first obverse die state—note the strong lettering, particularly that in the obverse exergue. (Collection of the author). Obverse: Exterior view of the cathedral from the south-southeast (Fig. 11.3a). Around the top perimeter: N OTRE – Da M E C aTh ED R aLE D E paRIS

N OTRE Da M E C aTh ED R aL O F paRIS

At the left perimeter: J aCq U ES W I EN ER FEC.

M aD E by J aCq U ES W I EN ER

133

In the exergue: FO N D ÉE I V SI ÈCLE. RECO NSTRU ITE 1160

FO U N D ED 4Th CENTU Ry. RECO NSTRUCTED 1160

paR L’É V Êq U E M aU RI CE D E SU LLy.

by Th E bISh O p M aU RI CE D E SU LLy.

TER M I N ÉE SO US ph I LI ppE aUGUSTE.

CO M pLETED U N D ER ph I LI ppE aUGUSTUS.

aUG M ENTÉE SO US S LO U IS ET D E

aUG M ENTED U N D ER ST. LO U IS aN D

SES SUCCESSEU RS JUSq U’À 1300.

h IS SUCCESSO RS aRO U N D 1300.

L a RESTaU R aTI O N CO M M EN CÉE 1845

Th E RESTO R aTI O N CO M M EN CED 1845

V I O LLET – LE D UC ET L a SSUS

EUGÈN E-E M M aN U EL V I O LLET-LE-D UC aN D J E a N ba pTISTE L a SSUS

a RCh IT.

a RCh ITECTS

T

Reverse: A view of the interior looking down the nave toward the apse from an eyepoint just slightly to the right of the center of the center aisle (Fig. 11.3b). In the exergue at left: J. ET Ch. W I EN ER F.

M aD E by J aCq U ES aN D Ch aRLES W I EN ER

In the exergue at right: 1855

1855

Medal Notes

Figure 11.4. The working dies for Notre Dame Cathedral Paris, M150, Lippens 2026 and 2027. The amber cast of the reverse die is due to a layer of protective grease on the die. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

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This is one of the more popular and readily available medals of the Most Remarkable Edifices series. Medals are known from a single working obverse die (Lippens 2026) (Fig. 11.4a) and a single working reverse die (Lippens 2027) (Fig. 11.4b). Jacques Wiener engraved the obverse die and the reverse was a collaborative effort Figure 11.5. Close-up view of weak reverse lettering of the with his younger brother Charles.3 first lapped die state. (Collection of the author). Bouhy assigns a date of 1851 to this medal, whereas Forrer correctly identifies it as being dated 1855. This error in Bouhy is puzzling given the collaboration with die, rendering the tops of “O” and “E” of NOTRE and Jacques Wiener that occurred during its preparation— “RIS” of PARIS almost entirely effaced, and the exergue and the explicit date on the medal. lettering is additionally weakened. The need for such Wiener issued this medal approximately at the mid- significant intervention regarding the obverse die is point of the cathedral restoration effort. Of note is the not clear based on the medal specimens examined by fact that the lantern spire at the crossing had been de- the author, though the terminal obverse die-state does stroyed in 1793 and had not yet been rebuilt at the time exhibit a die-crack at the 4:00 rim which extends into the medal was issued. The spire as depicted on the the first lower window of the apse. The terminal remedal reflects the pre-1793 version; Viollet-le-Duc’s verse die state shows no additional attributes of note, spire differs considerably and was not constructed beyond pitting in the die face that likely post-dates its until 1859. active usage. The obverse lettering is generally well-punched, only some letter spacing issues in SOUS and LE DUC are of note. Also, traces of a letter “S” can be seen be- Contemporary References tween the last “E” of AUGMENTÉE and the first “S” of SOUS. On the reverse ET is punched low. The reverse Wiener exhibited the obverse (exterior view) of his also exhibits a few areas of die breakage—between the Notre Dame medal at the 1860 Brussels Beaux-Arts, first column and pilaster at left in the clerestory, be- the 1861 Antwerp Exposition Nationale, and the 1873 tween the columns forming the north transept, and at Universal Exposition in Vienna. Both obverse and rethe capital of the second full column from the right in verse were exhibited at London’s International Exhibithe nave. There is a characteristic die gouge to the left tion held in 1862. Charles Wiener likewise exhibited of the peak of the first full Gothic arch on the right the medal at the 1863 Exhibition of the Royal Acadside of the nave. emy of the Arts in London and the reverse side of the There are three distinct die states of this medal. The medal specifically at the 1876 International Exhibition earliest (unlapped) state exhibits strong lettering on in Philadelphia. the obverse and reverse. The second state results from The January 5, 1856, issue of Algemeene Konst- en the moderate lapping of both the obverse and reverse Letterbode4 contains an advertisement on page 8 from dies. On the obverse, the top-most relief of the letters Martinus Nijhoff announcing the publication of three is discernible, but the lower relief portions of the let- medals—Notre Dame, Winchester, and Westminster tering have been obliterated; the last two lines of the Abbey (see Fig. 11.6). Nijhoff exhorts the reader to exlegend in the exergue and Wiener’s signature to the left amine the medals with a magnifier to admire the “more of the cathedral are largely illegible. Likewise, the date than ordinary artistic value” of these medals. They are on the reverse is barely discernible. This lapped die- offered at 3.50 francs individually, or 3.00 francs each state is common in examples of this medal (Fig. 11.5). if all three are purchased. Nijhoff indicates that this Lastly, as represented by the terminal die states for brings the number of medals in the series up to eight this medal, another lapping occurred on the obverse that are available from his firm. This is an enlightening and perplexing statement given that 10 monuments 3. Charles studied at the Brussels Fine Arts Academy from 1844 appear to have been published in total at this point. to 1852, and then proceeded to Paris to study under medalist and sculptor Eugène André Oudiné from 1852 to 1856 (Forrer). It is of interest that Charles contributed to the Notre Dame reverse die during this period—perhaps in an otherwise undocumented visit to brother Jacques in Brussels.

4. Martinus Nijhoff, Algemeene Konst- en Letterbode (’s Gravenhage: Martinus Nijhoff, Haarlem: Loosjes, January 5, 1856), 8, https://books. google.com/books?id=KWdfAAAAcAAJ.

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Figure 11.6. January 5, 1856 advertisement from Martinus Nijhoff in Algemeene Konsten Letterbode announcing the publishing of Winchester, Westminster Abbey, and Notre Dame medals.

Page 14 in the following week’s issue (January 12, 1856)5 contains a brief article on these three medals in the “Art Messages” section, and Nijhoff re-runs his advertisement from the prior week. The article ends by specifically praising the exterior view of Notre Dame and the interior view of Westminster Abbey. F. C. Eisen first introduced the medal in its 30 December 1855 advertisement in the Kölner Domblatt (Fig. 2.17). A similar advertisement appeared in the September 1, 1856, issue (Fig. 2.18). Likewise, in this same year the firm offers the Notre Dame medal for sale in both bronze and silver in its Neueste Beschreibung des Domes zu Köln. Eisen’s December 30, 1855, advertisement is contemporaneous with Nijhoff ’s, and both list eight medals as being available—yet the firms’ lists differ! Both firms omit Sts. Michael & Gudula, Amsterdam, and Batalha—each of which have proved problematic in confirming their traditionally cited issue dates. The 1856 issue of the German construction and architecture trade magazine Zeitschrift für Bauwesen contains a listing of four Most Remarkable Edifices medals, including the Notre Dame medal. The last page of the January 15, 1856, edition of the Organ für christliche Kunst: Organ des Christlichen Kunstvereins 5. Martinus Nijhoff, Algemeene Konst- en Letterbode (’s Gravenhage: Martinus Nijhoff, Haarlem: Loosjes, January 12, 1856), 14, 16, https:// books.google.com/books?id=KWdfAAAAcAAJ.

für Deutschland ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the Notre Dame medal for sale (in addition to St. Apollinaris, York, Aachen, St. Paul’s (London), Westminster Abbey, and St. Mark’s)—consistent with F. C. Eisen’s December 30, 1855, Kölner Domblatt advertisement. The 1857 L’Artiste: journal de la littérature et des beaux-arts notes the Notre Dame medal among others produced by Wiener. A specimen of this medal appears as lot 5608 in the 1860 de Jonghe auction catalogue. The D’Heisselaer catalogue, lot 4423, contains twelve examples from the Most Remarkable Edifices series, including Notre Dame Cathedral. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Notre Dame Cathedral medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum likewise purchased a specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images The exterior and interior source images used by Wiener still await discovery.

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12. Winchester Cathedral (1855)

Figure 12.1. Photograph of Winchester Cathedral from the tree-lined walk to the northwest (the Outer Close), ca. 1890. (Collection of the author).

The Edifice A Saxon-era cathedral was erected just north of the current cathedral site in the mid-seventh century and was the burial site of a number of Saxon kings. This building (now referred to as “Old Minster”) evolved throughout the tenth century and was soon accompanied by a “New Minster” the construction of which began in 901. William the Conqueror sought to firm up his grasp of the English Church by substituting Norman loyalists in place of its Saxon leaders; his first Norman bishop of Winchester (Walkelin, a former canon of Rouen Cathedral) replaced the Old Minster with a newer, larger structure starting in 1079 using stonework from the original church to build the new one. Walkelin’s church was “completed” in 1093, but was intermittently modified thereafter. The crossing tower collapsed in 1107, replaced by the more carefully built tower still in-place today. A spate of modifications

occurred in the fourteenth and fifteenth centuries, including the transformation of the nave and aisles from Romanesque to Gothic style between 1370 and 1400 by William of Wykeham, Bishop of Winchester. The resultant cathedral lays claim to the longest nave and overall structure length of any European Gothic cathedral at 554 feet. The Anglo-Saxon Benedictine monastery associated with the cathedral was a casualty of the early sixteenth-century birth of the Church of England. Once firmly established, the Church drove simplification in the cathedral’s ornament and function. The cathedral also suffered in the following century’s civil war, including a plundering by Parliamentary troops in 1642 in which the medieval glass fell victim among other desecrations. The eighteenth century largely left the building in relative peace before the alterations of the

137

early nineteenth century (Fig. 12.1).1 The old Norman choir screen, having fallen into decay, was replaced in the first half of the seventeenth century by a new, though stylistically ill-fitting, classical-styled screen designed by Inigo Jones. The screen was the subject of much nineteenth-century consternation—Jones’ screen being removed in 1820, another screen installed and removed, and yet a third later installed. In the early twentieth century, it was feared that the east end of the structure would collapse due to subsidence. Working in total darkness, deep-sea diver William Walker was employed to stabilize the foundation. He worked six hours per day underwater for six years (1906—1911) packing over 25,000 bags of concrete, and one million stones and bricks to act as piers beneath the foundation. King George V rewarded Walker with the Royal Victoria Medal for his work. The Telegraph quoted the Dean of Winchester, the Very Reverend Michael Till, in 2001 as saying that without Walker “we would still have the longest nave in Europe but the sanctuary would be the shortest.”2

The so-called Inner Close, the expansive old walled monastery grounds on the south side of the cathedral, still hosts a plethora of buildings and ruins dating as far back as the thirteenth century, many adapted for twentieth and twenty-first century use. The Outer Close on the north side of the cathedral, the area accessible by the laity back in the medieval day, was cleared of its graveyard in the nineteenth century and now serves as a large public green space. Brickwork marks the foundation outline of the Old Minster and was placed after an excavation performed between 1961 and 1971. Originally, one was only able to access the Inner Close from the Outer Close by walking through the cathedral. A passageway, physically and literally bridging the two worlds, was created in the seventeenth century. As part of its prominent religious and secular communal roles, in addition to daily services, the cathedral hosts art exhibitions, music recitals, festivals, etc. on an almost daily basis, continuing to figuratively bridge the two worlds.

1. Michael Bullen, et al., Hampshire: Winchester and the North (London: Yale University Press, 2010), 564–67. 2. Jonathan Petre and Hazel Southam, “Cathedral to Replace

Statue of Wrong Man,” The Telegraph, May 27, 2001, https://www. telegraph.co.uk/news/uknews/1331840/Cathedral-to-replace-statue-of-wrong-man.html.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M188

M188 / M188

Undated (1855)

AE, AR

81.0–106.7 g

141

36

C

Medal Description

Figure 12.2. Winchester Cathedral. (Collection of the author). 138

Obverse: Exterior view of the cathedral from the northwest (Fig. 12.2a). In the exergue: W I N Ch ESTER C aTh ED R aL

W I N Ch ESTER C aTh ED R aL

FO U N D ED aT Th E Ep O Ch O F Th E Sa XO N KI N GS.

FO U N D ED aT Th E Ep O Ch O F Th E Sa XO N KI N GS.

Th E pRESENT C aTh ED R aL bU I LT

Th E pRESENT C aTh ED R aL bU I LT

1079–1093.

1079–1093.

Th E N aV ES aN D Th E aISLES

Th E N aV ES aN D Th E aISLES

CO NSTRUCTED by W yKEh a M

CO NSTRUCTED by W I LLI a M O F W yKEh a M

1370–1400.

1370–1400.

ELKI N GTO N & C O LO N D O N

ELKI N GTO N & C O LO N D O N

Reverse: Interior view of the cathedral looking down the extensive nave toward the altar screen (Fig. 12.2b). In the exergue: J. W I EN ER F. bRUX ELLES

M aD E by J aCq U ES W I EN ER bRUSSELS

Medal Notes

Figure 12.3. The working dies for Winchester Cathedral, M188, Lippens 2069 and 2070. Note the small obverse die-crack, and the significant reverse crack. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single two-piece working obverse die (Lippens 2069) (Fig. 12.3a) and a single one-piece working reverse die (Lippens 2070) (Fig. 12.3b). Wiener’s choice of perspective on the obverse draws attention to Winchester’s lengthy nave. On the

obverse, the “H” of the second THE is recut, the “V” of NAVES is distant from the adjacent “A” and “E”, otherwise the medal displays perfect lettering. Earlier strikes have strong lettering; later strikes appear to have been made from lightly lapped dies, weakening the lettering particularly in the second through sixth

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lines of the exergue legend. The lapping may have been undertaken to address the die-crack that appeared starting at the 12:00 position of the rim, working its way inward approximately one centimeter; the crack eventually appears on medals in the unlapped state, whereas all lapped medals display the crack, despite the apparent effort to eradicate the blemish. On the reverse, the “ER” of WIENER is punched high relative to the other letters. This medal exhibits relatively low relief on the reverse compared to other Wiener medals. Accordingly, the reverse die-breakage is relegated to very small bits, first at the left corner of the exergue, then followed by the right corner, and a small spot between the second and third columns from the right—about midway between the base and capitals. The terminal obverse working die state includes the diagnostics noted above as well as a die-crack in the exergue die starting from its 12:00 top center position, proceeding vertically downward through the “R” of WINCHESTER and terminating at the rim. The terminal reverse working die state exhibits a catastrophic die-crack through the entire depth of the die, piercing the 5:30 rim position and terminating in the top of the archway in the far-field choir.

Contemporary References Wiener’s correspondence with Henry Mogford only briefly mentions activity associated with the Winchester medal. On June 21, 1854, Wiener requests that Mogford “have the kindness to send the inscription for the medal of Winchester Cathedral;” a follow-up reminder of July 73 reveals Mogford’s delay in responding to the earlier request. Unfortunately, Wiener provides no useful additional insight to the production timeline for this medal—the next letter to Mogford is not until some 15 months later on October 16, 1855. In it, Wiener admits to having to “interrupt for a while these works in order to execute multiple medals for the Commission of the Palace of Industry in Paris but now I will continue to make them regularly.” The Paris Exposition ran from May 15 through November 15, 1855. Even to prepare multiple sets of dies ahead of the exposition, it seems a lengthy delay, though not inconsistent with the medal’s appearance in other contemporary documentation. Wiener does offer to send Mogford a sample of both the Westminster Abbey and Win3. Jacques Wiener to Henry Mogford, July 7, 1854. Royal Library of Belgium.

chester medals in his November 16, 1855, letter. Given that Wiener’s Winchester inscription inquiries predate those for Westminster Abbey by four months, and that the Westminster Abbey medal is in a nearly complete state at the time of this letter, one can interpret Wiener’s wording to suggest that the Winchester medal was already complete at this point. Therefore, the traditional issue date of 1856 should be revised back to relatively late, perhaps October, 1855. Wiener’s exhibit at the 1855 Exposition Universelle in Paris included one medal titled “Cathédrale de Manchester;” as there is no known Manchester Cathedral medal issued by Wiener, it seems likely that the intent was “Winchester” rather than “Manchester”—though the start date for the exposition and Wiener’s inscription inquiry one month later are seemingly in conflict assuming the medals were placed at the very start of the exposition. Although the catalogue is silent on which side was shown, one theory is that Wiener may have exhibited only the reverse which had no inscriptions and would likely have been available for the start of the exposition. Conversely, the obverse exergue die may have only had the cathedral name engraved at the time of striking the exposition specimen. Wiener exhibited the obverse (exterior view) of his Winchester medal at the 1860 Brussels Beaux-Arts and at the Exposition Nationale held in Antwerp in 1861. Surprisingly, Wiener did not exhibit this medal at London’s 1862 International Exhibition, despite exhibiting his other four English cathedral medals. F. C. Eisen offers the Winchester medal in its September 1, 1856, advertisement in the Kölner Domblatt (Fig. 2.18). In the similar but earlier December 30, 1855, Kölner Domblatt advertisement the medal is not listed. However, the January 5 and 12, 1856, issues of Algemeene Konst- en Letterbode contain advertisements from Martinus Nijhoff announcing the publication of three medals—Notre Dame, Winchester, and Westminster Abbey (Fig. 11.6). A late 1855 issue date is consistent with the medal’s appearance in these early January 1856 issues of the Dutch journal. F. C. Eisen likewise offers the medal for sale in both bronze and silver in its 1856 Neueste Beschreibung des Domes zu Köln. Rudolph Weigel was a nineteenth-century Leipzig-based printer, publisher, and art dealer. Starting in 1855 he published a work titled Archiv für die zeichnenden künste mit besonderer beziehung auf kupferstecher- und holzschneidekunst und ihre geschichte. Weigel included four advertising supplements for Vol. 2 of this title (published in 1856)

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D’Heisselaer catalogue, lot 4423, includes a specimen of the Winchester Cathedral medal among its 12 examples from the Most Remarkable Edifices series. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Winchester Cathedral medal. The July 1, 1861, issue of The Art Journal contains a brief article on the production of the English cathedrals, mentioning Winchester by name. See the chapter on The Series and its Buildings for the full text. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images

Figure 12.4. Winchester Plate X from Cathedral Antiquities: Historical and Descriptive Accounts. Note how the horizontal extents of the image match that of the medal, the match of the lower edge in both, and the small area Wiener would have filled in just above the top edge of the image to fill the medal image to the rim. called Intelligenz-Blatt zum Archiv für die zeichnenden Künste;4 Vol. 3 of these supplements for 1856 offers three medals from “Leop. Werner”—one of which is a medal of Léopold’s, the other two are Jacques’ Lincoln and Winchester medals. Assuming these advertising supplements were produced quarterly, this offer coincides nicely with Eisen’s September 1856 advertisement in the Kölner Domblatt. One cannot help but assume that the whitewashing of the Jewish name Wiener to Werner may have been deliberate. The medals are offered for 1-⅓Thalers each, or 2 Thalers each if a case is desired. This is an unusual reference to the cases being optionally purchasable. A specimen of this medal appears as lot 5597 in the 1860 de Jonghe auction catalogue. The 1860 4. Rudolph Weigel, Intelligenz-Blatt zum Archiv für die zeichnenden Künste No. 3 (Leipzig: Rudolph Weigel, 1856), XXV, https://books. google.com/books?id=F59QAAAAcAAJ.

Wiener’s Winchester medal depicts a stone screen in front of the altar. According to Taylor, this screen was removed in 1820; therefore, Wiener’s source drawings/ artwork date prior to 1820. John Britton’s Cathedral Antiquities: Historical and Descriptive Accounts, with 311 Illustration, of the Following English Cathedrals. Viz. Canterbury, York, Salisbury, Norwich, Winchester, Lichfield, Oxford, Wells, Exeter, Peterborough, Gloucester, Bristol, Hereford, and Worcester. The Engravings, Mostly by J. Le Keux, Esq. from Drawings by E. Blore ... [and Others], Volume 3 (1836) Winchester Plate X (Fig. 12.4) is almost certainly the source illustration for the interior view of the medal. The eyepoint is identical, the lateral field-of-view encompassed by both the image and the medal are identical, and the vertical field of view is almost identical (the rounded top of the medal versus the horizontal top of the illustration would have required Wiener to add in a miniscule amount of detail. This image was drawn by Blore and engraved by Edwards. The screen noted by Taylor in the far field is clearly part of the illustrated image. Given the date of the removal of the screen, the engraved illustration clearly predates its publishing in this particular tome. In addition, a portion of the historical notes found in the obverse exergue are clearly taken directly from “A Chronological Table of the Ages and Styles of Different Parts of the Church &c” in this work—the first and sixth entries in this table are represented in the third through seventh lines of the exergue inscription. The second line of the inscription is not found in this book, however.

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Figure 13.1. Photo of Westminster Abbey’s western portal, ca. 1870. (Collection of the author).

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13. Westminster Abbey (1855)

The Edifice The ecclesiastical beginnings of the Thorn Island site now boasting Westminster Abbey are hazy; there is more legend than historical fact. Monastic chronicles claimed that Sebert, king of the East Saxons, erected an abbey church dedicated to St. Peter at this location after his conversion to Christianity in 612. Later Danish harrying allegedly damaged the abbey church, necessitating repairs by Edgar I in 958. Almost a century later, legend says the exiled Edward the Confessor made a vow to undertake a pilgrimage to Rome if he should ever assume the crown. He of course did gain the crown, but advisors suggested it might be better for the kingdom if he sent an embassy to Rome in his stead. Pope Leo IX received the embassy and absolved Edward of his vow, though he suggested the funds for the pilgrimage be used for the poor and to build or restore a monastery in honor of St. Peter. A vision experienced by the monk Wulsinus in 1049 led Edward to fulfill his obligation by undertaking a restoration effort of this Abbey of St. Peter located on Thorn Island. The reconstituted Norman-style abbey was consecrated only a week before Edward’s death on January 5, 1066. Edward’s interest and involvement in the abbey was acknowledged and encouraged by William the Conqueror (crowned here on Christmas Day 1066), resulting in a peculiar mix of ecclesiastical and political importance for the abbey. Its fortunes intertwined with the monarchy over the centuries for both good and ill. One theory is that the abbey became known as “west minster” in order to distinguish it from the “east minster” that was St. Paul’s. The monk Matthew Paris wrote that in 1245 king Henry III decreed the Church of St. Peter at Westminster was to be enlarged. Construction of the present church commenced with the placing of the foundation stone on July 6, 1245; it was built in the French Gothic

style1 as a monastery, place of worship, and coronation and burial site for English monarchs. The church was consecrated, though unfinished, in 1269. Political turbulence in the fourteenth and fifteenth centuries stalled construction, though the Norman nave began to be demolished in 1375; Henry VII then completed the nave and the western towers up to the roof level during his reign. The abbey’s close association with the English sovereign spared it from many of the destructive theological and social currents flowing through England in the sixteenth and seventeenth centuries, allowing it to survive relatively intact, albeit somewhat neglected. Christopher Wren initiated a restoration effort focused on the north transept towers in 1697; this entrance in some respects presented itself with more grandeur than the western façade as it was the royal entrance to the church for many centuries. On the heels of Wren’s restoration, the towers of the western façade were completed in 1745, the new upper sections stylistically contrasting with the rest of the façade. The addition of a narthex to the western portal was considered briefly during World War II but never built. The planned medieval-era crossing tower never progressed further than installing its base. The current squat and spireless lantern reflects the basic effort to repair World War II damage and nothing more. Many plans have been offered since the eighteenth century to finish this element of the abbey, but to no avail. Except for relatively minor detail changes arising from perpetual restoration efforts—largely due to London’s environmental conditions and reworking poor choices made by restorers past—the abbey exterior appears today largely as it did in Wiener’s time (Fig. 13.1). Somewhat in parallel with the beginnings of the enlarged abbey church, Henry III, as a 13-year-old 1. More French inspired than other English Cathedrals being built at this time. An English National Gothic style had evolved in the first half of the thirteenth century.

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boy-king, laid the first stone of a chapel dedicated to the Virgin Mary, located directly east of Edward’s abbey in 1220, and to be known as the Lady’s Chapel. Insufficient Abbey funds temporarily delayed further construction, but by 1285, Henry III’s Lady Chapel was completed to the west end of its choir, which adjoined the east end of the newly rising abbey building. Henry VII later replaced Henry III’s Lady Chapel with one of his own starting in 1503. Now known as either the Henry VII Chapel or the Lady Chapel, it is architecturally renowned for its airy expanse of glass and its exquisite fan-vaulted ceiling. In his will, Henry VII stipulated that 10,000 Masses be said in the chapel for the salvation of his soul.2 A major restoration effort commenced in 1809, with additional work being completed by 1995. William Rufus, son of the Conqueror, initiated 2. Nikolaus Pevsner and Priscilla Metcalf, The Cathedrals of England Southern England (Hammondsworth: Viking, 1985), 157–76.

construction of nearby Westminster Hall in 1097 and completed it two years later. The hall is of such large dimension that mystery surrounds the nature of the original roof ’s construction—the width of the hall exceeding the usable length of the available timber. King Richard II restored and rebuilt the hall in the late fourteenth century, raising the walls two feet and installing the magnificent hammer-beam roof seen today. Its completion was celebrated on Christmas Day of 1397. Each English monarch since William the Conqueror has been crowned at Westminster Abbey; the only exceptions being Edward V and Edward VIII, neither of whom was actually crowned. A coronation chair was constructed in 1301 that enclosed the Stone of Scone and has been used at every coronation service since 1308. The Stone was returned to Scotland (from where it was purloined originally) in 1996, but will be temporarily returned as needed for future coronations.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M189

M189 / M189

Undated (1855)

AE, AR

85.7–99.7 g

142

35

R1

Medal Description

Figure 13.2. Westminster Abbey and the Lady Chapel. (Collection of the author).

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Obverse: Exterior view of the Abbey building from the west-northwest (Fig. 13.2a). Around the perimeter: W ESTM I NSTER ABBEY

W ESTM I NSTER ABBEY

J. W I EN ER F. BRUSSELS

M AD E BY J ACQ U ES W I EN ER BRUSSELS

In the exergue:

Reverse: Interior view of the Henry VII chapel from just to the right of the center aisle centerline looking toward the altar (Fig. 13.2b). In the left field: TH E PRESENT CH U RCH CO NSTRUCTED

TH E PRESENT CH U RCH CO NSTRUCTED

1220–1285.

1220–1285.

RESTO RED EN D O F TH E

RESTO RED EN D O F TH E

X V I I CENTU RY.

17th CENTU RY.

W ESTM I NSTER HALL BU I LT 1397.

W ESTM I NSTER HA LL BU I LT 1397.

TH E CHAPEL O F H EN RY V I I

TH E CHAPEL O F H EN RY V I I

CO M M EN CED 1503.

CO M M EN CED 1503.

RESTO RED 1809.

RESTO RED 1809.

S T PETER’S CH U RCH FO U N D ED ABO UT 612.

S T PETER’S CH U RCH FO U N D ED ABO UT 612.

REBU I LT A N D ERECTED A N ABBEY

REBU I LT AN D ERECTED AN ABBEY

In the right field:

In the exergue:

958 AN D 1049–1066. .

958 A N D 1049–1066. .

ELKI N GTO N & C. LO N D O N

Medals are known from a single one-piece working obverse die (Lippens 2074) (Fig. 13.3a) and a single one-piece working reverse die (Lippens 2075) (Fig. 13.3b). Multiple die-states exist; the obverse working die was lapped twice and the reverse die was lapped once. Existing specimens in the unlapped die state do not appear to exhibit flaws that would have necessitated lapping (such as minor die-cracks), thus the rationale or need for such action is not obvious based on the medals examined. One potential culprit could be light surface rust that may have formed between mintages—but this is speculative at best.

ELKI N GTO N & C. LO N D O N

Though the relief on the reverse die is less than most of the medals in this series, the engraved detail is exquisite. The rendering of the choir area stresses the vertical thrust of the architecture which is then capped by the dramatic fan vaulting. Wiener’s choice of historical information included on the medal is interesting (or perhaps unfocused depending on your point of view); the left and right field inscriptions are focused on the Lady Chapel with the exception of the tangential line regarding Westminster Hall, and the exergue addresses the abbey church itself. The obverse perimeter legend is in relatively low

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Medal Notes

Figure 13.3. The working dies for Westminster Abbey, M189, Lippens 2074 and 2075. Note the significant die-cracks present on both the obverse and reverse dies. (Images used with permission of the Royal Library of Belgium, www.kbr.be). relief even in the initial unlapped die-state; the first lapping weakens the perimeter legends, and the final lapping severely weakens this lettering. In the terminal obverse die state WESTM is barely discernible, and the bottom of the “W” and top of the “M” in WESTMINSTER are very weak. A fatal die-crack ended this die’s working life—starting atop the western portal doorway proceeding up the south tower to the 1:00 rim, around the side and bottom of the die back up the 6:00 position of the die, and through the “BR” of BRUSSELS—not quite meeting its origin. The reverse lettering is somewhat of an uneven quality in that individual letter placement and orientation varies noticeably. Early specimens (prior to lapping) have lettering that is strongly punched. The lapped die state renders ELKINGTON & C. barely legible. The “P” and first “E” of PETER’S have been re-punched. The first “H” of CHURCH has been triple-punched. The “E” of HENRY is re-punched. A rather large gap is evident between “958 AND” and “1049–1066.” A small bit of die chipping can eventually be seen above the “OU” of FOUNDED. The terminal reverse die state exhibits two significant cracks at 11:30 and 2:00 extending from the rim to approximately one-third of the way toward the center of the die-face. A third, smaller die-crack is seen at the 8:00 rim position, though it does not penetrate into the die-face.

Contemporary References It is among Wiener’s Westminster Abbey correspondence that he provides the only verification of his approach to designing the series’ medals; Wiener laments in his January 3, 1854, letter that, “I have a lot of trouble procuring exact engravings of the Abbey of Westminster…documents from which I can put my design in perspective.” Wiener confirms not only his use of existing engravings as source documents, but also the importance of the perspective view in rendering the medals. Wiener is then silent on the subject of this medal until October 16, 1855, when he strikes a familiar chord: “this time it is about the inscription for the medal of the Chapel of Henry VII (Westminster Abbey). Its medal is completed and I am awaiting the inscription to start the striking.” Mogford did not reply in a timeframe satisfactory to Wiener; thus we see a follow-up missive on November 16, 1855,3 in which Wiener states: I could not wait for the inscription for the medal of Westminster Abbey; here is the inscription that is on it: Westminster Abbey St. Peter’s Church founded about 912 3. Jacques Wiener to Henry Mogford, November 16, 1855. Royal Library of Belgium.

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Rebuilt and erected an abbey 856 And 1049–1066 The present church constructed 1220–1285 Restored end of the XVII Century Westminster Hall built 1397 The chapel of Henry VII commenced 1503 Restored 1809

It is not known if Wiener merely transcribed his reverse exergue dates incorrectly or whether they are faithfully reproduced in the letter. Nonetheless, we recognize the inscriptions as being largely correct and reflective of the struck medal, though clearly Mogford corrected the early dates destined for the reverse exergue as remitted to him. This letter, however, is the last from Wiener to mention this medal. Wiener appears to have exhibited this very striking (pun intended) medal only once—at London’s 1862 International Exhibition. Martinus Nijhoff placed advertisements in the January 5 and 12, 1856, issues of the Algemeene Konst- en Letterbode (Fig. 11.6) which indicate he had received his “commemorative medals representing the most remarkable Buildings in Europe by J Wiener Engraver at Brussels. In this series of commemorative medals are now available three pieces depicting: Winchester Cathedral in London[sic]. Westminster Abbey in London. Notre Dame in Paris.” The advertisement further remarks that, “The more than ordinary artistic value of these medals will be especially evident to the spectator when he looks at them through a magnifying glass.” An accompanying article in the January 12 issue states that the “implementation of these three medals again is impeccable; purity and correctness of lines, the perspective effects are outstanding and astonishing in grandeur, despite their small size, proclaiming the talent of the maker. Especially the exterior of the Parisian main church, and the interior of Westminster Abbey deserve lofty praise.” F. C. Eisen advertises the Westminster Abbey medal for sale (both in bronze and silver) in the December 30, 1855, and September 1, 1856, issues of the Kölner Domblatt (Figs. 2.17 and 2.18 respectively). The same firm’s Neueste Beschreibung des Domes zu Köln, published in

1856, offers the medal for sale likewise in both bronze and silver. The 1856 issue of the German construction and architecture trade magazine Zeitschrift für Bauwesen lists four of Wiener’s Most Remarkable Edifices medals, including the Westminster Abbey medal, in its record of “publications” available since “the beginning of 1855.” The last page of the January 15, 1856, edition of the Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland ends with an advertisement oriented to the latest (1855) Cologne Cathedral medal, but also offers the Westminster Abbey medal for sale (in addition to St. Apollinaris, York, Aachen, St. Paul’s (London), Notre Dame (Paris), and St. Mark’s). A specimen of this medal appears as lot 5594 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, contains 12 examples from the Most Remarkable Edifices series, including Westminster Abbey. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Westminster Abbey medal. The July 1, 1861, issue of The Art Journal contains a brief article on the production of the English cathedral medals, mentioning Westminster Abbey by name. See the chapter on The Series and its Buildings for the full text. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. Wiener’s implied state of readiness in mid-November 1855 (though with a needed correction), coupled with the medal’s appearances in the 1855 Zeitschrift für Bauwesen, the late 1855 issue of the Kölner Domblatt, and the January 5, 1856, Algemeene Konst- en Letterbode suggests that the traditional issue date of this medal should be revised to December 1855 from 1856.

Source Images Wiener’s interior and exterior source images have yet to be identified.

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14. Lincoln Cathedral (1856)

Figure 14.1. Photograph of Lincoln Cathedral from the east-southeast, highlighting the Great East Window, ca. 1860. (Collection of the author).

The Edifice The Venerable Bede indicated that Christianity was introduced into Lincolnshire, then part of Mercia, with a visit to the area in 628 by Roman missionary and Archbishop of York Paulinus. Somewhat in parallel, Pope Honorius I sent a bishop by the name of Birinus to convert the people of the Thames valley; the King of Wessex established Dorchester as an episcopal see for Birinus shortly thereafter. Centuries later, William the Conqueror appointed Remigius, a Norman monk, as his first bishop of Dorchester. Remigius undertook the initiative to rebuild the existing cathedral in Dorchester, but ultimately decided that the focal

point of such a large diocese should be located in a less obscure town. Coupled with a royal directive in 1072 to locate episcopal sees within walled towns, Remigius set about moving the seat of his diocese to Lincoln, and purchased land at the summit of Lincoln Hill. Construction began in the late 1080s and was sufficiently far along to warrant having the new edifice consecrated in 1092, though Remigius died on the eve of this event. The relatively new building was beset by a roof fire in 1141,1 after which the roof was replaced by one made of stone. Decades later, the cathedral sustained major damage from an 1185 1. The date is somewhat disputed; the fire may have occurred in 1125.

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earthquake, with Benedict, Abbot of Peterborough, describing the structure as “cleft from top to bottom.”2 Roughly half of the original Norman structure had to be replaced, unsurprisingly changing the overall architectural character of the resultant building. Drawing inspiration from Canterbury Cathedral, the reborn cathedral established a national, English Gothic style related to, but distinct from, the French Gothic. The Lincoln master, Geoffrey, was a notable designer as he leveraged ideas from many other edifices but implemented them in a cohesive and original way. The cathedral is unusual in having two transepts (both an east and a west). Geoffrey’s interior vaulting of the east transept crossing and the St. Hugh’s Choir between the transepts has been dubbed “crazy vaulting” for its asymmetry relative to the longitudinal vaulting rib; it is more easily recognizable by sight, defying clear written description. Conversely, his technical skills appear to have been somewhat deficient; weakness in his Gothic additions was betrayed when the newly-built central tower suddenly collapsed around 1237, killing three people. The enlarged cathedral, complete with a chapter house and (a new) magnificent lantern crossing tower and spire was completed in the fourteenth century. It is thought to have been the tallest building in the world from 1311 until the soaring spire atop the central tower blew down in 1548, never to be rebuilt.

The height of the western towers was increased in the early fifteenth century; it was later recommended that the associated needle spires atop the western towers be removed in 1724 due to the perceived structural impact of their weight. Rioting by the local populace in reaction to this recommendation deferred their removal until 1807, though not without grumbling even at this later date. The cathedral suffered plunder and damage during the reign of Henry VIII, and again later during the English Civil War. Sir Christopher Wren added a library and cloister in the late seventeenth century. The eighteenth and nineteenth centuries saw relatively minor changes to the cathedral (though the Deanery was torn down in 1847 and replaced), with the nineteenth and twentieth centuries including inevitable restoration efforts (Fig. 14.1). Lincoln Cathedral has no “close” to keep encroachment at bay; as such the twentieth century brought motorways and traffic which surround the structure, some in very close proximity, particularly on the south side.3 The twenty-first century witnessed the cinematic debut of the cathedral, most notably with the appearance of the thirteenth-century chapter house at the end of the film “The Da Vinci Code.” An ambitious program aimed at aiding preservation and providing an engaging visitors experience was announced in 2015 with backing from the Heritage Lottery Fund.

2. Wild, Charles and John Britton, History and Antiquities of the Cathedral Church of Lincoln: Illustrated by a Series of Engravings of Views, Elevations, Plans, Sections, and Details, of the Architecture and Sculpture of that Edifice 2nd Edition (London: H. G. Bohn, 1837), 7, https://books.google.com/books?id=fPJIAQAAIAAJ.

3. Pevsner, Nikolaus and Priscilla Metcalf, The Cathedrals of England Midland, Eastern and Northern England (Wisbech: Balding & Mansell, 1985), 196–221.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M199

M199 / M199

Undated (1856)

AE, AR

85.9–99.6 g

150

33

R1

150

Medal Description

Figure 14.2. Lincoln Cathedral. (Collection of the author). Obverse: Exterior view of the cathedral from the southwest (Fig. 14.2a). In the exergue: J. W I EN ER F. bRUSSELS

M aD E by J aCq U ES W I EN ER bRUSSELS

LI N CO LN C aTh ED R aL

LI N CO LN C aTh ED R aL

ELKI N GTO N & C. LO N D O N

ELKI N GTO N & CO M pa Ny LO N D O N

Reverse: Interior view of the cathedral looking down the nave toward the apse, from a vantage point left of the center of the center aisle (Fig. 14.2b). In the left field: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

FO U N D ED 1085. bU RNT 1141.

FO U N D ED 1085. bU RNT 1141.

O FTEN REbU I LT 1195–1250.

O FTEN REbU I LT 1195–1250.

SO UTh TR aNSEpT 1306

SO UTh TR aNSEpT 1306

In the exergue:

151

Medal Notes

Figure 14.3. The working dies for Lincoln Cathedral, M199, Lippens 2104 and 2105. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2104) (Fig. 14.3a) and a single onepiece working reverse die (Lippens 2105) (Fig. 14.3b). As with the other English medals, this one was published by Elkington & Co. in London. On the obverse the “C” of LINCOLN is rotated slightly counterclockwise, and the second “L” of LINCOLN is rotated slightly clockwise. On the reverse, the “9” of 1195 is punched over an initial and strongly-punched “3”. The “S” of SOUTH is punched low. There is a characteristic small die gouge (raised bump on the medal) between the nave roof centerline and the peak of the third window from the choir on the right side of the nave. There are three obverse die states for the Lincoln medal as a result of die lapping. The first (unlapped) state displays strong obverse lettering. A die-crack then appears, running perpendicularly from the 10:00 position on the rim slightly downward until it intercepts the northwest tower. This crack likely prompted the first lapping exercise. Specimens from this second lapped state show slightly weakened lettering in the ELKINGTON & C. LONDON lettering. The thin spire emanating from the northeast corner of the apse roof is now thinner and slightly “disconnected” from the peak of the roof. A second lapping exercise also followed. For specimens in this third state ELKINGTON & C. LONDON lettering is very weak; the “E” and “N” of ELKINGTON have only the barest traces remaining. The thin spire emanating from the northeast corner of

the apse roof is now barely visible. Assuming the dies were lapped due to the appearance of the die-crack, neither lapping exercise was particularly successful as the crack is still apparent in the subsequently struck specimens. The terminal obverse die state shows the 10:00 die-crack spanning the full width of the northwest tower. A new crack also appears at the 3:00 rim, terminating just short of the south transept pediment. Both cracks penetrate the full depth of the die. A third crack also formed at the 8:00 position but did not not advance into the face of the die. On the reverse, the “SO” of SOUTH is weak, particularly at the tops of the letters. The terminal reverse die state is rather good— no cracks, and only the tiniest breakage in the recess between the foreground and second cluster of columns at left.

Contemporary References Wiener exhibited the obverse (exterior view) of his Lincoln medal at the 1860 Brussels Beaux-Arts and at the Exposition Nationale held in Antwerp in 1861. Both the obverse and reverse were exhibited at the International Exhibition held in London in 1862. Production of the Lincoln Cathedral medal is given only a single mention in Wiener’s correspondence with Henry Mogford, on November 16, 1855. “I would be well obliged to you at present if you wanted to request

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of Mr. Godwin the inscription for the Cathedral of Lincoln with which I am occupied at the moment.” The late date and immaturity relative to the somewhat contemporaneous Westminster Abbey medal would suggest an issue date in early-to-mid-1856, rather than the traditional date of 1857. F. C. Eisen first introduced the medal in its September 1, 1856, advertisement in the Kölner Domblatt (see Fig. 2.18). In his similar December 30, 1855 Kölner Domblatt advertisement the medal is not listed, consistent with the 1856 issue date suggested by Wiener’s correspondence. In the same firm’s Neueste Beschreibung des Domes zu Köln published in 1856, there is an offer for a Lincoln Cathedral medal—priced at 1 Thaler, 10 Silbergroschen for bronze, and 14 Thalers for silver, consistent with Eisen's pricing for other Wiener medals. These 1856 offers clearly contradict the traditionally assigned issue date of 1857 by Bouhy and later by Forrer. Therefore, a revised issue date of 1856 is warranted for this medal. Rudolph Weigel’s Archiv für die zeichnenden künste mit besonderer beziehung auf kupferstecher- und holzschneidekunst und ihre geschichte contains four volumes of offerings from various art-oriented dealers for the year 1856. Included under the category of “Münzen” in the third volume are offers for both the Winchester and Lincoln medals by F. C. Eisen. Assuming these advertising supplements were produced quarterly, this offer coincides with Eisen’s September

1856 advertisement in the Kölner Domblatt. The July 1, 1861, issue of The Art Journal contains a brief article on the production of the English cathedral medals, mentioning Lincoln by name. See the chapter on The Series and its Buildings for the full text. A specimen of this medal appears as lot 5596 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, contains an example of the Lincoln Cathedral medal. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) which includes an example of the Lincoln Cathedral medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images Unfortunately, Britton’s The History and Antiquities of the Cathedral Church of Lincoln does not provide the source of the interior or exterior views on the medal. Wiener’s interior and exterior source images have yet to be identified. However, Wiener’s medal does depict the cathedral in its post-1807 configuration with the needle spires atop the western towers no longer present; therefore his exterior source image would date after 1807.

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Figure 15.1. An aerial view of the cathedral from the northeast ca. 1880. Note the clear stylistic difference in the Gothic choir (left) and the Romanesque nave (right). (Collection of the author).

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15. Tournai Cathedral 1857

The Edifice Tournai started life as the Roman settlement of Tornacum, located at the crossing of the Roman road between Bourgogne and Cologne. Legend has it that St. Piatus was sent by the Pope to evangelize the city in the second half of the third century. He is sometimes referred to as the bishop of Tournai but no definitive assertion can be made; there is, however, some evidence that points to the establishment of a church building in the settlement by the time of his martyrdom in the late third century. After the dissolution of Roman power in the area, Tournai became the temporary capital for the Merovingian kings that politically replaced the Roman Empire in the region in the mid-fifth century. Merovingian king Childeric I saw to the construction of a larger church in the city around the time of his accession in the year 458. Chilperic later provided an endowment to the cathedral in 578, and Louis the Pious donated land to pay the cost of enlarging the cloisters in 817. Norman raids in 882, however, destroyed the church and largely drove away the population until the start of the tenth century. Documentary evidence exists for a cathedral built in the eleventh century in parallel with the city’s rebuilding. Construction of the current Tournai cathedral structure commenced early in the twelfth century (perhaps incorporating elements from the eleventh century edifice), ultimately spanning three distinct phases—each resulting major cathedral element displaying a distinct architectural style. The western towers and nave were originally built in the Romanesque style and the transept was built in the mid-twelfth century in a so-called transitional style. The Cathedral received a “face lift” in the thirteenth century, which completely replaced the original Romanesque choir with one in the newly popular Gothic style, including stained glass windows; this choir was dedicated in 1338. The cathedral’s most distinctive external visual feature is the transept, which features five prodigious bell towers—its transitional style literally

bridging the building’s Romanesque western section and Gothic eastern section. Tournai cathedral was left relatively intact in the centuries after its completion, providing a coherent and temporal architectural journey as one proceeds from the western portal to the apse in the east. Damage was incurred in 1566 as part of the Calvinist rebellion and later during the French Revolution when much of its furnishings and artwork were looted and sold off. The May 8, 1745, explosion of a powder magazine in the citadel of Tournai during the siege of the city by the French caused significant damage to the cathedral windows. In the aftermath, the nave’s polychromed, flat ceiling was replaced by the groined vault seen today. The windows were likewise repaired thereafter, only to be largely destroyed again during the spillover from the French revolution. The cathedral was closed by the French administration in 1797, and its furnishings sold one year later. Demolition of the structure was considered, but the edifice was returned to the Catholic Church on January 12, 1800. The next few months were spent returning the building to usable service as a church with services resuming on May 26. With the Concordat of 1801 (between Napoleon and Pope Pius VII), the diocese of Tournai was reconstituted, a new bishop named (François-Joseph Hirn; the role had been vacant since 1793). Bishop Hirn spent a good part of his episcopate repairing damage and replacing the cathedral’s lost artwork with pieces from other religious institutions shut down during the revolutionary period. Later, an appointed commission reported on the deteriorating state of the cathedral in 1837, resulting in the approval of an initial (and modest) budget to address the most urgent repairs and to prevent further damage. A comprehensive, multidecade restoration effort subsequently commenced in 1840—initially under the direction of the architect Bruno Renard1—to address more completely the dilapidated state that had resulted largely from decades of 1. Subject of an 1857 medal by Wiener celebrating Renard’s 50 years as a professor and architect (M206).

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neglect and not successfully addressed by Bishop Hirn (Fig. 15.1). This work was completed in 1892, coinciding with the 800th anniversary of “La Grande Procession de Tournai,” an annual procession commencing at the cathedral and celebrating the deliverance of the city from the Plague. Though surviving World War I relatively intact, German incendiary bombing between May 16 and 19, 1940 inflicted significant damage on the cathedral itself and destroyed a number of ancillary buildings and holdings including the chapter library and archives. The replacement of the wooden roof in the eighteenth century by the brickwork vaulting likely

saved the structure.2 Most recently, the cathedral was heavily damaged by a tornado on August 24, 1999; inspection of the damaged building revealed widespread structural issues forcing the cathedral to close while the extensive restoration and renovation effort is completed. The cathedral suffered an additional indignity on February 18, 2008, when armed thieves smashed the glass cathedral treasury display and stole artifacts dating as far back as the ninth century in a heist valued at 40 million euros. Sadly, the crime is as yet unsolved and the relics unrecovered. 2. Dumoulin, Jean and Jacques Pycke, Notre Dame The Cathedral of Tournai The Visitors Guidebook (Tournai: Fabrique de l’Eglise Cathédrale de Tournai, 1994), 3–24.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M200

M200 / M200

1857

AE, AR

85.0–89.0 g

151

18

R1

Medal Description

Figure 15.2. Tournai Cathedral. (Collection of the author). Obverse: Perspective exterior view of the cathedral from a northeast vantage point (Fig. 15.2a). Along the top perimeter: C aTh ED R aLE D E TO U RN aI

C aTh ED R aL O F TO U RN aI

At left perimeter: J. W I EN ER

J aCq U ES W I EN ER

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In the exergue: N EFS, TR aNSEpTS, ET TO U RS D E L’ÉGLISE

N aV ES, TR aNSEpTS, aN D TOW ERS O F Th E Ch U RCh

aCTU ELLE X I ET X I I SI ÈCLE.

CO M pLETED 11Th aN D 12Th CENTU RI ES.

Ch O EU R X I I I–X I V SI ÈCLE.

Ch O I R 13Th–14Th CENTU RI ES.

RESTaU R aTI O N 1837

RESTO R aTI O N 1837

Reverse: Interior perspective view down the nave toward the apse (Fig. 15.2b). In the left field: FO N D ÉE paR S T pI aT I I I SI ÈCLE

FO U N D ED by ST. pI aT 3RD CENTU Ry

RECO NSTRU ITE V ERS 458

RECO NSTRUCTED a RO U N D 458

In the right field: D ETRU IT

D ESTROyED

paR LES N O R M aN DS 882

by Th E N O R M aNS 882

In the exergue: J. W I EN ER F. bRUX ELLES

M aD E by J aCq U ES W I EN ER bRUSSELS

1857

1857

Medal Notes

Figure 15.3. The working dies for Tournai Cathedral, M200, Lippens 2109 and 2110. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

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Medals are known from a single one-piece working obverse die (Lippens 2109) (Fig. 15.3a) and a single one-piece working reverse die (Lippens 2110) (Fig. 15.3b). Tournai Cathedral was a popular subject for Wiener, as he engraved and issued four separate medals celebrating this monument between 1846 and 1857—though only the last issue is part of the Most Remarkable Edifices series. The exterior view of the cathedral on this medal is very similar to that used on his earlier 1849 issues (M51 and M60). On the obverse, the “EF” of NEFS is very closely spaced, as is the “EP” of TRANSEPTS. A faint remnant of a letter is visible above the comma separating TRANSEPTS and ET. The “T” of TOURS is rotated slightly counter-clockwise, and the “D” of DE is rotated clockwise. The final “E” of ÉGLISE has been re-punched as well as the “T” and second “L” of ACTUELLE. The “X” of XI has also been re-punched. The remnants of light construction lines used as the base for each row of lettering at the far right of the exergue are visible. The horizontal member of the cross atop the apse appears to have been re-engraved. Various characteristic, stray engraving marks can be found at the base wall of the choir and on the foundation block at the base of the northeast tower. On the reverse, the “F” and final “E” of FONDÉE have been re-punched. The “4” of 458 is rotated slightly counter-clockwise. Light construction lines are visible to the left and right of 458. The “D” of DETRUITE is rotated significantly clockwise. The “W” of WIENER has been re-punched and the “S” of BRUXELLES is low. The remnants of a construction line can be seen at the base of the letters in WIENER. A small characteristic die gouge is evidenced above and to the right of the second archway on the left. The working dies used to strike the Tournai medal suffered over the course of their use. The obverse exhibits die breakage between both towers of the south transept, as well as between both towers of the north transept. This breakage appears common to all specimens examined by the author, and thus appear to have occurred in the production of the working die. Slight breakage also becomes evident at the right vertical edge of the nave. Eventually the obverse die was lightly lapped as Wiener’s signature and the lettering in the center of the exergue are weaker than on previous specimens. The terminal obverse die state displays the lapping characteristics as well as a die chip in the word ET. On the reverse, a

small die chip eventually appears between the upper pulpit stairs and the adjacent column to the right. A very small die chip appears in the peak of the first archway at left, as well as breakage between the foreground and second cluster of columns at left. The sharp corners of the exergue also begin to exhibit die failure at this stage. The reverse terminal diestate has a large piece of the die broken away in the area formed by the rim, left field and first cluster of columns. A similar, though smaller, breakage is also seen at the same base location of the extreme right archway.

Contemporary References Wiener exhibited the obverse (exterior view) of his Tournai medal at the 1860 Beaux-Arts in Brussels, the Exposition Nationale held in Antwerp in 1861, as well as London’s 1862 International Exhibition. The Tournai medal is another issue receiving scant attention in mid-nineteenth century publications, though its engraved date spares us the effort to divine an issue date based on its reference in contemporary documents. A specimen of this medal appears as lot 5599 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, contains 12 examples from the Most Remarkable Edifices series, but the Tournai medal is not among the dozen specimens. Mr. Heisselaer collected until his sudden passing in October 1857, thus the Tournai medal likely was issued in the third or fourth quarter of 1857. The Catalogue du cabinet de médailles, jetons, monnoyes, pièces obsidionales, de nécessité, de révolution, etc3 documents the sale of C. G. Boonzajer’s collection on October 27, 1863; lot 1552 is a specimen of Wiener’s Tournai medal. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Tournai (Doornik) Cathedral medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

3. Catalogue du cabinet de médailles, jetons, monnoyes, pièces obsidionales, de nécessité, de révolution, etc. (Gorinchem: H. Horneer, 1863), 60, https://books.google.com/books?id=HH9SAAAAcAAJ.

158

Source Images

The (minimal) exhibition and documentary evidence of the medal is consistent with an issue date of 1857 as engraved on the medal.

Wiener’s interior and exterior source images have yet to be identified.

159

Figure 16.1. St. Peter’s Basilica, Vatican City ca. 1870. Photo by Sommer & Behles. (Collection of the author).

160

16. St. Peter’s, Vatican City 1857

The Edifice Tradition holds that the Apostle Peter was martyred (crucified upside down) in Rome’s Circus of Nero in AD 64 and buried on Vatican Hill. In the succeeding decades, a shrine evolved over his tomb, attracting pilgrims.1 Constantine I, having converted to Christianity, ordered the construction of a basilica (the layout drawing inspiration from the Roman basilica or court building) on the site ca. 320, with its altar located directly over St. Peter’s tomb.2 In anchoring the basilica to St. Peter’s tomb, and adapting to its hilltop terrain, the basilica’s apse was located at the west end of the structure and its entry at the east end—opposite what would become the traditional layout of Catholic churches in the coming centuries. The basilica gradually increased in importance, accommodating ever more pilgrims and was the site of Charlemagne’s coronation as Holy Roman Emperor in 800. The basilica evolved as nature and man wreaked havoc. A century after its construction, Pope Leo I repaired significant earthquake damage. After the sixth century the first ancillary chapels and monuments began to clutter and impede the clean lines and focal point of the church; at the peak over ninety such structures existed in the basilica interior. A new roof was put in-place by Pope Honorius I in the seventh 1. A purposeful over-simplification. The body of St. Peter may have been relocated more than once in the two centuries after his death. That a shrine to Peter was in-place on Vatican Hill is not in dispute, it just may not have been over his grave originally. Mid-twentiethcentury excavations of the cemetery were believed to have identified St. Peter’s tomb, but were not conclusive in identifying remains of St. Peter, as acknowledged by Pope Pius XII. James Lees-Milne, Saint Peter’s (Boston: Little, Brown: 1967), 70–77. However, subsequent analysis of one set of bones led Pope Paul VI in 1968 to proclaim them to be those of St. Peter—a claim not without criticism from within and without the Catholic Church. “Paolo VI Udienza Generale Mercoledì, 26 giugno 1968,” Libreria Editrice Vaticana, accessed July 22, 2018, https://w2.vatican.va/content/paul-vi/it/audiences/1968/documents/hf_p-vi_aud_19680626. html 2. This necessitated building over a cemetery, not just St. Peter’s tomb—in theory a criminal offense in Rome. James Lees-Milne, Saint Peter’s (Boston: Little, Brown: 1967), 67.

century. A Saracen raid in 846 (the same one afflicting St. Paul Outside the Walls) inflicted damage and pillage as Vatican Hill also lay outside the city walls. The poor state of the basilica drove Pope Gregory I to issue an (unsuccessful) appeal for funds to save the building from collapse. The need for restoration continued in the subsequent centuries. In the wake of the papacy’s move to Avignon from 1309 through 1377, Constantine’s now-neglected basilica fell into dire disrepair. Pope Urban V “found St. Peter’s in decay and abandonment, the cattle grazing off weeds in the atrium and even wandering up to and nuzzling the altars within the church.”3 Popes Martin V, Eugenius IV, and Nicholas V attempted to address the dilapidated state of the basilica in the mid-fifteenth century, but largely unsuccessfully. Under Nicholas II, a renaissance Pope and builder, plans for a new St. Peter’s began to be formulated. Illness and an early death conspired to doom his plan however. Successor Popes then alternately ignored or half-heartedly attempted to continue Nicholas’ work. It was not until a half-century later that Pope Julius II initiated a design competition for a new basilica, though not without some consternation and resistance from those wishing to retain the existing, 1,200-year old basilica despite its derelict condition. Donato Bramante’s design (based partly on that of Nicholas V) was selected in 1505 and construction of the current building commenced on April 18, 1506. This new basilica was conceived on an immense, celebratory, and lavish scale, necessitating a relatively quick demolition of Constantine’s old basilica—“the energy with which the destruction was tackled horrified contemporaries.”4 Bramante’s plans for St. Peter’s 3. James Lees-Milne, Saint Peter’s (Boston: Little, Brown, 1967), 83. 4. Christof Thoenes, “Renaissance St. Peter’s.” St. Peter’s in the Vatican, ed. William Tronzo (Cambridge: Cambridge University Press, 2005), 74. Much of the remaining old basilica would be demolished almost exactly a century later, however the stubborn, last remnants were not removed until the late 1770s.

161

were modified by a succession of architects—including a somewhat reluctant Michelangelo—over the next century. Bramante conceived the original floor plan as a Greek cross (a plan carried forward by Michelangelo), however this was modified following the Council of Trent to be a Latin cross by adding two bays to the east side of the building. The basilica’s signature element is a dome designed by Michelangelo, modified by Della Porta, inspired both by the Pantheon of ancient Rome and the dome of Florence Cathedral—and in turn inspiring those of St. Paul’s in London, St. Isaac’s in St. Petersburg, St. Geneviève, the Hôtel des Invalides in Paris, and even the U.S. Capitol. It is the tallest dome in the world rising 448 feet from the floor to the top of its external cross. Michelangelo’s intended external view of the dome and cupola is unfortunately obstructed by the two added bays and façade; this classical façade was essentially completed under Pope Paul V in 1612 (with another two years needed for some decorative elements), and the basilica was consecrated in 1626 by Pope Urban VIII. Gian Lorenzo Bernini’s baldacchino, placed over the tomb of St. Peter, was added in 1633. The square in front of St. Peter’s, enveloped

by the twin colonnades of Bernini, was constructed between 1656 and 1667. These colonnades enclose an obelisk liberated by Roman Emperor Caligula from Egypt and previously placed in its current location5 by Pope Sixtus V in 1586. The obelisk acts as a sundial, noon being marked by marble zodiacal symbols placed in the square. A new sacristry was then added on the north side of the nave in 1776—1780 and with this addition the basilica complex was essentially complete. St. Peter’s is not a cathedral—that is, not the seat of a bishop—but rather is one of four “major basilicas” of the Roman Catholic church (the three others being St. John Lateran, St. Paul Outside the Walls, and St. Maria Maggiore—all located in Rome). The Pope’s cathedral as the Bishop of Rome is the Archbasilica of St. John Lateran. The building is—to this day—one of immense proportions and passionate art asserting the sacred over the secular to the faithful (Fig. 16.1). 5. The partially buried obelisk was originally located in Nero’s Circus, immediately to the south side of St. Peter’s. The move was a significant engineering feat, requiring hundreds of horses and men, along with multiple cranes and windlasses over the course of some five months.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M201

M201 / M201

1857

AE, AR

83.1–97.5 g

152

50

R1

Medal Description

Figure 16.2. St. Peter’s Basilica. (Collection of the author).

162

Obverse: Perspective view of the eastern façade of the exterior of the Basilica, from a viewpoint just to the left of center (Fig. 16.2a). Around the perimeter: ba SI LI C a D I S. pI ETRO a RO M a

ba SI LI C a O F ST. pETER I N RO M E

In the exergue: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Reverse: Perspective view of the interior looking down the nave toward the baldacchino (Fig. 16.2b). In the left field: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

1857

1857

Da GI U LI O I I I N CO M I N CI aTa

CO M M EN CED by JU LI US I I

N EL M DV I.

I N 1506.

Da paO LO V CO M pI UTa

CO M pLETED by paU L V

N EL M D C X I I.

I N 1612.

In the right field:

In the exergue:

Medal Notes

Figure 16.3. The working dies for St. Peter's Basilica, M201, Lippens 2106 and 2107. (Images used with permission of the Royal Library of Belgium, www.kbr.be). 163

This beautiful medal masterfully renders the splendor of the Basilica; the interior detail on the reverse is breathtaking in its scope and complexity. Medals are known from a single one-piece working obverse die (Lippens 2106) (Fig. 16.3a) and a single one-piece working reverse die (Lippens 2107) (Fig. 16.3b). On the obverse, there is a nick or small scratch in the die at the right serif of the first letter “A” in BASILICA. The second “A” of the same word has been repunched, possibly over a previous “L”; the serif of the initial letter is just visible to the right of the base of the “A”. The terminal of the “J” of J. WIENER is illegible as the edge of the die is rounded—rolling upward to meet the rim. The “N” of WIENER is rotated slightly clockwise. Eventually, the obverse exhibits a small amount of die-breakage in the rightmost extreme of the exergue. There is a characteristic undulation (appearing as horizontal banding) within the rightmost lower archway just above the statue at the base of the steps. Later specimens show evidence of light lapping—the tops of the letters “BAS” in BASILICA are somewhat weak, and the “J” and “W” of Wiener’s signature have been erased; a subsequent lapping erases all but NER F. The lapping also removes the traces of the “L” under the last “A” of BASILICA. The compelling reason for the two die lappings is not obvious based on the specimens examined. The terminal die state displays the moderate lapping as well as pitting around the dome. On the reverse, there is a significant die gouge (raised bump) in the left field atop “J. W” of J. WIENER. The “C” of MDCXII is punched low and the “7” of 1857 has been re-punched; otherwise the reverse lettering is perfect. Evidence of minor die breakage can be found at the top extremity of both the left and right fields. The terminal reverse die state reflects these characteristics as well as a die-crack starting from the 12:00 rim position, extending 12–13 mm vertically downward into the barrel vaulting of the basilica. It is interesting that Wiener chose to highlight a completion date of 1612, as this only corresponded to the end of the construction of the eastern façade—rather than cite the 1626 consecration. This unusual reference likely provides a clue to the source of the historical data used by Wiener to populate the medal’s legends.

Contemporary References Wiener exhibited the reverse (interior view) of his St. Peter’s medal at the 1860 Beaux-Arts in Brussels, the Exposition Nationale held in Antwerp in 1861, and the 1873 Universal Exposition in Vienna. The medal’s obverse and reverse were shown at the International Exhibition held in London in 1862. A specimen of this medal appears as lot 5610 in the 1860 de Jonghe auction catalogue. The 1860 D’Heisselaer catalogue, lot 4423, contains twelve examples from the Most Remarkable Edifices series, however the St. Peter’s medal is not among them, suggesting a late 1857 issue date given D’Heisselaer’s death in October of that year. Lot 2108* of Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle also includes a specimen of the St. Peter’s medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862 from Wiener by way of the Baron Vandercruysse.The exhibition and documentary evidence of the medal is consistent with an issue date of 1857 as engraved on the medal.

Source Images There are numerous engravings generated from the late eighteenth century through the second quarter of the nineteenth century that qualify as potential source images. Each view was generated at the western extreme of the nave from an elevated position which meets all the desired eyepoint criteria—correctly placed laterally, longitudinally, and vertically. The farfield details (e.g., background details in the side aisles) then match those portrayed by Wiener on the medal. Figure 16.4 is an example of one of these engravings, an albumen photograph of an engraving by Pietro Parboni. The source image for the exterior view of the medal remains to be discovered.

164

Figure 16.4. A late nineteenth-century albumen photographic reproduction of Parboni's copper engraving of the interior of St. Peter's Basilica (before 1841). Note how the relative positioning and level of detail in various far-field elements and at the horizontal extremes match those on Wiener’s medal. (Collection of the author).

165

Figure 17.1. Late nineteenth-century photograph of the interior of Hagia Sophia with a similar view as the medal reverse. (Collection of the author).

166

17. Hagia Sophia, Istanbul (1858)

The Edifice Hagia Sophia (Holy Wisdom) was the seat of the Orthodox Patriarch of Constantinople for almost 1100 years (360–1453) with the exception of a brief period of Latin control as a result of the Fourth Crusade. The first church erected on the site, of somewhat obscure origin, was consecrated in the year 360. Conflict between the Patriarch of Constantinople and the Empress Eudoxia led to riots in 404 that then led to the church being burned. Emperor Theodosius inaugurated a new church in 415 though it persevered little more than a century before being burned to the ground in the populist Nika revolt of January 532. Thirty-nine days after this conflagration, Emperor Justinian I laid the foundation stone for a new church on a larger and more lavish scale than its predecessors. Construction was completed inside of a mere six years, the church being inaugurated in December of 537.1 The new building was of an unprecedented size, interior openness, and brightness for the time. Four acres of mosaics covered its interior domes and vaulting. Art and engineering had vied for supremacy in the church’s design and construction, with art (and speed) tending to dominate. As such, the structure was weak—earthquakes bedeviled the new structure in the mid-sixth century, ultimately collapsing the dome in 558. The dome’s structural supports were redesigned and lighter materials used in the reconstruction that completed in 562. This effort resulted in the edifice seen today (Fig. 17.1). Fire and yet more earthquakes in the ninth and tenth centuries necessitated additional repairs. Left relatively unscathed by the iconoclast controversy of the eighth and ninth centuries, Hagia Sophia was not so fortunate during the Fourth Crusade; with the occupation of Constantinople, the church was ransacked, 1. That Justinian started the rebuilding of such a vast structure so quickly, and finished it so quickly, suggests that plans and materials may have already been waiting in the wings; the destruction of the old edifice conveniently enabling the new plan. Patrick Kinross, Hagia Sophia (New York: Newsweek, 1972), 30.

stripped of many of its treasures, and then converted into a Catholic Cathedral. The Byzantines recaptured their capital in 1261, bringing the church back under Orthodox control. An earthquake in 1344 shuttered the building until repairs were completed in 1354. When Constantinople fell to the Ottomans on May 29, 1453, the increasingly neglected Hagia Sophia was looted, then ordered by Sultan Mehmet to be immediately converted into a mosque. This resulted in interior changes to accommodate Islamic worship, replacement of the cross atop the central dome with a crescent, and the addition of the first of four minarets. In addition, the Christian mosaics were largely plastered over and hidden. Other than a sixteenth-century restoration by the architect Sinan, the next three centuries were largely focused on minor changes and a number of renovations as the building surpassed a millennium in age. Peripheral buildings were gradually added over the centuries—hosting schools, a library, tombs, an almshouse, etc. Reform-minded Sultan Abdul Medjid ordered a restoration in 1847 under the supervision of the Swiss-born and Italian-educated architect brothers Giuseppe and Gaspare Fossati. The brothers set about improving the structural integrity of the building and revising the decorative elements in both the interior and exterior. This included the removal of some of the agglomeration of secondary buildings that had begun to threaten the mosque’s structural integrity. Large (25 feet in diameter) circular medallions adorned with the names of Allah, Muhammed, the first four caliphs, and two grandchildren of Muhammed were added; these medallions figure prominently in interior photos and on Wiener’s medal. The newly restored building was inaugurated on July 13, 1849. This was the last major restoration of Hagia Sophia to occur to-date. The mosque survived multiple threats during World War I, including having almost been intentionally blown up in advance of an Allied invasion. In the wake of the

167

war, an independence movement led by Kemal Atatürk led to a new nationalist government in 1923. In keeping with Atatürk’s drive to modernize and secularize Turkey, Hagia Sophia was closed in 1931 and then re-opened as a museum four years later. During this period, the building’s long-hidden Christian mosaics began to be uncovered and conserved—a process that would ultimately span over three decades. Yet more ancillary buildings were razed during this brief closure, with the mosque exterior gradually returning to a form

The Medal

closer to its original.2 A ten-year restoration effort was recently completed on the dome, seeking to stabilize the structure and eliminate waterborne threats. The building’s secular status began to be re-evaluated in the twenty-first century, with pressure applied from a number of interest groups. In July of 2016, the call to prayer was heard inside the building for the first time since 1931. 2. Kinross, Patrick, Hagia Sophia (New York: Newsweek, 1972), 14–134.

Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M208

M208 / M208

Undated (1858)

AE

83.0–101.1 g

206

60

R3

Medal Description

Figure 17.2. Hagia Sophia. (Collection of the author). Obverse: Interior view of the mosque’s north nave (Fig. 17.2a). In the exergue: S TE SO ph I E À CO NSTa NTI N O pLE

h O Ly W ISD O M I N CO NSTa NTI N O pLE

baTI E paR L’E M pEREU R JUSTI N I EN 532–537

bU I LT by Th E E M pERO R JUSTI N I aN 532–537

CO N V ERTI E EN M OSq U ÉE 1453

CO N V ERTED TO a M OSq U E 1453

RESTaU RÉE SO US LE RÈGN E D U SU LTaN

RESTO RED D U RI N G Th E REI GN O F Th E SU LTaN

a bD U L M ED J I D 1847–1849

abD U L M ED J I D 1847–1849

paR G. FOSSaTI.

by G a SpaRE FOSSaTI.

168

Reverse: A view of the mosque’s central nave. The left and right fields are anepigraphic (Fig. 17.2b). In the exergue: J. W I EN ER F. bRUX ELLES

M aD E by J aCq U ES W I EN ER bRUSSELS

Medal Notes

Figure 17.3. The obverse master die for Hagia Sophia, Lippens 2401. (Image used with permission of the Royal Library of Belgium, www.kbr.be).

Figure 17.4. The working dies for Hagia Sophia, M208, Lippens 2402 and 2403. The green coloration on the obverse is in the protective grease present on the die. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single obverse master die (Lippens 2401) (Fig. 17.3), a single two-piece obverse working die (Lippens 2402) (Fig. 17.4a), and a single one-piece reverse working die (Lippens 2403) (Fig.

17.4b). Similar to the St. Isaac’s obverse die, the Hagia Sophia two-piece die does not utilize a retaining ring. Note that the legends are not in the vernacular local to the edifice at that time (Ottoman Turkish), but rather

169

are in French. One of the scarce medals of the series, and, like the Cordoba medal, it portrays interior views on both the obverse and reverse. On the obverse there are no lettering issues of note, despite the extensive exergue legends. Over the course of die usage, a fine crack appears at the base of the “N” in EN and grows along the bottoms of the letters in MOSQUÉE and eventually extends to the top serif of the “1” of 1453. Late specimens show evidence of die erosion in the exergue lettering. Evidence of die breakage can be seen on the left side of the third pillar from the right. Later strikes exhibit a large degree of breakage, with significant metal flow filling the void between the pillar and the expanse of wall just to the left of the pillar. In addition, there appears to be a small area of perhaps rust on the die to the left of the base of this same pillar and just below the base of the adjacent pillar. The obverse die was lapped once, weakening the letters in the center of the exergue in an apparently unsuccessful attempt to remove the die-crack in the lettering. The terminal obverse die state also includes chipping at the base of the cathedral floor, a break from the base of the left foreground column to the rim, and a large crack from the 11:30 rim inward toward the center of the die face—extending perhaps halfway to the center. This crack permeates the full depth of the die. The reverse exhibits an intermittent horizontal tooling mark on the left half of the mosque floor, just above its bottom edge. The rearmost ceiling dome also exhibits a shallow die gouge running horizontally just above its base. The lettering of “WIENER” is somewhat wavy. The terminal die state of the reverse exhibits a chip in the left corner of the exergue and a broad arcing diecrack which begins near the top extent of the left field, runs vertically through the medallion and then turns, running somewhat in parallel with the rim and ending in the mosque floor just above the “ER” of WIENER. The terminal reverse die state exhibits no additional characteristics of note.

Contemporary References Surprisingly, it appears that Wiener exhibited this medal only once—the “interior” view of the medal was shown at London’s 1862 International Exhibition. Given that both sides of the medal depict interior views, the catalogue does not really illuminate us as to which of the two possible interior views were shown. The Journal de Bruxelles announced the completion

of this medal in its June 28, 1858 issue.3 The 1860 Catalogue des monnaies et médailles formant le cabinet de feu J. B. Th. de Jonghe includes a specimen of the Hagia Sophia medal (as lot 5614). The Hagia Sophia medal is likewise represented in Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle in group lot number 2108*. Given the Journal de Bruxelles announcement, the traditional 1864 issue date of this medal is clearly incorrect and is thus revised to 1858. The Victoria and Albert Museum purchased its specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images Belgian native Louis Haghe (1806–1885) went into partnership with William Day, together establishing the lithographic firm Day and Haghe ca. 1830. Haghe created a series of 25 lithographs based on images provided by Gaspare Fossati of the interior and exterior of the mosque. These lithographs were published in the work Aya Sophia of Constantinople as Recently Restored by order of H. M. The Sultan Abdulmedjid,4 published in 1852 in London by Colnaghi (Fig. 17.5). The source images for both the obverse and reverse of Wiener’s Hagia Sophia medal appear to have originated from this work. These were the last lithographs produced by Haghe as he gave up lithography for watercolor shortly thereafter. The reverse image appears to depart from Haghe’s lithograph (Fig. 17.6) slightly in that the elevated structured in the left background is not rendered on the medal. Wiener may have also referenced another Haghe lithograph from this work, L’intérieur de la mosquée, avant sa restauration, which shows the same view but prior to the restoration; the background structure in question is missing from this lithograph. One is left to ponder the reason why Wiener chose to render interior images on the two sides of this medal, effectively going against his own precedent with all but the Cologne and Cordoba Cathedral medals. Louis Haghe’s series of lithographs provided at least six exterior views of the mosque (in addition to the 3. “Arts, Sciences et Lettres,” Journal de Bruxelles, June 28, 1858: 2, https://www.belgicapress.be//pageview.php?all_q=Wiener%20 medaille&any_q=&exact_q=&none_q=&from_d=01-05-1858&to_ d=01-07-1858&per_lang=&per=&sig=JB567&lang=EN . 4. Louis Haghe, Aya Sophia of Constantinople as Recently Restored by order of H. M. The Sultan Abdulmedjid (London: Colnaghi, 1852).

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15 interior views and four views outward from the mosque). The speculative answer may lie in the fact that Haghe’s exterior images are from eyepoints relatively distant from the edifice itself, seemingly to allow the edifice and each of the flanking minarets to be

captured completely within his chosen field of view. The small size of the source image may have translated into insufficient detail available for the medal, or perhaps by including the minarets, the rendered edifice would have been simply too diminutive.

171

Figure 17.5. Lithograph by Belgian native Louis Haghe (1852) after a drawing of Gaspare Fossati of the north nave of Hagia Sophia (Vue de l'entrée du côté du nord.). Clearly Wiener used this image–the horizontal field of view is identical to that rendered on Wiener’s medal, the vertical field of view is almost identical (requiring minimal addition on the medal), and the eyepoint is the same, which provides the same relative positions of all the architectural elements in the scene. (Image courtesy Library of Congress).

Figure 17.6. Lithograph by Louis Haghe (1852) after a drawing of Gaspare Fossati of the central nave of Hagia Sophia, looking eastward (Vue générale de la grande nef, en regardant l'orient). A similar image exists, but depicts the central nave looking westward. Clearly, Wiener used this eastward-oriented version of the image— the eyepoint height, horizontal and vertical fields of view are identical between the medal and Haghe’s lithograph. (Image courtesy Library of Congress).

172

Figure 18.1. St. Isaac's Metropolitan Church, ca. 1880. (Collection of the author).

174

18. St. Isaac’s, St. Petersburg 1858

The Edifice Russian Tsar Peter the Great, born on Saint Isaac of Dalmatia’s feast day, founded the city of St. Petersburg in 1703. Peter conceived of the idea of erecting a church in the saint’s honor in his new city; he initially established a wooden church dedicated to St. Isaac near the Admiralty, but being too close to the Neva River it was eventually destroyed by floods. A second, and more grand, church was built nearby between 1717 and 1727 on a site just northwest of the current building. The stone structure was built by Georg Mattarnovi, a respected Russian architect. However, Mattarnovi provided inadequate foundations for a site again so close to the river—the building’s stonework quickly began to crack and the structure burned in 1735, ending its abbreviated lifespan. In 1768 Catherine II ordered the foundations laid for a new structure, though the work was oft-delayed and interrupted.1 Architect Antonio Rinaldi was busy with multiple projects and his complex marble designs ensured a slow pace of progress. His and Catherine’s deaths in quick succession ultimately doomed the enterprise. Tsar Paul I appropriated the remaining marble for other projects and ordered that the church be finished with brick. His son Alexander I decided that the thoroughly adulterated and incomplete building effort should just be terminated. In 1809 a national competition was initiated to solicit designs for a yet additional attempt at building the church. A pre-condition demanded by the Tsar was that the consecrated altars in the existing church be retained and absorbed into the new one. The difficulties in doing so led all competitors to disregard the directive and suggest razing the old church completely—which the Tsar rejected. So yet another competitive effort commenced in 1816 in which French architect Henri Louis Auguste Léger Ricard de Montferrand’s design

was eventually selected over a number of other, more well-known architects. Montferrand ensured that his structure would have a stable base—starting in 1818, the next five years were spent laying the substantial foundation. Over 10,000 tarred pine pilings, each over 5 m in length were driven into the ground to form the base for the stonework above. Assisted by a number of other scientists and engineers, the architect would spend over half of his life devoted to this project— though exterior construction was largely complete by 1842, an additional 16 years were required to complete the interior. The cathedral’s signature design element is its massive, gilded iron dome that suggests influence from both St. Geneviève in Paris and St. Paul’s Cathedral in London. As a measure of the magnitude of the enterprise, the gilding of the central dome, the smaller domes, and crosses alone required eight years of effort—from 1835 to 1843. The interior gilding used 400 kg of gold and an estimated 1,000 tons of bronze. Porphyry, malachite, lazurite, and various types of marble enrich the interior as well.2 The consecration was held on June 11, 1858, the feast day of St. Isaac of Dalmatia, and was attended by Tsar Alexander II. Montferrand died one month later; despite his four decades of dedication to erecting the cathedral, Tsar Alexander II denied Montferrand the honor of burial within its crypt. The largest cathedral in Russia at the time of its construction, it could accommodate 14,000 standing worshippers, and was only later eclipsed by the Church of Christ the Savior in Moscow (Fig. 18.1). St. Isaac's still commands a magnificent presence in the St. Petersburg skyline. It was closed—a victim of the Communist revolution—and reopened as a museum in 1931. The building was used to store various treasures and archives during World War II, particularly during the siege of Leningrad. Damage inflicted during

1. Though the event was commemorated on a medal by Ivanov, depicting a view of the cathedral-to-be on the reverse.

2. George Butikov, St. Isaac’s Cathedral (Hamburg: Sankt Petersburg Verlag, 1991), n.p.

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the war necessitated a significant restoration effort to return the edifice to its former glory. It remains a museum today, though church services are held on major ecclesiastical occasions. St. Petersburg authorities announced a controversial decision in early 2017

to return operational rights to St. Isaac’s Cathedral to the Russian Orthodox Church while retaining state ownership of the building, effectively reviving the preRevolution arrangement.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M209

M209 / M209

1858

AE, AR

88.5 g

—

—

R4

M210

M210 / M209

1858

AE, AR, AV

84.1–92.6 g

158

57

R3

Medal Description

Figure 18.2. St. Isaac's Metropolitan Church with full Russian obverse legends (M209). (Image courtesy Ghent University). M209 Obverse: Three-quarter exterior view of the church building (Fig. 18.2a). Around the perimeter: СО БО РЪ С В И С А А КIЯ Д А Л М АТСК АГО ВЪ С. П ЕТЕРБУРГ Ъ

C aTh ED R aL O F ST. ISa aC O F DaL M aTI a ST. pETERSbU RG

176

In the exergue: CO O pУ ЖЕНЪ П ЕТР О МЪ ВЕ ЛИ КИ МЪ ВЪ 1717– 1727 Г.

bU I LT by pETER Th E GRE aT 1717–1727.

СГО РБЛЪ ВЪ 1735.

bU RN ED I N 1735.

Н АСТОЯ ЩIИ XРА МЪ ЗА ЛОЖЕНЪ

Th E CU RRENT Ch U RCh bEGU N

П РИ А ЛЕКС АНДРБ I ВЪ 1819 Г.

by aLE X aN D ER I I N 1819.

О СВЯ ЩЕНЪ П РИ

CO NSECR aTED by

А Л ЕКС А НДРБ I I ВЪ 1858 Г

aLE X aN D ER I I I N 1858

А РЖИТ. p. М О НФЕРРАНЪ

h EN RI LO U IS aUGUSTE LÉGER RI C aRD D E M O NTFERR a N D a RCh ITECT

ГРА В. И. ВИ Н ЕРЪ

M aD E by J aCq U ES W I EN ER

M209 Reverse: Interior view looking down the nave from a vantage point just to the right side of the center aisle (Fig. 18.2b). Two small anepigraphic fields to the left and right. In the exergue: J. W I EN ER F. 1858

M aD E by J aCq U ES W I EN ER 1858

Figure 18.3. St. Isaac’s Metropolitan Church with mixed Russian and French obverse legends (M210). (Collection of the author). M210 Obverse: Three-quarter exterior view of the church building (Fig. 18.3a). Around the perimeter: СО БО РЪ С В И С А А КIЯ Д А Л М АТСК АГО ВЪ С. П ЕТЕРБУРГ Ъ

C aTh ED R aL O F ST. ISa aC O F DaL M aTI a ST. pETERSbU RG

177

In the exergue: ÉGLISE ST ISa aC À ST pETERSbO U RG

Ch U RCh O F ST. ISa aC I N ST. pETERSbU RG

baTI E paR pI ERRE LE GR aN D 1717–1727.

bU I LT by pETER Th E GRE aT 1717–1727.

I N CEN D I ÉE 1735. p OSE D E L a 1 pI ERRE

bU RN ED 1735. L ayI N G O F Th E FI RST STO N E

D E L’ÉGLISE aCTU ELLE

O F Th E CU RRENT Ch U RCh

paR aLE X aN D RE I 1819.

by aLE X aN D ER I I N 1819.

CO NSaCRÉE pa R aLE X aN D RE I I

CO NSECR aTED by aLE X a N D ER I I

E

1858.

1858.

R. D E M O N FERR ÀN D aRCh.

h EN RI LO U IS aUGUSTE LÉGER RI C aRD D E M O NTFERR a N D a RCh ITECT

J aCq U ES W I EN ER F

M aD E by J aCq U ES W I EN ER

Similar to St. Paul’s (London) medal variety M147, Wiener’s signature is located at the 7:00 position wedged between the rim and the exergue legends. M210 Reverse: Interior view looking down the nave from a vantage point just to the right of the center aisle (Fig. 18.3b). Two small anepigraphic fields to the left and right. In the exergue: J. W I EN ER F. 1858

M aD E by J aCq U ES W I EN ER 1858

Medal Notes

Figure 18.4. The working dies for St. Isaac’s. The configuration of the obverse working die (Lippens 2140) corresponds to variety M209. The reverse working die (Lippens 2141) is common to both varieties M209 and M210. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

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Medals are known from a single two-piece working obverse die (Lippens 2140) (Fig. 18.4a) with two separate exergue dies, and a single one-piece working reverse die (Lippens 2141) (Fig. 18.4b). The two-piece obverse die differs from most of the others employed by Wiener in that there is no retaining ring used. Variety M209: The existence of an obverse variety with legends completely in Russian appears to be unreported until recently3 with relatively few specimens known to the author4 (though others certainly may exist). The second “А” of ДАЛМАТСКАГО in the perimeter legend has been re-cut, its “C” is punched low and counter-clockwise, and the “Ъ” of ВЪ has been re-punched. In the obverse exergue, the first appearance of АЛЕКСАНДРБ has the “С” punched low, the second “А” rotated slightly counter-clockwise, and the “Б” re-punched. The subsequent ВЪ has the tops of both letters rotated slightly toward each other. The second АЛЕКСАНДРБ has the “С” rotated noticeably clockwise. The “Ъ” of the following ВЪ is punched high. Wiener’s signature is particularly botched, with many of the letters re-punched due to poor positioning or incorrect letters being initially used. A characteristic stray engraving line emanating diagonally upward from the left pediment peak is common to both varieties and identifies the common obverse edifice die. A die-crack formed relatively early in the life of the die, emanating from the far-field dome at the left of the structure and the sculpture just to its right, continuing in a slight vertical arc, terminating just prior to the Д of ДАЛМАТСКАГО. The terminal obverse die state includes the aforementioned crack as well as a second crack from the 6:00 rim which vertically splits the exergue die in two. This fatal crack would have necessitated the preparation of a second exergue die, which became variety M210. There is nothing notable in the reverse lettering other than the “5” of 1858 being punched slightly high, and the final “8” being punched yet even higher. However, there is a characteristic horizontal die gouge (slight bump in the medal surface) in the cathedral floor just above the space between “F.” and “1858” in the exergue legend. Minor die breakage is first noted 3. Firmin De Smet, “Enkele Onbekende Medailles van Jacques Wiener,” Flash 20467 (s.l.: Promotion de la Médaille, October–December 2016), 248. 4. In addition to one in the author’s collection, the University of Ghent possesses a single specimen and the Royal Library of Belgium possesses two specimens. An additional specimen was offered by Künker in 2018.

only in the extreme left corner of the reverse exergue, and then is followed by a small chip in the right corner of the exergue. Variety M210: This variety, by far the more common of the two, utilizes Russian only in the top perimeter legend (on the edifice die), in contrast with the use of French in the legends below the cathedral base (on the replacement exergue die). Still one of the scarce issues of the Most Remarkable Edifices series. In general, the obverse lettering is of good quality, although the letters “SBOURG” of PETERSBOURG have each been re-punched with varying degrees of minor left-right adjustments. In keeping with the common edifice die, the second “А” of ДАЛМАТСКАГО has been re-cut, and the “Ъ” of ВЪ has been re-punched as noted above. In the obverse exergue the first “E” of the first PIERRE has a very weak bottom leg and serif, making it appear almost as an “F.” The letters “ER” of WIENER are punched more deeply than the remaining letters of the signature—and thus appear more prominent. All specimens exhibit the obverse die-crack commencing from the far-field dome at the left of the structure and the sculpture just to its right, continuing in a slight vertical arc, and terminating just prior to the Д of ДАЛМАТСКАГО as this crack occurred while the combined die was in the M209 configuration. This thin obverse exergue die likewise succumbs to the abuse of too many strikes as a crack eventually emanates from the bottom rim through the first “N” of MONFERRÀND, along the second “A” of ALEXANDRE and terminates at the second “E” of PIERRE in the second line of the exergue legend. The exergue die-crack becomes more pronounced in later strikes. The reverse working die is common to both varieties M209 and M210 based on the die flaw in the cathedral floor and the identical signature lettering characteristics. More reverse die breakage is noted than on M209—the left corner of the exergue still exhibits a small die failure, but now the right corner exhibits a larger failure, and a new minute break at the base of the leftmost archway at the rim appears, and another wedged between the dome’s near and far columns at left has appeared. This identifies M210 as being the second of the two varieties based on the progressively larger amount of die failure present in specimens of this variety. It is curious, however, that the terminal obverse die state at the Royal Library of Belgium exhibits the M209 exergue die despite clear evidence that specimens of M210 were struck afterward.

179

Figure 18.5. Lithograph by F. Benois based on a drawing by St. Isaac’s architect A. Montferrand—Vue de L’Église Prise a L’Angle du Boulevart de L’Amirauté (1845).

Contemporary References Wiener exhibited both the exterior and interior views of his St. Isaac’s medal at the 1860 Beaux-Arts in Brussels, the Exposition Nationale held in Antwerp in 1861 and London’s 1862 International Exhibition, but only the interior view at the 1873 Universal Exposition in Vienna. It is unknown which variety was exhibited at any of these exhibitions. A specimen of this medal appears as lot 5615 in the Catalogue des monnaies et médailles formant le cabinet de feu J. B. Th. de Jonghe, published in 1860. Lot 2108* of Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle also includes a specimen of the St. Isaac’s medal. The Victoria and Albert Museum’s Inventory of the Objects in the Art Division of the Museum at South Kensington: Arranged According to the Dates of Their Acquisition. For the years 1852 to the end of 1867, Volume 1, lists this medal is listed as part of its 1862 purchase. Unlike the later 1864 inventory record, this document does not explicitly say that the medals were purchased from Wiener, though the V&A website does indicate direct purchase from Wiener. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images St. Isaac’s architect Auguste Montferrand submitted drawings of his planned structure as part of the 1816–

1818 competition. He subsequently published an album in 1820 with sketches of his approved work, which initiated a storm of criticism from more experienced architects who pointed out technical problems with Montferrand’s plans to incorporate the old church structure into the new. By March of 1825 the new and improved plan was approved. In 1845, after completion of the construction phase, Montferrand published another work, Eglise Cathedrale De Saint-Isaac: Description Archetecturale, Pittoresque et Historique de ce Monument.5 In this work are 61 fascinating lithographs chronicling the construction of the edifice. The images are readily available on-line; it is highly recommended that the reader peruse them to begin to understand the immensity of the project. Included in this work is a lithograph by F. Benois depicting the completed church at a moderate distance from Admiralty Boulevard (Fig. 18.5). The image differs only slightly from the medal (the medal is missing a statuary figure at lower far left pediment). However, the azimuthal and elevation eyepoint locations are correct—the relative alignment of details both laterally and vertically are consistent with Wiener’s rendering. Unfortunately, the source image for the interior view of St. Isaacs remains at large.

5. Auguste Montferrand. Eglise Cathedrale De Saint-Isaac: Description Archetecturale, Pittoresque et Historique de ce Monument (SaintPetersburg: F. Bellizard et Co., 1845), Plate V, https://vivaldi.nlr.ru/ bg000010000/view#page=92.

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19. Church of St. Geneviève 1858

Figure 19.1. A view of the exterior of St. Geneviève (Panthéon) in Paris from a photo by E. Ladrey, ca. 1860–1889. (Collection of the author).

The Edifice Having fallen seriously ill with a fever in August 1744, French king Louis XV, fearing for his life, sent away his mistress Marie-Anne de Mailly, made what was to become an inconvenient public confession, received the last rites, and (most importantly in our context) vowed to rebuild the ruined abbey church of St. Geneviève if he recovered. He indeed recovered, brought back his mistress, and set about building a new, grand church of St. Geneviève to overlook all of Paris. In 1755 French-born architect Jacques-Germain Soufflot was given architectural control over the royal buildings in Paris and was commissioned with this new undertaking. Construction of the crypt commenced with the blessing of the ground on August 1, 1758, and completed with the formal placement of the foundation stone by Louis XV himself on September 6, 1764. An example of Soufflot’s Neoclassical architectural style, the building rises above a Greek cross floor plan, and is noted for its massive colonnade and central

dome which combine the influences of the portico of the Roman Pantheon and the dome of St. Paul’s in London. Dying in 1780, Soufflot unfortunately lived long enough to see structural problems develop in his building, but not long enough to see them corrected, much less to see the finished church. His associate Jean Rondelet completed the building in 1791 in the early days of the French Revolution. In the wake of the death of Count Honoré Mirabeau in April 1791 and drawing inspiration from the burial of national figures in Westminster Abbey, the National Constituent Assembly ordered the building to be converted from a church to a secular mausoleum renamed as the “Panthéon” dedicated to great Frenchmen—its Classical design readily facilitating the transition. In the zeal to secularize the monument, pediment sculptures were modified and the original windows were filled in, leaving the interior a bit more sober and the exterior somewhat monolithic in its impact. 181

Despite construction continuing through 1811, its silent population continued to increase with the gradual addition of notable revolutionaries. In the first half of the nineteenth century, as revolutionary fervor abated somewhat and middle ground was sought, the building reverted back twice as a church though all the while accommodating the burials of yet more national figures. However, coinciding with the 1885 death of Victor Hugo, its sacred role officially ceased, leaving the Panthéon today as the secular resting place envisioned by the French Revolutionaries (Fig. 19.1). Its 72 “inhabitants” include Rousseau, Voltaire, Victor Hugo, Alexander Dumas, Louis Braille, and Marie and Pierre Curie among others.1 Its role is that of promoting “a wide range of themes (history, visual arts, literature, science, civic education)” and “making immortality available to each citizen having merit to the homeland through their life or death.”2 1. Upon the discovery of Count Honoré Mirabeau’s activity as an intermediary between the monarchy and the revolutionaries, Mirabeau’s remains were indignantly removed from the Panthéon and replaced with those of Jean-Paul Marat. 2. Dossier Enseignant Panthéon, (Paris: Centre des Monuments Nationaux, 2002), 13, http://www.paris-pantheon.fr/content/ download/110192/1216218/version/4/file/doc_pdf_fr_dossierEnseignant_Pantheon_2009.pdf.

The Panthéon, like Notre Dame on the Île de la Cité, was directly affected by Baron Haussmann’s reconfiguring of Paris. He rebuilt the Rue Soufflot which provided a sightline from the Luxembourg Gardens to the western façade of the Panthéon. In addition, various streets to the south and east of the monument were created or expanded. Having been built atop trenches dug by Romanera potters for clay, the very ground shifts under the weight of the Panthéon’s massive stone structure. As noted earlier, the terra firma’s struggle to support the building was betrayed early on—the pendentives supporting the dome had to be strengthened early in the construction period. Construction methods likewise contributed to problems as iron tie-bars which reinforced stonework gradually rusted and swelled—thus stressing the stonework and splitting the very stones they were meant to reinforce. By the late twentieth century, these masonry failures resulted in the occasional pelting of the floor and unfortunate passersby below. Restoration efforts began in 1985 and are planned to continue past 2020.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M211

M211 / M211

1858

AE, AR

80.4–94.6 g

159

41

R1

Medal Description

Figure 19.2. The Church of St. Geneviève (Panthéon). (Collection of the author). 182

Obverse: Centered, exterior view of the (then) church building as viewed from the west (Fig. 19.2a). This straighton view gives the medal the appearance of a plan view as the perspective is subtle. Around the perimeter: Ch U RCh O F ST. GEN E V I È V E (paNTh ÉO N) I N paRIS

ÉGLISE S TE GEN E V I È V E (pa NTh ÉO N) À paRIS

In the exergue: CO M M EN CÉE EN 1758

CO M M EN CED I N 1758

J. G. SO U FFLOT a RCh IT:

J aCq U ES- GER M aI N SO U FFLOT a RCh ITECT:

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Reverse: Interior view of the (then) church looking east down the nave from just left of the center aisle centerline (Fig. 19.2b). Anepigraphic fields to the left and right flank the interior view. In the exergue: J. W I EN ER F. bRUX ELLES

M aD E by J aCq U ES W I EN ER bRUSSELS

1858

1858

Medal Notes

Figure 19.3. The working dies for St. Geneviève (Panthéon), M211, Lippens 2138 and 2139. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

183

Medals are known from a single one-piece working obverse die (Lippens 2138) (Fig. 19.3a) and a single onepiece working reverse die (Lippens 2139) (Fig. 19.3b). This is the first Wiener medal acquired by the author—and one that continues to be a favorite. The obverse lettering appears perfect. The parentheses have been hand-engraved; the right parenthese betrays a slip of the burin with a slight “barb” found in its concave side. The terminal obverse die state most notably displays two die-cracks. The first crack commences at the 2:30 position of the rim extending just past the À, with a total length of 6–7 mm. The second crack, unusual for the series, does not start at the rim, but rather at the “A” of PARIS and extends diagonally downward, terminating in the center of the right-most column. On the reverse, the “U” of BRUXELLES is punched low and the first “E” is punched high. The “85” of 1858 is weaker than the remaining digits of the date. Most, if not all, specimens exhibit very minor die breakage at the extreme corners of the reverse exergue. The terminal reverse die state likewise displays a number of cracks. The first die-crack starts from the 11:30 rim and extends toward the arch prior to the transept crossing. A second crack begins at the 9:00 rim, running horizontally inward for 9–10 mm, then splitting at the first column just inside the left field, with one branch proceeding vertically up the column, and the other cutting diagonally across the next two columns. The third crack starts at the 5:00 rim and proceeds inward about halfway to the center of the face of the die, likewise splitting at the fourth column. The reverse is a

very clean design, with the rendering of the building’s interior allowed to dazzle without the distraction of legends in the fields.

Contemporary References Despite its impressive design, this medal left a scant mid-nineteenth century documentation trail. Wiener exhibited the reverse (interior) view of his St. Geneviève medal at the 1860 Beaux-Arts in Brussels and at the Exposition Nationale held in Antwerp in 1861. The medal’s obverse and reverse were shown as part of Wiener’s extensive exhibit at London’s 1862 International Exhibition. A specimen of this medal appears as lot 5609 in the 1860 de Jonghe auction catalogue. An example is also included in Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle single group lot number 2108*. The Victoria and Albert Museum purchased their specimen in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images Wiener’s interior and exterior source images have yet to be identified.

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20. Cordoba Cathedral (1859), 1859

Figure 20.1. An interior view of Cordoba Cathedral ca. 1880. (Collection of the author).

The Edifice The site of Cordoba Cathedral was initially occupied by a Roman temple, followed by a Visigothic Christian church dedicated to St. Vincent dating from the fifth century. Following their victory over the Visigoths in 711, the Umayyad Moors initially split this building into a church and a mosque, later purchasing the Christian half. Upon the overthrow of the Damascus-based Umayyad dynasty by the Abbasids in 750, Umayyad leaders fled to Spain, declaring an indepen-

dent emirate (and later caliphate) known as Al-Andulus, with its capital in Cordoba. Construction of a new, grand mosque (known as the Aljama), replacing the existing mosque structure, was initiated ca. 786 by Abd al-Rahman I, the founder of the Andalusian dynasty. The new prayer hall originally consisted of eleven aisles in a north-south orientation defined by 110 columns (repurposed from Roman and Visigothic origins) topped by ubiquitous red and white striped “horseshoe arches.” Al-Rahman died only two years into the construction project, but his son continued to build—adding a minaret in 788 along with additional galleries and an ablution well a few years later. Abd al-Rahman II in 822 expanded the mosque southward, extending its length and requiring the minaret to be demolished and rebuilt. Abd al-Rahman III, the first caliph of Cordoba, reconstructed the minaret yet again and began renovating the structure to address cracks that had begun forming in some of the walls. His son al-Hakam II expanded the mosque further southward before his death in 976. The usurper al-Mansur ibn Abi Aamir was responsible for the final expansion in 987; the mosque having proceeded as far south as practical due to the nearby Guadalquivir River, al-Mansur instead pushed eastward giving the mosque the dimensional extents seen today. Al-Mansur’s finances were not as robust as those of his predecessors and the materials used in this final expansion were not of the same quality as those used prior. Nonetheless, the mosque had now more than doubled in size and represented a crowning achievement of the Cordoba Caliphate. Cultural friction between Muslims and non-Muslims, however, was accelerating even as the mosque reached its apex. This tension and political weakening of the Caliphate led to the Spanish Reconquista in 1236, when the mosque was converted back to a Christian church and consecrated as the Cathedral of Our Lady of the Assumption on June 29, 1236. The beauty and splendor of the building were generally recognized and respected; relatively minor Christian additions and modifica-

185

tions were incorporated in the immediately ensuing centuries, leaving much of the original architecture intact. By the late fifteenth century, suggestions to significantly alter the mosque-turned-cathedral were tamped down but a certain irreversible momentum had been established. With the permission of Spanish King (and Holy Roman Emperor) Charles V, construction of a Renaissance-style cathedral began in 1523, located incongruously in the very center of the mosque, the two religious histories sharing the overall building structure while displaying distinct boundaries and stark differences in their approaches to being places of worship. The cathedral construction was performed under the watchful eye of Hernán Ruiz, and later his son and his grandson, ultimately being completed in the eighteenth century. The old minaret, adapted for use as a bell tower, was deemed structurally unsound following a severe storm and rebuilt starting in 1593. The eighteenth century would be unkind to this new campanile as a storm and earthquake necessitated further repairs. In the same century, choir stalls and pipe organs would be added. Multiple chapels were incorporated into the edifice as part of this multi-century evolution as well. This Christianization of the build-

ing decelerated in the nineteenth century, and with its declaration as a national monument in 1882, more attention was given to its Islamic roots and heritage (Fig. 20.1). As early as the 1930s there were calls to allow for Muslim worship at the site; though debated the suggestion was rejected by church officials. Now generally referred-to as the “Mezquita-Cathedral” to reflect its dual heritage, the building’s non-public ownership and usage are a flashpoint in the uneasy twentyfirst century cultural relationship between Islam and the West.1 Architecturally, the mezquita portion of the Cordoba Cathedral complex is most readily noted for its veritable forest of interior columns—856 of them (remaining) made from jasper, onyx, marble, and granite defining 19 north-south aisles and 29 east-west aisles. These elements of the original Islamic structure are rendered prominently on Wiener’s commemorative medal, rather than the later cathedral structure—despite the prominent obverse legend denoting it as the Cathedral of Cordoba. 1. Charles River Editors, The Mosque-Cathedral of Córdoba (Ann Arbor: Charles River Editors, 2018), n.p.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M219

M219 / M219

Undated (1859)

AE

77.9–99.0 g

168

59

R1

M220

M220 / M220

1859

AE

81.3–90.5 g

167

—

R2

Medal Description

Figure 20.2. Cordoba Cathedral—Variety M219. (Collection of the author). 186

M219 Obverse: Interior view of the former mosque with the three arches of the maqsura and the mihrab in the far distance (Fig. 20.2a). In the left field: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

C aTED R aL D E CO RD O ba

C aTh ED R a L O F CO RD O ba

In the exergue:

M219 Reverse: Interior view of the cathedral from the southwest looking northeast (Fig. 20.2b). The arches of the maqsura are seen in the far field at right. The image spans the entire diameter of the medal, therefore there are no lateral fields. In the exergue: M E Zq U ITa ERI GI Da 786

M OSq U E ERECTED 786

p O R abD -EL-R ah M aN.

by abD -EL-R ah M aN.

CO N V ERTI Da EN I GLESI a

CO N V ERTED TO a Ch U RCh

p O R FERN a N D O I I I

by FERD I N aN D I I I

1236.

1236.

J. W I EN ER

J aCq U ES W I EN ER

The signature is located along the rim at the left corner of the exergue, wedged between the base of the cathedral floor and the “C” of CONVERTIDA; roughly at the 7:00 position, similar to the St. Paul (London) (M147) and St. Isaac medals.

Figure 20.3. Cordoba Cathedral—Variety M220. (Collection of the author). M220 Obverse: Interior view of the former mosque with the three arches of the maqsura and the mihrab in the far distance (Fig. 20.3a). In the left field: J. W I EN ER F. 1859

M aD E by J aCq U ES W I EN ER 1859

187

In the exergue: C aTED R aL D E CO RD O ba

C aTh ED R a L O F CO RD O ba

M220 Reverse: Interior view of the cathedral from the southwest looking northeast (Fig. 20.3b). The arches of the maqsura are seen in the far field at right. The image spans the entire diameter of the medal, therefore there are no lateral fields. In the exergue: M E Zq U ITa ERI GI Da 786

M OSq U E ERECTED 786

p O R abD -EL-R ah M aN.

by abD -EL-R ah M aN.

CO N V ERTI Da EN I GLESI a

CO N V ERTED TO a Ch U RCh

p O R FERN a N D O I I I

by FERD I N aN D I I I

1236.

1236.

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

The signature J. WIENER F. is again located along the rim at the left corner of the exergue, wedged between the base of the cathedral floor and the “C” of CONVERTIDA; roughly at the 7:00 position. Medal Notes

Figure 20.4. The Master obverse and reverse dies for the Cordoba Cathedral medals, Lippens 2187 and 2189. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

188

Figure 20.5. The working dies for Cordoba Cathedral, M219, Lippens 2188 and 2190. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Figure 20.6. The working reverse die for Cordoba Cathedral, M220, Lippens 2191. The corresponding working obverse die is not currently in the Belgian Royal Library inventory. (Image used with permission of the Royal Library of Belgium, www.kbr.be).

Medals are known from a single obverse master die (Lippens 2187) (Fig. 20.4a), two one-piece obverse working dies (Lippens 2188; the other obverse working die is missing) (Fig. 20.5a), a single reverse master die (Lippens 2189) (Fig. 20.4b), and two one-piece reverse working dies (Lippens 2190 and 2191) (Fig. 20.5b and 20.6). This medal is unusual for the series in that it depicts interior views on both the obverse and reverse. There is a spectacular sense of depth rendered in this medal, particularly on the reverse. One can count 13 sets of columns vanishing into the far distance. Simply an amazing piece of work.

Variety M219: There is no date following Wiener’s obverse signature. The “C” of CATEDRAL is located above and between the letters “D” and “E” of DE below. On the obverse there is a characteristic vertical die gouge (raised metal) toward the top of the right field (variety M220 does not exhibit this characteristic). The obverse exhibits perfect lettering, and the terminal obverse die state exhibits no signs of breakage or fatigue. On the reverse, the “P” of the first POR was initially punched low and then re-punched. The “P” of the second POR was initially punched very high and to the left before being re-punched in its proper location.

189

The remnants of light construction lines to guide the punching of the lettering are visible to the right of the first two lines of inscription in the exergue. There is a characteristic diagonal (upper left to lower right) die gouge (raised metal) below the rightmost windows in addition to the small vertical die gouge located above these same windows. There is evidence of die fatigue or failure at the intersection of the leftmost of the lower four arches and the rim. The field of the exergue also exhibits fine raised bumps around the lettering suggesting some rusting of the dies may have occurred. The terminal reverse die state exhibits no other characteristics of note. Variety M220: This variety is readily distinguished from M219 by the appearance of the date (1859) immediately following Wiener’s obverse signature. In addition, the “C” of “CATEDRAL” is located almost directly above the “E” of “DE”. On the reverse, the relative spacing of lettering in the exergue also differs slightly between varieties M219 and M220. Wiener’s reverse signature concludes with the “F.” for FECIT on this variety. There are tooling marks or perhaps the ghost of an earlier punched letter to the left of the stem of the “T” in CATEDRAL. Die fatigue is evidenced between the capital of the first column at left and the base of the adjacent arch on later specimens. In the far-field doorway at right, a stray vertical tooling mark is evident at the base of the right side door; this characteristic mark is present on both varieties and is indicative of the common obverse master die. On the reverse, the “U” of MEZQUITA has been re-punched, as have the “8” and “6” of 786, and the “R” of the second POR. A short, vertical die gouge is present above the window in the rightmost archway; this die gouge is present on both varieties and is likewise indicative of the common reverse master die. Note that other tooling marks and die dings exist, but that are unique to the particular variety—these marks were made in the working dies. The terminal reverse die state shows no signs of die breakage or fatigue. The obverse working die for M220 is not in the die inventory held by the Royal Library of Belgium. The obvious question to be considered is whether one can identify which variety was the first to be issued. The progression of die failure at the capital of the leftmost column of the obverse suggests that the die failure was present in the master die, and thus the undated obverse working die (M219) would have been generated prior to the dated working obverse die

(M220). This is confirmed upon examining the obverse master die as slight chipping can be seen in this area, matching the characteristics of M220. The associated reverse dies would be assumed to have been sequenced similarly. The need for a second pair of working dies, for the moment, remains a mystery; the M219 working dies exhibit no die failure characteristics that would have necessitated the production of the second set of working dies. Given that, it appears that both sets of working die sets were therefore simultaneously useable; as a result it is very likely that mules of M219 and M220 exist. If found, these would be identified as M219B (die combination M219/M220) and M220B (die combination M220/M219)—the reference number being tied to the obverse die utilized.

Contemporary References Despite the acclaim received by this medal in the current day and age, Wiener does not appear to have exhibited the Cordoba medal at any world exposition. A specimen of this medal appears as lot 5612 in the 1860 de Jonghe auction catalogue. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) which includes an example of the Cordoba medal. The Victoria and Albert Museum in London purchased a specimen of this medal (M220) in 1862. The British Museum purchased its specimen (also M220) on July 24, 1862, from Wiener by way of the Baron Vandercruysse. Without any evidence to the contrary, the initial (undated) variety is likewise assumed to have been issued in 1859.

Source Images There are a number of nineteenth century engraved images of the interior of the Mezquita-Cathedral, however most are problematic in some regard with respect to the eyepoint and field of view relative to Wiener’s medal. However, the engravings of Alexandre Laborde in his work Voyage pittoresque et historique de l’Espagne (Vol. II, 1812) appear to be the primary source images for Wiener’s Cordoba medal.2 In partic2. Antonio Gámiz Gordo and Jesús García Ortega, “La Primera Colección de Vistas de La Mezquita-Catedral de Córdoba en el Voyage de Laborde (1812),” in Archivo Español de Arte, Vol. 85

190

ular, Plate XI (“Vista general del interior de la Mezquita de Córdoba”) appears to have inspired the obverse, and Plate XIII (“Vista interior de la Iglesia Mayor de Córdoba”) the reverse. On the reverse of the medal, note the altar positioned in front of the buttress at left. This is the original form of the Altar de las Cabezas de San Pedro y

San Pablo, in-place since 1519. However, in 1932 the architect Félix Hernández split the altar in two—hanging the painted and framed altar piece in an elevated position on the same buttress, and moving the altar itself one buttress southward and incorporating it into the Altar de los santos Felipe y Santiago, which is the the form that both take to the present day.3

No. 338 (Madrid: Instituto de Historia, 2012), 120, http://xn-archivoespaoldearte-53b.revistas.csic.es/index.php/aea/article/ view/500/497.

3. Archivo Cabildo Catedral de Córdoba, Personal correspondence, 19 Sept. 2018.

191

Figure 21.1. Interior view of the Walhalla ca. 1890. (Collection of the author).

192

21. Walhalla 1859

The Edifice Unlike the other medal subjects presented here, the Walhalla temple was originally conceived and built as a sort of “hall of fame” for Germanic peoples (Fig. 21.1). Crown Prince Ludwig of Bavaria devised the idea during the spring of 1807 following Napoleon’s decisive defeat of Prussia at the Battle of Jena-Auerstedt the previous October; two weeks later Napoleon would occupy Prussia and be given the keys to the city of Berlin. These were the peak years of Napoleonic domination of Europe and Bavaria’s subsequently imposed French-oriented policies—and Ludwig’s Germanic temple a nationalistic response by the Crown Prince to the early nineteenth-century political landscape. In October 1808 Ludwig wrote to the historian Johannes von Müller and sketched out his idea. Müller advised the Crown Prince on the Germanic personalities potentially worthy of being honored in the temple as well as suggested the name “Walhalla.” Ludwig gradually began commissioning busts from Germanic sculptors such as Johann Gottfried Schadow, Christian Daniel Rauch, Christian Friedrich Tieck, Johann Heinrich von Dannecker, and others. In 1814 Ludwig issued an appeal to German architects seeking designs for the temple, but none was deemed sufficiently worthy. By 1821 he selected Leo von Klenze as his Neoclassical architect, the two collaborating in the production of the final design. In parallel, Ludwig was seeking a suitable location, with the decision ultimately made to locate the shrine in the somewhat rural Donaustauf, about five miles outside of Regensburg on a hill overlooking the Danube—thus giving its visitors the experience of participating in a pilgrimage of sorts. Work on the site commenced in 1826, one year after Ludwig’s succession as king of Bavaria. Ludwig himself laid the foundation stone at a festival held on October 18, 1830. The day marked the seventeenth anniversary of the Battle of Leipzig in which Napoleon

experienced his first decisive defeat at the hands of a German, Russian, and Swedish coalition. Upon its completion, the building was dedicated, again on October 18, in the year 1842. Ludwig was an admirer of ancient Rome and Greece, hence the temple’s stately Hellenic exterior is reminiscent of the Parthenon in particular. In fact the Walhalla is in many respects a re-creation of the Parthenon; insignificantly smaller in dimension but with the same number of columns (eight each on the short sides, 17 each on the long sides), a similar pronaos of six columns, and various comparable interior features. The richly colored interior space, provided by a multitude of types of marble, is divided into three bays, each separated by pilasters. The floor contains three inscriptions, one per bay, which together provide an abbreviated history of the building. Ludwig filled Walhalla with 96 sculpted busts and 64 plaques of personages across 18 centuries of history—in chronological order—all with the common denominator of “the German tongue.” Plaques are utilized for historical figures having no known portrait to use as a basis for a sculptured bust. Honorees ultimately include kings, military leaders, saints, scientists, poets, artists, and musicians—both men and women. Personages as varied as Frederick the Great, Wolfgang Amadeus Mozart, Immanuel Kant, Erasmus, Albrecht Dürer, Edith Stein, and Albert Einstein are honored. Ludwig also paid tribute to his mentor in this project, Johannes von Müller, by including his bust in the pantheon.1 Ludwig donated the Walhalla to “Germany” in 1859. However, perhaps sensing its temporary fate, he later stipulated in 1862 that Walhalla would revert to Bavarian ownership in the event the German Confederation was dissolved. Following the Seven Weeks War in 1866, the German Confederation in 1. Landbauamt Regensburg, Walhalla Amtlicher Führer (Regensburg: Bernhard Bosse, 1991), 3–66.

193

fact was dissolved; as such, the Walhalla remains still the property of the Free State of Bavaria. As the political heir to the Bavarian monarchy, the Bavarian government chooses any additional honorees, 33 of

which have been added since Walhalla’s 1842 debut— including Sophie Scholl and members of the White Rose Nazi resistance movement.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M221

M221 / M221

1859

AE

87.8 g

—

—

R5

M222

M222 / M221

1859

AE, AR

87.6–100.2 g

169

95

R1

Medal Description

Figure 21.2. The first variety of the Walhalla medal, M221. (Collection of the author). M221 Obverse: Exterior view of the building, face-on, from a vantage point centered in front of the structure (Fig. 21.2a). Around the perimeter: D I E Wa Lh a LL a

Th E WaLh aLL a

At the left perimeter just above the building base: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

At the right perimeter just above the building base: 1859

1859

194

In the exergue: D ER GRU N DSTEI N GELEGT

Th E GRO U N D STO N E L aI D

D EN 18 O CTO bER 1830

O N 18 O CTO bER 1830

VO N LU DW I G

by LU DW I G

KÖ N I GE VO N baI ERN

KI N G O F baVaRI a

M221 Reverse: Interior view down the long axis of the hall from a vantage point just right of center (Fig. 21.2b). In the left field: EI N GEW EI hT D EN 18 O CTO bER

D ED I C aTED O N 18 O CTO bER

1842

1842

baRO N VO N KLENZE aRCh:

baRO N FR aNZ K aRL LEO p O LD VO N KLENZE aRCh ITECT

In the right field:

In the exergue: J. W I EN ER F. 1859

M aD E by J aCq U ES W I EN ER 1859

Figure 21.3. The second variety of the Walhalla medal, M222. (Collection of the author). M222 Obverse: Exterior view of the building, face-on, from a vantage point centered in front of the structure (Fig. 21.3a). Around the perimeter: D I E Wa Lh a LL a

Th E WaLh aLL a

At the left perimeter just above the building base: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

195

At the right perimeter just above the building base: 1859

1859

D ER GRU N DSTEI N GELEGT

Th E GRO U N D STO N E L aI D

D EN 18 O CTO bER 1830

O N 18 O CTO bER 1830

VO N LU DW I G

by LU DW I G

KÖ N I GE VO N baI ERN

KI N G O F baVaRI a

In the exergue:

M222 Reverse: Interior view down the long axis of the hall from a vantage point just right of center (Fig. 21.3b). In the left field: EI N GEW EI hT D EN 18 O CTO bER

D ED I C aTED O N 18 O CTO bER

1842

1842

baRO N VO N KLENZE aRCh:

baRO N FR aNZ K aRL LEO p O LD VO N KLENZE aRCh ITECT

In the right field:

In the exergue: J. W I EN ER F. 1859

M aD E by J aCq U ES W I EN ER 1859

Medal Notes

Figure 21.4. The obverse master die for the Walhalla medal, Lippens 2171. (Image used with permission of the Royal Library of Belgium, www.kbr.be).

196

Figure 21.6. The working die for Walhalla variety M222, Lippens 2173. The reverse die is common with variety M221 (Fig. 21.5b). (Images used with permission of the Royal Library of Belgium, www.kbr.be). and a single one-piece working reverse die (Lippens 2174) (Fig. 21.5b). The dies are well-engraved and medals deeply struck. The overall design exhibits brevity in the legends. This medal is unusual in having dates on both the obverse and reverse dies.

Figure 21.5. The working dies for Walhalla variety M221, Lippens 2172 and 2174. The reverse die is common with variety M222. (Images used with permission of the Royal Library of Belgium, www.kbr.be). The view of the interior is from the entrance looking towards the “opisthodomos”—the rear of the “temple.” Wiener chose not to represent any of the busts or plaques that prominently fill the perimeter areas of the interior. The only sculptural elements shown are those that serve architectural functions such as the valkyrie caryatids atop the pilasters and above the opisthodomos. The prominent statue of King Ludwig standing sentry in front of the opisthodomos dates from 1890 and thus is absent from the medal’s reverse. Medals are known from a single obverse master die (Lippens 2171) (Fig. 21.4), two one-piece working obverse dies (Lippens 2172 and 2173) (Fig. 21.5a and 21.6)

Variety M221 (Fig. 21.2): This variety is most readily distinguished from M222 by looking at the placement of the “0” of 1830 relative to the letters of GELEGT above. In this variety, the “0” is directly under the second “G” of GELEGT. The “GRU” of GRUNDSTEIN is punched low, as is the “C” of OCTOBER. The “E” of OCTOBER is rotated somewhat counter-clockwise. The letters of DEN run uphill. The author is aware of only a single specimen; others likely exist but the variety is very rare. The state of the (common) reverse is perfect—in contrast to the breakage seen between the columns on the obverse. Although speculative, the obverse breakage may have occurred as part of the die preparation process rather than striking, thus accounting for the dearth of specimens. Given the level of obverse die breakage in M221, it is assumed that M222 was then produced in response. The terminal obverse die state depicts die fatigue or crumbling between the first and second, third and fourth, and fifth and sixth columns from the left, as well as between the first and second, and third and fourth columns from the right. There is a characteristic, horizontal die gouge in the architrave at left. On the reverse, the “D” of DEN has

197

been re-punched; its initial placement was too far to the right. There are no other lettering issues of note. Variety M222 (Fig. 21.3): This variety is most readily distinguished from M221 by looking at the placement of the “0” of 1830 relative to the letters of GELEGT above. In this variety, the “0” is directly under the “LE” of GELEGT. On the obverse die, the “D” of DER has been re-punched. The “K” of KÖNIGE has had its upper diagonal re-cut such that the diagonal now extends above the serif. The “I” of BAIERN has been re-punched. Later specimens display evidence of significant die breakage between the third and fourth columns from the left, and lesser breakage between the fifth and sixth columns from left. The reverse die is common with variety M221. There is a vertical die gouge (raised metal) in the right field near the bottom rim and aligned with the lettering above. The reverse die began to fail at the upper right corner just below the base of the upper field, followed by the left corner and a chip at the 12:00 rim. The same phenomenon can be seen at the right corner of the exergue. The reverse working die continued to crumble as later specimens exhibit even more reverse die breakage. Another die chip forms below the center of the upper field, and a fourth appears between this center chip and that at the far right. Lastly, another failure forms between the rightmost caryatid and the upper right field. The obverse die state coupled with this advanced reverse die state displays the extensive die failure between the third and fourth columns from the left with very pronounced metal flow, and the lesser break between the fifth and sixth columns. These reverse die failures are consistent with the terminal state of the common reverse die; the conclusion, therefore, is the variety M221 preceded the use of the M222 die. It is somewhat sur-

prising that Wiener continued to strike medals from this die pairing despite the significant and prominent breakage on the obverse die; the recipients of medals from this die-state could not have been pleased.

Contemporary References Wiener exhibited the reverse (interior) view of his Walhalla medal at the 1860 Beaux-Arts in Brussels, the Exposition Nationale held in Antwerp in 1861, as well as at London’s 1862 International Exhibition. A specimen of this medal appears as lot 5606 in the 1860 de Jonghe auction catalogue. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) that contains an example of the Walhalla medal among its 28 Most Remarkable Edifices medals and 21 other medals by Wiener. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. This specimen is variety M222. The documentary evidence, though a bit thin, is consistent with the engraved issue date of 1859.

Source Images Wiener’s interior and exterior source images have yet to be identified. The absence of rendered busts or plaques along the walls suggest drawings of the architect as a possible source of the images used to engrave the medal.

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22. St. Ouen at Rouen 1859

and disorder eventually began to abate with the defeat of the Viking Rollo by Charles the Simple at the Battle of Chartres in 911; Rollo was baptized as Robert I and received a newly-created fief around Rouen (ultimately to be called Normandy) in return for fealty to Charles. Robert granted lands to the abbey of St. Ouen, and his successors assisted in the restoration of the abbey. Dissatisfied with this existing church building, construction of a grand new abbey began in 1046 by the abbot Nicholas, son of Duke Richard III and cousin of William the soon-to-be conqueror of England. Shortly thereafter, the steady outflow of wealth from the conquered island nation ensured that such adventurous projects remained well-funded. The new structure was completed and consecrated on October 26, 1126, only to be destroyed by fire 10 years later. Fire would continue to be an unwelcome companion to this church which soon suffered additional incendiary incidents in 1211 and 1248. Abbot Jean Roussel then laid the first stone of the current building on May 25, 1318. By 1339, the choir, its chapels, and the transept were largely completed. The outbreak of the Hundred Years War the following year and the related Harelle revolt in 1382 damaged the incomplete structure and delayed its completion. By 1439, the south transept and the rose windows were completed;1 with the assistance of several Papal indulgences, the nave was completed in 1491. The rose window and associated west portal were completed, albeit with abbreviated towers, in 1515. The intended design of the towers was to reflect that of the

Figure 22.1. Photo of St. Ouen from the northwest, ca. 1900. (Collection of the author).

The Edifice Ouen (also known as Audoin, or Owen in English) was a Frankish nobleman, serving in various capacities to the Frankish kings, who became archbishop of Rouen in the year 641. The Benedictine Order later established itself in Rouen by the eighth century, and created an abbey named for the former archbishopturned-saint. The growing abbey church ultimately suffered from the Viking raids that plagued the area, most notably that which occurred in 841. The violence

1. The rose window of the south transept was by the hand of Alexandre de Berneval and that of the north completed by one of his students. The student’s window was judged superior to that of the master, and Alexandre allegedly killed his rival in a fit of jealousy. Though hanged in 1441, his service to the church resulted in a bit of clemency in that he was buried within the church, purportedly next to the body of his murdered pupil—or possibly that of his successor and son. Antoine-Pierre-Marie Gilbert, Description historique de l’église de Saint-Ouen, de Rouen, anciennement église de l’abbaye royale de ce nom, ordre de Saint-Benoît (Rouen: Frère, 1822), https:// books.google.com/books?id=ieNvEJqDDjMC. Thomas Perkins, The Churches of Rouen (London: George Bell & Sons, 1900), 66, https:// books.google.com/books?id=PQorAAAAYAAJ.

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Figure 22.2. View of the church from the southeast ca. 1850. Lithograph by Arnout depicting the church prior to the 1845–1852 addition of the western towers. (Collection of the author).

crossing tower, but their construction unfortunately ceased at this point. The church’s stained glass windows incorporate many clear and frosted glass panels which make the interior of the church much brighter than a typical Gothic church. Significant restoration work commenced at the turn of the eighteenth century, including repair of the flying buttresses, various facades, and the crossing tower. With the French Revolution came suppression of the religious orders, and the abbey church was then converted to a parish church. Its demolition was proposed, as was conversion to a marketplace. By the end of 1793 it became a workshop for blacksmiths in the manufacture of weapons. The complex’s functional role continued to aimlessly wander until the site was appropriated by the city of Rouen in 1803. The abbey cloister emanating from the north transept was adapted as the Town Hall, with a portion of the eighteenth century cloister being destroyed to create an open area now named the Place du Géneral de Gaulle. The only particular constant during this period was neglect, and the church exited the Napoleonic era in dire need of repair. The western façade of the cathedral was still unfinished at the turn of the nineteenth century. However, the momentum driving the completion of Cologne Cathedral influenced the decision to complete the church of St. Ouen as well. French architect Henri Charles Martin Grégoire presented three options for

the western facade (including one without towers); the historical monuments commission selected the option with prominent towers in 1845.2 The implementation of Grégoire’s design was controversial then and now; the original medieval designs were not adhered-to, and critics consider the added height of the neo-Gothic façade and spires to detract from the beauty of the lantern spire. Housing structures along the south side of the nave were demolished during this period as well, opening up an unobstructed sightline from that direction (Figs. 22.1 and 22.2). The converted monk’s dormitory was converted for full civil use in 1825, burned in 1926, was rebuilt in 1928, and was remodeled in 1960. The secularization of the complex extends to the former abbey church building; as such it no longer serves in a religious capacity, except for the silent evangelization of its original religious-themed stained glass windows. The church is now used to host exhibitions and concerts, taking advantage of the Cavaillé-Coll organ, considered to be one of the finest in France. Joan of Arc was put on trial on the grounds of St. Ouen in 1431. Though theoretically condemned to a life in prison, she was instead burned at the stake a short distance away a week later. 2. Wiener cites the year 1847 on the medal for this event.

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The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M223

M223 / M223

1859

AE, AR

80.2–99.3 g

171

44

R1

Medal Description

Figure 22.3. St. Ouen of Rouen. (Collection of the author). Obverse: Exterior view of the church from the southwest (Fig. 22.3a). Around the perimeter: ST O U EN À RO U EN

ST. O U EN O F RO U EN

GR aN D p O RTaI L ET LES 2 FLÈCh ES

GR aN D p O RTaL aN D Th E T WO SpI RES

pa R L’a RCh IT: GREGO I RE

by Th E aRCh ITECT h EN RI Ch aRLES M a RTI N GRÉGO I RE

1847–1850

1847–1850

In the exergue:

Reverse: Interior view down the nave looking eastward toward the altar/apse (Fig. 22.3b). In left field: CO M M EN CÉE 1318

CO M M EN CED 1318

paR L’abbÉ J E aN RO USSEL

by Th E abbOT J E aN RO USSEL

201

In right field: ROSES D U TR aNSSEpT 1439.

TR aNSEpT ROSES 1439.

L a N EF aCh E V ÉE 1491.

Th E N aV E CO M pLETED 1491.

GR aN D E ROSE D E L a FaÇ aD E

GRE aT ROSE O F Th E FaC aD E

1515.

1515.

J. W I EN ER F. 1859

M aD E by J aCq U ES W I EN ER 1859

In the exergue:

Medal Notes

Figure 22.4. The working dies for St. Ouen at Rouen, M223, Lippens 2175 and 2176. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2175) (Fig. 22.4a) and a single onepiece working reverse die (Lippens 2176) (Fig. 22.4b). The obverse is executed in rather high relief, less so the reverse. On the obverse, the “D” of “GRAND” has been re-punched. The “T” of “PORTAIL” is punched low. A small die-crack eventually connects the top serifs of the “I” and “R” of “GREGOIRE”, and the extreme right corner of the exergue chips. The terminal obverse die state also displays a chip in the 5:00 rim, die chips between the western portal pediment and both towers, and a very light lapping. In addition, a number of die gouges emanate from the south transept into the right field. On the reverse, the “E” of “DE” in the right field has been re-punched with the bottom serif showing well right of the letter’s final position. The “E”, “L”, and “A” of DE LA have all been lightly re-punched. There are no other lettering characteristics of note. Some

early signs of die fatigue are exhibited on the reverse. Small bits of die breakage can be seen in the tips of the Gothic arches on both sides of the nave. In addition, the recess just left of the third pilaster on the right side displays progressive damage from the fatigued high ridge on the die, growing eventually to approximately 18 mm in length. The terminal reverse die state also includes a short, light crack starting at the 12:00 rim, barely penetrating into the die-face. The church floor bears the marks of some coarse engraving with sharp, shallow lines about the entire floor perimeter.

Contemporary References Wiener exhibited the reverse (interior) view of his St. Ouen medal at the 1860 Beaux-Arts in Brussels and the Exposition Nationale held in Antwerp in 1861, and

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both the obverse and reverse at the International Exhibition held in London in 1862. A specimen of this medal appears as lot 5607 in the 1860 de Jonghe auction catalogue. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the St. Ouen medal. London’s Victoria and Albert Museum purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862 from Wiener

by way of the Baron Vandercruysse. The documentary evidence is consistent with the medal’s 1859 date.

Source Images Wiener’s interior and exterior source images have yet to be identified.

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Figure 23.1. Photograph of Reims Cathedral from the west-northwest, ca. 1875. (Collection of the author). 204

23. Cathedral of Reims (1859)

The Edifice The principal settlement of the Rèmes tribe in antiquity, the city took on a more significant role as the capital of the Roman province of Belgium (Gallia Belgica). The fall of Rome and rise of Christianity gave the local bishop a significant secular and theological role in the area. Unsurprisingly then, a cathedral has stood on this location since approximately the year 400, the initial edifice erected by Bishop Nicaise and dedicated to Mary as “Our Lady.” Nicaise, unfortunately, was martyred on the front steps of his own cathedral in 406 by invading Vandals.1 Clovis was baptized and crowned as king of the Franks in this original cathedral by Remi, Bishop of Reims (and later canonized as St. Remi) on Christmas Eve 496. In the Christmas season of 804, an anniversary celebration of Charlemagne’s crowning by the Pope was held at the cathedral. Pope Leo III even travelled to reprise his role. In 816, Pope Stephen IV would do the same for Charlemagne’s son and successor Louis the Pious—thus establishing a precedent-setting role for Reims cathedral, as later codified by Bishop Gervais in 1059, for future French monarchs. Bishop Erban set about rebuilding the cathedral during Louis’ reign, ultimately liberating the needed stone from the old Roman city wall in lieu of an inconveniently distant quarry. His successors continued to expand, build, and adorn the edifice for three centuries. Fire then heavily damaged this cathedral structure (and much of the city) in May 1210, necessitating the construction of what is now the current cathedral building, with the foundation stone being placed in May of 1211.2 Land to the west was acquired in 1218 suggesting that the

new cathedral was larger than its Carolingian predecessor. A simmering dispute between the cathedral chapter and the city boiled over into rebellion in 1233, with the members of the cathedral chapter fleeing the city, construction halting, and an interdict (prohibition on receiving the sacraments) being levied by the Bishop on the city and its inhabitants. A negotiated settlement three years later mediated by King Louis IX and Pope Gregory IX held promise but the cycle repeated when settlement payments could not be made. It was not until the bishop died in 1240 that the situation settled down and construction commenced once again. Progress was then sufficiently steady to enable the choir to be consecrated in 1241. Further progress was facilitated by a Christendom-wide Papal plea for contributions toward the completion of this new cathedral in Reims. During the Hundred Years War, the English held the city and its cathedral until Joan of Arc liberated both in 1429. Charles VII and almost all subsequent French kings up through Louis XVI were crowned in this cathedral; the final Bourbon monarch Charles X was crowned here in 1825 as a reinforcement of legitimism. Defining a completion date of the cathedral is to somewhat engage in an exercise of futility—the western towers were completed (though without spires) by 1430, the eastern towers by 1460, and a decision by the chapter to abandon the building of additional towers in 1516 elicits 1515 as a theoretical completion date. An accidental fire on July 24–25, 1481, likely due to coals from a workman’s fire pot, destroyed the rafters and tower above the transept crossing. The restoration, if not reconstruction, likewise completed in 1515. Storms caused damage to the rose window in 1580 and the bell tower in 1712. The French revolution inflicted some depredations to the cathedral (temporarily renamed a Temple of Reason) though it escaped the magnitude of damage inflicted on other cathedrals such as Chartres and Notre Dame

1. In the immediate aftermath, Nicaise’s sister gouged the eyes of her brother’s assassin, resulting in her own death. Other bystanders then took their cue and began attacking the invaders in the same manner. The Vandals were spooked into fleeing, sparing the town and cathedral further damage. Sabra Holbrook, Joy in Stone (New York: Farrar, Straus and Giroux, 1973), 12–13. 2. These dates are sometimes given as the 1211 for the fire and 1212 for the laying of the foundation stone—as on Wiener’s medal.

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in Paris. Cloister buildings were gradually destroyed in the post-revolutionary era, the hospital was moved and the parvis fronting the western façade was gradually cleared during the nineteenth century. As with many of the edifices honored by Wiener, post-revolutionary neglect was a driving factor behind nineteenth century restoration efforts (Fig. 23.1). These commenced at Reims in 1826 and were guided by, among others, Eugène Viollet-le-Duc—perhaps best known for his restoration of Paris’ Notre Dame Cathedral. Work continued until World War I; however, targeted shelling of the cathedral by the German army caused extreme damage and incited international protests and condemnation. Restoration efforts re-commenced in 1919. The completion of this reconstruction effort was celebrated on July 8–10, 1938, even as the skies darkened ahead of another world war. Restoration continued, though

at a slower pace, during World War II. The corrosive effects of pollution were being noted, particularly on the statuary, at this point in time. Although restoration work has been continual, not all of the war damage has been repaired.3 Since 1988 an international scientific committee has guided the restoration works at the cathedral with a two-fold purpose: restoring the expanses of masonry and saving the cathedral’s famous statuary. The restorative principles have evolved since the mid-twentieth century and currently seek to maximize authenticity to the degree possible and practical, bringing to bear the minimum amount of intervention to preserve the cathedral’s historic elements.4 3. Sabra Holbrook, Joy in Stone (New York: Farrar, Straus, and Giroux, 1973), 3–154. 4. “Restorations,” Notre Dame Cathedral of Reims, accessed August 5, 2018, http://www.reims-cathedral.culture.fr/restorations. html.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M224

M224 / M224

Undated (1859)

AE, AR

79.9–103.5 g

170

43

R1

Medal Description

Figure 23.2. The Cathedral at Reims. (Collection of the author). Obverse: Perspective view of the cathedral exterior from a vantage point to the cathedral’s north-west (Fig. 23.2a). Around the perimeter: C aTh ED R aLE D E REI MS

C aTh ED R aL O F REI MS

206

In the exergue: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Reverse: Perspective view of the cathedral interior looking down the nave toward the apse, and spanning the entirety of the medal diameter (Fig. 23.2b). In the exergue: p OSE D E L a pRE M I ERE pI ERRE 1212 CO NSÉCR aT

ON

L ayI N G O F Th E FI RST STO N E 1212

D U Ch O EU R 1241

CO NSECR aTI O N O F Th E Ch O I R 1241

aCh E V ÉE V ERS 1430

CO M pLETED aRO U N D 1430

J. W I EN ER

J aCq U ES W I EN ER

Medal Notes

Figure 23.3. The working dies for Reims Cathedral, M224, Lippens 2180 and 2181. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2180) (Fig. 23.3a) and a single onepiece working reverse die (Lippens 2181) (Fig. 23.3b). The obverse lettering is strongly punched and does not exhibit any problems of note. Later strikes exhibit a very slight die-crack starting from the top of the north tower and eventually reaching the rim as well as another reaching from the top of the south tower to the rim. The terminal obverse die state adds a third crack extending from the top of the south tower to the top of the north tower. A fourth crack appears at the 10:30 rim and extends diagonally into the transept roof. The obverse die does not appear to ever have been lapped. The reverse die gradually depicts what appears to be evidence of some careless die handling during its working life—stray bumps and digs appearing in

positive relief on the struck medals—a slightly diagonal die-gouge at the 2:00 position inside the rightmost archway, and a horizontal bump at the 4:00 position next to the pillar in the same archway. In the leftmost archway, a thin vertical gouge is present to the left of the background capital, and another bump is seen at the 8:00 position just inside of the rim. There is no evidence of any re-punched lettering in the exergue. The “30” of “1430” is punched low. The shallow relief of the reverse die contributes to a lack of die fatigue. Nonetheless, there are two die states for the reverse die—both before and after lapping of the exergue and the left and right outermost archways. The initial die state exhibits strong lettering, including that of the engraver’s signature. The later die state depicts weaker die damage elements and lettering of uneven strength

207

and a weak engraver’s signature, particularly the “W.” The terminal reverse die state likewise displays a small die-crack, approximately 5 mm in length, starting at the 11:30 rim.

Contemporary References Wiener appears to have exhibited this medal only once—displaying both the obverse and reverse of his Reims medal as part of his extensive showing at the International Exhibition held in London in 1862. The Catalogue des monnaies et médailles formant le cabinet de feu J. B. Th. de Jonghe, published in 1860 does not include a specimen of the Reims medal, nor does it contain any of the remaining medals of the series. Theodore Bom’s 1868 Catalogue d’une collection

intéresante, précieuse et universelle group lot number 2108* contains an example of the Reims medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. The medal’s absence from the de Jonghe collection would suggest an issue date no earlier than late 1859. Therefore, without any evidence to the contrary, the traditionally ascribed issue date of 1859 is retained.

Source Images Wiener’s interior and exterior source images have yet to be identified.

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24. Milan Cathedral 1860 Figure 24.1. A ca. 1880 photograph of Milan Cathedral. (Collection of the author).

The Edifice Milan cathedral occupies the center of what was Milan’s predecessor Roman city of Mediolanum. St. Ambrose built the so-called new basilica (Santa Thecla) here in the fourth century and this was adjoined by another basilica in the ninth century. Milan was then in the somewhat unusual position of having colocated co-cathedrals; Santa Thecla, the larger of the two, was used in the summer and Santa Maria Maggiore was used in the winter. Santa Thecla was damaged as Attila marched southward towards Rome in 452. The repaired cathedral was reconsecrated on the third Sunday of October the following year. Fire swept through the city and damaged both structures in 1075, prompting a reconstruction effort, only to have them damaged at the hands of Frederick Barbarossa in 1162 with his sanctioned sacking of the city. Time relentlessly added to the woes inflicted by man, and by the

fourteenth century the cathedral buildings were in a somewhat dismal state. Archbishop Saluzzo, with the blessing of the new Duke of Milan Gian Galeazzo Visconti, began laying the figurative groundwork for a new cathedral in 1386. Whereas Saluzzo foresaw a more traditional structure, Visconti intended the cathedral to make a statement and directed that a stone structure in the now well-established northern Gothic style be constructed. To that end, he employed two French architects in addition to the original Italian architect Simone da Orsenigo, and established the Veneranda Fabbrica del Duomo1 to manage the effort. Construction began in the east and worked its 1. Still in existence over six centuries later, the organization is responsible for the cathedral’s preservation, (constant) restoration, and advocates for the building’s heritage and art in the modern world.

209

way westward, eventually consuming the still-intact remains of Santa Maria Maggiore. The old cathedral’s façade was called into temporary service as the façade for the abbreviated length of nave of the new cathedral. The structure was roughly half-complete at the time of Galeazzo’s death in 1402; on the third Sunday in October 1418 Pope Martin V consecrated the high altar of the new church. However, construction stalled for much of the fifteenth century, partially due to the political turmoil in mid-century. As the Sforza dynasty gained control of the city in the wake of the demise of the Visconti, the desire to leave their mark on the cathedral drove changes. The nave was expanded westward, the old façade of Santa Maria Maggiore being disassembled, and re-assembled at the new terminus of the lengthened nave. The crossing lantern tower and cupola were completed in 1500. Archbishop Carlo Borromeo appointed Italian architect Pellegrino Pellegrini to the project in 1567. Together they pursued a more Renaissance style in contrast to the initial “foreign” Gothic style. During his tenure, Pellegrini designed a new western façade, though it was much modified over the next two centuries of design and construction. Borromeo consecrated the as-yet unfinished building on October 20 (yet again the third Sunday), 1577. Effort in the seventeenth century was focused on completing the exterior (adding yet three more bays to the nave), reverting back to Gothic influences, and considering, starting, and not finishing a number of western façade designs. In 1682 the old façade of Santa Maria Mag-

giore, now completely consumed into the expanded cathedral, was finally demolished. The spire atop the crossing was completed in 1774. In 1805 Napoleon ordered the façade to be completed and claimed that the (underestimated) costs would be reimbursed by the French treasury. Napoleon was crowned King of Italy in the cathedral, though the façade was unfinished2— and the French treasury never did cover the expense. Over the course of the nineteenth century miscellaneous elements of the structure and ornamentation continued to be addressed including the stained glass windows, but most notably the myriad spires (135 total), each topped with a statue (Fig. 24.1). A Gothicstyle reconstruction of the finally-completed façade was considered, and abandoned, late in the century. Construction was considered complete only in 1965 with the installation of the final bronze door—almost 600 years after its enthusiastic start. The twentieth century began to challenge the building structure due to traffic and rail induced vibrations, pollution, and the height of the water table—thus necessitating a constant program of maintenance and restoration.3 On the other hand, artistic and musical events (including concerts held atop the roof ) help to broaden the cathedral’s modern cultural role beyond its traditional religious bounds. 2. Not to be completed until 1813. 3. Giorgio Carradori, The Duomo Cathedral of Milan (Oggiono: Nous, 2011), 4–14.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M229

M229 / M229

1860

AE, AR

75.5–104.4 g

177

47

R1

210

Medal Description

Figure 24.2. Milan Cathedral. (Collection of the author). Obverse: Exterior view of the cathedral from the southwest (Fig. 24.2a). In the exergue: C aTED R aLE D I M I L aN O

C aTh ED R aL O F M I L aN

J. W I EN ER F. 1860

M aD E by J aCq U ES W I EN ER 1860

Reverse: Interior view down the nave looking toward the altar/apse, depicting north and south side aisles as well (Fig. 24.2b). In left field: J. W I EN ER bRUSSELLE

J aCq U ES W I EN ER bRUSSELS

pRI N CI pI aTa 1386

bEGU N I N 1386

Da GI O: G aLE a ZZO V ISCO NTI.

by GI OVaN N I G aLE a ZZO V ISCO NTI.

FaCCI aTa D EL pELLEGRI N I.

FaÇ aD E by pELLEGRI N I.

In the exergue:

211

Medal Notes

Figure 24.3. The working dies for Milan Cathedral, M229, Lippens 2245 and 2246. (Images used with permission of the Royal Library of Belgium, www.kbr.be). The reverse of this medal hints at the massiveness of the structure, letting us glimpse at the two side aisles on the south side of the cathedral, in addition to one of the two side aisles to the north. Medals are known from a single one-piece working obverse die (Lippens 2245) (Fig. 24.3a) and a single one-piece working reverse die (Lippens 2246) (Fig. 24.3b). On the obverse the “M” of MILANO has been repunched; the first placement being low and right of the final. The ground below the cathedral base strongly extends onto the rim at left. The extreme right corner of the exergue eventually displays a very small chip. The terminal obverse die state is most notable for a sizable chip where the left cathedral base meets the rim. Some light pitting in the surface of the fields exists now as well. On the reverse, the lettering is very strongly punched though the letter placement tends to be a bit sloppy; the first “P” of PRINCIPIATA is punched high, the “8” of 1386 is high and the “6” is low; the “E” of GALEAZZO is rotated slightly counterclockwise. Wiener’s reverse signature is somewhat “wavy” in its placement. The terminal reverse die state is actually quite good with no signs of die fatigue or obvious mis-handling.

Contemporary References The Milan medal is yet another of the later medals that seems to have been recognized with very little

fanfare. Wiener exhibited the obverse (exterior) view of his Milan medal at the 1860 Beaux-Arts in Brussels and at the Exposition Nationale held in Antwerp in 1861, and both the interior and exterior views at the 1873 Universal Exposition in Vienna. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a single group lot (number 2108*) which includes an example of the Milan medal. A later catalogue by Bom, the 1870 Catalogus der penningen en munten, noodmunten, ridderorden, leuzen, draagteekenen, enz…, contains a specimen of Wiener’s Milan medal in group lot 4831. Lot 1260 of W. H. Strobridge’s 1874 Catalogue of a Private Collection of Ancient Coins, and at the Close a Few Modern Coins, is a specimen of Wiener’s Milan medal—listed as a “fine proof.” The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse.

Source Images Wiener’s interior and exterior source images have yet to be definitively identified. Figure 24.4 is an image twice removed from its original source, with that original likely being Wiener’s source image. The image shown is a postcard rendering of a photograph by the Florentine engraver and photographer Giacomo

212

Brogi—though his photograph appears to be taken of an original engraving or lithograph. Nonetheless, the eyepoint of the image and Wiener’s medal are identical and (most of ) the far-field elements in the image are the same as those produced on the medal. Exceptions include the draped cloth in the apse as well as the protruding chapel at left. The lateral field of view is cropped somewhat relative to Wiener’s medal. The vertical field of view in Figure 24.4 is cropped relative to Brogi’s original, which matches Wiener’s medal. Wiener’s exterior view is peculiar in that the vertical eyepoint of his source image is from near ground level, unlike the vast majority of images seen of the cathedral, which tend to be from a relatively elevated eyepoint. This attribute should assist in the identification of his exterior source image.

Figure 24.4. A potential source image. An early twentieth century postcard reproduction of a photo by Giacomo Brogi (1822–1881). Brogi started his photography business in 1864; the photo (number 3827a) is post-1864, and the engraving presumably dates to an earlier year. (Collection of the author).

213

Figure 25.1. Postcard view of the exterior of St. Stephen's Cathedral from a similar eyepoint as Wiener’s medal, ca. 1910–1920. (Collection of the author).

214

25. St. Stephen’s Cathedral, Vienna (1860)

The Edifice By the early twelfth century, Vienna had outgrown its handful of churches; in 1137, the Treaty of Mautern was signed between the bishop of Passau and Margrave Leopold IV in which land was donated for the site of a new church. The construction of a Romanesque-style church proceeded in 1144 under Leopold’s brother Henry II (known as Jasomirgott, and later the Duke of Austria), and though it was dedicated in 1147, construction continued unabated thereafter. The cathedral was aligned so that its apse faced the southeastern point at which the sun rises on December 26 (St. Stephen’s feast day) alluding to St. Stephen seeing the heavens open right before he died—as recorded in the Acts of the Apostles. Between 1230 and 1245 the project pushed westward, with the nave, western façade and towers completing. A fire in 1258 destroyed much of the structure built to date; a rebuilding program was then initiated for a larger edifice atop the ruins of the newly burned church but incorporating the western towers, which were still salvageable. This new church was consecrated on April 23, 1263. A significant fire in 1276 prompted further repairs and an opportunity to turn toward the Gothic architectural style. In 1304, a new and larger choir was built, emanating forward from the entire width of the transept, and the Chapel of the Cross was completed in 1326; this variant of the church was consecrated on April 23, 1340. Beginning in 1359, the western portion of the church was enlarged, this time enclosing the old Romanesque nave within a new Gothic outer shell (but still retaining the original Romanesque western façade) and adding a prominent south tower; upon completing the Gothic shell the enclosed Romanesque structure was demolished, removed, and the interior re-vaulted. The monumental south tower was completed in 1433 and the vaulting of the nave was completed by 1475. In 1450, Emperor Friedrich III laid the cornerstone for a north tower, though the remainder of its construction was delayed

until 1467. The intent was for the north tower to mirror that of the south; the tower was constructed up to about the height of the choir roof, but construction ceased in 1511. A number of forces conspired to halt the building progress—external threats and internal religious dissensions. Finally in 1578 the tower was capped with an out of place Renaissance-styled cupola which served as the belfry. Throughout most of its construction phase, the church of St. Stephen was merely a parish church in the diocese of Passau. In the mid-fourteenth century, the Austrian duke began lobbying for Vienna to be its own diocese with St. Stephen’s as its cathedral. Some hundred years later, Pope Paul II established the diocese of Vienna and indeed made St. Stephen’s its cathedral. After the internecine wars of religion that marked the sixteenth and early seventeenth centuries, small modifications to the cathedral began anew, though now in the Baroque style then currently in fashion. During the Ottoman sieges of the sixteenth and seventeenth centuries, the immense south tower was used as an observation post for defense of the city. This unfortunately drew the cathedral into the war as a target; during the second Ottoman siege of 1683 the cathedral is reputed to have been hit by 1,000 cannonballs. In fact, cannonballs can still be seen embedded in the masonry of the south tower and the nave. Secondary buildings and elements of the cathedral gradually disappeared starting in the seventeenth century, including the closure of the relic center in 1699—a result of post-Reformation attitudes toward relics—the buildings to the west of the cathedral which housed sextons, singers and moneylenders were torn down by 1792, and the surrounding churchyard was closed in 1755. St. Stephen’s entered the nineteenth century as so many of its contemporaries did—wearied from the Napoleonic era, neglected, damaged by war, and

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in need of restoration. As with many of these other centuries-old structures, the philosophical debate revolved around the degree of purity of the original design and structure to be retained as part of the restoration process. The gable of the nave was completed in 1853 and the pinnacle of the south tower was replaced from 1838 to 1860, and neo-Gothic glass paintings were installed between 1859 and 1887 (Fig. 25.1). The cathedral initially escaped destruction in World War II, if only by the willful disobeyance of orders from the retreating German military to destroy the cathedral. However, nearby fires burned as Soviet troops began to occupy the city; embers ignited the glazed tile roof on April 11, 1945, destroying it and almost half of the cathedral itself. Repairs were begun shortly thereafter; rather than replace the wooden structural roof elements in kind, a steel structure was used instead. The “attic” space above the nave vaulting and below the

roof is used for art exhibitions and receptions—at least during warm weather. The first Mass was celebrated on December 19, 1948, and the cathedral reopened completely on April 26, 1952. A new organ was installed in 1960 (and replaced by a yet newer organ in 1991) and a new west window arrived in 1972. In keeping with liturgical changes wrought by the Second Vatican Council, a “people’s altar” was brought forward into the choir in addition to the Baroque high altar in the apse.1 Maintenance of the structure is continuous as the building’s porous limestone exterior ensures a constant battle of wills between the cathedral’s caretakers and the ravages of water. Josef Haydn sang in the cathedral as a choirboy; Mozart was married there in 1782, and his funeral was held in the Chapel of the Cross in December 1791. 1. Reinhard Gruber, St. Stephan’s Cathedral in Vienna (Vienna: Church Office of St. Stephen’s Cathedral, 1998), 6–23.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M230

M230 / M230

Undated (1860)

Unknown

Unknown

—

—

R5

M231

M231 / M230

Undated (1860)

AE

84.4–91.8 g

190

54

R2

Medal Description

Figure 25.2. St. Stephen’s Cathedral in Vienna—the obverse working die for variety M230. (Image used with permission of the Royal Library of Belgium, www.kbr.be).

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M230 Obverse: Perspective view of the cathedral exterior from the northeast (Fig. 25.2). Around the perimeter: S T STEph a NSKI RCh E I N W I EN

ST. STEph EN’S Ch U RCh I N V I EN N a

In the exergue: J aCO b W I EN ER F.

M aD E by J aCq U ES W I EN ER

M230 Reverse: Perspective view of the cathedral interior looking down the nave toward the altar from a vantage point just inside the right colonnade of the main aisle. In the left field: Da S Ch O R VO LLEN D ET 1339

Th E Ch O I R CO M pLETED 1339

EI N GEW EI hT 1340

D ED I C aTED 1340

D ER Th U R M baU bEGO N N EN 1359

Th E TOW ER bEGU N 1359

VO LLEN D ET 1433

CO M pLETED 1433

bEGO N N EN 1144 D U RCh

bEGU N 1144 by

h EI N RI Ch I I J a SO M I RGOT T,

h EN Ry I I J a SO M I RGOT T,

ERW EITERT 1276 .–

E X paN D ED 1276 .-

1326.

1326.

In the right field:

In the exergue:

Figure 25.3. St. Stephen’s Cathedral in Vienna—variety M231. (Collection of the author).

217

M231 Obverse: Perspective view of the cathedral exterior from the northeast (Fig. 25.3a). Around the perimeter: S T STEph a NSKI RCh E I N W I EN

ST. STEph EN’S Ch U RCh I N V I EN N a

In the exergue: J. W I EN ER F. bRUSSEL

M aD E by J aCq U ES W I EN ER bRUSSELS

M231 Reverse: Perspective view of the cathedral interior looking down the nave toward the altar from a vantage point just inside the right colonnade of the main aisle (Fig. 25.3b). In the left field: Da S Ch O R VO LLEN D ET 1339

Th E Ch O I R CO M pLETED 1339

EI N GEW EI hT 1340

D ED I C aTED 1340

In the right field: D ER Th U R M baU bEGO N N EN 1359

Th E TOW ER bEGU N 1359

VO LLEN D ET 1433

CO M pLETED 1433

bEGO N N EN 1144 D U RCh

bEGU N 1144 by

h EI N RI Ch I I J a SO M I RGOT T,

h EN Ry I I J a SO M I RGOT T,

ERW EITERT 1276 .–

E X paN D ED 1276 .-

1326.

1326.

In the exergue:

Medal Notes

Figure 25.4. Master obverse die (Lippens 2348) for St. Stephen's Cathedral, Vienna. (Image used with permission of the Royal Library of Belgium, www.kbr.be).

218

Figure 25.6. The working die for St. Stephen's of Vienna, M231, Lippens 2350. The reverse die is common with variety M230 (Fig. 25.5b). (Images used with permission of the Royal Library of Belgium, www.kbr.be).

ning parallel with the rim and ending just below the “N” of WIEN. The existence of the die-crack would imply some level of usage of the die. In addition, there is a die gouge above the nave roof. The obverse die also currently exhibits significant light surface pitting across the fields, likely acquired after its (theoretical) service life. The reverse working die is common to both M230 and M231 (Fig. 25.5b). Variety M231: No die-state issues are noted on the obverse. On the reverse, the 1339 is punched somewhat low. The final “U” of THURMBAU has been repunched; the initial placement is almost a full letterwidth to the right of the final letter placement. Traces of a very lightly punched letter (possibly an “N”) can be seen between the final “H” of “HEINRICH” and “II.” The initial “1” of 1144 has been re-punched, or recut; the left serif extends significantly to the left of the numeral. Also note the erroneous use of a “.” with the “-” above it after 1276. The reverse die has chipped slightly at the rim, leaving a small cud present at the 12:00 position and which gets very gradually larger in later and later strikes. Evidence of slight die corrosion can be seen in the sixth row of floor tiles on later specimens. A ubiquitous slight die gouge exists in the first row of tiles, three tiles left of the foreground column. Since specimens of the M231 variety are found with reverse die states matching the terminal reverse die state, it stands to reason that the M231 obverse die

Figure 25.5. The working dies for St. Stephen's of Vienna, M230, Lippens 2349 and 2351. The reverse die is common with variety M231. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Surviving are a master obverse die (Lippens 2348) (Fig. 25.4), two one-piece working obverse dies (Lippens 2349 and 2350) (Fig. 25.5a and 25.6) and a single one-piece working reverse die (Lippens 2351) (Fig. 25.5b). Variety M230: This variety is most readily identified by the obverse signature as JACOB WIENER F., in contrast to J. WIENER F. BRUSSEL on variety M231. The author has yet to locate any actual medals struck from this die, despite it being theoretically usable for medal production. The obverse die exhibits an arcing die-crack from mid-way up the south tower roof, run219

was created and utilized after that of M230. The medal is unusual in its depiction of the cathedral from the northeast; the overwhelming majority of images of this edifice are from a vantage point to the southwest of the structure, emphasizing the massive south tower. Despite the Renaissance-style cupola inplace since 1578, Wiener’s rendering is that of the flattopped north tower, suggesting the ultimate genesis of his source image dates from 1511–1577. This results in a significant divergence between Wiener’s depiction of the cathedral and its actual 1860 appearance.

Contemporary References Wiener exhibited the obverse (exterior view) of his St. Stephen’s medal at both the 1860 Beaux-Arts held in Brussels and the Exposition Nationale held in Antwerp in 1861. Charles Wiener exhibited the medal at the 1863 Exhibition of the Royal Academy of the Arts in Lon-

don—this despite his lack of signature on the medal. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the St. Stephen’s Cathedral medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. This specimen is the M231 variety. Given the medal’s appearance at the 1860 Exposition, the traditional issue date of 1862 is problematic and a revised date of 1860 is warranted for this medal.

Source Images Wiener’s interior and exterior source images have yet to be identified.

220

26. Kaiser Dom, Speyer (1860)

The Edifice Newly elected Holy Roman Emperor Conrad II initiated the ambitious construction of a cathedral in Speyer in the year 1024, intending it to be his final resting place. Actual construction commenced with the laying of the foundation stone on July 12, 1030, on the site of a previous basilica; neither he nor even his son Henry III lived to see its completion, but both are interred in the central aisle before the altar. The cathedral, though incomplete, was consecrated in 1061. Shortly thereafter, Henry IV initiated an effort to expand the cathedral starting in 1090, the work extending past his 1106 death and completing in 1135 with the consecration of the altar. The Romanesque building was architecturally influential in the eleventh and twelfth centuries—its magnificence was considered a direct provocation by the Emperor toward the Pope as the two vied for supremacy. Fires inflicted their wrath on the cathedral in 1159, 1189, and 1450. The cathedral survived the devastation inflicted by the Thirty Years’ War, but its fortunes changed in the latter seventeenth century. The cathedral suffered many indignities as a result of warfare between the French and Germans over the course of the late seventeenth to the early nineteenth centuries. During the War of the Palatine Succession, French troops burned the building in 1689, leaving the nave virtually destroyed and only the eastern half of the cathedral was used for services for nearly a century. A late-eighteenth century reconstruction effort by Franz Neumann finally addressed the ruined nave. A later competition for the western façade was won by Neumann as well, but a lack of funding in the wake of the nave restoration necessitated construction of a hasty Baroque façade to stitch together the various existing but incomplete elements1—rendering the structure complete, but stylistically an amalgam. French troops again occupied the cathedral during the Revolutionary 1. “Geschichte,” Dombauverein Speyer, accessed July 14, 2018, https:// www.dombauverein-speyer.de/unser-dom/geschichte/.

Figure 26.1. An 1865 image of the Kaiser Dom with its newly completed Westwerk. (Collection of the author). and Napoleonic eras with disgrace heaped upon the cathedral through its use as a stables and warehouse. It was briefly considered for demolition, but then instead used as an army field hospital. In the post-Napoleonic reallocation of European borders, Speyer was granted to Bavaria; somewhat in contravention to then-current philosophies regarding restorations of historical buildings, Bavarian King Ludwig I sought to renovate the cathedral’s interior by commissioning German painter

221

Figure 26.2. An image of Franz Neumann’s Baroque Westwerk after Johann Gerhard Ruland’s 1826 lithograph of the updated cathedral. Neumann’s unusual façade was somewhat of a stopgap measure in light of limited funding and the poor state of the western part of the building structure. Early twentieth century postcard. (Collection of the author). Johann von Schraudolph to paint frescos in the interior, with Joseph Schwarzmann providing contextual decorative painting to complement Schraudolph’s work. This extensive effort started in 1845 and completed in 1853. Ludwig’s successor Maximilian II initiated a restoration of the cathedral exterior between 1854 and 1858 (Fig. 26.1). This restoration attempted to reverse some of the ill-conceived eighteenth-century modifications; this included the replacement of Neumann’s rather maladroit western façade (“Westwerk”) (Fig. 26.2). With the French occupation starting in 1794, the the so-called Doppelkapelle (double chapel), appended to the cathedral at the junction of the nave and south transept, was left to rot, its roof collapsing in 1810. In the immediate post-Napoleonic restoration efforts, an attempt was made to restore the chapels, but then abandoned in 1822. The upper St. Catherine chapel was scraped away, a flat roof placed over the lower St. Emmeram chapel, and the grade of the surrounding ground raised about a half-meter, leaving a squat relic

of the former chapels. It was not until the mid-century exterior restoration work that plans to restore the chapels were conceived and executed from mid-1857 to mid-1858.2 In 1925 the cathedral was granted the honorary title of being a minor Papal basilica. The cathedral escaped directly inflicted damage from the second World War, but the conflict delayed necessary maintenance and repair work thus resulting in a multi-decade, post-war repair and restoration effort. The interior updates of Ludwig I in particular were rethought in an attempt to maintain a level of artistic and architectural consistency in the Romanesque building. Schraudolph’s frescos were removed (except for those in the nave) and Schwarzmann’s decorative painting was removed in its entirety. The cathedral was reconsecrated in 1961 in recognition of the 900th anniversary of its first consecration. 2. Albert Schwartzenberger, Der dom zu Speyer: das münster der fränkischen kaiser (Neustadt: Witter, 1903), 381–86, https://books. google.com/books?id=jzQrAAAAYAAJ.

222

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M236

M236 / M236

Undated (1860)

AE, AR

90.0–95.9 g

199

32

R3

Medal Description

Figure 26.3. The Kaiser Dom in Speyer. (Collection of the author). Obverse: Perspective view of the church exterior from the southwest (Fig. 26.3a). Around the perimeter: D ER K aISER-D O M ZU SpEyER ERbaUT 1030–1061

Th E C aTh ED R aL O F SpEyER bU I LT 1030–1061

In the exergue: N aCh M aN N I Ch FaCh EN ZERSTO ERU N GEN

aFTER M aN I FO LD Da M aGES

U N D UM aEN D ERU N GEN,

a N D M O D I FI C aTI O NS,

ERN EU ERT 1854–1858.

RESTO RED 1854–1858.

J aCO b W I EN ER F.

M aD E by J aCq U ES W I EN ER

Reverse: Interior view of the cathedral looking down the nave toward the apse from an eyepoint at the extreme right side of the nave central aisle (Fig. 26.3b). The image extends to the right rim, but there is a small field to the left. In the left field: J aCO b W I EN ER F.

M aD E by J aCq U ES W I EN ER

223

In the exergue: LU DW I G I KO EN I G VO N bayERN, LI ESS D I E Ch O ERE

LU DW I G I KI N G O F baVaRI a, h a D Th E Ch O I R

M IT GE M a ELD EN aUSSCh MÜCKEN 1845–1850

E M bELLISh ED W ITh paI NTI N GS 1845–1850

D U RCh J O h : SCh R aU D O Lph.

by J O h aN N SCh R aU D O Lph.

M a X I M I LI aN I I KO EN I G VO N bayERN,

M a X I M I LI aN I I KI N G O F baVaRI a,

D I E SCh I FFE D U RCh D ENSELbEN U N D M IT

CO NTI N U ED Th IS Sa M E appROaCh W ITh

O RN a M ENT D U RCh J. SCh WaR ZM aN N

O RN a M ENT by J OSEph SCh WaR ZM aN N

1851–1853

1851–1853

Medal Notes

Figure 26.4. The working dies for the Kaiser Dom in Speyer, M236, Lippens 2383 and 2384. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2383) (Fig. 26.4a) and a single onepiece working reverse die (Lippens 2384) (Fig. 26.4b). There are a handful of differences between Wiener’s rendering and the contemporary state of the cathedral. Of minor note, Wiener’s depiction of details in the tower, cupola and façade roof differ slightly from that shown in Figure 26.1; Wiener has omitted the small gabled windows in each of these elements. More interestingly, the double chapel is somewhat incorrectly rendered. The western face of the squat structure is portrayed, but its junction with the nave wall is coincident with the junction of the south transept’s west wall and the nave—achieving a somewhat Escher-like juxtaposition of conflicting perspective elements. On the obverse, there is no evident re-punching of

any letters. All letters are very strongly punched and in high relief. The second “C” of MANNICHFACHEN is punched low and too far to the right, leaving a relatively large space between it and the prior “A.” The first “E” of ERNEUERT is punched slightly high. The obverse was lightly lapped during the die’s usage; this is evidenced in slightly weakened tops of the letters in DER. The obverse terminal die state contains no signs of fatigue or further damage. The ghost of a letter can be seen between the “G” of KOENIG and the “V” of VON; otherwise the reverse die displays no evident re-punching of any other letters, which is actually somewhat surprising given the sheer quantity of lettering in the exergue. The “U” of the first DURCH is punched high. The “E” of the second KOENIG is rotated slightly counter-clockwise. Also note the “NN”

224

of SCHWARZMANN are punched high. The reverse lettering is strongly punched. The dies were lightly lapped at some point, leaving lines five through seven of the exergue somewhat weak in subsequent strikes. Late strikes also exhibit a die-crack in the upper nearfield archway at right, ultimately running from the moulding at the top of the column, through the short arch span, to a slight chip in the 1:00 rim. The terminal reverse die state exhibits no additional fatigue or mishandling characteristics. The prominence given to the western façade of the cathedral highlights the very newly completed (1854– 1858) Westwerk that removed the Baroque style façade (Fig. 26.2) and replaced it with a neo-Romanesque façade more consistent with the building’s overall architecture. The reverse legends pay detailed tribute to the mid-nineteenth century restoration effort and the leaders responsible. However, the medal suggests that the work of the two painters was serialized, when in fact the historical evidence suggests the two painters worked in parallel with each other.

Contemporary References Wiener exhibited the reverse of this medal at the 1860 Beaux-Arts in Brussels, and the obverse at the Exposition Nationale held in Antwerp in 1861, both the obverse and reverse at London’s 1862 International Exhibition, and only the reverse at the 1873 Universal Exposition in Vienna. Johann Peter Beierlein’s 1866 Münzen bayerischer Klöster, Wallfahrts-Orte und anderer geistlicher Institute3 lists Wiener’s Speyer medal as item 78 in its list of 3. Johann Peter Beierlein, Münzen bayerischer Klöster, WallfahrtsOrte und anderer geistlicher Institute, Zweite Lieferung (München:

96 religious-themed Bavarian numismatic items. The entry likewise mentions the medal’s availability in both silver and bronze and its inclusion in the series “les édifices les plus remarquables de l’Europe.” This same information is repeated in the Oberbayerisches Archiv für vaterländische Geschichte, Volume 27,4 published the following year. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle contains a Speyer specimen in its single group lot 2108*. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum acquired a specimen of this medal in its July 24, 1862, purchase from Wiener by way of Baron Vandercruysse. The Brussels and Antwerp expositions, the Victoria and Albert Museum purchase, and the British Museum purchase dates all contradict the traditional issue date of 1863 as given by Bouhy. A revised issue date of 1860 is warranted for this medal in recognition of its exhibition that year in Brussels. The medal’s issue then essentially coincides with the 800th anniversary of the cathedral’s consecration.

Source Images Wiener’s interior and exterior source images have yet to be identified.

Dr. C. Wolf & Son, 1866), 135–36, https://books.google.com/ books?id=esdAAAAAcAAJ. 4. Oberbayerisches Archiv für vaterländische Geschichte Vol. 27 (München: Dr. C. Wolf & Son, 1866–67), 135–36, Bavarica Digitale Sammlungen. https://bavarica.digitale-sammlungen.de/de/fs1/object/ display/bsb10370555_00001.html?prox=true&ngram=true&context=n eubeuern&hl=scan&mode=simple&fulltext=neubeuern.

225

Figure 27.1. Photograph of Strasbourg Cathedral, ca. 1860s. (Collection of the author). 226

27. Strasbourg Cathedral 1861

The Edifice The current cathedral building is at least the fourth Christian church built on the site (Fig. 27.1). The original cathedral, of which little is known, was replaced by a Carolingian structure in the eighth century. Fire plagued this building on at least three occasions from the late ninth through early eleventh centuries. In the year 1015, the Bishop of Strasbourg and the Holy Roman Emperor Henry II laid the foundation stone of a new cathedral. This third edifice burned in 1176, destroying the eastern part of the structure. The fourth, and current, building arose from the ashes of this conflagration and incorporated surviving elements of the burned structure. Started in the Romanesque style, it evolved to the newer Gothic style partway through the construction effort; French craftsmen from the recently completed Chartres Cathedral arrived ca. 1225 and started work on the south transept and eastern portions of the nave. Westward progress on the nave continued and upon its completion in 1275, construction began on the western façade (including the portal and north tower) in 1276. Earthquakes in 1279, 1289, and 1291 beset the early construction; that of 1289 briefly threatened to collapse the emerging structure.1 In 1284 Master Erwin von Steinbach was placed in charge of the façade and was responsible for the fine Gothic tracery and the magnificent rose window.2 A careless 1298 fire consumed the woodwork and endangered the walls and pillars, necessitating repairs which were completed in 1302. Political upheaval and the arrival of the Black Death slowed construction considerably in the fourteenth century. An earth 1. Charles Frédéric Schmidt and Jean Gustave Grucker, Notice Sur La Cathedrale De Strasbourg (Strasbourg: G. Silbermann, 1853), 10–13, https://books.google.com/books?id=3uwYAAAAYAAJ. 2. Goethe was inspired to write a 1772 pamphlet On German Architecture from having seen Erwin von Steinbach’s masterpiece. The work is an homage to Steinbach, a reflection on the Germanic roots of Gothic art and experiencing architecture as art. Johann Wolfgang Goethe, Von Deutscher Baukunst (Frankfurt am Main: Deinet, 1772).

quake in 1356, a lightning strike in 1368, and a fire in 1384 were further obstacles to completion. Finally, in 1439 a ceremony was held and the last stone was laid. Further fires, earthquakes, and storms would bedevil the building in subsequent centuries. The cathedral’s north tower, among the tallest building structures in the world at the time of its construction, gradually worked its way to “first place” as wind, lightning, and structural failure eliminated taller structures intermittently from the mid-fifteenth century onward. From 1647 to 1874, Strasbourg cathedral was the world’s tallest building, until surpassed by the Church of St. Nicholas in Hamburg. The south tower, though planned, was never built—resulting in the cathedral’s unusual asymmetric appearance. The definitive reason for the south tower’s absence is unknown, but construction was considered, but rejected, as late as 1666. In 1521 the cathedral was appropriated for Protestant use and did not revert back to the Catholic Church until the late seventeenth century when Strasbourg was incorporated into France. The cathedral survived the destructive elements of the French Revolution (if barely), and warfare inflicted damage upon the cathedral, particularly bombardment during the 1870 Franco-Prussian war and Allied bombing during World War II. Its original stained glass windows were secreted away to the Dordogne in 1940, found by occupying German forces, and removed to a German salt mine near Heilbronn during World War II; after their discovery by Allied troops they were returned and reinstalled. With the exception of minor fifteenth and sixteenth century additions, eighteenth century arcades on the north and south sides of the cathedral, a new sacristy, and the crossing tower (which had undergone changes in form up through the nineteenth century) the external cathedral building is largely unchanged from its fifteenth-century state, though restoration work is a relatively constant feature of the site. New bells were added at the end of the twentieth

227

century, and additional bells were cast and installed in 2014 to celebrate the millennial anniversary of the laying of the foundation stone. The south transept holds an astonishing mechanical marvel—a massive astronomical clock. The current clock, the third, was completed in 1843. Its ultimate predecessor was created in the early 1350s and operated for approximately 150 years. A replacement was installed in 1574 and continued in operation for over 200 years. It included calendar functions, an astrolabe, carillons, and automata. Each clock depicted

humanity’s life and place in the world as understood and taught at the time. The Fondation de l’Oeuvre Notre-Dame was founded in the early thirteenth century to manage donations and construction. The organization still exists some 800 years later and is responsible for maintenance, conservation and restoration projects of the cathedral.3 3. “Fondation de l’Oeuvre Notre-Dame,” Fondation de l’Oeuvre Notre-Dame, accessed June 16, 2018, http://www.oeuvre-notredame.org.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M237

M237 / M237

1861

AE, AR

87.0–102.4 g

185

45

R2

Medal Description

Figure 27.2. The Cathedral of Strasbourg. (Collection of the author). Obverse: Perspective view of the cathedral exterior from the north-west, highlighting its ubiquitous single northern tower (Fig. 27.2a). Around the perimeter: C aTh ED R aLE D E STR a SbO U RG

C aTh ED R a L O F STR a SbO U RG

In the exergue: J. W I EN ER F. 1861

M aD E by J aCq U ES W I EN ER 1861

Reverse: Perspective view of the interior, looking down the nave toward the west from a vantage point just to the right of center (Fig. 27.2b). The western rose window is at the focal point of the reverse. The interior image spans the diameter of the medal. 228

In the exergue: L a 1 E pI ERRE p OSÉE 1015. TO U R &

Th E FI RST STO N E p OSITI O N ED 1015. TOW ER aN D

p O RTa I L CO M M EN CÉS 1276.

p O RTaL CO M M EN CED 1276.

TER M I N ÉE 1439

CO M pLETED 1439

Medal Notes

Figure 27.3. The working dies for Strasbourg Cathedral, M237, Lippens 2296 and 2297. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Medals are known from a single one-piece working obverse die (Lippens 2296) (Fig. 27.3a) and a single onepiece working reverse die (Lippens 2297) (Fig. 27.3b). In the obverse exergue, horizontal die gouges are present between “F.” and 1861, and above and to the right of the 1861. No lettering issues of any consequence are found on the obverse. The terminal obverse die state is excellent—no lapping, no cracks, nor any chips due to fatigue. On the reverse, the “S” of COMMENCÉS has been punched over a previous “E”, and a lightly punched “S” is seen between “COMMENCÉS” and “1276.” The “P” of “PORTAIL” overlaps the rim. The first “E” of TERMINÉE has been re-punched. Minor die fatigue evidence is seen just above the uppermost capital on the right side of the nave, and another inside the peak of the narrow archway just left of the rightmost cluster of columns. Die chips eventually form at or on the rim at the 9:00, 10:00, 10:30, and 11:00 positions. The terminal reverse die state also exhibits a significant die chip at the extreme right exergue, and intermittent small chips at the rim running clockwise

from the 11:30 to 6:00 positions. The exergue die chip results in significant bumps or “cuds” at the 5:00 rim position in the specimens struck. The rendering of the interior of this medal is unusual for this series in that it is viewing the cathedral in a westward direction rather than eastward toward the apse and altar. This provides an opportunity to display the rose window of the western façade. The seeming small rose window immediately above the doors is stonework tracery in imitation of a rose window-like design. The choice of information provided in the reverse legends is very similar to that of a number of various medals issued in 1815 to celebrate the eighth centenary of the cathedral.

Contemporary References The Strasbourg medal, too, seems to have come to the market quietly, being neither exhibited nor advertised by any of the usual sources. Theodore Bom’s 1868 Cat-

229

alogue d’une collection intéresante, précieuse et universelle contains a specimen of the Strasbourg medal as part of its single group lot number 2108*. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. The British Museum purchased its specimen on July 24, 1862, from Wiener by way of the Baron Vandercruysse. The explicitly-dated Strasbourg medal has been placed prior to the (dated) Chartres and (undated) Cologne Synagogue issues (in contravention with Bouhy’s and Van Hoydonck’s order of issue) to satisfy a constraint presented in the 1862 Revue de la numismatique belge4 and the February 26, 1862, Leydsche Courant5 which each state that the Chartres and Cologne Synagogue medals are the 27th and 28th issues of the Most Remarkable Edifices series. The author assumes, with admittedly little evidence, that the lack of mention of the Strasbourg medal in the Revue de la numismatique belge implies the Strasbourg medal preceded that of 4. Société royale de numismatique de Belgique, Revue de la numismatique belge 3e Série Tome VI (Brussels: Libraire polytechnique d'Aug. Decq., 1862), 292, https://books.google.com/ books?id=OzgFAAAAQAAJ. 5. Leydsche Courant, February 26, 1862, 1.

Chartres. Intentional or not, this is also the issue order implied by Blanchet and Dieudonné.6

Source Images Wiener’s interior and exterior source images have yet to be identified. However, note that Wiener’s exterior rendering excludes “la maison des gardiens de la cathédrale” which sets atop the abbreviated south tower. This guardhouse was built in the sixteenth century and re-built in the eighteenth century. The guardians were responsible for keeping a firewatch, ringing the cathedral bells, and generally watching the comings and goings of cathedral visitors.7 Although very low profile, the guardhouse should be visible from the eyepoint chosen by Wiener; its absence may indicate a clue to the exterior source image. 6. Adrien Blanchet and Adolphe Edmond Dieudonné, Manuel de numismatique française Tome Troisieme Médailles, Jetons, Méreaux (Paris: Auguste Picard, 1930), 101, https://gallica.bnf.fr/ark:/12148/ bpt6k399068b. 7. Ruef, Sandrine, Fondation de l’Œuvre Notre-Dame, Personal correspondence, June 21, 2018.

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28. Chartres Cathedral 1861

The Edifice Chartres Cathedral, built in the high Gothic style, is located approximately 50 miles southwest of Paris (Fig. 28.1). The number of cathedral or church buildings to have occupied the site is unclear—the ravages of humanity and fire constantly compelling the erection of new church structures. A cathedral was destroyed in 743 when Hunald, the duke of Aquitaine, sacked Chartres. The subsequent cathedral was then destroyed by the Danes in 858. Yet another structure was built, and in 876 Charles the Bald presented this church a relic (the Sancta Camisa), purported to be from a garment worn by Mary, that would become the basis for pilgrimages (and income) in the future. This church building suffered a fire in 962, though the extent of damage and rebuilding is unknown. A larger fire in 1020 necessitated the construction of a new building. Bishop Fulbert envisioned a more grand edifice in both size and impact and set about the significant task of raising funds. His cathedral was consecrated in 1037. This cathedral was enlarged in the early twelfth century, and a fire in 1134 prompted the rebuilding of western portions of the structure. The night of June 10, 1194, saw fire destroy much of the city and inflict significant damage to the cathedral. The apparently miraculous survival of the Sancta Camisa provided a level of motivation for rebuilding the cathedral; this time reconstructing both the nave and choir, while incorporating the undamaged western façade and incomplete towers. Interestingly, as the reconstruction moved from east to west, the rebuilt nave was slightly misaligned in its mating to the re-used western façade—from the exterior one sees the vast rose window shifted slightly northward relative to both the window and the center portal peak both located below. Donations of material and money came from the French monarchy, Spain, England, and across France. Included among these—the merchant guilds donated stained glass windows that depict a

Figure 28.1. Photo of Chartres cathedral, ca. 1865. Photo by Amblard. (Collection of the author). fascinating multitude of medieval persons performing their thirteenth-century labors.1 The new cathedral was largely completed by 1223, and was consecrated in 1260 with King Louis IX in attendance. Chartres Cathedral is particularly noted for the expansiveness 1. Though this is the popular interpretation, it is not universally accepted. The pictorial representations have precedents in early Christian art and other, earlier cathedrals. Additionally, documented existence of local trade guilds in Chartres at the end of the twelfth century is problematic. In fact, the depictions may be an idealized view of the desired role and behavior of tradesmen in contrast to the conflict and tension which openly erupted during the course of the cathedral’s construction, pitting the trades against both the church and nobility. Ball, Philip, Universe in Stone (New York: HarperCollins, 2008), 266–70.

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of its unique stained glass windows (facilitated by the tall clerestory) and its intact circular labyrinth in the cathedral floor that provided the faithful an imitative and contemplative way to take a “pilgrimage” to Jerusalem—the center of the labyrinthine path. From the outside, it is instantly recognizable by its asymmetric north and south towers; separated by 300 feet of space and 400 years in their construction; lightning had struck the wooden north tower in 1506 and it was rebuilt—this time in stone—in the so-called “flamboyant” style instead of Gothic. On June 4, 1836, workmen repairing weather-driven roof damage were the apparent cause for yet another fire which destroyed the wooden roof, necessitating a more resilient replacement of iron structure sheathed in copper. This event prompted additional restoration efforts starting in 1846 and lasting sporadically for the remainder of

the nineteenth century. Like many other restorations, a twenty-first-century effort to clean the interior of the cathedral and return it to its brighter, ochre hue has been met with considerable dissent—the discussions centering on which is more authentic—the patina of ages, or something assumed to be akin to the original appearance. Passionate voices continue to advocate on both sides of the issue. Chartres Cathedral is particularly notable for largely retaining much of its thirteenth-century glory intact. Unlike many of the medieval structures discussed, its period of construction was relatively brief, and few significant changes were incorporated into the cathedral in the intervening centuries after its “completion,” thus providing us a unified and stylistically homogeneous structure.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M238

M238 / M238

1861

AE

83.1–90.3 g

184

39

R1

Medal Description

Figure 28.2. Chartres Cathedral. (Collection of the author). Obverse: Perspective view of the exterior of the cathedral from the northwest (Fig. 28.2a). Around the perimeter: C aTh ED R aLE D E Ch a RTRES

C aTh ED R a L O F Ch a RTRES

232

In the exergue: J. W I EN ER 1861

J aCq U ES W I EN ER 1861

Reverse: Perspective view of the cathedral interior looking down the nave toward the apse, from a point slightly left of the nave centerline (Fig. 28.2b). The left and right fields are anepigraphic. In the exergue: CO M M EN CÉE V ERS 1040

CO M M EN CED aRO U N D 1040

I N aUGU RÉE 1260.

I N aUGU R aTED 1260.

J. W I EN ER

J aCq U ES W I EN ER

Medal Notes

Figure 28.3. The working dies for Chartres Cathedral, M238, Lippens 2298 and 2299. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2298) (Fig. 28.3a) and a single onepiece working reverse die (Lippens 2299) (Fig. 28.3b). On the obverse, the “R” of CATHEDRALE has been re-punched. Later specimens show evidence of smallscale die-breakage to the right of the south tower, edging into the field. The terminal obverse die state exhibits two significant die-cracks. The first is a fine crack commencing at the mouth of the “C” of CATHEDRALE, running through the adjacent “A” and base of the “T”, then broadly arcing until it terminates in the spire of the western façade’s north tower. The second, catastrophic, crack commences at the 8:30 rim, bisects the “C” of CATHEDRALE and terminates in the pediment of the north transept roof. This crack extends

deeply into the body of the die; specimens struck from this die state exhibit a very high relief crack on the face of the medal. On the reverse die the “I” and first “E” of WIENER are poorly positioned and each slightly rotated. The “4” of 1040 has been re-punched. Otherwise, the scant lettering is perfect. The die began to fatigue initially in the far left corner of the exergue, followed by a die-crack and subsequent chip in the far right exergue corner. The terminal die state reflects the noted chips, but no additional fatigue or mis-handling characteristics. Neither die appears to have been lapped. Somewhat surprisingly, Wiener chose not to render the labyrinth into his engraving of the floor on the reverse.

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Contemporary References The Chartres medal too seems to have come to the market quietly, being neither exhibited nor advertised. The third series, volume 6 of the Revue de la numismatique belge (1862), briefly mentions that “the 27th and 28th medals in the collection of the monuments of Europe, engraved by Jacques Wiener, have been recently received. They represent the cathedral of Chartres and the synagogue of Cologne.” The first page of the February 26, 1862, Leydsche Courant provides a brief summary and introduction of Wiener, then notes that “the coin and medal cabinet of the Leyden high school2 has received the 27th and 28th” examples of “Europe’s renowned buildings.” The article goes on to provide a brief description of the Chartres cathedral medal as the 27th, and the Cologne Synagogue medal as the 28th. In addition, the Sieben und achtundzwanzigster combinirter Jahresbericht des historischen Kreis-Vereins im Regierungsbezirke von Schwaben und Neuburg für die Jahre 1861 und 18623 2. The coin and medal cabinet of Leiden high school is the subject of an 1867 book Het munt- en penningkabinet der Leidsche Hoogeschool in 1867. The book notes that “In our days, the yet unfinished series of the most important buildings in Europe… can be seen by J Wiener; the series will consist of 50 pieces.” The book later cites Jacques and Léopold Wiener as being among the living artists collected for the cabinet, and that “Before we pass on to give a glimpse of the main coins…we must generally mention the outstanding set of medals, containing the images of the main buildings mostly churches of Europe on the one side the exterior, imagined on the other internally, the work of famous engravers Jakob and Leopold Wiener in Brussels. This series has up to now a number of 39 medals, but they intend to increase it to a number of 50.” The school was likely missing the medals of St. Maria of Belém and Burgos, both issued in 1867. This is further supported by the lack of mention of Charles Wiener who returned to Brussels in 1867 and assisted with these two medals. No other medalists or artists are singled out for praise in this manner in the work. Peter Otto Van der Chies, Het munt- en penningkabinet der Leidsche Hoogeschool in 1867 (Leiden: Couvée, 1867), 20, 54, 140, https://books.google.com/books?id=ePgUAAAAQAAJ. 3. Moritz Mezger, Sieben und achtundzwanzigster combinirter Jahresbericht des historischen Kreis-Vereins im Regierungs-

documents that specimens of the Cologne Synagogue and Chartres Cathedral were purchased in 1861–62. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Chartres Cathedral medal. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. A specimen of this medal was curiously not part of the British Museum’s July 24, 1862, purchase, but rather was acquired in its follow-up August 1, 1870, purchase from Wiener by way of Mr. Cruysse. The documentary evidence is consistent with the medal’s engraved date of 1861.

Source Images Plate 153 of Le Moyen-âge pittoresque, monumens d’architecture, meubles et décors du Xe au XVIIe siècle4 by N. M. J. Chapuy, published in 1838, contains an image that appears to be from the same eyepoint as that used by Wiener, but admittedly differs in some small details from the medal (e.g., the treatment of the nearest, partially obstructed flying buttress, the northern door of the western façade, and the medal’s seventh, southernmost facet of the roof spire on the south tower, etc.). Though very similar, it is not completely convincing as the source image, unless it was supplemented with other images. Wiener’s interior source image is still awaiting discovery. bezirke von Schwaben und Neuburg für die Jahre 1861 und 1862 (Augsburg: Ph. J. Pfeiffer, 1862), 59, https://books.google.com/ books?id=NFlEAAAAcAAJ. 4. Nicolas-Marie-Joseph Chapuy, Le Moyen-âge pittoresque, monumens d‘architecture, meubles et décors du Xe au XVIIe siècle. (Paris: Veith et Hauser, 1838), No. 153, https://books.google.com/ books?id=u21sAZ3s-ScC.

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29. Cologne Synagogue (1861)

The Edifice After centuries of arduous existence with their Christian neighbors, Jewish citizens were expelled from the city of Cologne on August 24, 1424, in accordance with a decree passed one year prior. It was not until the Napoleonic occupation of Cologne that the first Jew, Josef Stern, was allowed to return on March 16, 1798, to live in the city.1 That same year, Bonn banker Salomon Oppenheim, from a family long associated with the prince-archbishops of Cologne, moved his bank and family to the city. The Jewish community was slow to grow, particularly with the granting of Cologne to Prussia in the post-Napoleonic realignment of Europe. By 1820 the small community hosted a primary school, and with affirmation of Jewish Emancipation rights in 1848, the rate of growth increased. In 1854, Dr. Israel Schwartz was named the community’s rabbi.2 By this point the community’s prayer hall3 was proving both dilapidated and inadequate, with some members wishing to renovate and expand, others wishing to build anew. On June 10, 1856, in a meeting of the board, Abraham Oppenheim (son of the aforementioned Salomon) announced that he would finance at his own expense, “a synagogue worthy of the city of Cologne,” and initiated construction of the Glockengasse Synagogue at 5–7 Glockengasse, next door to his own home at 3 Glockengasse. The cornerstone was placed in 1857, and the building dedicated on August 29, 1861, with the ceremonial address given by Rabbi Schwartz.4 The synagogue purposefully exhibited a style unlike other (Christian) houses of worship, drawing upon a number 1. Ernst Weyden, Geschichte der Juden in Köln am Rhein (Köln: Dumont-Schauberg, 1867), 241–45, 275, https://books.google.com/ books?id=iuf_uAEACAAJ. 2. “Cologne,” The Jewish Encyclopedia (New York: Funk and Wagnalls, 1912), 168–69, https://books.google.com/ books?id=N38G8ac9Y10C. 3. The former Monastery of the Poor Claires on the Glockengasse, acquired in 1806. 4. Ernst Weyden, Geschichte der Juden in Köln am Rhein (Köln: Dumont-Schauberg, 1867), 290, https://books.google.com/ books?id=iuf_uAEACAAJ.

Figure 29.1. A photo of the rebuilt Glockengasse Synagogue ca. 1870 as shown on an early twentiethcentury postcard. Abraham Oppenheim’s painting gallery, at 3 Glockengasse, is in the center of the photo. (Collection of the author). of Middle Eastern influences (and Judaism’s origins in the east), from its Greek cross layout to its large cupola and four minarets on the front façade (Figs. 29.1 and 29.2). A contemporary noted that the interior of the “splendid synagogue” displayed “Arabesques and ornaments in the interior [that] deviate from the principled

235

and miserable simplicity of the old synagogues.”5 Ernst Friedrich Zwirner, the synagogue’s architect, was also responsible for the final construction of Cologne Cathedral and the St. Apollinaris church in Remagen— subjects of other medals by Wiener.

Zwirner died only 24 days after the Glockengasse Synagogue dedication. Fire significantly damaged the Glockengasse structure in 1867, but it was also expanded as part of its renovation that same year. The burgeoning Jewish community in Cologne outgrew the Glockengasse Synagogue, which necessitated the construction of another grand synagogue less than 40 years later on Roostrasse. Attendance at the Glockengasse site subsequently declined. During World War I, the copper sheathing on its main cupola and four smaller cupolas was appropriated for the war effort. Sadly, the Glockengasse Synagogue (along with the other synagogues in Cologne and others throughout Germany) was severely damaged during Kristallnacht on November 9, 1938. The ruined structure was then destroyed in a bombing raid on June 29, 1943. The city appropriated the land formerly occupied by the synagogue and various other nearby buildings later that year. One of these buildings was the Cologne Opera House. The foundation stone for a new Opera House was laid in 1955, the new modernist complex ultimately covering the old war-ravaged block. This new Cologne Opera House displays a bronze plaque on the exterior depicting a plan map of the pre-war block and recalling the former architectural marvel on the site: “An dieser Stelle stand die 1857–67 nach Entwürfen von Dombaumeister E. Zwirner Erbaute Synagoge ein Geschenk von Oppenheim Zerstört am 9. Nov. 1938.” This is the only building in the Most Remarkable Edifices series no longer in existence.6

Figure 29.2. An engraving of the Glockengasse Synagogue from the September 14, 1861, issue of L'illustration, Journal Universel. (Collection of the author).

6. For an excellent overview of the Glockengasse Synagogue history, see: Helmut Fußbroich, “Kölns vergessene Zierde Die Synagoge in der Glockengasse zu Cöln 1861–1939," Beiträge zur rheinischjüdischen Geschichte Heft 2 (Köln: Gesellschaft zur Förderung eines Hauses und Museums der jüdischen Kultur in NRW e.V., 2012), 5–57, http://www.juedischesmuseum-koeln.de/publik/Koelns_Zierde.pdf.

5. C. Arenfeld, Geschichte der Juden in Köln (Köln: Hassel, 1864), 22, https://books.google.com/books?id=XCtMFm0ZbkoC.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M239

M239 / M239

Undated (1861)

AE

83.4–111.3 g

182

61

R3

236

Medal Description

Figure 29.3. Cologne Synagogue. (Collection of the author). Obverse: Exterior perspective view of the synagogue building (Fig. 29.3a). Around the perimeter: SyN aGO GE ZU CO ELN. EI N GEW EI hT a M 29 aUGUST 1861

SyN aGO GU E O F CO LO GN E. D ED I C aTED O N 29 aUGUST 1861

In the exergue: E.F. ZW I RN ER aRCh IT.

ERNST FRI ED RI Ch ZW I RN ER a RCh ITECT

Reverse: Interior perspective view of the synagogue (Fig. 29.3b). In the right field: abR ah a M O ppEN h EI M bU I LT Th E h O USE O F GO D

‫ויבן אברהם אפפענהיים את בית ה׳‬ ‫לקהל עדת קלוניא‬

FO R Th E h O Ly CO M MU N IT y O F CO LO GN E

In the left field: aN D Th Ey I N aUGU R aTED IT O N Th E 23RD Day O F Th E M O NTh O F ELU L 5621 yE aRS SI N CE Th E CRE aTI O N O F Th E WO RLD

‫ויחנכו אותו כג אלול התרכא לבע‬

‫זכרה לו אלקים לטובה‬

RE M E M bER O LO RD TO h IS CRED IT

237

In the exergue: J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Medal Notes

Figure 29.4. The working dies for the Cologne Synagogue medal, M239, Lippens 2300 and 2301. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2300) (Fig. 29.4a) and a single onepiece working reverse die (Lippens 2301) (Fig. 29.4b). On the obverse, a stray diagonal line extends upward and outward from the left side of the barrel of the dome. The “W” of EINGEWEIHT has been repunched. The ghost image of a stray letter can be seen between the “T” of EINGEWEIHT and the spire atop the dome. It is the base of a letter with a serif (perhaps an “I” or “T”), unlike the lettering style used on any of the legends on the medal. A die-crack eventually appears, extending from the “E” of SYNAGOGE to the rim. The terminal obverse die state is relatively good— there is the small aforementioned crack, a chip in the rim where the base intercepts the rim at right, and no evidence of lapping. On the reverse, in the right field there are two small spots exhibiting die failure—between the “‫ ”ן‬of ‫ ויבן‬and the rim, as well as between the “‫ ”יא‬of ‫ קלוניא‬and the rim. A stray engraved line extends the diagonal of “‫ “א‬in ‫ אברהם‬downward to the right. The lettering is otherwise perfect. A characteristic vertical die gouge is present at the lower rim, just to the left of the right field. In later specimens, the very beginnings of die crumbling can be seen under magnification along the innermost pillar of the left side

of the archway. In the terminal reverse die state one can also see a very slight die-crack formed at the 11:00 rim, running somewhat parallel to the rim, and exiting at the 11:30 rim. In addition, there is a small chip in the field near the 3:30 rim, and the right corner of the exergue is chipped. This is one of the rarer, high demand pieces in the Most Remarkable Edifices series.

Contemporary References The Cologne Synagogue medal also seems to have come to the market quietly, being neither exhibited nor advertised. One presumes there was a formal linkage between the medal’s issuance and the dedication of the synagogue, but to-date the author has not found explicit documentary evidence. The September 14, 1861 Illustrirte Zeitung7 contains a teaser regarding an illustration of Wiener’s medal to appear in the September 21 issue—however, this illustration does not actually appear until the December 14, 1861 issue (Fig. 7. Illustrirte Zeitung XXXVII Band Nr 950 (Leipzig: Johan Jacob Weber, 14 Sept. 1861), 195, https://books.google.com/ books?id=V89LAAAAcAAJ.

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Figure 29.5. The obverse of Wiener's Cologne Synagogue medal as illustrated in the December 14, 1861, Illustrirte Zeitung.

29.5).8 The third series, volume 6 of the Revue de la numismatique belge (1861), briefly mentions that “the 27th and 28th medals in the collection of the monuments of Europe, engraved by Jacques Wiener, have been recently received. They represent the cathedral of Chartres and the synagogue of Cologne.” Similarly, the Sieben und achtundzwanzigster combinirter Jahresbericht des historischen Kreis-Vereins im Regierungsbezirke von Schwaben und Neuburg für die Jahre 1861 und 1862 documents that specimens of the Cologne Synagogue and Chartres Cathedral were purchased in 1861–62. Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et universelle group lot number 2108* contains an example of the Cologne Synagogue medal. Page one of the February 26, 1862, Leydsche Courant provides a brief summary and in-

troduction of Wiener, then notes that “the coin and medal cabinet of the Leyden high school has received the 27th and 28th” examples of “Europe’s renowned buildings.” The article goes on to provide a brief description of the Cologne Synagogue medal as the 28th. The Victoria and Albert Museum in London purchased a specimen of this medal in 1862. Similar to the Chartres medal, a specimen of this medal was not part of the British Museum’s July 24, 1862, purchase, though available, but rather was acquired in its followup August 1, 1870, purchase from Wiener by way of Mr. Cruysse. The documentary evidence fully supports the traditional issue date of 1861.

8. Illustrirte Zeitung XXXVII Band Nr 963 (Leipzig: Johan Jacob Weber, 14 Dec. 1861), 426, https://books.google.com/ books?id=V89LAAAAcAAJ.

Wiener’s interior and exterior source images have yet to be identified.

Source Images

239

Figure 30.1. Photo of St. Olaf's Cathedral, also known as Nidaros Cathedral, taken before 1869—roughly at the commencement of the major restoration effort not to complete until 2001. CDV Photo by Braekstad & Co. (Collection of the author).

240

30. St. Olaf ’s, Trondheim 1862

The Edifice Nidaros cathedral is built over the presumed burial location of Olaf II Haraldsson, the eleventh-century king of Norway and patron saint of the country (Fig. 30.1). King Olaf institutionalized Christianity in his Norwegian kingdom, uniting both religious and secular power under his administration, similar to the practice prevalent in other Western European countries at the time. Olaf was killed at the battle at Stiklestad in 1030; a cult quickly grew in his memory, popularizing the dead king. He was initially buried south of Nidaros (now Trondheim)—according to tradition on the site of what would become the cathedral’s high altar. His body was then exhumed and placed in St. Clement’s Church in Trondheim, but transferred a half-century later to Nidaros Cathedral. Construction of this memorial church and royal mausoleum had begun in 1070 and with the installation of Nidaros’ first archbishop

(Jon Birgisson, 1152–1160) construction of the current building was begun in earnest, expanding on the original structure. It became a metropolitan church in 1152 in conjunction with this rebirth of construction. The cathedral was somewhat unique in its time and place for its stone construction; Norway is generally not blessed with stone suitable for buildings; typical ecclesiastical buildings were built of wood (so-called “stave churches”). The transept and part of the nave were complete by 1180 when Archbishop Øystein Erlendsson’s brief exile brought overall construction to a temporary standstill. The archbishop’s three-year exile was spent in England and he brought an early Gothic architectural influence with him upon his return. This can be seen particularly in the (ca. 1190s) octagon built over St. Olaf ’s original burial location at the eastern end of the choir. The choir was built in ca. 1210–1230,

Figure 30.2. Photo of St. Olaf’s Cathedral, ca. 1880. Note how the chapter house roof, apse roof and small towers on the north side of the building differ from Fig. 30.1 taken approximately one decade earlier. CDV. (Collection of the author). 241

and the nave began again in 1248 (Wiener cites 1268) and was completed by approximately the year 1300. Though construction was largely completed by the end of the thirteenth century, fire inflicted serious damage shortly thereafter. Fire has unfortunately been a common theme in the life of this building; Wiener’s incomplete accounting on the medal cites the years 1328, 1531, and 1719, to which can be added 1432, 1451, and 1708. The 70m tall crossing tower blew down in a 1689 storm; its replacement burned in the 1708 fire and after 1719 the tower was covered by a short pyramidal roof not superseded until the cathedral’s nineteenth-century restoration. Nidaros Cathedral became the site of coronations for Norwegian monarchs starting in 1449; the 1814 constitution designates Nidaros cathedral as Norway’s coronation church and it is still used for the blessing of new monarchs. In 1537, as a result of the Protestant Reformation, the operation and ownership of the cathedral were transferred to the newly established state Church of Norway, a Lutheran denomination. The formal relationship between the state and the Church has evolved, with the twenty-first century loosening the ties between these two significant expressions of Norwegian culture. Momentum to address the cathedral’s restoration needs began building in the early 1840s. Architect Heinrich Ernst Schirmer was engaged by the Norwegian National Assembly in 1842 to survey the building and thus establish a baseline of knowledge from which to take action. Disagreement over the magnitude of the effort and the degree of faithfulness to the cathedral’s original design (as noted previously—a subject of spirited nineteenth-century debate) delayed any actual effort. A workable plan was presented by Schirmer in 1859, though it was still not without its detractors. The cathedral was cleaned up sufficiently to be presentable for Carl IV’s August 5, 1860, coronation, but major restoration work still did not commence until 1869, with Schirmer being assigned as the cathedral architect. After two years, however, his contract was not renewed due to disagreements with his somewhat strong-minded approach as to the appropriate level of “restoration” to be employed (Fig. 30.2). Gradual progress ensued—the chapter house was completed in 1871, the octagon in 1877, the choir in 1890, and the transepts and central tower in 1901, all under the watchful eye of the new cathedral architect Christian Christie. Christie then began the restoration of the nave but died early in the process; it would be completed to a later design offered by Olaf Nordhagen in 1909, who

Figure 30.3. A ca. 1885 photo of the western façade of the cathedral. The image readily conveys the continued bleak state of the grand building some 23 years after the appearance of Wiener’s medal. (Collection of the author). also would not live to see his vision completed. However, the nave was completed in time for the 900th anniversary of St. Olaf ’s death in 1930. Wiener graciously depicts the cathedral from the northeast; the western façade was in a particularly bad state of repair during his lifetime (Fig. 30.3). Restoration of the western façade, starting in 1901, was hampered by limited documentation and resulted in almost two decades of proposals and changes of direction before starting in earnest. A competition was held in 1929 resulting in the selection of Helge Thiis’ design. The work commenced, and the western façade was largely finished three years prior to Thiis’ death in 1972, though it was not fully completed until installation of the final statue 1983. Thiis also had planned to replace Schirmer’s tall spire atop the crossing tower with a flat-topped tower reminiscent of many English cathedrals (York and Winchester for example), but this plan was abandoned after Thiis’ death. The last vault in the western towers was completed in 2001, finally allowing the cathedral to be considered “complete.”1 Nidaros Cathedral, like so many of its counterparts, requires continual care; the Nidaros Domkirkes Restaureringsarbeider employs stonemasons, smiths, and glaziers who continue to apply their time-honored crafts to ensure the cathedral’s presence to future generations. 1. Øystein Ekroll. Cathedral archeologist, Nidaros Cathedral Restoration Workshop. Personal correspondence, July 17, 2018 and July 25, 2018.

242

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M245

M245 / M245

1862

AE, AR

81.0–92.7 g

192

53

R3

Medal Description

Figure 30.4. Nidaros Cathedral in Trondheim. (Collection of the author). Obverse: Perspective view of the church exterior from the northeast (Fig. 30.4a). Around the perimeter: ST O L aFS D O M KI RKE I TRO N D h J E M

ST. O L a F’S C aTh ED R a L I N TRO N D h EI M

In the exergue: J. W I EN ER bRUSSEL 1862

J aCq U ES W I EN ER bRUSSELS 1862

Reverse: Perspective view of the church interior looking eastward down the nave toward the apse from an eyepoint just to the right of the centerline of the nave (Fig. 30.4b). In the left field: FO RTSa ET TELSE

CO NTI N U ED

O G FU LD EN D ELSE

a N D CO M pLETED

1268–1280.

1268–1280.

bR a N D 1328.1531.1719.

bU RN ED 1328. 1531. 1719.

pL aN TI L

pL aN FO R

G J EN O pbyGGELSE

REbU I LD I N G

1859.

1859.

In the right field:

243

In the exergue: GRU N D L aGT 1160.

FO U N D ED 1160.

STa N DSN I N G a RbEI D ET

WO RK STO ppED

1180.

1180.

Medal Notes

Figure 30.5. The working dies for St. Olaf's in Trondheim, M245, Lippens 2344 and 2345. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2344) (Fig. 30.5a) and a single one-piece working reverse die (Lippens 2345) (Fig. 30.5b). Note that the spelling of Trondheim as “Trondhjem” reflects the Danish spelling of the city’s name from the Dano-Norwegian period (1660–1814)—the return to the Norwegian medieval spelling did not occur until 1931. On the obverse, the “A” of OLAFS has been repunched; the initially punched “A” is actually sideways relative to the correctly punched final letter with the peak of the initial letter pointing leftward. The remaining lettering is perfect. The terminal obverse die state is excellent; there are no signs of lapping, die-cracks, or other die fatigue. The lettering of the reverse die appears perfect, the only noteworthy characteristics being that the second “E” of ARBEIDET is punched high, the “A” of FORTSAETTELSE has been punched over some indeterminate letter, and the first “L” of FULDENDELSE is rotated counter-clockwise. Note that the lateral floor tiling lines (second and third from the bottom) are poorly executed; the second lateral line is “doubled” for almost its entire length. There are

a few spots denoting die breakage on the left side of the medal—between the second and third cluster of columns, and two small areas along the small, second level colonnade. Evidence of a small area of die pitting or rust can be seen on the left pilaster supports of the archway midway down the aisle. The terminal reverse die state exhibits a die-crack in the body of the die at the 8:00 position, which has yet to reach the face of the die, but otherwise contains no additional characteristics of note. This is another example in which Wiener’s medallic work diverges from the state of the edifice at the time. The photo in Fig. 30.1 was conveniently taken from approximately the same eyepoint as Wiener’s medal and dates from prior to 1869—within a decade of Wiener’s medal being issued. Note that the tall spire at the crossing of the transept had blown down in 1669—not to be completely rebuilt until 1903 and thus not in place when Wiener’s medal was executed. A number of other significant disparities exist including the roof over the octagonal presbytery and the face of the north transept. See the discussion under Source Images below.

244

Contemporary References Wiener clearly did not exhibit the Trondheim medal at the 1861 Exposition Nationale held in Antwerp (consistent with its 1862 issue date), nor at the 1873 Universal Exposition in Vienna. Wiener did however exhibit both the obverse and reverse of this (then) brand-new medal as part of his extensive offerings at the 1862 International Exhibition in London. The issue of this medal appears to have gone largely unnoticed in the documentation of the period in terms of announcing its availability from the artist. A few sales are recorded however—The Catalogue du cabinet de médailles, jetons, monnoyes, pièces obsidionales, de nécessité, de révolution, etc. documents the sale of C. G. Boonzajer’s collection on October 27, 1863; lot 1551 is a specimen of Wiener’s Trondheim medal. The combined 29th and 30th annual report (1865) of the historical association of Swabia and Neuberg (Neunundzwanzigster und dreissigster combinirter Jahresbericht des historischen Kreis Vereins im Begierungsbezirke von Schwaben und Neuburg für die Jahre 1863 und 1864) documents that the historical association purchased a specimen of the Trondheim medal in the range of 1862–64.2 2. Neunundzwanzigster und dreissigster kombinierter Jahresbericht des historischen Kreis Vereins im Regierungsbezirke von Schwaben und Neuburg für die Jahre 1863 und 1864 (Augsburg: Ph. J. Pfeiffer, 1865),

The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener in 1862. The British Museum acquired its specimen in its August 1, 1870, purchase from Wiener by way of Mr. Cruysse.

Source Images The extreme disparity between Wiener’s medallic rendering and the contemporary state of the cathedral paradoxically offers the greatest clue in identifying Wiener’s exterior source image. It should likewise be observed that the rendered image and the completed cathedral form differ slightly. This leads us to Schirmer’s 1859 proposal to the Norwegian government, published as Throndhjems Domkirke udgivet efter Foranstaltning af den Norske Regiering.3 Included in this work are 31 plates depicting varying elements of the proposed restoration plan for the cathedral. Plate 30 (Fig. 30.6) clearly depicts the edifice exterior as Wiener rendered it and is thus Wiener’s exterior source image. Unfortunately, Schirmer’s proposal does not contain the interior source image. XXXVIII, https://books.google.com/books?id=N1lEAAAAcAAJ. 3. Heinrich Ernst Schirmer and Peter Andreas Munch, Throndhjems Domkirke udgivet efter Foranstaltning af den Norske Regiering (Christiania: W. C. Fabritius, 1859), Pl. 30, http://dx.doi.org/10.3931/erara-56430/.

Figure 30.6. Plate 30 from H. E. Schirmer and P. A. Munch's Throndhjems Domkirke udgivet efter Foranstaltning af den Norske Regiering.

245

Figure 31.1. Interior view of St. Paul Outside the Walls looking toward the apse ca. 1870. St. Paul’s tomb is located below grade under the altar. The apse is the only part of the original building to survive the 1823 fire relatively intact. The architectural canopy over the smaller altar canopy was removed in 1912. Photo by Enrico Verzaschi of Rome. (Collection of the author).

246

31. Basilica of St. Paul Outside the Walls, Rome (1862)

The Edifice This basilica, one of four in Rome, was founded by the Roman Emperor Constantine I and located over the burial site of the martyred St. Paul (Fig. 31.1). Paul was brought to Rome in the AD 61 and believed to be beheaded in ca. 65–67. He was buried in a sepulchre along a Roman road known as the Via Ostiense, just outside the Aurelian walls of the city. His memorial became a source of local pilgrimage particularly during the era of official persecution of Christianity by the Roman government. Constantine’s Edict of Milan in 313 established the right of open and free worship for any religion, including Christianity; in the edict’s aftermath, Constantine ordered the construction of a church over St. Paul’s tomb. This first church structure is thought to have been of relatively small scale and was consecrated by Pope Sylvester in the year 324. By the end of the fourth century, this first basilica was already proving inadequate to support the flow of pilgrims to the site. A new structure was erected beginning between 384 and 386, Byzantine in style, and of a grander scale (the transept of the new church was larger than the entirety of its predecessor). Composed of five naves (one large central nave with two parallel aisles each to the north and south) and a courtyard to the west, the basilica would be Rome’s largest until the reconstruction of St. Peter’s in the early seventeenth century. The new basilica was completed at the beginning of the reign of Emperor Honorius (395–423); Pope Siricius consecrated the new basilica in 395. The nave and its aisles were supported by an arcade of twenty-column colonnades. Above the arcade were three tiers—the lowest populated with a series of busts of the popes and above this two tiers of painted panels (later repainted in the fourteenth century). Covering the structure was the open-work, wood-beamed roof. Subsequent Popes continued to make relatively minor modifications, along with occasional repairs due to fires and earthquakes. Damage was inflicted by a

Saracen raid in 846 due to the basilica’s unprotected location (outside the walls after all…)—necessitating defensive modifications. A campanile was added in 1070. Fire caused significant damage to the east end of the structure in 1115, compelling further repairs. Leading up to the early fourteenth century the colossal Paschal Candlestick, apse mosaics, re-painted nave artwork, altar canopy, and western façade mosaics were added, bringing the basilica to perhaps the apex of its brilliant appearance. A 1349 earthquake, however, destroyed the campanile and part of the portico leading to a period of decline despite restoration efforts intended to reverse the building’s fortunes. Minor updates were made in the fifteenth and sixteenth centuries, but by the mid-seventeenth century plans for a revamping of the basilica were being considered. Changes were implemented at a measured pace but in 1724 a newly erected portico collapsed, essentially ending the thoughts of a re-imagined building and turning the focus to repairs instead. On the night of July 15, 1823, a fire ignited by a workman’s torch almost completely destroyed the building. The thirteenth century apse interior, transept walls, south nave wall, and the rebuilt campanile survived; all else was in ruin. The reverse of an 1858 medal by Girometti attempts to capture the extent of the post-fire destruction with the apse standing defiantly over the rubble and destroyed walls. The ailing Pope Pius VII was never told of the event and he died one month later. His successor, Pope Leo XII, then set about the task of rebuilding. Similar to other nineteenth-century restoration challenges, debate ensued as to whether it was more appropriate to take the opportunity to build to a new design, or to re-create that which was lost. A brief foray to the former was headed by architect Giuseppe Valadier, but this was abandoned within a year as Pope Leo XII asserted his desire for a more faithful rebuilding of the lost structure. He then issued an appeal for

247

Figure 31.2. Aerial view of St. Paul Outside the Walls looking to the southwest, ca. 1930 (reference the completed quadrangular portico west of the nave). Note the end-of-the-line tramway loop just north of the nave with two train sets idling. This line started with horse buses transporting pilgrims from Piazza Venezia to St. Paul’s in the mid-nineteenth century. The covered structure towards the bottom right of the photo is the necropolis. The Tiber River is just out of view to the right. The rural idyll would not last much longer. (Collection of the author).

donations to aid in the reconstruction. Materials were donated from as far away as Imperial Russia and Egypt, facilitating the massive (and controversial) rebirth of the 1,435-year-old building. The altar was consecrated on October 5, 1840, allowing for services to be held in the otherwise unfinished building. Construction was sufficiently complete by 1854 that the entire building was re-consecrated on December 10. The reconstituted structure was neither a reconstruction nor a restoration; rather, it was a nineteenth-century re-imagining by architect Luigi Poletti laid atop the original foundation plan. A new campanile was finished in 1860, now re-located immediately east of the apse. The design of the new façade was approved in 1850, but work was not completed until 1884. Italian unification brought construction to a halt in 1884, not to be resumed again until 1890 with the laying of the foundation stone for

the new quadrangular portico located just west of the façade and narthex; construction of the portico was completed in 1928. With the installation of the main entrance’s bronze door and the Baptistery in 1931 the reconstruction was considered complete.1 Originally in a relatively isolated location, tram and then train service along the adjacent Via Ostiense in the early twentieth century brought with it development which eventually crowded around the Basilica, leaving only open space to the north, and permanently changing its previous rural setting (Fig. 31.2). Although its recent administrative arrangement has varied, the basilica has maintained a continual residence of Benedictine monks for thirteen centuries. 1. Pontifical Administration of the Patriarchal Basilica of Saint Paul, The Basilica of Saint Paul Outside the Walls (Foggia: Libreria Editrice Vaticana, 2003), 5–17.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M246

M246 / M246

Undated (1862)

AE

80.6–98.0 g

186

49

R1

248

Medal Description

Figure 31.3. St. Paul Outside the Walls. (Collection of the author). Obverse: Exterior perspective view of the building from the southwest (Fig. 31.3a). Around the perimeter: ba SI LI C a D I S. paO LO a RO M a

ba SI LI C a O F ST. paU L I N RO M E

In the exergue: FO N DaTa Da CO NSTaNTI N O

FO U N D ED by CO NSTaNTI N E

324

324

J. W I EN ER

J aCq U ES W I EN ER

Reverse: Perspective view of the basilica interior, looking down the nave toward the apse from just right of center (Fig. 31.3b). Two narrow anepigraphic fields to the left and right. In the exergue: CO M pITa Da O N O RI O 395–423.

CO M pLETED by h O N O RI US 395–423.

D ISTRUT Ta DaL FUSCO

D ESTROyED by FI RE

1823.

1823.

J. W I EN ER

J aCq U ES W I EN ER

249

Medal Notes

Figure 31.4. The working dies for St. Paul Outside the Walls, M246, Lippens 2306 and 2307. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Wiener provides hints of the frescoes and Papal portrait medallions that hung in the pre-1823 basilica, particularly in the apse, on the far eastern wall, and along the southern wall at left. Medals are known from a single one-piece working obverse die (Lippens 2306) (Fig. 31.4a) and a single one-piece working reverse die (Lippens 2307) (Fig. 31.4b). On the obverse, the “ILI” of BASILICA appears to be punched using letters slightly larger than those for the remainder of the word. The second “O” of PAOLO is re-punched over a lightly punched “R.” The first and third letters “N” and the second “T” of CONSTANTINO are rotated slightly clockwise, whereas the “A” is rotated slightly counter-clockwise. The “4” of 324 is spaced slightly wide, and is rotated slightly clockwise. Later specimens betray a small die-crack running from the right corner of the pediment to the corner of the “L” of PAOLO and eventually to the rim; no other sign of die fatigue or breakage is present. The obverse die was lightly lapped at a point, noticeably weakening Wiener’s signature. The obverse terminal die state does not exhibit any further issues. The reverse displays no evidence of re-punched lettering. The “D” and the final two letters “T” of DISTRUTTA are rotated clockwise. Minor die breakage is eventually seen in the cavity between columns midway in the colonnade at left, and in later strikes where the top horizontal rafter meets the rim at both its left and right ends. Evidence of a vertical die gouge in the

left field can be seen at the 9:00 position, close to the rim. The terminal reverse die state also includes a diecrack commencing at the 2:00 rim, extending toward the center of the die for a length of 7–8 mm.

Contemporary References Wiener did not exhibit the St. Paul’s (Rome) medal at the 1861 Exposition Nationale held in Antwerp, the 1862 International Exhibition in London, nor at the 1873 Universal Exposition in Vienna. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on February 18, 1864. It is assumed that the medal was not included in the previous 1862 acquisition because it had not yet been issued. Therefore, it is suggested that the traditional issue date be nudged to (late) 1862 for consistency with the Victoria and Albert acquisition history. Oddly, neither of the British Museum’s two acquisitions from Wiener included a specimen of St. Paul’s (Rome). Rather, each purchase included a specimen of St. Peter’s (Rome); one suspects this was an error and the 1870 acquisition should have included an example of the St. Paul’s (Rome) medal instead.

250

Figure 31.5. Piranesi's eighteenth-century view of St. Paul Outside the Walls.

Source Images Interestingly, despite the completion of the reconstruction effort some six years prior, Wiener has used a source image dating from prior to the 1823 fire— while citing the fire in the reverse legends. The western façade was finished in a very different style with the added quadriportico immediately to the west. The interior was likewise changed, most notably by changing the open beam trusses of the roof to a coffered ceiling. Wiener’s medal reflects none of these changes. Figure 31.5 (View of the Basilica of S. Paolo fuori delle Mura [St. Paul outside the Walls], built by Constantine the Great, from Views of Rome, 1750/59 by Giovanni Battista Piranesi) is from a very similar eyepoint as Wiener’s source image. In addition, this engraving depicts a level of detail commensurate with Wiener’s rendering, including the background elements in the shadows of the portico and the foreground decorative elements. The match is not perfect; the most problematic aspect is the obstructed detail in the nearest archway of the western façade in Piranesi’s image that

is seen on Wiener’s medal. It is likely that Piranesi’s work and Wiener’s source image likely share some common original ancestral image. Curiously, Wiener also omits the campanile, another nineteenth-century casualty despite its likely inclusion in his source image. The source image for the medal’s interior view remains to be discovered. However, Wiener’s image is very similar to both Paul-Marie Letarouilly’s Vue principale de l’intérieur de la basilique de St-Paul (S. Paolo) hors les murs, prise de la nef du milieu, près de l’entrée, dating to 1857, and an engraving by Francesco Barbazza (from a drawing by Francesco Panini)—Prospetto interiore della Basilica si S. Paolo sulla Via Ostiense fondata da Costantino Magno, dated 1773. Though the eyepoints in these two engravings are approximately the same as Wiener’s source image, the engravings differ from the medal in the relative side aisle details as seen between the nave columns.

251

Figure 32.1. A view of the Duomo from the west-southwest, ca. 1880. (Collection of the author).

252

32. Duomo of Pisa (1862)

The Edifice Pisa’s fortunes have been tied to its role as a port city since ancient times. The city developed its own fleet and by the early ninth century was engaging with the north African coast. In 1003 the Pisan fleet engaged a Saracen naval attack on Rome; though the city of Pisa was sacked, the Pisan fleet captured Sardinia and gained increasing mastery of the Tyrrhenian Sea in the following decades. In 1063, the Pisan fleet attacked and destroyed a Saracen fleet entering the port city of Palermo. Six of the Saracen ships were captured; one-tenth of these proceeds/spoils were used to initiate construction of a magnificent cathedral in the city of Pisa just one year later. Buschetto, an architect of whom relatively little is now known,1 was given the commission for the new cathedral dedicated to “Saint Mary of the Assumption.” Located atop the ruins of Etruscan and Roman temples, the structure was largely designed, built, and decorated in the Romanesque style; however, it readily exhibits other stylistic influences drawn from Pisa’s maritime interactions with the larger world (Fig 32.1). The exterior is clad in gray and white marble, occasionally using repurposed stones from ancient Roman buildings with some unabashedly displaying their original carved inscriptions. The western façade, the interior’s arches, and use of banded black and white marble reveal influence from the Islamic world. An unusual feature of the building is that its dome is elliptical, not circular, reflecting a Byzantine influence. With financing supplemented by the spoils of Pisa’s liberation of the Balearic islands in 1114, construction was sufficiently complete for Pope Gelasius II to consecrate the structure in 1118 (Wiener’s medal indicates the year as 1119). Various additions and

expansions (Buschetto’s successor Rainaldus added three bays to the nave) continued through the following centuries with the cathedral’s dome being completed between 1380 and 1388. The magnificent mosaic in the apsidal vault required 20 years (1301–1321) of interrupted work by a variety of artists including Cimabue.2 Its location outside the city center facilitated the building of a large complex; construction of the nearby baptistery commenced in 1152, the soon to be leaning campanile (bell tower) in 1174, and the walled cemetery (the Camposanto) in 1278. These structures populate the open, green piazza known as the “Field of Miracles.” Stylistically related to St. Paul Outside the Walls, the cathedral has an unusual feature in that the side aisles of the nave have second-story galleries above that open onto the central nave. In addition, this second-story gallery is unbroken as it crosses the transept and connects the nave and choir at this level, thus making the north and south transept areas distinct spaces. Not the first cathedral casualty to the coals and fire needed for lead roofing repair, a workman’s fire on October 24, 1595 started in the roofing timbers and went unnoticed until well-established and difficult to extinguish.3 In its aftermath, the cathedral’s ceiling, its main bronze doors, and a significant portion of its interior medieval artwork fell victim to the blaze. As a result, much of the cathedral’s current interior decoration dates from the Renaissance era—including its ornate gilded coffered ceiling and the numerous chapels with their profusion of sculpted and painted artworks. The replacement bronze doors required a significant sum of money to replace and were trusted to the Florentine workshop of Domenico Portigiani. The marble

1. Thought to have been offered to Pisa by the Byzantine emperor, Buschetto’s tomb is located in the northern portion of the cathedral’s western façade, accompanied by a lengthy and intact inscription that perhaps saves him from being gradually forgotten by history, and documents the tradition of the cathedral’s founding.

2. Il Duomo di Pisa The Cathedral of Pisa, ed. Gianfranco Malafarina (Modena: Panini, 2007), 5–172. 3. Domenico Gnoli and Attilio Rossi, Archivio storico dell’arte (Rome, Loreto Pasqualucci, 1892), 72–8, https://books.google.com/ books?id=NJ7RNbzYEWkC.

253

flooring was installed in the early seventeenth century. Legend, not necessarily supported by history, says that a swaying, low-hanging bronze lamp in the nave caught a young Galileo’s attention at Mass and inspired

his discovery of the law of the pendulum in the late sixteenth century. The massive cathedral building, like its more famous nearby cousin, the Leaning Tower of Pisa, also leans slightly.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M247

M247 / M247

Undated (1862)

AE

84.3–98.1 g

123

48

R1

Medal Description

Figure 32.2. The Duomo of Pisa. (Collection of the author). Obverse: Exterior view of the building from a southwestern eyepoint (Fig. 32.2a). In the exergue: D UO M O D I pISa

C aTh ED R aL O F pISa

J. W I EN ER

J aCq U ES W I EN ER

Reverse: Interior view of the Duomo looking down the nave toward the apse, from an eyepoint just to the left of the centerline of the center aisle (Fig. 32.2b). In the exergue: FO N DaTO N EL 1063.

FO U N D ED I N 1063.

CO NSaCR aTO N EL 1119.

CO NSECR aTED I N 1119.

a RCh IT: bUSCh ET TO.

aRCh ITECT: bUSCh ET TO.

J. W I EN ER

J aCq U ES W I EN ER

254

Medal Notes

Figure 32.3. The working dies for the Duomo of Pisa, M247, Lippens 2035 and 2036. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Wiener emphasizes the long horizontal lines of the cathedral’s nave, in contrast to the dramatic verticals prominent on so many of the other medals in the series. He also lets the cathedral rendering largely speak for itself; the medal design is clean with few supporting legends. Specimens are known from a single working obverse die (Lippens 2035) (Fig. 32.3a) and a single working reverse die (Lippens 2036) (Fig. 32.3b). On the obverse, the first “O” of DUOMO has been re-punched over an earlier lightly punched “U”. A very small bit of die breakage exists where the base of the south transept meets the rim. Lettering on the reverse appears largely perfect—no re-punched letters, though the letters of ARCHIT are placed in somewhat of an uphill arc. One small die chip eventually forms where the rightmost foreground arch of the nave meets the rim. The reverse also depicts two characteristic die flaws—a light horizontal gouge between the background pilaster and the right field, and a stray engraving mark diagonally through the third center panel from the rim in the coffered ceiling. To the right Wiener gives a hint of the twin side aisles that flank either side of the main nave. In addition, in the apse in the far background, Wiener has subtly rendered “Christ in Majesty,” a mosaic that counts Cimabue among its artists. Neither working die exhibits a die-crack in its terminal state, and the overall die breakage is

minimal—possible indicators of lower than average mintage. It is also interesting that Wiener chose not to render the campanile (Leaning Tower) even though it would have been just visible at the extreme right side of the medal obverse.

Contemporary References Wiener’s Pisa medal earned scant mention in contemporary documents, and Wiener appears not to have exhibited the medal. This issue is one of only two medals of the series “missing” from the J. B. Th. De Jonghe collection, given the 1859 date at which collecting activity apparently ceased. Likewise, there is no specimen in the M. Charles Joseph Antoine Jean De Crane D’Heisselaer collection; this collection otherwise contains examples from the inception of the series up to the point of his death in 1857 (with one possible exception—the Amsterdam State House medal which is still unsatisfactorily dated within his collecting tenure). Nor is a specimen of the medal found in Bom’s 1868 catalogue which includes medal specimens issued until 1861. The Victoria and Albert Museum purchased its specimen from Wiener on February 18, 1864. Similarly, The British Museum did not purchase a specimen

255

Source Images

of this medal in its original July 24, 1862, acquisition from Wiener, but rather acquired its specimen as part of its second purchase on August 1, 1870. That neither institution purchased a specimen in 1862, and that neither of the (otherwise reliable) collections noted above contained a specimen, casts grave doubt on the traditional 1855 issue date for this medal; in particular the delayed acquisitions suggest an issue date of late 1862 at the earliest.

Wiener’s interior and exterior source images have yet to be identified.

256

33. St. Stephen’s at Caen 1862

The Edifice The young William II, Duke of Normandy (and later the Conqueror), came to power at the age of seven or eight upon the death of his father in 1035. Much of the next 25 years were spent consolidating his power and building alliances, one of which was cemented in William’s marriage to Matilda of Flanders. Pope Leo IX did not sanction the marriage for reasons of consanguinity (William’s grandfather and Matilda’s great-grandfather were the same man—Richard II of Normandy; William was Matilda’s first cousin onceremoved). William and Matilda married in 1053 despite the papal objection. With some prodding by the Benedictine monk (and later advisor to William) Lanfranc, Leo IX’s successor Nicholas II expressed a willingness in 1059 to sanction the marriage if the Duke and Duchess each founded and endowed a monastery for their gender; William and Matilda assented, founding two monastic complexes—St. Stephen (St. Étienne) for the men and Holy Trinity (Sainte Trinité) for the women. Nineteenth-century texts tend to date the start of construction to 1061, whereas twentieth century texts tend to identify 1063 as the starting point. Nonetheless, the same Lanfranc was put in charge of construction and was made abbot of the Benedictine institution in 1066 (he would thereafter become archbishop of Canterbury in newly conquered England in 1070). William then selected the abbey location on a site west of his castle in Caen. Construction commenced soon afterward with the initial dedication taking place in June 1066. Though dedicated again with great pomp and ceremony in 1077,1 construction continued and completed in the twelfth century. Built initially in a Romanesque style, the abbey church evolved through its period of construction toward the early Gothic. Although the nascent abbey was the recipient of a number of

Figure 33.1. Exterior view of St. Stephen’s Church in Caen ca. 1880. (Collection of the author). French donations, much of its funding was involuntarily provided by the English via the spoils of war from the Norman invasion. This allowed the construction project to proceed at a steady pace. Towers were added in the thirteenth century and the choir was rebuilt in the Gothic style; construction largely completed in the fourteenth century at about the time the English funding stream was terminated. The abbey suffered despoliation during the Hundred Years War and the Wars of Religion; a group of Calvinists broke windows, destroyed the organ and furniture, and opened William’s tomb and scattered his ashes

1. Various accounts have placed this event anywhere from 1073 to 1086, though it is most commonly ascribed to 1077.

257

as part of their fit of pique2 in addition to stripping the lead off the roof, weakening it and soon causing the lantern tower to collapse. Despite the tower’s repair and replacement, damage begat neglect which begat damage and the abbey soon found itself on the brink of being demolished until a significant restoration effort commenced in 1609, with the rejuvenated church being reconsecrated in 1626. A storm on January 26, 1725, felled one of the south towers and inflicted additional damage, necessitating further repairs.3,4 The 2. One bone was saved and was eventually housed in a cenotaph inside the church in 1742. In 1983, the cenotaph was opened and confirmed to contain a single femur. 3. Georges Bouet, Analyse architecturale de l’Abbaye de SaintÉtienne de Caen (Caen: Le Blanc-Hardel, 1868), 8–120, https:// books.google.com/books?id=nIpAAAAAYAAJ. 4. Célestin Hippeau, L’abbaye de St. Étienne de Caen: 1066–1790 (Caen: Hardel, 1855), 335–68, https://books.google.com/ books?id=cSVeNbOnTkoC.

abbey’s support buildings, primarily to the south and southwest of the church, were reconfigured and rebuilt in the Classical style in the latter half of the eighteenth century. As with the other churches in France, the abbey church was declared a secular “Temple of Reason” during the revolution, but was returned to service shortly thereafter as a parish church, the role it continues to play to the present day (Fig. 33.1). The abbey convent, however, was converted to a high school—the Lycée Malherbe—which functioned until 1961. At that point, the stately building was converted for use as the city hall for Caen, the old one having been destroyed in World War II. During the intense fighting in and around Caen after D-Day, many residents took shelter in the abbey church.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M248

M248 / M248

1862

AE

82.4–86.1 g

—

—

R2

M249

M249 / M248

1862

AE

85.2–95.9 g

191

38

R1

Medal Description

Figure 33.2. St. Stephen’s at Caen—variety M248. (Collection of the author).

258

M248 Obverse: Perspective view of the church exterior from the northeast (Fig. 33.2a). Between the left edge of the church and the rim: J. W I EN ER

J aCq U ES W I EN ER

EGLISE S T ETI EN N E

Ch U RCh O F ST. STEph EN

a C aEN

O F C aEN

In the exergue:

M248 Reverse: Perspective view of the church interior, looking eastward down the nave from just right of the centerline (Fig. 33.2b). In the left field: FO N D ÉE 1061

FO U N D ED 1061

paR GU I LL aUM E

by W I LLI a M

LE CO N q U ÉR a NT

Th E CO N q U ERO R

CO NSaCRÉE 1066

CO NSECR aTED 1066

aCh E V ÉE X I V SI ECLE

CO M pLETED 14Th CENTU Ry

J. W I EN ER 1862

J aCq U ES W I EN ER 1862

In the right field:

In the exergue:

Figure 33.3. St. Stephen’s at Caen—variety M249. (Collection of the author).

259

M249 Obverse: Perspective view of the church exterior from the northeast (Fig. 33.3a). In the exergue: EGLISE S T ETI EN N E

Ch U RCh O F ST. STEph EN

a C aEN

O F C aEN

J. W I EN ER

J aCq U ES W I EN ER

M249 Reverse: Perspective view of the church interior, looking eastward down the nave from just right of the center (Fig. 33.3b). In the left field: FO N D ÉE 1061

FO U N D ED 1061

paR GU I LL aUM E

by W I LLI a M

LE CO N q U ÉR aNT

Th E CO N q U ERO R

In the right field: CO NSaCRÉE 1066

CO NSECR aTED 1066

aCh E V ÉE X I V SI ECLE

CO M pLETED 14Th CENTU Ry

In the exergue: J. W I EN ER 1862

J aCq U ES W I EN ER 1862

Medal Notes

Figure 33.4. The master obverse die for the St. Stephen’s of Caen medal, Lippens 2354. (Image used with permission of the Royal Library of Belgium, www.kbr.be). 260

Figure 33.5. The working dies for St. Stephen’s of Caen variety M248, Lippens 2355 and 2357. The reverse die is common with variety M249. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Figure 33.6. The working dies for St. Stephen’s of Caen variety M249, Lippens 2356 and 2357. The reverse die is common with variety M248. (Images used with permission of the Royal Library of Belgium, www.kbr.be).

Medal specimens are known from a single obverse master die (Lippens 2354) (Fig. 33.4), two one-piece obverse working dies (Lippens 2355 and 2356) (Figs. 33.5a and 33.6a), and a single one-piece reverse working die (Lippens 2357) (Figs. 33.5b and 33.6b).

Variety M248: On the obverse, the exergue lettering is somewhat haphazardly placed , with individual letters not quite vertically oriented and the vertical placement varying somewhat. The “EG” of EGLISE is punched high relative to the rest of the letters in the word. The first “N” of ETIENNE is rotated somewhat counter-

261

clockwise and is punched high. The “I” and final “E” of EGLISE have been re-cut or were initially punched lightly and slightly low; the repositioned final “E” of EGLISE is still punched low. Note that the expected accents on EGLISE and A are missing. The obverse die gradually fails over its abbreviated life; a significant and progressive die-crack runs from the 6:30 rim through the first “A” of A CAEN and the final “E” of EGLISE to the church foundation at 6:00, then rightward along the base of the church and ultimately mid-way up the corner of the near-field tower in late specimens. This crack encircles the body of the die, and reappears in the face of the die at the 1:30 rim in the terminal die state. An additional die-crack forms in the archway of the central window of the lower apse and runs diagonally through the central part of the northeast tower. The terminal obverse die state exhibits one small additional crack commencing at the 10:00 rim position, and two in the exergue—one starting at the 6:00 rim, through the “E” of CAEN to the top of the exergue, and the other running through the letters “ST ET” and into the top of the exergue. On the reverse, the first “U” of GUILLAUME is rotated counter-clockwise. The “A” of ACHEVÉE overlaps the rim, and the “V” of the same word has been re-punched. Note that the expected letter accents appear correctly on the reverse legends. The reverse die begins to show signs of fatigue between the leftmost tall column and the adjacent columns to the right, as well as toward the top of the same leftmost tall column and the intersecting clerestory arch to its right. The terminal reverse die state also exhibits a chip at the right corner of the exergue, and a minute chip at the left exergue corner. Variety M248 is scarcer than M249, though not significantly rare. Variety M249: The existence of this second, subtle obverse variety was likely due to obverse working die failure as evidenced by the die-cracks described above. This die variety is most readily differentiated from its predecessor by Wiener’s signature relocation from the 8:00 position on M248 to a new (albeit slightly asymmetric) 6:00 position below the legend and along the rim. Also, the relative alignment of the letters in the obverse legend distinguishes the two varieties; the word “A” is directly beneath the last letter “E” of EGLISE, whereas on M248 the apex of the “A” is to the left of the stem of the last “E” of EGLISE. In addition, the “N” of CAEN is lined up below and between the

“T” and “I” of ETIENNE, whereas on M248 the “N” is directly below the “T”. The size of the obverse lettering of M249 is slightly larger than that used for M248. The final “E” of EGLISE has been re-punched; traces of the initial letter position can be seen just to the right of the final letter position. The “EG” of EGLISE appears to be falling somewhat downhill to the left. The first and middle letters “E” of ETIENNE are punched slightly high; the final “E” is punched low. Wiener’s signature is weakly punched. Strangely, the expected accents on EGLISE and A are again missing despite the opportunity to correct the error. The die appears to have been lightly lapped once in the exergue, weakening Wiener’s signature considerably such that not much more than “J. W” is visible. The terminal obverse die state includes a fine crack from near the 3:00 rim diagonally through the southwest tower and terminating in the field above the top of the northwest tower. The reverse die of variety M249 is common with M248.

Contemporary References Wiener did not exhibit the St. Stephen's (Caen) medal at London’s 1862 International Exhibition, nor at the 1873 Universal Exposition in Vienna. The Catalogue du cabinet de médailles, jetons, monnoyes, pièces obsidionales, de nécessité, de révolution, etc. documents the sale of C. G. Boonzajer’s collection on 27 October 1863; lot 1550 is a specimen of Wiener’s Caen medal. The combined 29th and 30th annual report (1865) of the historical association of Swabia and Neuberg (Neunundzwanzigster und dreissigster kombinierter Jahresbericht des historischen Kreis Vereins im Begierungsbezirke von Schwaben und Neuburg für die Jahre 1863 und 1864) notes that the historical association purchased a specimen of the Caen medal in the date range of 1862–64. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on February 18, 1864. The British Museum did not acquire its specimen until its follow-up August 1, 1870, purchase from Wiener by way of Mr. Cruysse. Though released in 1862, the medal’s issue date could have easily been after the both museums’ 1862 midyear purchase dates.

Source Images The following image (Fig. 33.7) from John Britton’s

262

1828 work titled Historical and Descriptive Essays Accompanying a Series of Engraved Specimens of the Architectural Antiquities of Normandy5 is clearly the primary source image for the reverse of Wiener’s Caen medal. The eyepoint is correctly placed along all three

axes and all of the engraving’s detail matches that of the medal. Unfortunately, the perspective view of the exterior of the building in this same work is not that used by Wiener.

5. John Britton, Historical and Descriptive Essays Accompanying a Series of Engraved Specimens of the Architectural Antiquities of Normandy (London: Pugin, 1828), Plate V, https://books.google.com/ books?id=Y-Jo9uKvQQ0C.

Figure 33.7. St. Stephen's of Caen as found in Britton’s 1828 Historical and Descriptive Essays Accompanying a Series of Engraved Specimens of the Architectural Antiquities of Normandy (Plate V under the section titled “An Account of the Abbey Church of St Stephen L’Abbaye aux Hommes Caen”). Engraved by Henry Le Keux. 263

Figure 34.1. The Church of St. Front, Périgueux ca. 1890. (Collection of the author). 264

34. St. Front, Périgueux (1862)

The Edifice Bishop Frotaire, arriving in Périgueux in 976, commenced construction of the original Abbey of Saint Front in 984. Named for the first bishop of Périgueux, the abbey was consecrated in 1047. The abbey church was soon too inadequate to handle the steady stream of pilgrims heading toward Compostela, necessitating the construction of a new church building in the eleventh century. Unfortunately, an 1120 fire consumed much of the town, the abbey, and its new church. The subsequent origins of the current edifice have been subject to some debate; the current building appears to have drawn influence from St. Mark’s Basilica in Venice and the Church of the Holy Apostles in Constantinople, though the construction methods are entirely different. Archeologists dispute the point at which reconstruction commenced, but the current edifice was under construction by the mid-twelfth century. The floor plan of this new church was in the shape of a Greek cross with a dome over each arm of the cross and a central dome at the crossing; this edifice also incorporated some surviving elements of the previous church structure. In the mid-fourteenth century the building was extended eastward, adding the choir and apse. The abbey church suffered during the sixteenth century Wars of Religion as Huguenots damaged the interior of the church and destroyed the relics once contained therein. St. Front later achieved cathedral status in 1669. The dilapidated condition of the cupolas in the early 1760s due to the penetration of water resulted in their being covered up with a somewhat more traditional roofing shape and structure. A highly controversial, multi-decade restoration effort commenced in 1852 (although Wiener’s medal states 1854) led by architect Paul Abadie. Most notably, the late eighteenth century roofing was removed, uncovering the church’s characteristic domes which were then rebuilt in a neo-Romanesque style, giving

the exterior a new form in contrast to its twelfth century roots. Significant interior changes included replacement of the apse and reconfiguring the arches atop the massive pillars from Gothic to semicircular Romanesque style (Fig. 34.1). Abadie later designed the well known Basilica Sacre Coeur in Paris which bears more than a passing resemblance to the reconstituted St. Front. Further restorative work was performed on the cloister and bell tower between 1884 and 1907 by the architect Paul Bowswilwald. A number of ancillary buildings were demolished starting in 1900 in an attempt to declutter the area and create more publc space—these included the refectory hall, kitchens, prisons, cellars, and dormitories; the chapter house and cloister were among the few buildings retained.1

1. Ministère de la Culture, Historique de la cathédrale St. Front de Périgueux, accessed April 27, 2018, http://www.culture.gouv.fr/ Media/Regions/Drac-Nouvelle-Aquitaine-Mediatheque/Files/Valorisations/Historique-de-la-cathedrale-Saint-Front.

265

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M250

M250 / M250

Undated (1862)

AE, AR

81.5–101.9 g

157

42

R2

Medal Description

Figure 34.2. St. Front, Périgueux (Collection of the author). Obverse: Exterior view of the church from a northeast vantage point (Fig. 34.2a). Around the perimeter: ÉGLISE D E SaI NT FRO NT a pÉRI GU EUX

Ch U RCh O F SaI NT FRO NT O F pÉRI GU EUX

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

Ch O EU R ET abSI D E X I V SI ÈCLE.

Ch O I R aN D apSE 14Th CENTU Ry.

RESTaU R aTI O N CO M M EN CÉE

RESTO R aTI O N CO M M EN CED

1854. a ba D I E a RCh.

1854. paU L abaD I E aRCh ITECT

In the exergue:

Reverse: Interior view of the church (Fig. 34.2b). The image spans the full diameter of the medal, i.e., there is no left or right field. J. WIENER is engraved into the lower facing wall at the right side of the medal. In the exergue: a N CI EN N E EGLISE 984–1047.

O LD Ch U RCh 984–1047.

ÉGLISE aCTU ELLE

CU RRENT Ch U RCh

X I aU X I I SI ÈCLE

11Th TO 12Th CENTU RI ES

266

Medal Notes

Figure 34.3. The working dies for St. Front of Périgueux, M250, Lippens 2136 and 2137. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Wiener has clearly rendered this edifice in at least a partial post-restoration state; the fully restored state of the cathedral would not be evident until 37 years after the medal’s issue. The most glaring difference between Wiener’s rendering and the edifice we see today is the apse, which is given foreground prominence on the medal, and would be significantly altered by Abadie. The style of the pilasters, the Gothic windows, and faceted roofing differ significantly from the post-restoration structure. The details of the north transept likewise differ—including the size of the semi-circular chapel, window placement, and the presence of the equestrian statues atop the colonnade on the northern façade. It is also unclear as to why Wiener notes the commencement of the restoration being 1854, in contrast to documentary evidence citing 1852. One cannot escape the temptation to link the medal’s issue formally with the restoration effort, but the author is unaware of documentation that provides any evidence of this. Medals are known from a single one-piece working obverse die (Lippens 2136) (Fig. 34.3a) and a single onepiece working reverse die (Lippens 2137) (Fig. 34.3b). Atypical for medals of this series, the primary obverse legend exhibits some re-punched lettering— the “N” of SAINT (originally too low) and the “T” of FRONT (originally too high). Overall, the obverse lettering exhibits inconsistent letter strength, alignment and orientation. In the obverse exergue, the serifs of the “N” of COMMENCÉE are weak, with the lower

left serif missing. The “8” of 1854 is punched low. The “1” and “8” of 1854 appear to be of larger size than the “5” and “4.” The “D” of ABSIDE is oriented clockwise; “RESTA” of RESTAURATION is on an alignment that slopes downward to the left and the “R” is punched more strongly than the other letters. The “CH” of ARCH is punched low. Evidence of die breakage is seen between the cupola of the center dome and the large easternmost dome. Later strikes exhibit additional breakage where the drum of the eastern dome meets the apse roof. Prior to the appearance of the second instance of breakage, the obverse die appears to have been very lightly lapped; the lettering of ABADIE ARCH is weaker than on specimens struck prior to the lapping. The terminal obverse die state exhibits the lapping, breakage between domes, a very small chip at the extreme right corner of the exergue, and a very small die-crack in the rim near the extreme right exergue. The layout of the last line of the exergue legend is oddly poor; the in-line lettering of “ABADIE ARCH.” was engraved with smaller punches than “1854” as though an afterthought or a late realization that the letters would not otherwise fit the constricted space. On the reverse the “G” of the first EGLISE is punched high and the acute accent over the initial “E” is missing. There is the barest remnant of an indeterminant letter between AU and XII. The “X” of XI and the final “E” of SIÈCLE intercept the rim. This same “E” has been re-punched. Somewhat wedged between the rightmost facing wall and the far-field archway, there

267

are two circles, independent of the architectural detail rendered, having perimeters in rough relief, one above the other. These thin, raised perimeters follow the contours of the medal surface. In appearance, it is as if there were two ill-fitting plugs inserted in the working reverse die. It is perplexing as to how Wiener would accept such a distracting flaw, and yet the plugs are obvious when viewing the working die (Fig. 34.3b). Die breakage becomes apparent in later strikes with a sequence of die chipping—initially in the right extreme corner of the exergue, then minor breakage between the foreground and background pillars at right, and finally a significant break in the arch of the pendentive at the upper left, filling the void between the foreground capital and the curve of the nearby arch. The unlapped, terminal reverse die state exhibits the characteristics described above as well as a die chip between XI and the rim.

acquired its specimen on February 18, 1864, from the medalist himself. Similarly, the British Museum did not purchase its specimen until August 1, 1870 (i.e., it was absent from their July 24, 1862, purchase), from Wiener by way of the Baron Vandercruysse. If the medal had been in production in 1858 it would have been readily available for both museums’ earlier 1862 purchases. The medal’s absence in Wiener’s extensive 1862 London International Exhibition showing is also notable. As a result, one suspects that the true issue date of this medal is likely in the 1861–63 range. The medal’s absence from the Victoria and Albert Musem and British Museum acquisitions suggests a late 1862 issue date at a minimum.

Source Images Wiener’s exterior source image has yet to be confidently identified. There is an image of the interior of the Church of St. Front At Périgueux, in Jules Gailhabaud’s 1852 Denkmäler Der Baukunst3 Volume II (Memorable Architecture of the Middle Ages) (Fig. 34.4). The engraving by Bury & Schroeder is from an original drawing by Eugène Viollet-le-Duc. Given the date and the identical eyepoint, one wants to say it was likely the interior source image for Wiener; however, its horizontal field of view is narrower than that used on the medal which makes the linkage tenuous. It is possible that the original drawing and/or engraving have an expanded field of view that was cropped for the publication.

Contemporary References Wiener exhibited the reverse (interior view) of his St. Front medal at the 1873 Universal Exposition in Vienna. No prior exhibits are documented. Wiener’s own prospectus and Martinus Nijhoff ’s announcements in the various 1854 Algemeene Konst- en Letterbode issues mention the “Cathedral at Périgueux” specifically—so this edifice was planned from early on in the series. The traditional issue date of this medal, going back to Bouhy, is 1858; however, there is little corroborating evidence to support this date. The medal’s cited 1854 completion of the church’s restoration seems to be the likely source of some catalogues erroneously citing this as the medal’s issue date.2 Suspiciously, the Catalogue des monnaies et médailles formant le cabinet de feu J. B. Th. de Jonghe of 1860 does not include a specimen of this medal. Though not a perfect reference point, the collection’s only other missing medal is Pisa (another medal whose issue date has been revised to post-1860)—all other issues are accounted for up to the presumed cessation of de Jonghe’s collecting. The medal is likewise not accounted for in Bom’s 1868 catalogue, which includes Most Remarkable Edifices medals issued up to and including 1861. In addition, the Victoria and Albert Museum 2. Adolph Hess, Catalog der Medaillen-Sammlung des Herrn Eduard Mertens-Hannover (Frankfurt: Adolph Hess AG., 1904), 68, https://digi.ub.uni-heidelberg.de/diglit/hess_nachf1904_03_07/0074/ image.

3. Jules Gailhabaud, Denkmäler Der Baukunst. Volume II (Hamburg: J. A. Meissner, Leipzig: J. E. Richter, 1852), n.p., https://books.google. com/books?id=EJJZAAAAYAAJ.

268

Figure 34.4. The interior of the Church Of St. Front At Périgueux, from Jules Gailhabaud's 1852 Denkmäler Der Baukunst Volume II (Memorable Architecture of the Middle Ages). Engraving by Bury & Schroeder from the original drawing by E. Viollet-le-Duc. 269

Figure 35.1. View of the Duomo of Siena ca. 1880. Note the arched extension at right—the extent of the bold 1339 plan to “rotate” the church layout 90° by building a new nave extension southward. Photo by Fratelli Alinari Fotografi of Florence. (Collection of the author).

270

35. Duomo of Siena (1864)

The Edifice Siena’s humble Etruscan beginnings were followed by its absorption into the Roman Republic and the successor Empire. Legend ascribes the third-century Christian conversion of Siena to the work of Saint Ansano. The local diocese and its bishop were likely in-place by the sixth century, and by the mid-eleventh century the Holy Roman Emperor Henry III conferred privileges onto the Siennese bishop effectively making him the ruler of the territory. Siena’s cathedral history is shrouded in the unknown, and pre-thirteenth century detail tends to be speculative. With that said, the earliest cathedral is thought to have been constructed on the current site by the eighth or ninth century. A second cathedral structure appears to have been in-place by the mid-tenth century, even hosting a church conclave that elected Nicholas II as Pope in 1059. This structure was located in what is now the parvis in front of the western façade of the current cathedral. This church was expanded starting around 1089, and was allegedly consecrated by Pope Alexander III in 1179.1 Commencement of the current building structure is obscure. The Opera della Metropolitana di Siena, originally overseeing construction and now an institution charged with the management and maintenance of the cathedral buildings, can be traced back to the year 1180. Documentary evidence for the new cathedral dated as early as 1226 exists, though nineteenth and early twentieth century sources tend to cite the year 1243, typically without attribution or illuminating insight as to the source of the assertion. The campanile was completed in 1264. Construction was likely “complete” by the end of the third quarter of the thirteenth century, with the slightly later year 1284 often cited. It was around this date that Giovanni

Pisano, son of sculptor Niccolo Pisano, was named chief architect of the cathedral2 and a decision was made to replace the existing façade—implying that the cathedral was complete and thus attention could be turned to modifications. Nonetheless, construction of a new façade commenced; work continued for a decade or slightly longer but the initiative withered, and would not be completed until ca. 1380. Rumblings that the cathedral was too small prompted an extension of the choir starting in the early fourteenth century. A major expansion and reorientation of the Duomo3 was planned and commenced in the midfourteenth century, with the foundation stone being placed on February 2, 1335. Inconveniently, the Black Death sweeping through the city some 13 years later delayed construction. Following this catastrophe, fundamental structural problems with the addition became apparent and the associated construction effort was subsequently abandoned. The report of the master builder suggested that corrective measures needed for the expanded structure would take a century to complete; alternately he (optimistically) said the new choir (as envisioned at the beginning of the century) could be completed as-is within five years. The latter approach was taken—the choir was completed and vaulted and the existing nave vaulting was raised— though it took closer to 20 years, ending around 1380. The striking interior busily exudes color, including the alternating white and greenish-black bands of marble, painted vaulting, gilding, and stained glass.4 An inlaid 2. Wiener curiously ascribes the commencement of the cathedral to Giovanni Pisano and at a date that precedes or roughly coincides with Pisano’s birth. 3. The intent was to “turn” the cathedral 90 degrees counterclockwise such that the existing nave and choir axis would become the transept of the new building and an immense new nave would be built extending to the southeast. The northern nave wall and incomplete façade are all that remain. 4. In marked contrast to the nearby and relatively contemporaneous Florence Cathedral.

1. A November 18, 1179, date is provided by a relatively late fifteenth century manuscript, whereas a more contemporary manuscript dating from 1215 cites the same day, but does not specify the year. Enzo Carli, Siena Cathedral and the Cathedral Museum (Florence: Scala, 1999), 5–8.

271

marble mosaic, gradually installed over two centuries, covers the entirety of the cathedral floor—its 56 panels of varying sizes depict Biblical scenes, Virtues, Allegories, and Sibyls. Its magnitude and audacity make it an artwork worthy of note on its own.5 The Duomo of Siena, like so many other medieval church buildings, was the subject of a nineteenth

century restoration effort. Giuseppe Domenico Partini began the work in 1865 and continued to oversee the effort until his death in 1895 (Fig. 35.1). Partini sought to restore the building back to a level of originality, though he allowed himself some latitude in this regard. As with many other restoration architects of the period, his decisions were critiqued both then and now.6

5. Enzo Carli, Siena Cathedral and the Cathedral Museum (Florence: Scala, 1999), 5–37.

6. Jukka Jokilehto, History of Architectural Conservation (New York. Routledge, 2007), 166–67.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M265

M265 / M265

Undated (1864)

AE

86.3–93.5 g

176

51

R2

Medal Description

Figure 35.2. The Duomo of Siena. (Collection of the author). Obverse: Exterior view of the church from a west-northwest eyepoint (Fig. 35.2a). Around the perimeter: D UO M O D I SI EN a

C aTh ED R aL O F SI EN a

J. W I EN ER F.

M aD E by J aCq U ES W I EN ER

In the exergue:

272

Reverse: Interior view down the nave looking toward the altar/apse (Fig. 35.2b). In left field: D UO M O CO M I N CI aTO Da

C aTh ED R aL CO M M EN CED by

GI O. D I N I CCO LO pISa N O

GI OVaN N I SO N O F N I CCO LO pISaN O

1243.

1243.

FaCCI aTa

FaÇ aD E

1339–1380

1339–1380

pRI M a Ch I ESa FO N DaTa

FI RST Ch U RCh FO U N D ED

I NTO RN O aL 1089.

aRO U N D 1089.

In right field:

In the exergue:

Medal Notes

Figure 35.3. The working dies for the Duomo at Siena, M265, Lippens 2247 and 2248. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2247) (Fig. 35.3a) and a single one-piece working reverse die (Lippens 2248) (Fig. 35.3b). Wiener’s engraved descriptive information struggles to be reconciled to the history of the Duomo as currently understood. This may ultimately facilitate the identification of the source document for the medal’s

legends, though this document is at present unknown to the author. Perfect lettering is seen on the obverse die. Very fine guide lines to the left and right of “J. WIENER F.” are visible. A faint die-crack eventually commences at the 9:00 rim and extends horizontally towards the north tower of the western façade. In the terminal obverse die state, this becomes a fatal crack, very wide at the 9:00 position and penetrating deeply

273

into the body of the die, extending across the full face of the die, and weakly exiting at the 3:00 position. The reverse is in relatively shallow relief and displays perfect lettering, except for the “T” of FACCIATA which appears to be re-punched over another, indeterminate letter. The die has crumbled slightly where the cornice meets the medal’s rim at the 1:00 position. The terminal reverse die state does not exhibit any other fatigue issues. Note that Wiener did not attempt to portray the distinctive banding of the interior.

Contemporary References Wiener exhibited the obverse (exterior) view of his Siena medal at the 1873 Universal Exposition in Vienna. Bouhy, et al. attributed this undated medal to the year 1860. However, Volume 3 of the 1866 Berliner Blätter für Münz- Siegel und Wappenkunde7 lists the Siena medal as item number 221 in its chapter on “Neueste Schaumünzen”, or “Latest Medals.” Given the scope of the chapter, the overall list is cryptic in that it lists only Bamberg, Mainz, Florence, and Siena. See the later discussion regarding the rationale for revising the issue date for Wiener’s Bamberg medal. This leaves the Siena medal in the questionable role as a “latest medal” at the time of publication. The Florence medal had been released some two years earlier. Only Mainz would have qualified as particularly new given the publication date. The list likewise omits Magdeburg which would have been relatively new at the time.

This medal is not accounted for in Theodore Bom’s 1868 Catalogue d’une collection intéresante, précieuse et Universelle, which contains medals issued through 1861. The British Museum acquired its specimen in its August 1, 1870, purchase from Wiener by way of Mr. Cruysse. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on April 26, 1866. The Siena medal would theoretically have been available for either museum’s earlier 1862 purchases, or the Victoria and Albert’s 1864 purchase had it actually been issued in 1860; in conjunction with the Berliner Blätter discussion above, this traditional issue date should be revised. The listing order of the four medals in the Berliner Blätter could be interpreted as being in reverse chronological order if Siena (the last listed) is assumed to have been issued prior to Florence (though this may be over-thinking the interpretation). Given that the Victoria and Albert Museum’s 1864 purchase did not include the Siena medal, we can assign a late 1864 date as a likely “no earlier than” issue date. In truth, it could have been issued as late as 1866.

Source Images Wiener’s interior and exterior source images have yet to be identified.

7. Berliner Blätter für Münz- Siegel und Wappenkunde Vol. 3, (Berlin: Ferdinand Schneider, 1866), 312.

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36. Duomo of Florence 1864

The Edifice The Basilica di Santa Maria del Fiore is the cathedral church (Duomo) of Florence, Italy (Fig. 36.1). The original church (and then cathedral) of Santa Reparata dated from approximately the fifth century and by the thirteenth century was in disrepair and undersized for the burgeoning population of Florence. Construction of a new cathedral was approved by the city in 1294 based on a design by Italian architect Arnolfo di Cambio. The foundation stone was placed in a 12961 ceremony held on the Feast of the Nativity (September 8); the new cathedral structure incorporated the previous church, gradually consuming and removing the older structure with the last elements removed in 1375. The prominence of artists in the slowly unfolding design was often in conflict with the knowledge and design preferences of the architects. In addition, the democratic nature of the Florentine commune limited the latitude of the architects to make decisions—the heights of columns, capitals, window shapes, etc., were all debated in public forum. Hence, the pace of progress would be protracted. Some three decades after di Cambio’s death, Giotto (di Bondone) was hired to continue the work, though his primary legacy was initiating the building of the campanile, or bell tower. After Giotto’s untimely death only three years after being named as the master architect, sculptor Andrea Pisano oversaw the construction until it was briefly halted as the 1348 Great Plague swept through the area, exacting its heavy toll. In the aftermath, the overall plan was re-evaluated, the citizens consulted, the design finalized in 1367 and construction reinvigorated such that by 1418 the structure was essentially complete—except for the dome. The original cathedral design called for the tallest, widest dome ever constructed and rejected any use of flying buttresses to aid in supporting the structure. The final design of the dome was subject to 1. In reality, this event may have occurred in 1294, 1296, or 1298.

Figure 36.1. A ca. 1880 view of the Duomo in Florence taken from the southeast. Photographer unknown. (Collection of the author). a competition that was won by Filippo Brunelleschi, though he was forced to share the commission with his competitor Lorenzo Ghiberti. Brunelleschi’s architectural and engineering talent brought the design to fruition. Construction began in 1420 and continued for 16 years; unlike the Roman Pantheon, the dome could not be constructed around a temporary earthen or wooden form. The solution was to build an inner dome and outer dome with structural elements in-between. Its octagonal shape draws inspiration from the

275

similarly-shaped baptistery located just to the west. With the imminent closure of the dome,2 the cathedral was consecrated on March 25, 1436, by Pope Eugenius IV and, except for the western façade, was completed in 1466 with the addition of the oft-modified crosstopped lantern crowning the dome. Originally planned to be decorated with mosaics like the nearby baptistery, Brunelleschi left the interior surface white but ultimately frescos rather than mosaics were initiated and completed in the late sixteenth century.3 The cathedral’s western façade was debated and delayed for centuries. Lorenzo (“The Magnificent”) de Medici held a design competition in 1491, but no winner was selected. Lightning struck and damaged the lantern, not for the last time, on April 5, 1492, conveniently (at least in retrospect) considered an omen presaging Lorenzo’s death three days later. Grand Duke Francesco I held another competition for the neglected façade, ordered the demolition of di Cambio’s half-completed façade, but died before the competition winner could be declared. A temporary façade was then constructed out of necessity. The seventeenth century would see the construction of two more temporary facades. In 1859 a new competition was held; one year later Victor Emmanuel II laid the foundation stone despite no design

being selected. A follow-on competition in 1864 was won by Emilio de Fabris, but criticism of his design effectively quashed its implementation. Finally, after a third competition in 1866, the neo-Gothic design of Emilio de Fabris was selected and construction commenced in 1871; de Fabris would pre-decease the 1887 completion.4 Whereas two world wars were often the source of damage for European monuments, for Florence notable damage was courtesy of Mother Nature. In the fall of 1966, heavy rains inundated Tuscany for days. In the pre-dawn hours of November 4, the rushing floodwaters of the historically temperamental Arno River aggressively tore into the city and heavily damaged the Baptistery, Cathedral, and other buildings— along with their artistic treasures. The floodwaters tore away multiple panels from Lorenzo Ghiberti’s famous Baptistery doors, depositing them haphazardly downstream. Fuel oil, mud, and water conspired to ruin everything they contacted. Volunteers rallied to save the city’s books, manuscripts, and artwork—they are now affectionately remembered as the “angels of the mud.” Conservation of the rescued works continues to this day.

2. Completed in August of 1436. 3. Gabriella Di Cagno, The Cathedral the Baptistery and the Campanile (Florence: Mandragora, 2002), 94.

4. “Timeline,” Opera di Santa Maria del Fiore, accessed August 15, 2018, https://operaduomo.firenze.it/en/history/timeline/ centuries/1-13th-14th-centuries.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M266

M266 / M266

1864

AE

82.0–101.6 g

205

46

R2

276

Medal Description

Figure 36.2. The Duomo of Florence. (Collection of the author). Obverse: Perspective view of the duomo exterior from the east (Fig. 36.2a). Around the perimeter: D UO M O D I FI RENZE

C aTh ED R a L O F FLO REN CE

J. W I EN ER F. 1864

M aD E by J aCq U ES W I EN ER 1864

In the exergue:

Reverse: View of the interior looking down the nave toward the apse from an eyepoint just to the right of the centerline of the nave (Fig. 36.2b). The rendering of the interior view spans horizontally from the left rim to a very narrow right field. In the exergue: I M pRESO Da aRN O LFO D I L ap O 1298.

D ESI GN ED by aRN O LFO D I L ap O [C a M bI O] 1298.

C a M paN I LE D I GI OT TO 1334.

bELL TOW ER by GI OT TO 1334.

CU pp O L a D I bRU N ELLESCh I

D O M E by bRU N ELLESCh I

1417–1467.

1417–1467.

J. W I EN ER

J aCq U ES W I EN ER

In the right field:

277

Medal Notes

Figure 36.3. The working dies for the Duomo in Florence, M266, Lippens 2406 and 2407. (Images used with permission of the Royal Library of Belgium www.kbr.be).

Wiener has chosen an unusual eyepoint from which to depict the cathedral exterior; in choosing a view from the east, the immensity of the Brunelleschi’s dome is successfully conveyed—and the as-yet unfinished western façade is conveniently left to the viewer’s imagination. Medals are known from a single onepiece working obverse die (Lippens 2406) (Fig. 36.3a) and a single one-piece working reverse die (Lippens 2407) (Fig. 36.3b). On the obverse, the final “O” of DUOMO shows traces of the right serif of what appears to be an “M” or an “I”. The spacing between the letters “OMO” is more compact than that between the letters of “DUO.” The final “E” of FIRENZE has been re-punched over what appears to have been an erroneously punched “R.” The terminal obverse die state exhibits some pitting around the upper dome, and a large chip where the ground below the cathedral meets the rim at the 7:00 position. The reverse lettering appears perfect. In the right field, a heavy guide line is still evident which was used to position the letters for J. WIENER. Some slight reverse die breakage is noted at the highest and lowest extremities of the leftmost archway, and between the second and third pillars from the left, both above and below the capital. In the same left archway, a ubiquitous die gouge can be found to the left of the capital. The pillar breakage (particularly below the capital) is progressive, and ultimately fills the cavity from capital

to base. A small bit of die breakage can also be seen where the rightmost foreground column intercepts the rim at the 2:00 position. The terminal reverse die state also exhibits a chip at the bottom extreme of the left field. No other evidence of significant fatigue or damage is present.

Contemporary References Wiener exhibited the Florence medal at the 1873 Universal Exposition in Vienna, though the catalogue does not specify whether the exterior or interior view was shown. The 31st annual report (1865) of the historical association of Swabia and Neuberg (Einunddreissigster Jahres bericht des historischen Kreis-Vereins im Regierungsbezirke von Schwaben und Neuburg)5 notes that a specimen of Wiener’s Florence medal was purchased by the association during the years 1864–65. Volume 3 of the 1866 Berliner Blätter für Münz- Siegel und Wappenkunde lists the Florence medal as item number 220 in its chapter on “Neueste Schaumünzen“, or “Latest Medals.” See discussion above under Siena. 5. Einunddreissigster Jahres bericht des historischen Kreis-Vereins im Regierungsbezirke von Schwaben und Neuburg für das jahr 1865 (Augsburg: Ph. J. Pfeiffer, 1866), XXX, https://books.google.com/ books?id=guBlAAAAcAAJ.

278

The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on July 15, 1867, despite its availability for their 1866 purchase. The British Museum acquired its specimen in its August 1, 1870, purchase from Wiener by way of Mr. Cruysse.

Source Images Wiener’s interior and exterior source images have yet to be identified.

279

Figure 37.1. Exterior view of the eastern apse and towers of Bamberg Cathedral ca. 1875. (Collection of the author).

280

37. Bamberg Cathedral (1865)

The Edifice Bavarian Duke Henry II became king of Germany in 1002 (and later Holy Roman Emperor) and conducted his governmental business from the northern Bavarian town of Bamberg. Henry initiated the idea of a church atop one of Bamberg’s seven hills as early as 1002, and the foundation stone was laid in 1004; he likewise sought to have a diocese carved out of existing local diocesan territories, and in 1007 a synod of German bishops agreed. Henry’s new church would become the cathedral for this new diocese. Henry’s three-aisled basilica church was consecrated on his birthday, May 6, 1012. On either Good Friday or Easter Vigil in 1081, a fire destroyed the interior of the cathedral, though leaving the exterior structure relatively intact and re-useable. Bishop (and later Saint) Otto initiated a reconstruction program;1 the cathedral was quickly rebuilt with construction completed in 1110 and the church re-consecrated on April 3, 1111, the day after Easter. This structure, along with parts of the imperial palace to the north and cathedral monastery to the south, was then destroyed by fire in 1185. Considerable debate ensued between traditionalists and progressives regarding the appropriateness of the “new” French Gothic style prior to the rebuilding. The third, larger, and current building was initially guided by the floorplan of its predecessor but evolved over its relatively brief period of construction. The design battle was fought most prominently over the type of ceiling to be employed—the older flat roof approach or newer rib vaulting. A fire part-way through the construction tipped the scales in favor of the more fire-tolerant rib vaulting. The new church was consecrated on May 6, 1237—though the western towers would not be completed until the next decade. Stylistically, Bam-

berg Cathedral evolves from the Late Romanesque (with hints of proto-Gothic elements) at its eastern terminus to the early Gothic at its western extreme. A somewhat unusual feature (though not necessarily for German churches of the period) is that it has two choirs—one each at the eastern and western extremes of the building with each terminated by a pair of towers and an apse. Also, the transept—a feature typically located toward the east end of a church, is in this case located oppositely toward the western end of the building—not unlike the Cathedral of Mainz among others.2,3 The main portal entrance to the church was located on the north side of the nave, and the south side of the complex was dominated by the bishop’s palace. In the seventeenth century, the cathedral interior was gradually stripped of its medieval character and transformed into a Baroque space. The stained glass windows were replaced, and the painted surfaces of the interior were repainted in subdued, darker color in contrast to the increased light now brought through the new windows. After the eastern towers were raised in height, the copper-clad spires atop the four towers were placed in the eighteenth century. Bamberg lost its status as an independent prince-bishopric when seized by the Kingdom of Bavaria in 1802; in the aftermath, the cathedral was briefly secularized before being returned to the Church. Minor interior renovations followed in the first quarter of the century. In 1829 King Ludwig I asserted that the interior needed “purification” and removed its Baroque detailing, returning it to something akin to its medieval appearance and leaving the interior as it is now seen today (Fig. 37.1). The double choir functionally shifted in the wake of the 1962–1965 Second Vatican Council with

1. Otto had also been responsible for the construction of the Cathedral of Speyer. Otto’s Bamberg construction was less adventurous than that of Speyer, whether because of reuse of the previous cathedral shell or the lack of knowledge of the construction methods needed by the local workmen is unknown.

2. Bernhard Schütz, “Bamberg,” in Great Cathedrals (New York: Abrams, 2002), 176. 3. George Dehio, Der Bamberger Dom, (München: R. Piper, 1924), 9–14.

281

the West Choir becoming the liturgical focus of the cathedral. Celebrations were held in 2007 and 2012 to commemorate the millennial anniversaries of the founding of the diocese and the consecration of its first cathedral.4 4. “Geschichte," Bamberger Dom, accessed September 22, 2018. https:// bamberger-dom.de/geschichte/.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M270

M270 / M270

Undated (1865)

AE

85.1–105.6 g

183

22

R1

Medal Description

Figure 37.2. Bamberg Cathedral. (Collection of the author). Obverse: Perspective view of the church exterior from a vantage point located to the west of the edifice (the cathedral is built on a northeast-southwest axis) (Fig. 37.2a). Around the perimeter: D O M ZU ba M bERG

C aTh ED R aL O F ba M bERG

J aCO b W I EN ER F.

M aD E by J aCq U ES W I EN ER

In the exergue:

Reverse: Perspective view of the church interior, looking down the west choir toward the western apse from the left side of the center aisle (Fig. 37.2b).

282

In the left field: GRU N DSTEI N GELEGT 1004

GRO U N D STO N E L aI D 1004

VO N K aISER h EI N RI Ch I I.

by E M pERO R h EN Ry I I.

D U RCh EI N EN bR a N D

by a FI RE

ZERSTÖ RT 1081

D ESTROyED 1081

W I ED ER h ERGESTELLT D U RCh

RESTO RED by

bISCh O F OT TO D EN h EI LI GEN

bISh O p OT TO Th E SaI NT

1110.

1110.

J aCO b W I EN ER F.

M aD E by J aCq U ES W I EN ER

In the right field:

In the exergue:

Medal Notes

Figure 37.3. The working dies for Bamberg Cathedral, M270, Lippens 2294 and 2295. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2294) (Fig. 37.3a) and a single onepiece working reverse die (Lippens 2295) (Fig. 37.3b). There are no notable lettering issues on the obverse. The obverse die has just begun to crumble between the bases of the two western towers at the roofline. This characteristic appears in all specimens (and does not show any progressive growth), thus it apparently occurred during the creation of the working obverse die from the master. A stray engraved line extends rightward and downward into the field from the second

level from the top of the northeastern tower. Later specimens show evidence of die lapping in the upper portions of the die; the serifs of the “U” of ZU are missing, and the initial “B” of BAMBERG is somewhat weak. The terminal obverse die state also includes an arcing die scratch from the “C” of JACOB to the base of the cathedral; otherwise the die is in a relatively good state of preservation. On the reverse, in the left field the “V” of VON appears to be re-punched. Lightly engraved lines can also be seen to the left of GRUNDSTEIN and to the right of 1004. In the right field, there

283

is a die gouge (raised metal) left and below the “W” of WIEDER. The first “T” of OTTO has been re-cut or re-punched. The “N” of HEILIGEN appears damaged. A number of shallow die bumps and gouges are scattered throughout the monument interior details. Later specimens begin to show a bit of die failure in the far right corner of the reverse exergue. The terminal reverse die state exhibits fatigue in the 1:30 rim position, but is otherwise in a good state of preservation like the obverse die. Note that the reference to Henry II as “Kaiser” (Emperor) is technically incorrect at the time of the placing of the first stone in 1004; Henry was King of the Germans but would not be crowned as Holy Roman Emperor until ten years later.

A medal of the Bamberg cathedral, with the external and internal views of it, from the medallist Jakob Wiener in Brussels, in the same size as the one described under no. 78 of Speyer Cathedral and belonging to the same suite, has recently appeared.

The reference is very interesting - Wiener’s Bamberg medal is not listed as one of the 96 Bavarian religious-themed numismatic items; rather it is relegated to a footnote as though appearing at the last minute. This interpretation is supported by the closing words “has recently appeared.” Wiener’s Speyer medal, referenced in the footnote, is included in the work as item number 78. This would suggest at a minimum that the Bamberg medal was issued well after Wiener’s Speyer medal of 1861. This same information is repeated in the Oberbayerisches Archiv für vaterländische Geschichte, Volume 27, published the following year. The British Museum acquired its specimen in its August 1, 1870, purchase from Wiener by way of Mr. Cruysse. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on April 26, 1866. Given the lack of references prior to 1864, the Victoria & Albert Museum’s relatively late purchase date, and the word choice of the Berliner Blätter and Münzen bayerischer which imply a recent release, the issue date of the Bamberg medal should be revised forward to 1865.

Contemporary References The Bamberg medal too seems to have come to the market quietly, being neither exhibited, advertised, or heralded in any manner. The 31st annual report (1865) of the historical association of Swabia and Neuberg (Einunddreissigster Jahres bericht des historischen Kreis-Vereins im Regierungsbezirke von Schwaben und Neuburg) notes that a specimen of Wiener’s Bamberg medal was purchased by the association during the years 1864–65. Volume 3 of the 1866 Berliner Blätter für Münz- Siegel und Wappenkunde lists the Bamberg medal as item number 219 in its chapter on “Neueste Schaumünzen”, or “Latest Medals” ; see the earlier discussion under Siena. Johann Peter Beierlein’s 1866 Münzen bayerischer Klöster, Wallfahrts-Orte und anderer geistlicher Institute, Volume 2, contains an interesting footnote as follows:

Source Images Wiener’s interior and exterior source images have yet to be identified.

284

38. Cathedral of Magdeburg (1865)

The Edifice Holy Roman Emperor Otto I founded a Benedictine monastery dedicated to St. Maurice on this site in 937. After Otto’s pivotal military victory over the Magyars at the Battle of Lechfeld in 955, he re-envisioned his building project to be that of a basilica, on its way to being named as the cathedral in 968 for the newly created archbishopric of Magdeburg; the now inconveniently located Benedictine monks were then ushered off to Kloster Berge on the outskirts of Magdeburg to facilitate Otto's evolving vision. On April 20, 1207 (Good Friday), a devastating fire swept through the city and left the cathedral in ruins. Although perhaps salvageable, Prince Archbishop Albrecht I von Käfernburg decided to pull down the remaining walls and construct a completely new cathedral, against some opposition of the local citizenry. The well-traveled archbishop was familiar with the new Gothic style of architecture, but being located well east of French Gothic prototypes, the local craftsmen and builders were not familiar with the style and had to be gradually taught. As a result, the cathedral’s architectural style evolved from Romanesque to Gothic over the course of its construction. The incorporation of surviving portions of Otto’s cathedral limited the full adoption of Gothic elements throughout.1 The foundation stone was laid in 1209, but the overall construction effort was expended in fits and starts, with distinct groups of workers and associated styles, and with gaps in effort measured in decades. The incomplete cathedral was dedicated in 1363, allowing it to function for services. The final phase of construction commenced in 1477 with an emphasis on the towers, finally completing in 1520 with the placing of the cross atop the north tower. No equivalent finial was ever provided for the south tower (Fig. 38.1). Martin Luther posted his famous 95 Theses in 1517 in nearby Wittenberg and preached at 1. Robert Nussbaum, German Gothic Church Architecture, trans. Scott Kleager (New Haven: Yale University Press, 2000), 39.

Figure 38.1. Exterior view of the cathedral of Magdeburg ca. 1866. Note the lack of a cross atop the southern tower. (Collection of the author). Magdeburg in 1524. The momentum toward the Reformation was swift; by 1567, the clergy (including the archbishop) had converted to Lutheranism, and Protestant services were held in the building. The cathedral survived the ravages of the Thirty Years’ War and the ignominy of being used for storage, as a horse barn, and as a sheep pen under Napoleonic occupation 158 years later. Starting in 1826, renovation efforts were underway to address the damages caused by war and neglect; these were completed by 1834. The cathedral suffered damage during World War II, not re-opening

285

until 1957, and its religious role was suppressed under the East German government, but it persevered through it all to the current re-unification climate. The church played a role in the drive toward political change, holding weekly peace prayers starting in 1983 and becoming a gathering point for the so-called Monday Demonstrations (which occurred in cities throughout East Germany) starting in 1989. Comprehensive restoration efforts were initiated in 1983 and

continue to this day. In 1990, solar cells were added to the roof to help generate electricity for the needs of the church’s operation. As of the year 2000, just under 1,000 congregants belong to the church, with a focus on worship, music, supporting tourism, peace initiatives, and youth outreach.2 2. Jürgen Pietsch, Der Magdeburger Dom (Leipzig: Spröda, 2005), 13–21, https://books.google.com/books?id=qo0yrztp07QC .

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M271

M271 / M271

Undated (1865)

AE, AR

80.5–97.9 g

210

29

R1

Medal Description

Figure 38.2. The Cathedral of Magdeburg. (Collection of the author). Obverse: Perspective view of the cathedral exterior from the northwest (Fig. 38.2a). Around the perimeter: D O M ZU M aGD EbU RG

C aTh ED R a L O F M aGD EbU RG

In the exergue: J. W I EN ER

J aCq U ES W I EN ER

Reverse: Interior view of the cathedral looking down the nave toward the apse, from a position slightly left of the nave centerline (Fig. 38.2b).

286

In the left field: GRU N DSTEI N GELEGT

GRO U N D STO N E L aI D

1209

1209

EI N GEW EI hT 1363

CO NSECR aTED 1363

J. W I EN ER

J aCq U ES W I EN ER

In the right field:

In the exergue:

Medal Notes

Figure 38.3. The working dies for Magdeburg Cathedral, M271, Lippens 2439 and 2440. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2439) (Fig. 38.3a) and a single onepiece working reverse die (Lippens 2440) (Fig. 38.3b). This medal is relatively terse in the amount of historical information that it provides. On the obverse, the “R” of WIENER appears to have been re-punched somewhat high; the lettering is otherwise perfect. The terminal obverse die state is excellent with no signs of fatigue or storage-induced damage. On the reverse, the “N” of EINGEWEIHT has been punched high, and the “W” of the same word has been re-punched, the letter originally being punched too far to the left. Numerous file marks are apparent in the right field particularly between the rim and the “E” of EINGEWEIHT. In addition, the remnant of a guideline can be seen between the word and date. The small-scale

lettering on both dies is unevenly punched. The reverse die eventually chips at both extreme corners of the exergue, and begins to disintegrate between the first and second cluster of columns on the right, and above the capitals of the second cluster of columns on the left side of the medal. The terminal reverse die state includes a significant die-crack starting at the 3:30 rim and extending horizontally completely across the first cluster of columns.

Contemporary References Wiener does not appear to have exhibited the Magdeburg medal, and it came quietly onto the market with little or no contemporary reference. The Victoria and

287

Albert Museum in London purchased its specimen of this medal on July 15, 1867. The British Museum acquired its specimen in its August 1, 1870 purchase from Wiener by way of Mr. Cruysse. The traditional issue date of 1865 would have made a specimen available for the Victoria and Albert Museum’s 1866 acquisition, but these later acquisitions have been shown to not always be consistent even with dated medals. The lack of mention in Volume 3 of the 1866 Berliner Blätter für Münz- Siegel und Wappenkunde in its chapter on “Neueste Schaumünzen”, or “Latest Medals” (listing only Bamberg, Mainz, Florence, and Siena) suggests

that the Magdeburg medal may have been issued after the 1866 Mainz medal, but the author considers this to be only speculative. Therefore, without any other relevant documentation, the traditional issue date of 1865 is retained, though subject to adjustment in the face of more definitive data.

Source Images Wiener’s interior and exterior source images have yet to be identified.

288

39. Cathedral of Mainz (1866)

The Edifice There are references to a bishop of Mainz dating as far back as the mid-third century. Although some ecclesiastical building would have functioned as a cathedral in this era, there is no insight into its size, design, or location. By the late eighth century, the bishopric grew, becoming an archdiocese, which would ultimately encompass up to 15 bishoprics under its authority.1 In the wake of this transformation, archbishop Hatto erected a new edifice roughly at the turn of the tenth century. St. John’s Church, located just west of the current cathedral, likely absorbed this structure into its own. Construction of a new cathedral commenced almost a century later with the laying of the foundation stone by archbishop Willigis in 978. The archbishop envisioned this as the start of a building spree that would make Mainz a “second Rome.” This cathedral was the first in a wave of similar scale projects to follow on the Upper Rhine—including the cathedrals at Strasbourg and Speyer. Unfortunately, fire was to be a common theme suffered by this edifice. The cathedral would not survive the day of its consecration in 1009 as fire practically destroyed the building. This original edifice was rebuilt and consecrated in 1037 only to succumb to flames again in 1081, prompting another rebuilding effort. In the drought-ravaged year of 1137 the cathedral and a portion of the city burned yet again. The immediate rebuilding effort suffered a setback by another conflagration in 1140. The subsequently rebuilt church was dedicated, but burned for a sixth time in 1190, and a seventh time in 1196. After this last fire, the rebuilt structure was dedicated in 1239 and it is this version of the church that we largely see today—despite damage from the Thirty Years’ War and a lightning strike and fire in 1767. From the tenth through thirteenth centuries construction gradually moved westward, expanding and enlarging the cathedral—and drawing 1. The archbishop of Mainz was likewise the secular ruler of the city until its Napoleonic occupation in 1793.

Figure 39.1. The Cathedral of Mainz as viewed from the east ca. 1890. The two round towers, up to the level of the eaves, date from the original tenth-century structure. (Collection of the author). much inspiration from the Cathedral of Speyer whose construction was only somewhat less paced by flame. The lower sections of the eastern towers of Willigis’ structure survived the consecration fire and provided an anchor from which to rebuild. Like Bamberg Cathedral, Mainz has a double-choir, and its transept is situated toward the western end of the structure. Its exterior is dominated by its two massive octagonal towers. The cathedral’s architecture is largely Roman-

289

esque, though its later chapels and post-conflagration rebuildings provided the opportunity to incorporate more Gothic elements—influenced by the cathedrals in both Cologne and Strasbourg. An unusual feature of the cathedral complex to the modern eye is the relatively intact survival of its cloister and chapter buildings clustered about the cathedral proper. This provides a sense of the cathedral complex as a thriving, multi-dimensional community. The church suffered considerably during the French occupation of Mainz in the late eighteenth and early nineteenth centuries. Bombardment and siege of the city in 1793 started fires which consumed (among other things) the roof and nave of the cathedral, and melted the bells. French troops stored food in the building and considered razing it. Many of its interior objects were auctioned off in 1801. However, by 1803 the bishop of the newly formed Diocese of Mainz persuaded the French government to allow the building to be returned to use as a church; restoration commenced and culminated in a consecration ceremony on August 15, 1804. It would still be pressed into service as a field hospital as the Napoleonic era wound down, but finally resumed its status as a church for good in

late 1814. Extensive renovations were conducted from 1856–1879. The successive restorations and improvements over eight centuries incorporated a multitude of architectural styles from the Romanesque through the Baroque. Note that Wiener’s medal displays an iron cupola over the large eastern tower (Fig. 39.4). This was the first major wrought-iron dome ever built and dates from 1828. However, five years after the medal was issued, as part of the restoration effort, this iron cupola was removed due to its excessive weight and replaced with a Romanesque-Gothic tower (Fig. 39.1). The slowly rotting wooden cathedral foundations were strengthened from 1913–1929. Allied bombing in WWII destroyed 80% of the city, but luckily left the cathedral relatively intact except for a temporary roof not replaced until 1960. Post-war restoration efforts continued for three decades. The twenty-first century has witnessed restorative attention to the cathedral’s exterior in particular.2 The cathedral continues to function as a vibrant cultural center in the city. 2. St. Martin’s Cathedral Mainz English Edition (Mainz: Schnell & Steiner, 2007), 2–46.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M278

M278 / M278

Undated (1866)

AE, AR

87.5–98.2 g

216

30

R2

Medal Description

Figure 39.2. The Cathedral of Mainz. (Collection of the author). 290

Obverse: Perspective view of the cathedral exterior from the east (Fig. 39.2a). In the left field: D ER D O M

TH E C ATH ED R AL

ZU M A I NZ

O F M A I NZ

J. W I EN ER F.

M A D E BY J ACQ U ES W I EN ER

In the right field:

In the exergue:

Reverse: Interior view of the cathedral looking down the nave toward the western apse (Fig. 39.2b). In the field: ERSTE ERBAUU N G

FI RST BU I LD I N G

978

978

D U RCH BR AN DSCHAD EN

DA M AGED BY FI RE

W I ED ER AU FGEBAUT 1009

REBU I LT 1009

1137 1190

1137 1190

J. W I EN ER

J ACQ U ES W I EN ER

In the right field:

In the exergue:

291

Medal Notes

Figure 39.3. The working dies for Mainz Cathedral, M278, Lippens 2485 and 2486. (Images used with permission of the Royal Library of Belgium, www.kbr.be). Medals are known from a single one-piece working obverse die (Lippens 2485) (Fig. 39.3a) and a single onepiece working reverse die (Lippens 2486) (Fig. 39.3b). On the obverse, the “D” of DER has been repunched. The “M” of MAINZ is punched somewhat high relative to the remaining letters. The “J” of J. WIENER is punched low. During the active life of the die, breakage was induced between the southeast tower and the crossing tower in the background. The terminal obverse die state is unlapped, and exhibits no further damage than that described. On the reverse, both the left and right fields display the remnants of lettering guidelines, particular in proximity to the rim. These same fields also show evidence of light filing marks on the working die. There are also the remains of a light, arcing die scratch through the upper leftmost archway. A minor area of die breakage is evident on the right side of the pilaster between the first two columns on the left. Die fatigue is also present at the base of the nearest column on the left at the rim, as well as the left and then rightmost extremes of the exergue. The third window from the left has a characteristic gouge in its upper frame. The reverse of this medal, under magnification, displays a more coarse usage of the burin than most medals; individual incised lines can be seen throughout the vaulted ceiling in particular. The terminal reverse die state is as described above, with no additional damage evident. At the time of this medal’s engraving, the conical

roof of the south tower (leftmost tower on the medal) did not exist and the conical roof atop the north tower was a relatively recent addition. The iron dome of the main eastern tower was replaced in 1871; the south tower was still “un-capped” at the completion of this effort (Fig. 39.4).

Contemporary References Wiener exhibited the obverse (exterior) view of the Mainz medal at the 1873 Universal Exposition in Vienna. Volume 3 of the 1866 Berliner Blätter für MünzSiegel und Wappenkunde lists the Mainz medal as item number 218 in its chapter on “Neueste Schaumünzen”, or “Latest Medals.” See discussion above under Siena. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on April 26, 1866. The British Museum acquired its specimen in its August 1, 1870 purchase from Wiener by way of Mr. Cruysse. The traditional issue date of 1866 is consistent with the documentation noted and thus is retained.

Source Images Wiener’s interior and exterior source images have yet to be identified.

292

Figure 39.4. Photograph of Mainz Cathedral from prior to 1871. Note the lack of a conical roof on the south tower, and the iron dome atop the main eastern tower. (Collection of the author).

293

40. St. Maria of Belém, Lisbon 1867

Figure 40.1. An exterior view of St. Maria of Belém ca. 1880. (Collection of the author).

The Edifice Portuguese King Manuel I initiated the construction of a Hieronymite monastery located in southern Lisbon after petitioning the Holy See in 1496 (Fig. 40.1). Manuel envisioned the church as a fitting monument for the tombs of his descendents, members of a hoped-for ruling dynasty. It was built on the site of the Hermitage de Restelo, founded by Prince Henry the Navigator, and from which Vasco da Gama stayed the night to pray before sailing for India the next day. The monks of the Order of St. Jerome (Hieronymites) occupied the hermitage starting in 1499. Construction of monastery buildings commenced in 1501, led by the architect Boytac and funded by a 5% tax on spices from the Orient and Africa. This funding source allowed the church to be built on a grand scale. The duties of the

Hieronymite monks were to say a daily Mass for the souls of Henry the Navigator, the king and the king’s descendants, and provide spiritual assistance to the many seafarers transiting on voyages of discovery and trade from Lisbon’s port of Restelo. Construction was suspended in 1580 coinciding with the (temporary) union of Portugal and Spain, during which time the monastery lost much of its political importance given Spain’s primacy in the union. However, Philip III of Spain declared the monastery a royal pantheon on July 16, 1604, and restricted monastery access to the monks and the royal family. With the re-establishment of Portuguese independence in 1640, the monastery reclaimed much of its importance and linkage to the Portuguese royal family by continuing in its role as

294

a (now-Portuguese) royal pantheon. Other than the addition of the library in 1640, modifications of the seventeenth and eighteenth centuries focused primarily on interior decorative elements. During the morning of November 1, 1755, a large magnitude earthquake struck some 100 miles southwest of the southern tip of Portugal; large rifts opened up within the city and the port waters quickly receded, only to be replaced by the inevitable tsunami that roared up the river Tagus. As the floodwaters waned, the city began to burn. St. Maria of Belém sustained significant damage necessitating a considerable reconstruction effort.1 Shortly thereafter in the wake of the succession crisis and the associated Liberal Wars, the regent Dom Pedro suppressed religious orders in 1833 and confiscated their property; the monastery was secularized, vacated, and left to deteriorate to the point of collapse until restoration efforts commenced in 1860. Minor modifications were made (primarily to the cloisters) while monastery designs were considered and largely rejected. Beginning in 1867, two Italian set designers working at the Lisbon Opera were commissioned to undertake the restoration effort. Their vision and eleven year effort is largely what is seen today. Additional attention was 1. Mosteiro dos Jerónimos e Torre de Belém (Lisbon: Neogravura, n.d.), 19–20.

given to the cloister and chapter house in the 1880s. The goal was to complete the restoration works in time for the 400th anniversary of da Gama’s 1498 arrival in India. An annex was added at the turn of the twentieth century, ultimately becoming the Portuguese Ethnological Museum. Like most buildings of its age however, the restorations, coupled with various remodeling initiatives, have continued unabated into the twenty-first century. The 1985 treaty ceremony bringing Portugal into the European Economic Community (the forerunner of today’s European Union) was held in the cloisters. The monastery complex today is a cultural epicenter hosting exhibitions, conferences, performances, etc.2 The monastery blends Gothic and Renaissance styles with royal, Christian, and maritime design elements. The south portal is perhaps the monastery’s most well known architectural element—a prominent visual focal point in the side of the monastery facing the river Tagus—and was chosen by Wiener to be the subject of his medal obverse. A statue of Prince Henry the Navigator keeps sentinel above an arch over the twin doors. 2. “History” Mosteiro dos Jerónimos, accessed August 16, 2018, http://www.mosteirojeronimos.gov.pt/en/index.php?s=white&pid= 169&identificador=.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M281

M281 / M281

1867

AE

82.5–100.6 g

219

56

R1

Medal Description

Figure 40.2. St. Maria of Belém. (Collection of the author). 295

Obverse: Perspective view of the church exterior from the southwest with the ornate south portal as the focal point (Fig. 40.2a). The rendered image of the church exterior fills the obverse horizontally from rim to rim. At the top perimeter: S TE M aRI E À bELE M (LISbO N N E)

ST. M aRI a O F bELÉ M (LISbO N)

In the exergue: J: ET Ch: W I EN ER

J aCq U ES aN D Ch aRLES W I EN ER

Reverse: View of the church interior looking down the nave toward the east (Fig. 40.2b). In the left field: paR LE RO I

by Th E KI N G

E M a N U EL-LE- GR aN D

M aN U EL Th E GRE aT

FO N D EÉ EN 1499

FO U N D ED I N 1499

J. W I EN ER . 1867

J aCq U ES W I EN ER. 1867

In the right field:

In the exergue:

Medal Notes

Figure 40.3. The master obverse die for St. Maria of Belém, Lippens 2514. (Image used with permission of the Royal Library of Belgium www.kbr.be).

296

Figure 40.4. The working dies for St. Maria of Belém, M281, Lippens 2515 and 2516. (Images used with permission of the Royal Library of Belgium www.kbr.be). Medals are known from a single master obverse die (Lippens 2514) (Fig. 40.3), a single one-piece working obverse die (Lippens 2515) (Fig. 40.4a), and a single one-piece working reverse die (Lippens 2516) (Fig. 40.4b). This medal is unusual in that its legends are not (even partially) in the vernacular language local to the monument; one would have expected Portuguese legends but they are instead in French throughout. The obverse lettering is perfect, though somewhat inconspicuous given its unusually small size. A very small die chip eventually forms at the rightmost tip of the exergue, just past the signatures. The terminal obverse die state exhibits no other notable features. The reverse lettering of the left and right fields faces the interior of the medal rather than the rims, which is a unique design feature for a medal in this series. The acute accent appears to be placed on the incorrect “E” of FONDEÉ. In the date, the “6” is punched low, and the “7” is punched very low. The reverse die eventually chips in the far right extremity of the exergue, next to the date, later followed by its counterpart in the far left exergue. Die fatigue also becomes evident between the first and second, second and third, and third and fourth columns on the left; the breakage is progressive. A small chip also forms where the left foreground

column meets the rim. The terminal reverse die state exhibits no additional features—no lapping or cracks. Jacques and Charles Wiener signed the obverse die, and Jacques alone signed the reverse—and yet Forrer enigmatically assigns this medal solely to Charles Wiener.

Contemporary References Wiener did not exhibit the St. Maria of Belém medal; Charles Wiener on the other hand exhibited the medal at both the 1876 International Exhibition in Philadelphia and the 1878 Exposition Universelle held in Paris. The Victoria and Albert Museum in London purchased a specimen of this medal from Wiener on February 24, 1868. The British Museum acquired its specimen in its August 1, 1870, purchase from Wiener by way of Mr. Cruysse.

Source Images Wiener’s interior and exterior source images have yet to be identified.

297

41. Burgos Cathedral 1867

Figure 41.1. An exterior view of Burgos Cathedral, ca. 1860s. The Chapel of St. Thecla is at the lower left, behind it the north transept with the spires of the Chapel of the Constable in the background. Photo by Jean Laurent, Madrid. (Collection of the author).

The Edifice Castilian King Ferdinand III and Bishop Don Mauricio initiated the construction of a new Gothic cathedral to replace the existing Romanesque cathedral in Burgos (Fig. 41.1). Construction of St. Mary’s Cathedral of Burgos commenced with the laying of a foundation stone on July 20, 1221, under the direction of French architect Maestro Enrique. The construction effort initially focused on erecting the eastern portion of the building—the apse and chapels—and gradually developed westward. The partially completed cathedral was consecrated in 1260, allowing it to function for

services. Assigning a completion date to the Cathedral is a somewhat arbitrary and thankless exercise as construction continued in some manner through to the late eighteenth century. The year 1457 is sometimes cited, corresponding to the completion of the German-influenced western portal and towers, as is 1567 when the lantern spire was completed (replacing its predecessor which tumbled in 1539, taking with it portions of the choir, transept, and nave vaulting). Influenced by the Cathedral of Bourges and perhaps that of Reims, the lengthy period of construction added a certain sprawling element to the overall edifice, and an evolving series of architectural styles, starting with

298

its mid-thirteenth century Gothic exterior augmented by Renaissance and Baroque elements in the interior. Cloisters and a large number of chapels were appended to the cathedral structure from the fourteenth through eighteenth centuries, located on the north, and particularly the south side of the edifice. Of the myriad additions, that of the Chapel of the Constable stands out. A large, polygonal chapel dating from the end of the fifteenth century and located at the northeast end of the original cathedral, it is a magnificent example of Spanish Flamboyant Gothic architecture. The chapel terminates in an octagonal vault containing a large eight-pointed star of translucent glass, thus admitting light from above. A similar concept was employed in the vaulting of the Chapel of the Presentation and magnificently so in the 1567 lantern spire.1 The cathedral appears today much as it did in Wiener’s day, and for that matter, as it did upon completion

of the final eighteenth-century chapel. Unlike many of its medieval counterparts, Burgos Cathedral has only been the subject of a handful of targeted restoration efforts starting in the nineteenth century. Most significantly, the roof structure was replaced with steel. However, humidity, soil-borne water levels, salts, and porous limestone have combined to degrade the stonework. Controversy surrounded the state of the cathedral in the mid-1980s through the early 1990s as ad hoc restoration work and political squabbling delayed a unified approach to solving unrelenting issues caused by time and the environment. As if to emphasize the urgency, a statue of San Lorenzo toppled from its perch in the northern tower of the western façade in 1994. As a result, a master plan was developed in 1995 and has provided the roadmap for the subsequent restoration work.

1. Bernhard Schütz, “Burgos,” in Great Cathedrals (New York: Abrams, 2002), 136–38.

The Medal Variety

Die Combination

Date

Metal

Weight Range

Van Hoydonck

Reinecke

Rarity

M282

M282 / M282

1867

AE, AR

103.0– 108.8 g

220

58

R1

Medal Description

Figure 41.2. Burgos Cathedral. (Collection of the author).

299

Obverse: Perspective view of the cathedral exterior from the northwest (Fig. 41.2a). Around the perimeter: C aTED R aL D E bU RGOS.

C aTh ED R aL O F bU RGOS.

J. W I EN ER.

J aCq U ES W I EN ER.

In the exergue:

Reverse: View of the cathedral interior looking from the north transept towards the south (Fig. 41.2b). In the left field: pRI M ER a pI ED R a

FI RST STO N E

20 D E JU LI O D E 1221.

20 JU Ly 1221.

CO N CLUSI O N

CO M pLETED

EN EL SI GLO X V.

I N Th E 15Th CENTU Ry.

J: ET Ch: W I EN ER. 1867.

J aCq U ES aN D Ch aRLES W I EN ER 1867.

In the right field:

In the exergue:

Medal Notes

Figure 41.3. The working dies for Burgos Cathedral, M282, Lippens 2517 and 2518. (Images used with permission of the Royal Library of Belgium www.kbr.be).

300

Medals are known from a single one-piece working obverse die (Lippens 2517) (Fig. 41.3a) and a single onepiece working reverse die (Lippens 2518) (Fig. 41.3b). The obverse main legend lettering is perfect. The “J” of J. WIENER. is punched low. Later specimens exhibit a die chip at the right extreme of the exergue. The terminal obverse die state also exhibits die breakage between the north tower and the pinnacle to its immediate right. The die was not lapped, nor are there any additional signs of die breakage, fatigue, or mis-handling. On the reverse, the first “O” of CONCLUSION has been re-punched. The “6” of 1867 is punched high, and the “7” is punched low. The lettering guide lines at the base of EN EL SIGLO XV are prominent. The overall lettering quality of the reverse is poor; some letters are rotated slightly, and many do not follow any guide lines—giving a slightly wavy appearance. Later strikes exhibit evidence of rust or pitting on the reverse working die, particularly in the left field, the lower archways at the left, and in the exergue. A small die chip forms just inside the rim at the 11:00 position, two smaller ones can be found at the 12:00 rim, and another at the extreme right exergue. No other notable characteristics are found in the terminal reverse die state. Jacques has signed the obverse die and both Jacques and Charles signed the reverse.

Cruysse.”2 The British Museum purchased its specimen on August 1, 1870 from Wiener by way of Mr. Cruysse as well.

Source Images The Burgos medal is another rare instance in which a source image used for this medal can be identified with relative certainty. The work España artistic y monumental vistas y descripción de los sitios y monumentos más notables de España3 was published in Paris between 1842 and 1850 in three volumes.4 Genaro Perez de Villa-amil (1807–1854) painted a rather dazzling series of views of notable Spanish monuments and vistas which were skillfully translated into lithographs for publication by a number of artists. Volume 1, Plate XIV is a lithograph of the transept of Burgos Cathedral with architectural elements executed by Charles Claude Bachelier and figural elements by Adolphe Bayot (Fig. 41.4). When one looks at the relative intersection points of lines and arches, the far-field details, the perspective alignment of near-field and far-field architectural elements, and the horizontal and vertical fields-of-view—this clearly is the primary interior source image used by Wiener. Wiener’s exterior source image is as yet unknown.

Contemporary References Neither Jacques nor Charles Wiener exhibited their Burgos medal. The Victoria and Albert Museum in London purchased a specimen of this medal on September 3, 1870 “from Messrs. Wiener & Co, in Brussels per M. Van der

2. “V&A Search the Collections Cathedral of Burgos.” Victoria & Albert Museum, accessed November 1, 2017, http://collections.vam. ac.uk/item/O166428/cathedral-of-burgos-medal-wiener-jacques/. 3. Genaro Perez de Villa-Amil. España artistic y monumental vistas y descripción de los sitios y monumentos más notables de España. Paris: Alberto Hauser, 1842. Google Book Search. Web. 16 Sept. 2017. 4. The images were also published in a two-volume album in Madrid and Barcelona in 1865.

301

Figure 41.4. The Transept of the Cathedral of Burgos by Bachelier and Bayot, after an original work by Genaro Perez de Villa-amil. The view is from the base of the Golden Stairs in the North Transept looking toward the South transept— a unique type of view in the series. With the exception of the base of the stairs in the foreground at left, the image is from the identical eyepoint as Wiener’s medal reverse, the horizontal and vertical fields of view are identical, and, in particular, the distant details reproduced are likewise the same. (Collection of the author). 302

III. Conclusion

The access provided by the internet seems to have spawned renewed interest and enthusiasm in Wiener’s legacy, and his Most Remarkable Edifices medals in particular, to new generations. We owe a debt of gratitude to those of past generations who held the man and his work in such high esteem—documenting their admiration in words, drawings, and photos. Guioth, Bouhy, Alvin, Van Hoydonck, and Reinecke have given us solid foundations with which to work. The author acknowledges a potential for incompleteness and error in this work that seeks to append those of its lofty predecessors. At some point we must set our pens down (or more literally keyboards aside) and offer the work to the light of day, lest it forever languish in darkness in the vain attempt to forever, but never, perfect it. So—you the reader are encouraged to critically assess the manuscript, its conclusions, and its questions—and forward to me your thoughts, identify errors, omissions, or offer ideas that could improve the quality of any future editions. The author is particularly interested in any other contemporary references that may illuminate the issue dates and order of issues beyond what has been presented herein. For collectors of the series, do note that the scourge of counterfeiting has not passed the series by. Even Wiener himself worried about this, posing the (only somewhat) rhetorical question to his friend Mogford as to whether it was possible to produce an art object so superlative as to inherently prevent counterfeiting.1 The author has seen a number of them, and regretfully, owns one—still kept as a reference and a reminder to remain vigilant. Specimens should be examined for surface texture and detail. Authentic medals would have been struck multiple times under high pressure in order to bring up the high relief. Any surface state at odds with such a production process is suspect. Likewise, there are no weak strikes on legitimate specimens. Weak details on genuine medals are invariably

consistent with die lapping, and thus noted to exist in areas of low relief near the nominal surface of the die corresponding to the fields—e.g., the serifs of lettering, not the high points of the design. Most spurious specimens announce their illegitimacy when compared side-by-side with a genuine medal; it is when examined outside this context that the potential purchaser is vulnerable. Keep in mind that high quality digital images aptly provide such a reference point, and the collector is encouraged to maintain a file of images or access museum images for this purpose. Jacques Wiener left an impressive medallic legacy both in terms of quality and quantity. His greater-than 300 medals and near 100 jetons over a career spanning more than three decades suggest a prodigious output averaging one die every 3–4 weeks when one takes into account reused dies and collaborative medals with dies engraved by Charles and Léopold. The Most Remarkable Edifices series impresses because of the artistry as well as the extended timeline of the theme spanning almost the entirety of Wiener’s career. Howard Linecar noted (in the context of the Most Remarkable Edifices series) that Jacques Wiener’s “work compares favorably with that of the Wyons.”2 Such favorable comparison to the formidable dynastic legacy of the Wyons is high praise indeed. We close with a quote from Victor Bouhy, lamenting on the fate of the medalist: “For engravers of medals…their works, often real masterpieces, pass[] by the glimpses of the crowd because of their small size, lack of color and above all the difficulty for ordinary mortals to appreciate the true merits of a medal.” The author hopes that in some small way, this work preserves and promotes the true merits and artistry of Jacques Wiener and his Most Remarkable Edifices of Europe.

1. Musings posed by Wiener to Mogford in his November 21, 1853, letter.

2. Howard Linecar, The Commemorative Medal: Its Appreciation and Collection (Detroit: Gale Research Company, 1974), Plate X.

MR

303

Appendix 1

The following table presents a suggested and revised numbering system for cataloguing the medals and jetons of Jacques Wiener. In addition, each entry is crossreferenced to the works of Bouhy, Van Hoydonck, and Reinecke. In generating this new numbering system and as noted earlier, the following guidelines were utilized: • Wiener’s dies, as catalogued by Lippens, are assumed to have been used to strike medals and/ or jetons • Any issue recognized by Bouhy, Van Hoydonck, or Reinecke has been retained • Any additional varieties not recognized by the authors above must be validated by a known specimen; this validation has been primarily accomplished by examining the Belgian Royal Library catalogue and the author’s collection, with other miscellaneous modern auction sources also utilized • Varieties are the result of distinctly different working dies, the purposeful replacement of dies (or

parts of dies in the case of two-piece dies), the intentional alteration of an existing die to add or remove design or inscription elements, or combination of dies; specimens displaying inscriptions in negative relief, that is engraved after being struck, are not recognized as distinct varieties. Medal entries are prefixed with the letter “M”, and Van Hoydonck’s use of the “J” prefix for jetons has been retained. However, the jetons are further prefixed with the letters “B”, “Y”, and “T” for Brussels, Ypres, and Tournai respectively. Thus, this scheme is readily differentiated from Van Hoydonck’s format in the attempt to minimize any confusion. The numbering system, like Van Hoydonck’s, is temporal; however in most cases the reader should not necessarily conclude that the sequence shown within each calendar year represents the exact order in which the medals were issued. The descriptions that follow are in a mix of languages chosen to provide at-a-glance clarity particularly in distinguishing varieties.

De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Wilhelm I King of the NetherlandsVenlo

1840

M1

1

169

123

Maastricht

1841

M2

2

170

125

Willem II King of the Netherlands

1841

M3

3

140

161

William II King of the Belgians

1841

M4

4

141

143

Exposition in Maastricht

1841

M5

5

172

NA

Industrial Exposition— J. Allard Goldsmith

1841

M6

6

173

NA

Henry Levyssohn

1842

M7

7

171

NA

Léopold: Duke of Brabant— Patriae Spes Ditior Quo. Ongior reverse

1843

M8

NA

142

NA

Léopold: Duke of Brabant— Patriae Spes Altere Cresce reverse

1843

M9

8

143

133

305



De s c ripti on

Van H oyd on c k

Ye ar

Ross

B o uhy

Re ine c k e

Koepok-inenting

1843

M10

9

174

119

Reinhard Falck

1844

M11

10

144

146

Isaac Penning Nieuwland

1844

M12

11

175

NA

F. J. Vanblaeren

1844

M13

12

176

NA

Notre Dame Antwerp (4 concentric legends)

1845

M14

13

44

2

Notre Dame Antwerp (5 concentric legends)

1845

M15

14

45

1

Collegiate Church of Brussels

1845

M16

15

46

6

Notre Dame of Tongres Church

1846

M17

16

47

14

St. Bavon of Ghent Church

1846

M18

17

48

9

St. Jacques of Liège Church

1846

M19

18

49

10

St. Jacques of Liège Church (Tournai reverse—error)

1846

M20

NA

NA

NA

St. Rombaut of Malines Church

1846

M21

19

50

12

St. Sauveur of Bruges Church

1846

M22

20

51

3

Cathedral of Tournai

1846

M23

21

52

17

Cathedral of Tournai (St. Jacques Liège reverse—error)

1846

M24

NA

NA

NA

St. Aubain of Namur Church

1846

M25

22

53

13

Henri of France

1846

M26

23

145

NA

William Tell Society of Antwerp

1846

M27

24

177

124

Mestbak of Brussels—J. Robyns

1846

M28

25

178

NA

German-Flemish Singing Union

1846

M29

26

179

128

Flemish-German Singing Union

1846

M30

27

180

127

Synagogue of the Hague

1846

M31

28

181

63

St. Martin of Ypres Church

1847

M32

29

54

19

Brussels City Hall—Plan reverse

1847

M33

30

89

67

Brussels City Hall (C.C.)

1847

M34

31

110

NA

Léopold I—Act of Devotion

1847

M35

32

146

135

Statue of André Vésale

1847

M36

33

182

115

St. Martin of Liège Church— Fête-Dieu

1847

M37

34

183

11

J. F. Willems

1847

M38

35

147

148

Myn Vaderland is my niet te klein— Inscription and crown reverse

1847

M39

36

184

NA

City of Brussels—Police Agency

1847

M40

37

185

NA

Fame Pulsa Egenis Succurrit— Inscription reverse, with oak wreath

1847

M41

38

186

132

Fame Pulsa Egenis Succurrit—Plan reverse

1847

M42

NA

NA

131

City Hall of Louvain—Plan

1848

M43

40

90

72

306



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

City Hall of Louvain—Arms

1848

M44

41

97

73

City Hall of Louvain— laurel branch reverse

1848

M45

42

98

74

City Hall of Brussels (C.C.)

1848

M46

43

111

68

Léopold Premier—Cholera 1832

1848

M47

44

148

NA

Koninglyke Maetschappy van Rhetorica—400th Jubilee (50 mm)

1848

M48

45

187

129

Koninglyke Maetschappy van Rhetorica “Te Gent” (43 mm)

1848

M49

NA

192

NA

Cathedral of Cologne— Dual Exterior

1848

M50

47

3

25

Notre Dame of Tournai—Plan

1849

M51

50

55

16

City Hall of Bruges—Plan

1849

M52

51

91

66

Les Halles d’Ypres—Plan

1849

M53

52

92

75

City Hall of Brussels—Les Halles d'Ypres reverse (error)

1849

M54

53

93

NA

Les Halles d’Ypres— oak wreath & legend

1849

M55

54

99

NA

Les Halles d’Ypres— oak wreath & no legend

1849

M56

55

100

NA

Les Halles d’Ypres; no obv. exergue signature—oak wreath & no legend

1849

M57

NA

NA

NA

City Hall of Bruges— oak wreath reverse

1849

M58

56

101

NA

City Hall of Brussels (C.C.)

1849

M59

57

112

NA

Notre Dame of Tournai (C.C.)

1849

M60

58

131

15

Arms of the City of Ypres (50mm)

1849

M61

59

188

NA

Arms of the City of Ypres (40mm)

1849

M62

60

189

NA

Arms of the City of Ypres (32mm)

1849

M63

61

190

NA

Léopold I—Agricultural Association (Ypres)

1849

M64

62

191

NA

Fame Pulsa Egenis Succurrit—Plan

1849

M65

63

193

NA

Amsterdam State House

1850

M66

64

6

64

Maison de sureté—Liège—Plan reverse

1850

M67

66

67

90

Maison de sureté—Liège— Léopold I reverse

1850

M68

67

68

NA

Maison de sureté—Liège— Léopold Premier reverse

1850

M69

NA

NA

NA

Maison de sureté—Brussels—Plan reverse

1850

M70

68

69

80

Maison de sureté—Brussels Léopold I laureate

1850

M71

69

71

NA

307



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Maison de sureté—Brussels Léopold Premier in uniform

1850

M72

70

70

NA

City Hall—Audenaerde—Plan

1850

M73

71

94

65

City Hall—Audenaerde— Floriculture and Horticulture

1850

M74

NA

NA

NA

Grand’ Garde of Tournai—Plan

1850

M75

72

95

77

City Hall—Brussels (C.C.)

1850

M76

73

113

69

Grand’ Garde of Tournai (C.C.)

1850

M77

74

132

76

Joannes Cardin of Geissel

1850

M78

75

149

156

Gent Fonteinisten

1850

M79

76

194

NA

De Stad Dendermonde

1850

M80

77

195

118

Cathedral of Cologne— ”Unsere Hoffnung” on obverse

1851

M81

78

NA

26

Cathedral of Cologne—no “Unsere Hoffnung” on obverse

1851

M82

NA

NA

NA

Portail latéral Sts. Michael and Gudula-Nouvel Escalier

1851

M83

79

56

4

Maison d’Arrêt-Dinant— Plan reverse

1851

M84

80

72

84

Maison d’Arrêt-Dinant— Léopold I laureate reverse

1851

M85

81

73

NA

Bishop's Palace in Liège

1851

M86

82

74

97

City Hall—Ghent

1851

M87

83

96

71

Caserne du Petit Chateau (C.C.)

1851

M88

84

114

93

City Hall—Tournai (C.C.)

1851

M89

85

133

78

Cercle artistique of Brussels

1851

M90

86

150

136

Les Halles d'Ypres—Fame Pulsa…

1851

M91

87

197

NA

Exhibition…London

1851

M92

88

198

NA

Synagogue of Maastricht—Limburg congregation reverse inscription

1851

M93

89

199

62

Synagogue of Maastricht—religious tolerance reverse inscription

1851

M94

NA

NA

NA

Siècle du Progres

1851

M95

NA

196

NA

Portail Latéral of Sts. Michael and Gudula—(C.C.)

1851

M96

NA

NA

NA

St. Marie of Schaerbeek Church—Plan

1852

M97

90

57

7

St. Marie of Schaerbeek Church— Laurel & Oak Wreath—blank center

1852

M98

91

58

NA

St. Marie of Schaerbeek Church— Laurel & Oak Wreath—Le Conseil de Fabrique

1852

M99

NA

NA

NA

Courthouse—Verviers—Plan

1852

M100

92

75

92

308



Ross

Van H oyd on c k

B o uhy

Re ine c k e

1852

M101

NA

NA

NA

1852

M102

93

102

NA

City Hall—Brussels—Colombier

1852

M103

94

103

NA

City Hall—Brussels—Colombier— 13E Prix J.F. Vanhemelryk

1852

M104

NA

NA

NA

City Hall—Brussels— Vandenberghen

1852

M105

95

104

NA

City Hall—Brussels—Head of Apollo

1852

M106

96

105

NA

Portail Latéral of Sts. Michael and Gudula—(C.C.)

1852

M107

97

115

NA

Portail Latéral of Sts. Michael and Gudula—Notre Dame Antwerp Interior (error)

1852

M108

NA

NA

NA

C.R.A. Van Bommel

1852

M109

98

151

145

Augustin Aimable Dumon-Dumortier

1852

M110

99

152

144

Léopold I—Commission for the conservation of monuments— reclining female reverse

1852

M111

100

153

138

Commission for the conservation of monuments—Ribbon reverse

1852

M112

NA

NA

NA

Léopold I—Agricultural Society of Luxembourg Virton show

1852

M113

NA

NA

NA

Gewerbe-Ausstellung…Düsseldorf

1852

M114

101

NA

100

Freckenhorst Church

1852

M115

102

200

NA

Münsterkirche of Aachen— Pilgrimage Inscription

1852

M116

NA

NA

21

Münsterkirche of Aachen— w/publisher inscription

1852

M117

46

2

20

Notre Dame Antwerp (4 concentric legends, C.C. rev)

1852

M118

NA

NA

NA

Convento Batalha

1853

M119

103

9

55

St. Apollinaris Church—Remagen

1853

M120

140

13

31

Maison d’Arrêt-Charleroy— Plan reverse

1853

M121

104

76

82

Maison d’Arrêt-Charleroy—Léopold I laureate reverse

1853

M122

105

77

NA

City Hall Ghent—Royal Agriculture and Botanical Society Exposition— blank center

1853

M123

106

106

NA

City Hall Ghent—Royal Agriculture and Botanical Society Exposition— aux Petunia

1853

M124

NA

NA

NA

De s c ripti on

Ye ar

Courthouse—Verviers—Léopold I City Hall—Brussels—Refuge

309



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

City Hall Ghent—Wreath with Soc. Roy. D’Agriculture and de Botanique de Gand

1853

M125

NA

NA

NA

Hospice for the blind (C.C.)

1853

M126

107

116

NA

Hospice for the blind—Schaerbeek plan reverse (error)

1853

M127

NA

NA

NA

Beffroi de Tournay (C.C.)

1853

M128

108

134

99

Duke of Brabant—Philharmonic Society of Brussels

1853

M129

109

154

134

City of Furnes—Oak(l) and Laurel(r) Wreath and blank field

1853

M130

NA

NA

NA

City of Furnes—Mixed Oak and Laurel Wreath—Blank Center

1853

M131

NA

NA

NA

City of Furnes—Mixed Oak & Laurel Wreath—Festival 12 Juin 1853

1853

M132

110

201

NA

À Juste Lipse—Laurel wreath and legends reverse

1853

M133

111

202

98

St. Marie of Schaerbeek Church (C.C.)

1853

M134

NA

NA

NA

St. Paul’s Cathedral London— ”Century” on reverse

1853

M135

49

NA

NA

York Cathedral

1854

M136

112

NA

37

New Church at Laeken—May 1

1854

M137

113

64

NA

New Church at Laeken—May 27

1854

M138

114

65

8

New Church at Laeken— Louise reverse

1854

M139

115

156

142

Aqueduc de Braine l’Alleud (C.C.)

1854

M140

116

117

102

Charles Marcellis

1854

M141

117

155

147

Johann Peter Fuchs

1854

M142

118

203

121

Les Halles d'Ypres—Church of St. Martin

1854

M143

119

204

NA

Immaculate Conception

1854

M144

120

205

NA

St. Mark’s Basilica—Venice

1854

M145

65

7

52

St. Paul’s Cathedral London (French Legend reverse)

1854

M146

NA

NA

34

St. Paul’s Cathedral London— ”Cent’y” on reverse

1854

M147

NA

5

NA

Myn Vaderland is my niet te klein— Wreath, center legend Penning... Vlaemsch Midden-Comiteit

1854

M148

NA

NA

NA

Münsterkirche—Bonn

1855

M149

121

11

23

Notre Dame—Paris

1855

M150

122

8

40

Cathedral of Cologne—”Unsere Hoffnung” on obverse

1855

M151

124

NA

27

310



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Cathedral of Cologne—no “Unsere Hoffnung” on obverse

1855

M152

125

NA

NA

Grand Theater of Brussels (C.C.)

1855

M153

126

118

103

J.F. Willems—Midden-Comiteit

1855

M154

127

157

NA

Arms of the City of Ypres— Léopold I

1855

M155

128

206

NA

Exposition Universelle— Palace of Industry Reverse (68 mm)

1855

M156

NA

NA

NA

Exposition Universelle— Palace of Industry Reverse (50 mm)

1855

M157

NA

NA

NA

Exposition Universelle— Palace of Industry Reverse (37 mm)

1855

M158

NA

NA

NA

Palais de l’Industrie Exterior— Vue des Galleries Interior Rev (68 mm)

1855

M159

129

207

110

Palais de l’Industrie Exterior— Vue des Galleries Interior Rev (50 mm)

1855

M160

130

208

NA

Palais de l’Industrie Exterior — Wreath Reverse (37 mm)

1855

M161

131

209

111

Vue des Galleries Interior— Wreath Reverse (37 mm)

1855

M162

132

210

113

Palais de l’Industrie North Pavillion Ext.—Wreath Reverse (37 mm)

1855

M163

136

214

112

Napoléon III—Palais de l’Industrie Exterior Reverse (68 mm)

1855

M164

133

211

NA

Napoléon III—Palais de l’Industrie Exterior Reverse (50 mm)

1855

M165

NA

NA

NA

Napoléon III—Palais de l’Industrie Exterior Reverse (37 mm)

1855

M166

NA

NA

162

Palais de l’Industrie Central Pavillion— Vue des Galleries Interior Rev (68 mm)

1855

M167

134

212

NA

Palais de l’Industrie Central Pavillion— Vue des Galleries Interior Rev (50 mm)

1855

M168

135

213

NA

Palais de l’Industrie Central Pavillion— Vue des Galleries Interior Rev (37 mm)

1855

M169

NA

NA

NA

Palais de l’Industrie North Pavillion— Vue des Galleries Interior Rev (68 mm)

1855

M170

NA

NA

NA

Palais de l’Industrie North Pavillion— Vue des Galleries Interior Rev (50 mm)

1855

M171

NA

NA

NA

311



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Palais de l’Industrie North Pavillion—Vue des Galleries Interior Rev (37 mm)

1855

M172

NA

NA

NA

Vte S. De Rouville—Central Pavillion Ext. Reverse (68 mm)

1855

M173

138

216

NA

Vte S. De Rouville—North Pavillion Ext. Reverse (68 mm)

1855

M174

NA

NA

NA

Vte S. De Rouville—North Pavillion Ext. Reverse (50 mm)

1855

M175

NA

NA

NA

Palais de l'Industrie Central Pavillion Ext.—Vue de la Grand Nef Interior Rev. (68 mm)

1855

M176

137

215

NA

Empress Eugénie / Napoleon III— Vue de la Grand Nef Int. (68 mm)

1855

M177

139

NA

NA

Empress Eugénie / Napoleon III— Vue des Galleries Int. (68 mm)

1855

M178

NA

217

NA

Empress Eugénie / Napoleon III— Vue des Galleries Int. (50 mm)

1855

M179

NA

NA

NA

Empress Eugénie / Napoleon III— Vue des Galleries Int. (37 mm)

1855

M180

NA

NA

NA

Empress Eugénie / Napoleon III— Palais de l’Industrie Ext. Rev. (68 mm)

1855

M181

NA

NA

NA

Empress Eugénie / Napoleon III— Palais de l’Industrie Ext. Rev. (50 mm)

1855

M182

NA

NA

NA

Empress Eugénie / Napoleon III— Palais de l’Industrie Ext. Rev. (37 mm)

1855

M183

NA

NA

NA

Empress Eugénie / Napoleon III— North Pavillion Ext. Rev. (68 mm)

1855

M184

NA

NA

NA

Empress Eugénie / Napoleon III— North Pavillion Ext. Rev. (50 mm)

1855

M185

NA

NA

NA

Empress Eugénie / Napoleon III— North Pavillion Ext. Rev. (37 mm)

1855

M186

NA

NA

163

Prince Napoleon – North Pavillion Ext. (50mm)

1855

M187

NA

NA

NA

Winchester Cathedral

1855

M188

141

14

36

Westminster Abbey

1855

M189

142

15

35

Münsterkirche of Aachen— w/o publisher inscription

1856

M190

NA

NA

NA

Cathedrale de York

1856

M191

NA

10

NA

Maison d’Arrêt—Courtrai— Plan reverse

1856

M192

143

78

83

312



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Maison d’Arrêt—Courtrai— Léopold I laureate reverse

1856

M193

144

79

NA

Maison de sureté—Antwerp— Plan reverse

1856

M194

145

80

79

Maison de sureté—Antwerp Léopold I laureate reverse

1856

M195

146

81

NA

City Hall—Ghent—25th Anniversary

1856

M196

147

107

70

Arc de Triomphe—Laeken (C.C.)

1856

M197

148

119

96

Société des courses de Tournay

1856

M198

149

218

NA

Lincoln Cathedral

1856

M199

150

16

33

Cathedral of Tournai

1857

M200

151

17

18

St. Peter’s Basilica—Rome

1857

M201

152

18

50

Maison d’Arrêt—Hasselt— Plan reverse

1857

M202

153

82

87

Maison d’Arrêt—Hasselt— Léopold I laureate reverse

1857

M203

154

83

NA

Portail of Sts. Michael and Gudula (C.C.)

1857

M204

155

120

NA

Portail of Sts. Michael and Gudula— Louis Roelandt

1857

M205

NA

NA

NA

B. Renard

1857

M206

156

158

150

Léopold I—Aalst Agriculture and Horticulture Society

1857

M207

NA

NA

NA

Hagia Sophia—Constantinople

1858

M208

206

39

60

St. Isaac’s Church—St. Petersburg— Russian legends

1858

M209

NA

NA

NA

St. Isaac’s Church—St. Petersburg— French legends

1858

M210

158

20

57

St. Geneviève—Paris

1858

M211

159

21

41

St. Martin’s Church Fire—Ypres— Ypres Fire Department

1858

M212

160

59

NA

St. Martin’s Church Fire—Ypres— Poperinghe Fire Department

1858

M213

161

60

NA

St. Martin’s Church Fire—Ypres— Menin Fire Department

1858

M214

162

61

NA

St. Martin’s Church Fire—Ypres— Wervicq Fire Department

1858

M215

163

62

NA

St. Martin’s Church Fire—Ypres— Comines Fire Department

1858

M216

164

63

NA

Les Halles d'Ypres—Arms

1858

M217

165

108

NA

Palace of the University of Brussels

1858

M218

166

121

104

Cordoba Cathedral (no Date)

1859

M219

168

NA

59

Cordoba Cathedral (w/ Date)

1859

M220

167

22

NA

313



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Walhalla

1859

M221

NA

NA

NA

Walhalla

1859

M222

169

23

95

St. Ouen—Rouen

1859

M223

171

25

44

Reims Cathedral

1859

M224

170

24

43

Maison Pénitentiaire—Louvain— Plan reverse

1859

M225

172

84

89

Colonne du Congrès…Brussels (C.C.)

1859

M226

173

122

105

Eroeffnung der Rhein-Bahn Coeln-Mainz

1859

M227

174

159

153

Commission Royale d’Histoire

1859

M228

175

160

139

Milan Cathedral

1860

M229

177

27

47

St. Stephen’s Cathedral— Vienna (Jacob Wiener)

1860

M230

NA

NA

NA

St. Stephen’s Cathedral— Vienna (J. Wiener)

1860

M231

190

34

54

St. Catherine’s Church—Brussels

1860

M232

178

123

NA

City of Antwerp (C.C.)

1860

M233

179

135

NA

À Juste Lipse—Anniversary

1860

M234

180

219

NA

Arms of the Duchy of Luxembourg

1860

M235

181

220

120

Kaiser Dom—Speyer

1860

M236

199

37

32

Strasbourg Cathedral

1861

M237

185

32

45

Chartres Cathedral

1861

M238

184

30

39

Cologne Synagogue

1861

M239

182

28

61

Cathedral of Cologne

1861

M240

NA

31

28

Maison de Sureté—Ghent (7-line exergue inscription)

1861

M241

187

86

NA

Maison de Sureté—Ghent (5-line exergue inscription)

1861

M242

NA

NA

85

Caserne des Pompiers— Brussels (C.C.)

1861

M243

188

124

94

Conseil Communal—Antwerp (C.C.)

1861

M244

189

136

117

St. Olaf ’s—Trondheim

1862

M245

192

36

53

St. Paul’s Basilica—Rome

1862

M246

186

33

49

Duomo—Pisa

1862

M247

123

12

48

St. Stephen’s—Caen

1862

M248

NA

NA

NA

St. Stephen’s—Caen

1862

M249

191

35

38

St. Front—Périgueux

1862

M250

157

19

42

Sts. Michael and Gudula Cathedral

1862

M251

39

1

5

St. John the Baptist Church— Grand-Béguinage

1862

M252

193

125

NA

314



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

The Prince Consort Albert— Exterior view reverse

1862

M253

194

221

158

The Prince Consort Albert— Interior view reverse

1862

M254

195

222

159

International Exhibition—Exterior and Interior Die Pair

1862

M255

NA

NA

114

Sir C. Barry

1862

M256

196

161

160

Ville de Nivelles

1862

M257

197

223

NA

Grand cale et machine d’épuisement

1862

M258

198

137

109

Maison d’Arrêt—Termonde (6-line exergue inscription)

1863

M259

200

308

NA

Maison d’Arrêt—Termonde (5-line exergue inscription)

1863

M260

NA

NA

91

De Brouckere Fountain—Brussels

1863

M261

201

126

106

Pope Pius IX

1863

M262

202

162

NA

Eeuwfeest der A.—Maastricht

1863

M263

203

225

130

Conseil communal—Antwerp (C.C.)

1863

M264

204

138

NA

Duomo—Siena

1864

M265

176

26

51

Duomo—Florence

1864

M266

205

38

46

8th School of the City (C.C.)

1864

M267

207

127

107

Eroeffnung der Bahn Coblenz-Oberlahnstein

1864

M268

208

163

151

Conseil communal—Antwerp (C.C.)

1864

M269

209

139

NA

Bamberg Cathedral

1865

M270

183

29

22

Magdeburg Cathedral

1865

M271

210

40

29

New Church at Laeken— Interior and Exterior

1865

M272

211

66

NA

New Church at Laeken— Busts and Interior

1865

M273

212

166

137

Temple des Augustins (C.C.)

1865

M274

213

128

NA

Gesellschaft Flora zu Coeln…

1865

M275

214

164

154

50 Jährige Vereinigung

1865

M276

215

165

152

Tournai—Fête du September 11, 1865, Festival

1865

M277

NA

NA

NA

Mainz Cathedral

1866

M278

216

41

30

Cité Fontainas (C.C.)

1866

M279

217

129

116

Agricultural Association—Ypres— Léopold II

1866

M280

218

224

140

St. Maria of Belém

1867

M281

219

42

56

Burgos Cathedral

1867

M282

220

43

58

Maison de Sureté—Mons

1867

M283

221

87

81

National Bank of Brussels

1867

M284

222

130

108

315



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Act of Devotion—Léopold II

1867

M285

223

167

141

Cathedral of Cologne— Interior Reverse

1867

M286

48

4

24

Cathedral of Cologne—1861 Exterior and Interior Mule

1867

M287

NA

NA

NA

Maison Pénitentiaire—Louvain— Léopold II

1868

M288

224

85

NA

Maison d’Arrêt—Louvain

1868

M289

225

88

88

Hotel de Ville—Audenarde— Concours Dramatique

1868

M290

NA

NA

NA

Maison d’Arrêt et de Justice Cellulaire—Arlon

1869

M291

NA

NA

NA

King Wilhelm / Queen Augusta— Rhein-Eisenbahnbrücke

1870

M292

NA

NA

157

Tournai—International Festival September 17, 1871

1871

M293

NA

NA

NA

Tournai—Académie de Dessin

1872

M294

NA

NA

NA

Church at Laeken—Consecration

1872

M295

NA

NA

NA

Hotel de Ville de Gand— Mej. Th. Hofman

1873

M296

226

109

NA

International Gartenbau— Ausstellung zu Coeln

1875

M297

227

168

155

National Bank—Committee— laurel, no berries, beaded escutcheon border

1876

M298

228

226

NA

National Bank—Committee—laurel with berries, rectangular name plate

1876

M299

NA

NA

NA

National Bank—Committee— laurel, no berries, double outlined escutcheon border

1876

M300

NA

NA

NA

Insignia of the canotiers— Coeln—1876

1876

M301

229

227

NA

Allgemeine Hunde Ausstellung zu Coeln

1876

M302

230

228

126

Fünfte Geflügel-Ausstellung zu Coeln

1877

M303

231

229

NA

Arms of Malines—P. J. Van Beneden

1877

M304

232

230

122

Arms of Malines—wreath reverse

1877

M305

NA

NA

NA

Hotel de Ville—Comice Agricole d’Audenarde[sic] Exposition 1877

1877

M306

NA

NA

NA

Arms of Malines—Club des Gymnastes Malinois

1878

M307

NA

NA

NA

Maison de Sureté—St. Gilles

1885

M308

NA

NA

86

316



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

N.P. van den Berg— Netherlands Indies

1889

M309

233

NA

149

Louvain—Distribution d’Eau Inaugurée

1890

M310

NA

NA

NA

Ypres—Visite Officielle

1891

M311

NA

NA

NA

Les Halles d’Ypres—Festival d’Harmonie

1893

M312

NA

NA

NA

Les Halles d’Ypres—Stad Yper

1897

M313

NA

NA

NA

Léopold Premier—Charleroi Veterans

1897

M314

NA

NA

NA

Les Halles d’Ypres—Festival d’Harmonie et Chant d’Ensemble (13 Août 1899)

1899

M315

NA

NA

NA

City of Furnes—Tentoonstelling

1899

M316

NA

NA

NA

Ypres—Visite Officielle

1901

M317

NA

NA

NA

Hospice for the blind—Royal Philanthropical Society of Brussels

1903

M318

NA

NA

101

Ypres—De Stad Yper

1913

M319

NA

NA

NA

Statue of André Vésale

1847

JB1

J1

231

164

Statue of Godfrey of Bouillon

1848

JB2

J2

232

165

Marché de la Madeleine

1849

JB3

J3

233

166

Statue of Burgermeister Rouppe

1850

JB4

J4

234

167

Brussels—Names of the Municipal Administration

1851

JB5

J5

235

168

Brussels—Names of the Municipal Administration

1852

JB6

J6

236

NA

Brussels—Names of the Municipal Administration

1853

JB7

J7

237

NA

Brussels—Names of the Municipal Administration

1854

JB8

J8

238

NA

Brussels—Names of the Municipal Administration

1855

JB9

J9

239

NA

Brussels—Names of the Municipal Administration

1856

JB10

J10

240

NA

Brussels—Names of the Municipal Administration

1857

JB11

J11

241

NA

Brussels—Names of the Municipal Administration

1858

JB12

J12

242

NA

Brussels—Names of the Municipal Administration

1859

JB13

J13

243

169

Brussels—Names of the Municipal Administration

1860

JB14

J14

244

NA

Madeleine Interior—Names of the Municipal Administration

1860

JB15

NA

NA

NA

317



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Brussels—Names of the Municipal Administration

1861

JB16

J15

245

NA

Brussels—Names of the Municipal Administration

1862

JB17

J16

246

170

Brussels—Names of the Municipal Administration

1863

JB18

J17

247

NA

Brussels—Names of the Municipal Administration

1864

JB19

J18

248

171

Brussels—Names of the Municipal Administration

1865

JB20

J19

249

172

Brussels—Names of the Municipal Administration

1866

JB21

J20

250

173

Brussels—Names of the Municipal Administration

1867

JB22

J21

251

174

Brussels—Names of the Municipal Administration

1868

JB23

J22

252

175

Brussels—Names of the Municipal Administration

1872

JB24

NA

NA

NA

Brussels—Names of the Municipal Administration

1873

JB25

NA

NA

NA

Brussels—Names of the Municipal Administration

1874

JB26

NA

NA

NA

Brussels—Names of the Municipal Administration

1875

JB27

NA

NA

NA

Brussels—Names of the Municipal Administration

1876

JB28

NA

NA

NA

Brussels—Names of the Municipal Administration

1877

JB29

NA

NA

NA

Godfrey of Boullion / Marché de la Madeleine (Mule)

1882

JB30

NA

253

NA

Ypres—Key Votes of the Municipal Administration

1848

JY1

J23

254

NA

Ypres—Key Votes of the Municipal Administration

1849

JY2

J24

255

NA

Ypres—Key Votes of the Municipal Administration

1850

JY3

J25

256

NA

Ypres—Key Votes of the Municipal Administration

1851

JY4

J26

257

NA

Ypres—Key Votes of the Municipal Administration

1852

JY5

J27

258

NA

Ypres—Key Votes of the Municipal Administration

1853

JY6

J28

259

188

Ypres—Key Votes of the Municipal Administration

1854

JY7

J29

260

NA

318



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Ypres—Key Votes of the Municipal Administration

1855

JY8

J30

261

NA

Ypres—Key Votes of the Municipal Administration

1856

JY9

J31

262

NA

Ypres—Key Votes of the Municipal Administration

1857

JY10

J32

263

NA

Ypres—Key Votes of the Municipal Administration

1858

JY11

J33

264

NA

Ypres—Key Votes of the Municipal Administration

1859

JY12

J34

265

NA

Ypres—Key Votes of the Municipal Administration

1860

JY13

J35

266

NA

Ypres—Key Votes of the Municipal Administration

1861

JY14

J36

267

NA

Ypres—Key Votes of the Municipal Administration

1862

JY15

J37

268

189

Ypres—Key Votes of the Municipal Administration

1863

JY16

J38

269

NA

Ypres—Key Votes: JY1 Obverse / JY16 Reverse

1863

JY17

J38a

NA

190

Ypres—Key Votes of the Municipal Administration

1864

JY18

J39

270

NA

Ypres—Key Votes: JY1 Obverse / JY18 Reverse

1864

JY19

J39a

NA

NA

Ypres—Key Votes of the Municipal Administration

1865

JY20

J40

271

NA

Ypres—Key Votes: JY1 Obverse / JY20 Reverse

1865

JY21

J40a

NA

NA

Ypres—Key Votes of the Municipal Administration

1866

JY22

J41

272

NA

Ypres—Key Votes: JY1 Obverse / JY22 Reverse

1866

JY23

J41a

NA

NA

Ypres—Key Votes of the Municipal Administration

1867

JY24

J42

273

NA

Ypres—Key Votes: JY1 Obverse / JY24 Reverse

1867

JY25

J42a

NA

NA

Ypres—Key Votes of the Municipal Administration

1868

JY26

J43

274

NA

Ypres—Key Votes: JY1 Obverse / JY26 Reverse

1868

JY27

J43a

NA

NA

Ypres—Key Votes of the Municipal Administration

1869

JY28

J44

275

NA

Ypres—Key Votes: JY1 Obverse / JY28 Reverse

1869

JY29

J44a

NA

NA

319



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Ypres—Key Votes of the Municipal Administration

1870

JY30

J45

276

NA

Ypres—Key Votes: JY1 Obverse / JY30 Reverse

1870

JY31

J45a

NA

NA

Ypres—Key Votes of the Municipal Administration

1871

JY32

J46

277

NA

Ypres—Key Votes: JY1 Obverse / JY32 Reverse

1871

JY33

J46a

NA

NA

Ypres—Key Votes of the Municipal Administration

1872

JY34

J47

278

NA

Ypres—Key Votes: JY1 Obverse / JY34 Reverse

1872

JY35

J47a

NA

NA

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1850

JY36

NA

NA

180

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1851

JY37

NA

NA

181

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1854

JY38

NA

NA

183

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1858

JY39

NA

NA

182

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1865

JY40

NA

NA

185

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1866

JY41

NA

NA

NA

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1867

JY42

NA

NA

186

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1868

JY43

NA

NA

184

Ypres—Key Votes: Berckel Obverse / Wiener reverse

1872

JY44

NA

NA

187

Ypres—Arms—Laurel crown with Wreath below on reverse

1853

JY45

NA

NA

NA

Tournay—Municipal council

1849

JT1

J48

279

NA

Tournay—Municipal council

1850

JT2

J49

280

NA

Tournay—Municipal council

1851

JT3

J50

281

NA

Tournay—Municipal council

1852

JT4

J51

282

NA

Tournay—Municipal council

1853

JT5

J52

283

176

Tournay—Municipal council

1855

JT6

J53

284

NA

Tournay—Municipal council

1856

JT7

J54

285

NA

Tournay—Municipal council

1857

JT8

J55

286

NA

Tournay—Municipal council

1858

JT9

J56

287

NA

Tournay—Municipal council

1859

JT10

J57

288

NA

Tournay—Municipal council

1860

JT11

J58

289

NA

320



De s c ripti on

Ye ar

Ross

Van H oyd on c k

B o uhy

Re ine c k e

Tournay—Municipal council

1861

JT12

J59

290

179

Tournay—Municipal council

1862

JT13

J60

291

NA

Tournay—Municipal council

1863

JT14

J61

292

178

Tournay—Municipal council

1864

JT15

J62

293

177

Tournay—Municipal council

1865

JT16

NA

NA

NA

Tournay—Municipal council

1866

JT17

NA

NA

NA

Tournay—Municipal council

1867

JT18

NA

NA

NA

Tournay—Municipal council

1868

JT19

NA

NA

NA

Tournay—Municipal council

1869

JT20

NA

NA

NA

Tournay—Municipal council

1870

JT21

NA

NA

NA

Tournay—Municipal council

1871

JT22

NA

NA

NA

Tournay—Municipal council

1872

JT23

NA

NA

NA

321



Appendix 2

Listed below are the purchase histories of the Victoria & Albert Museum and the British Museum directly from Jacques Wiener (likely in the case of the Victoria and Albert, documented as such by the British Museum). Each institution paid seven shillings for each

specimen acquired. The acquisition year is embedded as part of the inventory number for each museum. It is curious given the temporal proximity of the 1862 purchase by each museum that the specific medals acquired differ slightly.

Me dal

Pri c e

V&A Inve ntory

BM Inve ntory

Metal

State House of Amsterdam

7s

7970-‘62

1862,0724.25

AE

Cathedral of Aix-la-Chapelle (Aachen)

7s

7981-‘62

1862,0724.15

AE

St. Paul’s Cathedral, London

7s

7961-‘62

1862,0724.2

AE

Convent of Batalha

7s

7982-‘62

1862,0724.24

AE

Church of St. Apollinaris on the Rhine

7s

7983-‘62

1862,0724.22

AE

Cathedral of York

7s

7960-‘62

1862,0724.4

AE

Basilica of St. Mark at Venice

7s

7972-‘62

1862,0724.9

AE

Cathedral of Notre-Dame, Paris

7s

7967-‘62

1862,0724.7

AE

Cathedral of Cologne

7s

7987-‘62

1862,0724.14

AE

Bonn Minster

7s

7980-‘62

1862,0724.12

AE

Westminster Abbey

7s

7959-‘62

1862,0724.3

AE

Cathedral of Winchester

7s

7962-‘62

1862,0724.5

AE

Cathedral of Lincoln

7s

7963-‘62

1862,0724.6

AE

Cathedral of Tournay

7s

7971-‘62

1862,0724.11

AE

Church of St. Peter, Rome

7s

7984-‘62

1862,0724.1 1870,0801.11

AE

Church of St. Isaac at St. Petersburg

7s

7974-‘62

1862,0724.8

AE

Church of St. Geneviève (Panthéon)

7s

7968-’62

1862,0724.23

AE

Cathedral of Cordoba

7s

7975-‘62

1862,0724.13

AE (M220, both institutions)

Walhalla

7s

7979-‘62

1862,0724.26

AE

Church of St. Ouen, Rouen

7s

7965-’62

1862,0724.18

(AE) – entry omitted

Hagia Sophia, Constantinople

7s

7985-‘62

1862,0724.21

AE

Cathedral of Reims

7s

7978-‘62

1862,0724.10

AE

Cathedral of Milan

7s

7973-‘62

1862,0724.16

AE

Cathedral of St. Stephen, Vienna

7s

7976-‘62

1862,0724.17

AE

323

Cathedral of Speyer

7s

7969-‘62

1862,0724.19

AE

Cathedral of Strasbourg

7s

7966-‘62

1862,0724.20

AE

Cathedral of Chartres

7s

7964-‘62

1870,0801.3

AE

Cologne Synagogue

7s

7986-‘62

1870,0801.16

AE

Cathedral of Trondheim

7s

7977-‘62

1870,0801.5

AE

Basilica of St. Paul, Rome

7s

160-‘64

1981,0818.1

AE

Cathedral of Pisa

7s

158-‘64

1870,0801.12

AE

Church of St. Stephen at Caen

7s

159-‘64

1870,0801.9

AE

Church of St. Front, Périgueux

7s

161-‘64

1870,0801.10

AE

Duomo of Siena

7s

83-‘66

1870,0801.4

AE

Duomo of Florence

7s

52-‘67

1870,0801.13

AE

Bamberg Cathedral

7s

82-‘66

1870,0801.8

AE

Cathedral of Magdeburg

7s

53-‘67

1870,0801.6

AE

Mainz Cathedral

7s

84-‘66

1870,0801.2

AE

Church of Sts. Michael and Gudule

7s 7s

51-‘67 36-‘68

1870,0801.1

AE AE

Church of St. Maria a Belém

7s

37-‘68

1870,0801.14

AE

Burgos Cathedral

7s

657-‘70

1870,0801.7

AE

324

References

General Works

Errera-Bourla, Milantia. 2000. Les Errera: une histoire juive: parcours d’une assimilation. Brussels: Éditions Racine: 45. Moens, Jean-Baptiste. 1899. “Nécrologie Mort de M. Jacques Wiener,” Le Timbre-Poste et le Timbre Fiscal. Brussels: J. B. Moens: 191. Stern, Gerald. “Jacob Jacques Wiener,” Stern and Löbl Families Database. Stern, Gerald. “Sara Sarah Sare Baruch,” Stern and Löbl Families Database. Urban, Sylvanus. 1847. The Gentleman’s Magazine Vol. XXVII. London: John Bowyer Nichols & Son: 335. 1853. Illustrirte Zeitung XX Band Nr 506. Leipzig: Johan Jacob Weber: 168. 1868. “Culte Israélite,” Almanach royal officiel de Belgique. Brussels: Guyot: 419.

Alvin, Frederic. 1892. “The Brothers Wiener: Medallists,” The Magazine of Art. London, Paris, and Melbourne: Cassell and Company: 55–60. Baillion, Fernand. 1949. “Nécrologie—Frédéric Alvin,” Revue belge de numismatique et de sigillographie Vol. XCV. Brussels: Société Royale de Numismatique: 163–68. Friedenberg, Daniel. 1976. Jewish Minters and Medalists. Philadelphia: The Jewish Publication Society of America: 34. Huggins, Darran N. 1987. “The Genius of Jacques Wiener Master of the Architectural Medal,” The Numismatist Vol. 100 No. 7. Colorado Springs: American Numismatic Association: 1407–12. Taylor, Jeremy. 1978. The Architectural Medal England in the Nineteenth Century. Bristol: British Museum Publications Ltd: 215–16.

The Man—From the Pen of Wiener and His Correspondence

The Man—Personal and Family

Dratwa, Daniel. 1997. Médailles à theme juif de Belgique suivi de/Gevolgd door “Mon Passé” de/van Jacques Wiener. Brussels: Musée juif de Belgique: 87–99. Schayes, Antoine. Antoine Schayes to Jacques Wiener, November 22, 1853. Royal Library of Belgium. Wiener, Jacques. Jacques Wiener to Henry Mogford, March 5, 1853. Royal Library of Belgium. Wiener, Jacques. Jacques Wiener to Henry Mogford, March 15, 1853. Royal Library of Belgium. Wiener, Jacques. Jacques Wiener to Henry Mogford, March 29, 1853. Royal Library of Belgium. Wiener, Jacques. Jacques Wiener to Henry Mogford, August 25, 1853. Royal Library of Belgium. Wiener, Jacques. Jacques Wiener to Henry Mogford, October 21, 1853. Royal Library of Belgium. Wiener, Jacques. Jacques Wiener to Henry Mogford, November 21, 1853. Royal Library of Belgium.

Alvin, Frederic. 1900. “Nécrologie—Jacques Wiener,“ Revue belge de numismatique Vol. LVI. Brussels: Société Royale de Numismatique: 234–36. Burke, John Bernard. 1847. The Patrician Vol. V. London: E. Churton: 511. Cahen, Isidore. 1899. “Nécrologie Jacques Wiener,” Archives israélites. Paris: Bureau des Archives israélites: 368–69. Cahen, Samuel. 1858. “Belgique et Hollande,” Archives israélites. Paris: Bureaux des Archives israélites: 237. Communauté israélite de Bruxelles. 1978. La Grande synagogue de Bruxelles, 1878-1978: contributions à l’histoire des Juifs de Bruxelles. Brussels: Communauté israélite de Bruxelles: 35.

325

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The Monuments Saints Michael and Gudula Jourdain, Jean-Auguste. 1869. Dictionnaire encyclopédique de géographie historique du royaume en Belgique. Brussels: F. Vromant: 151. Cologne Cathedral Glendinning, Miles. 2013. The Conservation Movement: A History of Architectural Preservation: Antiquity to Modernity. New York: Routledge: 82–84. Higgins, Sean. 2017. “3D Scanning the Largest Building in the World (Circa the 1800s),” Spar 3D Newsletter. Accessed 8 June 2018. www.spar3d.com/news/ lidar/3d-scanning-largest-building-world-1800s/. Sperber, Jonathan. 1991. Rhineland Radicals: The Democratic Movement and the Revolution of 1848–1849. Princeton: Princeton University Press: 305–13. 1847. "Quarterly Review on Cologne Cathedral," The Westminster and Foreign Quarterly Review Vol. XLVII. London: George Luxford: 90. 1848. Kölner Domblatt, 30 July 1848. Köln: ZentralDombau-Verein zu Köln. 1851. Kölner Domblatt, 4 May 1851. Köln: ZentralDombau-Verein zu Köln. 1860. Kölner Domblatt, 3 June 1860. Köln: Zentral-

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The Medals—Nineteenth Century General Reference Documents Cahen, Isidore. 1873. “Nécrologie Louis Lassen, de Bruxelles,” Archives Israélites. Paris: Bureaux des Archives israélites: 665–67. Picqué, Camille. et al. 1890. Médailles Historiques de Belgique Publiées sous les Auspices de la Société Royale de Numismatique. Brussels: Goemaere: 49–50. Tarlier, Hippolyte. 1854. Almanach du commerce et de l’industrie. Brussels: Tarlier: 408. ______. 1857. Almanach du commerce et de l’industrie. Brussels: Vanbuggenhoud: 131. 1839. Annuaire général du commerce, judiciaire et administratif de France et des principales villes du monde. Paris: La Société des Annuaires: 442.

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Erbkam, Georg (ed). 1856. Zeitschrift für Bauwesen Vol. 6. Berlin: Ernst & Korn: 289-90 Hess, Adolph. 1904. Catalog der Medaillen-Sammlung des Herrn Eduard Mertens-Hannover. Frankfurt: Adolph Hess AG.: 68. Heussner, Ferdinand. 1860. Catalogue des monnaies et médailles formant le cabinet de feu J. B. Th. de Jonghe. Brussels: M. Weissenbruch: 264–65. Leitzmann, Johann Jakob. 1852. Numismatische Zeitung Vol. 19, No. 24. Weissensee: Grossmann: 192. Mezger, Moritz. 1862. Sieben und achtundzwanzigster combinirter Jahresbericht des historischen KreisVereins im Regierungsbezirke von Schwaben und Neuburg für die Jahre 1861 und 1862. Augsburg: Ph. J. Pfeiffer: 59. Schmid, Georg Victor. 1861. Die mediatisirten freien Reichsstädte Teutschlands. Frankfurt am Main: Sauerländer: 18, 49. Société royale de numismatique de Belgique. 1853. Revue de la numismatique belge. Volume IX. Brussels: Librairie polytechnique d‘Aug. Decq.: 156. ______. 1854. Revue de la numismatique belge. Volume X. Brussels: Librairie polytechnique d’Aug. Decq.: 138, 469. ______. 1862. Revue de la numismatique belge. 3e Série Tome VI. Brussels: Librairie polytechnique d’Aug. Decq.: 292. Société royale des beaux-arts et de littérature (Ghent, Belgium), Société royale d’agriculture et de botanique de Gand. 1855. Messager des sciences historiques: ou Archives des arts et de la bibliographie de Belgique Vol. 23. Ghent: L. Hebbelynck: 235–36. Strobridge, William H. 1874. Catalogue of a private collection of ancient coins, and at the Close, a Few Modern Coins, with an Addenda. New York: William H. Strobridge: 94. Van der Chies, Peter Otto. 1867. Het munt- en penningkabinet der Leidsche Hoogeschool in 1867. Leiden: Couvée: 20, 54, 140. Verhulst, Ferdinand. 1867. Catalogue d’une très-belle et nombreuse collection de médailles, jetons et méreaux, relatifs à l’histoire des dix-sept provinces des Pays-Bas, et d’une suite très-riche de monnaies pour les Flandres, en or, argent et en cuivre, délaissée par M. Pierre-Jacques Goetghebuer. Ghent: De Busscher et Fils: 20. Wap, Jan Jakobus Franciscus. 1856. Astrea. Utrecht: J. D. Doorman: 465–66. Weigel, Rudolph. 1856. Intelligenz-Blatt zum Archiv für die zeichnenden Künste. No. 3. Leipzig: Rudolph

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Weigel: XXV. Weyden, Ernst. 1854. Die neuen Glasgemälde im Dome zu Köln. Köln: J. P. Bachem. Wuerst, E. A. 1868. “Die Münzen und Medaillen Bonn’s." in Bonn: Beiträge zu seiner Geschichte und seinen Denkmälern : Festschrift überricht den Mitgliedern des Internat. Congresses für Alterthumskunde und Geschichte, ed. Franz Ritter. Bonn: Carl Georgi: 42. Zipser, Andreas. 1854. “Numismatische Novitäten,“ Numismatische Zeitung. Blätter für Munz-, Wappen-, und Siegel-Kunde. Weissensee: Grossmann: 103. 1854. Algemeene Konst- en Letterbode. ‘sGravenhage: Martinus Nijhoff, Haarlem: Loosjes: 46. 1854. Algemeene Konst- en Letterbode. ‘s Gravenhage: Martinus Nijhoff, Haarlem: Loosjes: 218–19. 1854. Algemeene Konst- en Letterbode. ‘sGravenhage: Martinus Nijhoff, Haarlem: Loosjes: 323. 1856. Algemeene Konst- en Letterbode. ‘sGravenhage: Martinus Nijhoff, Haarlem: Loosjes: 8, 14, 16. 1854. “Art in Continental States,” The Art Journal. London: Virtue and Company: 29. 1862. “Minor Topics of the Month,” The Art Journal. London: Virtue: 163, 222. 1866. Berliner Blätter für Münz- Siegel und Wappenkunde Vol. 3. Berlin: Ferdinand Schneider: 312. 1857. Berlinische Nachrichten von Staats- und gelehrten Sachen. Berlin: Haude & Spene. 1860. “Medallic Architecture,” Building News and Engineering Journal Volume the Sixth. London: Building News: 555. 1865. Catalogue des monnaies et médailles formant la collection de feu M. Braemt: 20 et 21 mars 1865. Brussels: Devroye: 44. 1863. Catalogue du cabinet de médailles, jetons, monnoyes, pièces obsidionales, de nécessité, de révolution, etc. Gorinchem: H. Horneer: 60. 1860. Catalogue d’une riche et nombreuse collection de médailles et monnaies anciennes, du moyen-âge et des temps modernes, [...] délaissée par M. Charles Joseph Antoine Jean De Crane d'Heisselaer. Brussels: Devroye: 142. 1851. “Mengelingen,” De Eendragt. Ghent: Michiels: 64. 1839. “Venlo den 12 October,” Groninger Courant October 18, 1839: 2. 1848. De eendragt: veertiendaegsch tijdschrift voor letteren, kunsten en wetenschappe No. 9. Ghent: Michiels: 36.

1866. Einunddreissigster Jahres bericht des historischen Kreis-Vereins im Regierungsbezirke von Schwaben und Neuburg für das jahr 1865. Augsburg: Ph. J. Pfeiffer: XXX. 1861. Illustrirte Zeitung XXXVII Band Nr 950. Leipzig: Johan Jacob Weber: 195. 1861. Illustrirte Zeitung XXXVII Band Nr 963. Leipzig: Johan Jacob Weber: 426. 1839. Journal de La Haye October 19, 1839: 3. 1858. “Arts, Sciences et Lettres,” Journal de Bruxelles, June 28, 1858: 2. 1867. Kölner Domblatt, August 31, 1867. Köln: ZentralDombau-Verein zu Köln. 1867. Kölner Domblatt, September 30, 1867. Köln: Zentral-Dombau-Verein zu Köln. 1852. Der Kölner Männer-Gesang-Verein unter Leitung des königlichen Musik-Direktors [...] Franz Weber. Köln: Franz Carl Eisen: 88. 1862. Leydsche Courant February 26, 1862: 1. 1848. “Das Dombaufest zu Köln,” Neue Münchener Zeitung. August 21, 1848. 1865. Neunundzwanzigster und dreissigster kombinierter Jahresbericht des historischen Kreis Vereins im Begierungsbezirke von Schwaben und Neuburg für die Jahre 1863 und 1864. Augsburg: Ph. J. Pfeiffer: XXXVIII. 1866–67. Oberbayerisches Archiv für vaterländische Geschichte Vol. 27. München: Dr. C. Wolf & Son: 135–36. 1853. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 3. Köln: DuMont-Schauberg: 16. 1854. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 4. Köln: DuMont-Schauberg: 23, 87–88. 1856. Organ für christliche Kunst: Organ des Christlichen Kunstvereins für Deutschland Vol. 6. Köln: Dumont-Schauberg: 24. 1848. Stenographischer Bericht über die Verhandlungen der Deutschen Constituirenden Nationalversammlung zu Frankfurt am Main Vol. 2. Frankfurt am Main: Johann David Sauerländer: 1466–67. “V&A Search the Collections Cathedral of Burgos.” Victoria & Albert Museum. Accessed November 1, 2017, http://collections.vam.ac.uk/item/O166428/ cathedral-of-burgos-medal-wiener-jacques/.

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The Medals— Nineteenth Century Expositions Siret, Adolphe. 1848. Exposition Nationale de 1848: Revue du Salon. Brussels: Ch.-J.-A. Greuse: 110–12. Yapp, George Wagstaffe (ed). 1851. Official Catalogue of the Great Exhibition of the Works of Industry of All Nations 1851. Corrected Edition. London: W. Clowes & Sons: 213. 1851. The Illustrated London News. Exhibition Supplement. Number 515—Volume XIX: 301. Sproule, John (ed). 1854. The Irish Industrial Exhibition of 1853: a detailed catalogue of its contents. Dublin: J. McGlashan. 1854. Exposition générale des Beaux-Arts: 1854. Brussels: Stapleaux: 126. 1855. Archives Israélites Vol. 16. Paris: Bureau des Archives israelites: 448–49. 1855. Exposition Universelle de 1855. Explication des ouvrages de peinture, sculpture, gravure, lithographie, et architecture. Paris: Vinchon: 54–55. 1860. Exposition générale des Beaux-Arts à Bruxelles. Le Salon de 1860 – Catalogue Explicatif. Brussels: Schaefels & Sopers: 135–36. 1861. Archives Israélites Vol. 22. Paris: Bureau des Archives israelites: 112. 1861. Exposition nationale: catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin [...] au Salon d‘Anvers. Anvers: J. P. Van Dieren and Co.: 178–79. 1862. Catalogue des produits industriels et des oeuvres d‘art: Exposition universelle de Londres en 1862. Belgique. Brussels: Lelong: 267–68. 1863. Exhibition of the Royal Academy of Arts MDCCCLXIII the Ninety-Fifth. London: William Clowes & Sons: 47. 1866. Paris Salon 1866 Explication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants des Pensionnaires de l’Académie de France a Rome, et des grands Prix de 1865 Exposés au Palais des Champs Élysées le 1er mai 1866. Paris: Charles de Mourgues Frères: 394. 1866. Exposition générale des beaux-arts 1866. catalogue explicative. Brussels: Lelong: 154. Dentu, Edouard (ed). 1867. Exposition universelle de 1867 a Paris catalogue général publié par la Commission impériale: Oeuvres d’art groupe 1, classes 1 a 5, Vol. 1. Paris: Dumont: 128. 1873. Exposition Universelle de Vienne en 1873 Belgique

Catalogue des Produits Industriels et des Oeuvres d’Art. Brussels: E. Guyot: 292–93. 1876. International Exhibition, 1876: Official Catalogue, Part II, Art Gallery, Annexes, and Outdoor Works of Art. Department IV.—Art, Part 2. Philadelphia: John R. Nagle for the Centennial Catalogue Company: 96–97. 1878. Catalogue officiel des oeuvres d’art, des produits de l’industrie et de l’agriculture: Section Belge. Second Edition. Brussels: Vanderauwera: 37–38.

Other Albrecht, Kerstin. 2000. “Jacques Wiener Medaillenserie mit berühmten Kathedralen,“ Monats Anzeiger #227. Nürnberg: Germanisches National Museum: 5–7. De Lombaert, Stefan. 2016. “Medal Producers in Belgium (19th–21st C.),” Colloquium Belgian Numismatics in Perspective: 131–75. De Smet, Firmin. 2016. “Enkele Onbekende Medailles van Jacques Wiener,” Flash 20467, October-December 2016: 248. Mazzariol, Mariachiara. 2010. “Hermann Friedrich Münster (1817–1868) libraio tedesco nella Venezia austriaca,” La fabbrica del libro—Bollettino di storia dell’editoria in Italia. Fondazione Mondadori. Schayes, Antoine Guillaume Bernard. 1849. Histoire de L’Architecture en Belgique. Brussels: Jamar: IV. Spink. Auction 17004 Lot 156. 29 March 2017. Ancient and Modern Coins of the World and the United States, Medals, Tokens, Orders & Paper Money Mail and Internet Bid Sale. New York: Stack’s Numismatists, August 18, 2009.

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Index À Juste Lipse—Anniversary reverse (Medal M234), 314 À Juste Lipse—Laurel wreath and legends reverse (Medal M133), 310 Aachen (Aix-la-Chapelle), 5, 6, 81, 82 Aachen Cathedral, 81, 82, 88, 89, 326 Aachen Cathedral (Medals M116, M117, M190), 18, 19, 22, 25–28, 31, 32, 34, 37, 47, 71, 80, 83–88, 93, 100, 111, 117, 118, 124, 125, 136, 147, 309, 312, 323 Aalst Agriculture and Horticulture Society (Medal M207), 313 Abadie, Paul, 265–267 Abbasids, 185 Abbaye de Saint-Étienne de Caen - See St. Stephen’s Church (Caen) Abbey of St. Peter (London), 143–146 Abdulmedjid, 167, 168, 170, 327 Académie de Dessin (Tournai) (Medal M294), 316 Act of Devotion - Léopold I (Medal M35), 306 Act of Devotion - Léopold II (Medal M285), 316 Aethelbert I, 109 Africa, 253, 294 Agricultural Association (Ypres) (Medal M280), 315 Agricultural Society of Luxembourg Virton Show – See Léopold I—Agricultural Society of Luxembourg Virton show Akerman, John Yonge, 118 Al-Andulus, 185 Al-Mansur ibn Abi Aamir, 185 Al-Rahman I, Abd, 185, 187, 188 Al-Rahman II, Abd, 185 Al-Rahman III, Abd, 185 Albrecht I von Käfernburg, 285 Albrecht, Kerstin, 25, 333 Alexander I (Tsar), 175, 177, 178 Alexander II (Tsar), 175, 177, 178 Alexandria, 121 Algemeene Konst- en Letterbode, 18–20, 37, 47, 88, 110, 118, 124, 125, 135, 136, 140, 147, 268, 332 Aljama, 185

Aljubarrota, Battle of, 91 Allgemeine Hunde Ausstellung zu Coeln (Medal M302), 316 Altar, 44, 112, 121, 139, 141, 145, 161, 175, 191, 201, 210, 211, 216–218, 221, 229, 241, 246–248, 273 Alvin, Frederic, 2, 4, 11, 20, 28, 48, 303, 325 Amblard (Photographer), 231 American Numismatic Association, 325 Amsterdam, 76, 77 Amsterdam State House, 76, 77, 79, 326 Amsterdam State House (Medal M66), 18, 19, 22, 25, 30, 31, 36, 37, 47, 71, 78–80, 99, 108, 136, 307, 323 Angels of the Mud, 276 Aqueduc de Braine l‘Alleud (Medal M140), 310 Arc de Triomphe (Laeken) (Medal M197), 313 Archbishop, 51, 95, 113, 128, 149, 199, 209, 210, 235, 241, 257, 285, 289 Architect, 16, 23, 44, 51, 53, 54, 56, 58–60, 70, 77, 78, 86, 91, 96, 98, 103, 105–107, 109, 118, 132, 134, 155, 162, 167, 175, 177, 178, 180, 181, 183, 193, 195, 196, 198, 200, 201, 209, 210, 236, 237, 242, 247, 248, 253, 254, 265, 266, 271, 275, 294, 298 Are, Gerhard von, 127 Arenberg, Dukes of, 7 Arenfeld, C., 236, 328 d’Argout, Antoine Maurice Apollinaire, 5 Arms of Malines – Club des Gymnastes Malinois (Medal M307), 316 Arms of Malines – P. J. Van Beneden (Medal M304), 316 Arms of Malines – Wreath (Medal M305), 316 Arms of the Duchy of Luxembourg (Medal M235), 314 Arms of Ypres (32 mm Medal M63), 307 Arms of Ypres (40 mm Medal M62), 307 Arms of Ypres (50 mm Medal M61), 307 Arms of Ypres—Léopold I reverse (Medal M155), 311 Arno River, 276 Arnoldi, Wilhelm (Bishop of Trier), 96 335

Arnolfo di Cambio (Lapo), 275, 277 Arnout, Jules Louis, 112, 200 Art Union of London, 36, 118, 329 Atatürk, Kemal, 168 Attila the Hun, 209 Audenaerde City Hall – See City Hall (Hôtel de ville) of Audenaerde Audoin (Archbishop of Rouen, Saint), 199 Augustin Aimable Dumon-Dumortier (Medal M110), 309 Aurelian Walls (Rome), 247 Avenarius & Mendelssohn, 37, 38, 47, 71, 88, 99, 100, 330 Avignon, 161 Bachelier, Charles Claude, 301, 302 Bahn Coblenz-Oberlahnstein – See Eroeffnung der Bahn Coblenz-Oberlahnstein Baillion, Fernand, 2, 325 Balearic Islands, 253 Ball, Philip, 231, 328 Bamberg, 280–282 Bamberg Cathedral, 51, 133, 280–282, 289, 329 Bamberg Cathedral (Medal M270), 22, 33, 274, 282–284, 288, 315, 324 Baptistery, 121, 248, 253, 276, 329 Barbazza, Francesco (Engraver), 251 Baroque, 43, 77, 82, 127, 215, 216, 221, 222, 225, 281, 290, 299, 326 Barry, Sir C. (Medal M256), 315 Baruch, Kivi, 5 Baruch, Sarah, 5, 325 Basilica, 13, 15, 18, 32, 81, 109, 110, 121–124, 127, 128, 131, 160–165, 209, 221, 222, 246–251, 265, 275, 281, 285, 310, 313, 314, 323, 324, 327, 328 Basilica of Constantine at Trèves, 15 Basilica of Saint Paul Outside the Walls – See St. Paul Outside the Walls Basilica Basilica of San Vitale (Ravenna), 81 Basilica of Santa Maria del Fiore – See Florence, Duomo of Batalha, 91 Batalha, Monastery of, 90, 91, 326 Batalha, Monastery of (Medal M119), 20, 22, 30, 31, 36, 47, 71, 92–94, 136, 309, 323 Batavian Republic, 77 Baudri, Friedrich, 47, 330 Bavaria, 193–196, 221, 224, 225, 281, 284 Bayot, Adolphe, 301, 302 Beatrice (Daughter of Ferdinand I of Portugal), 91

Beaufort (Count), 8 Beaulah, G. K., 36, 329 Beethoven, Ludwig van, 127 Beffroi de Tournay (Medal M128), 310 Beierlein, Johann Peter, 225, 284, 330 Belgian Cathedral Medal Series, 1, 8–10, 13–15, 21, 24, 26, 28, 46–48, 70, 72 Belgian Royal Library, 2, 15, 16, 24, 25, 27, 28, 36, 39, 45, 48, 62, 63, 65, 66, 79, 86, 87, 93, 98, 99, 107, 109, 110, 117, 118, 123, 129, 134, 139, 140, 146, 152, 157, 163, 169, 178, 179, 183, 188–190, 196, 197, 202, 207, 212, 216, 218, 219, 224, 229, 233, 238, 244, 250, 255, 260, 261, 267, 273, 278, 283, 287, 292, 296, 297, 300, 305, 325, 326 Belgian Royal Mint, 25, 39 Belgium, 1, 2, 4, 6–9, 11, 14–19, 22, 24, 25, 27–30, 36, 39, 44, 48, 62, 63, 65–67, 79, 86, 87, 93, 98, 99, 107, 109, 110, 117, 118, 123, 125, 129, 134, 139, 140, 146, 152, 157, 163, 169, 178, 179, 183, 188–190, 196, 197, 202, 205, 207, 212, 216, 218, 219, 224, 229, 233, 238, 244, 250, 255, 260, 261, 267, 273, 278, 283, 287, 292, 296, 297, 300 Benedict (Abbot of Peterborough), 150 Benedictine Monastery, 137, 199, 257, 285 Benedictine Order, 199, 248, 257 Benois, F. (Photographer), 180 Berlin, 193 Bermann, Josef, 125, 330 de Berneval, Alexandre, 199 Bernini, Gian Lorenzo, 162 Bianchi, Giuseppe, 13 Birgisson, Jon (Archbishop), 241 Birinus (Bishop), 149 Birmanns, Martin, 81, 326 Birmingham, 13, 34, 35 Bishop, 50, 96, 103, 109, 113, 131, 134, 137, 149, 155, 156, 162, 205, 215, 227, 231, 265, 271, 281, 283, 289, 290, 298 Bishop of Rome, 162 Bishop’s Palace in Liège (Medal M86), 308 Blanchet, Adrien, 230, 329 Boisserée, Sulpiz, 15, 16, 50, 96 Boitsfort, 11 Boitsfort Commune, The Poor of, 11 Bom, G. Theodore, 47, 48, 80, 88, 94, 100, 118, 125, 130, 136, 141, 147, 153, 158, 164, 170, 180, 184, 190, 198, 203, 208, 212, 220, 225, 229, 234, 239, 255, 268, 274, 330, 331 Bonaparte, Louis (King of Holland), 77 Bondone, Giotto di, 275, 277

336

Bonn, 67, 70, 126–128, 235 Bonn Cathedral, 31, 126–128, 327 Bonn Cathedral (Medal M149), 22, 31, 36, 37, 47, 71, 128–130, 310, 323, 332 Borromeo, Carlo (Archbishop), 210 Botanical Society Exposition (Medal M123), 309 Bouet, Georges, 258, 329 Bouhy, Victor, 1–5, 8–11, 13, 20, 21, 28–33, 36, 37, 39, 47, 66, 86, 88, 100, 111, 116, 135, 153, 225, 230, 268, 274, 303, 305–321, 329 Bourgogne, 155 Bouveret (Engraver), 5 Bowles, Henry Carington II, 112 Bowles, John, 112, 326 Bowswilwald, Paul, 265 Boytac, Diogo de, 294 Braekstad & Co. (Photographer), 240 Braemt, M., 47, 72, 332 Braille, Louis, 182 Bramante, Donato, 161, 162 Bratislava, 4 Bristol Cathedral, 15 British Museum, 20, 23, 24, 27, 38, 47, 49, 59, 72, 80, 88, 94, 100, 111, 119, 125, 130, 136, 141, 147, 153, 158, 164, 170, 180, 184, 190, 198, 203, 208, 212, 220, 225, 230, 234, 239, 245, 250, 255, 262, 268, 274, 279, 284, 288, 292, 297, 301, 323–324 Britton, John, 113, 119, 141, 150, 153, 262, 263, 326, 327, 329 Brogi, Giacomo, 212, 213 Brown, Richard, 122, 327 Bruges, 8, 21, 306, 307 Brunelleschi, Filippo, 275–278 Brussels, 4–12, 18, 19, 21, 22–24, 26, 29, 30, 35, 40, 43, 44, 46, 47, 64, 67, 70, 71, 78, 80, 87, 92, 93, 99, 100, 105, 106, 110, 111, 115, 116, 118, 123, 124, 128, 129, 130, 135, 139, 140, 145–147, 151, 152, 157, 158, 164, 169, 170, 180, 183, 184, 198, 202, 211, 212, 218–220, 225, 234, 243, 284, 301, 305–310, 313–315, 317–318 Brussels City Hall – See City Hall (Hôtel de ville) of Brussels Brussels Fine Arts Academy, 64, 135 Brussels Names of the Municipal Administration (Jetons JB1 - JB30), 317–318 Brussels Temple Administration, 11 Bruxelles – See Brussels Bullen, Michael, 138, 327 Burgos, 298–299, 329 Burgos Cathedral, 298–299, 301, 302, 329

Burgos Cathedral (Medal M282), 22, 23, 33, 64, 234, 299–302, 315, 324, 332 Burke, John Bernard, 9, 325 Bury & Schroeder, 268, 269 Buschetto, 253, 254 Butikov, George, 175, 327 Byzantine (Architecture), 121, 122, 247, 253 Byzantines, 167, 253 C. G. Boonzajer, 158, 245, 262, 332 Cahen, Isidore, 7, 11, 325, 330 Cahen, Samuel, 11, 325 Caligula (Roman Emperor), 162 Caliphate, 185 Calvinists, 155, 257 Campanile, 122, 186, 247, 248, 251, 253, 255, 271, 275–277, 329 Camposanto (Pisa), 253 Canterbury, Archbishop of, 257 Canterbury Cathedral, 15, 150 Cardin, Joannes (of Geissel) (Medal, M78), 308 Carl IV (King of Norway), 242 Carli, Enzo, 271, 272, 329 Carolingian (Architecture), 81, 82, 205, 227 Carradori, Giorgio, 210, 328 Carver, Samuel, 112 Caserne des Pompiers-Brussels (Medal M243), 314 Caserne du Petit Chateau (Medal M88), 308 Cassius (Martyr), 127 Cathedral Bridge (Cologne), 71 Cathedral Master (Cologne), 70, 72 Cathedrals Cathedral of Aix-la-Chapelle – See Aachen Cathedral Cathedral of Bourges, 298 Cathedral of Burgos – See Burgos Cathedral Cathedral of Chartres – See Chartres Cathedral Cathedral of Cologne – See Cologne Cathedral Cathedral of Cordoba – See Cordoba Cathedral Cathedral of Lincoln – See Lincoln Cathedral Cathedral of Magdeburg – See Magdeburg Cathedral Cathedral of Mainz - See Mainz Cathedral Cathedral of Notre-Dame (Paris) – See Notre Dame Cathedral (Paris) Cathedral of Périgueux – See St. Front of Périgueux Cathedral Cathedral of Reims – See Reims Cathedral Cathedral of Seville, 20, 22 Cathedral of Siena – See Siena, Duomo of 337

Cathedral of Speyer – See Speyer Cathedral Cathedral of St. Isaac – See St. Isaac’s Cathedral Cathedral of St. Stephen (Vienna) – See St. Stephen’s Cathedral (Vienna) Cathedral of Sts. Michael and Gudula - See Sts. Michael and Gudula Cathedral of Toledo – See Toledo Cathedral Cathedral of Tournai (50 mm Medals M23, M24), 306 Cathedral of Tournai (Most Remarkable Edifices of Europe Medal M200) – See Tournai Cathedral Cathedral of Trondheim – See Nidaros (St. Olaf ’s) Cathedral Cathedral of York – See York Cathedral Cathedrale de York (Medal M191), 31, 32, 40, 115, 116, 117, 312 Catherine II (Tsarina), 175 Catholic Church, 44, 50, 51, 82, 103, 122, 155, 161, 162, 167, 227 Cavaillé-Coll Organ, 200 Central Consistory of Belgium, 11 Central Dombauverein of Cologne – See ZentralDombau-Verein zu Köln Cercle Artistique of Brussels (Medal M90), 308 Chapel, 15, 16, 21, 43, 50, 81, 82, 84–86, 90–93, 121–123, 144–147, 161, 186, 199, 213, 215, 216, 222, 224, 253, 267, 290, 298, 299 Chapel of Henry VII, 16, 21, 144–147 Chapel of St. George, 15 Chapel of St. Isidore, 121 Chapel of St. Thecla (Burgos), 298 Chapuy, Nicolas-Marie-Joseph, 89, 234, 328 Charlemagne, 50, 81, 82, 84–86, 161, 205 Charleroi Veterans (Medal M314), 317 Charles I (King of England), 109 Charles II (King of England), 103, 109 Charles V (King of Spain, Holy Roman Emperor), 186 Charles VII (King of France), 205 Charles X (King of France), 205 Charles the Bald, 231 Chartres, 199, 231, 232, 328 Chartres, Battle of, 199 Chartres Cathedral, 205, 227, 231, 232, 328 Chartres Cathedral (Medal M238), 21, 33, 93, 230, 232–234, 239, 314, 324 Cheney, David, 82, 326 Childeric I, 155 Chilperic, 155 Choir (Choral Ensemble), 70, 216

Choir (Ecclesiastical Architecture), 35, 43, 45, 50–55, 57, 58, 60–63, 74, 81, 82, 84–86, 103, 104, 112, 113, 123, 127, 131, 138, 140, 144, 145, 150, 152, 154, 155, 157, 158, 186, 199, 205, 207, 215–218, 224, 231, 241, 242, 253, 257, 265, 266, 271, 281, 282, 289, 298 Cholera – See Léopold Premier—Cholera Chorus, Gerhard (Mayor of Aachen), 81, 82, 84–86, 326 Christ, 82, 255 Christian Architecture / Edifices / Art, 18, 50, 127, 167, 168, 185, 186, 227, 231, 235, 295 Christianity, 14, 109, 127, 143, 149, 161, 186, 205, 235, 241, 247, 271 Christie, Christian, 242 Church of Christ the Savior (Moscow), 175 Church of England, 103, 137 Church of Norway, 242 Church of Saints Michael and Gudula – See Sts. Michael and Gudula Church of St. Front at Périgueux – See St. Front of Périgueux Cathedral Church of St. Geneviève – See St. Geneviève (Panthéon) Church of St. Isaac – See St. Isaac’s Cathedral Church of St. Maria – See St. Maria of Belém Church of St. Martin (Medal M143), 310 Church of St. Nicholas (Hamburg), 227 Church of St. Ouen – See St. Ouen at Rouen Church Church of St. Peter (London) – See Westminster Abbey Church of St. Stephen (Caen) – See St. Stephen’s Church (Caen) Church of the Holy Apostles (Constantinople), 121, 265 Churches of Belgium Medal Series – See Belgian Cathedral Medal Series Cimabue, 253, 255 Circus of Nero, 161, 162 Cité Fontainas (Medal M279), 315 City Hall (Hôtel de ville) of Audenaerde—Floriculture and Horticulture (Medal M74), 308 City Hall (Hôtel de ville) of Audenaerde—Plan reverse (Medal M73), 308 City Hall (Hôtel de ville) of Bruges—Oak Wreath reverse (Medal M58), 307 City Hall (Hôtel de ville) of Bruges—Plan (Medal M52), 307 City Hall (Hôtel de ville) of Brussels—Colombier, 13E Prix J.F. Vanhemelryk reverse (Medal M104), 309

338

City Hall (Hôtel de ville) of Brussels—Colombier reverse (Medal M103), 309 City Hall (Hôtel de ville) of Brussels—Conseil Communale 1847 (Medal M34), 306 City Hall (Hôtel de ville) of Brussels—Conseil Communale 1848 (Medal M46), 307 City Hall (Hôtel de ville) of Brussels—Conseil Communale 1849 (Medal M59), 307 City Hall (Hôtel de ville) of Brussels—Conseil Communale 1850 (Medal M76), 308 City Hall (Hôtel de ville) of Brussels—Head of Apollo reverse (Medal M106), 309 City Hall (Hôtel de ville) of Brussels—Les Halles d’Ypres reverse error (Medal M54), 307 City Hall (Hôtel de ville) of Brussels—Plan reverse (Medal M33), 306 City Hall (Hôtel de ville) of Brussels—Refuge reverse (Medal M102), 309 City Hall (Hôtel de ville) of Brussels—Vandenberghen reverse (Medal M105), 309 City Hall (Hôtel de ville) of Ghent—25th Anniversary (Medal M196), 313 City Hall (Hôtel de ville) of Ghent—Inscription reverse (Medal M87), 308 City Hall (Hôtel de ville) of Ghent—Royal Agriculture and Botanical Society Exposition aux Petunia reverse (Medal M124), 309 City Hall (Hôtel de ville) of Ghent—Royal Agriculture and Botanical Society Exposition, blank center reverse (Medal M123), 309 City Hall (Hôtel de ville) of Ghent—Wreath with Soc. Roy. D’Agriculture and de Botanique de Gand reverse (Medal M125), 310 City Hall (Hôtel de ville) of Louvain—Arms reverse (Medal M44), 307 City Hall (Hôtel de ville) of Louvain—Laurel branch reverse (Medal M45), 307 City Hall (Hôtel de ville) of Louvain—Plan reverse (Medal M43), 306 City Hall (Hôtel de ville) of Tournai—Conseil Communale 1851 (Medal M89), 308 City of Antwerp—Conseil Communale reverse (Medal M233), 314 City of Brussels Police Agency (Medal M40), 306 City of Furnes—Mixed Oak and Laurel Wreath, blank center reverse (Medal M131), 310 City of Furnes—Mixed Oak & Laurel Wreath, Festival 12 Juin 1853 reverse (Medal M132), 310 City of Furnes—Oak(l) and Laurel(r) Wreath and blank field reverse (Medal M130), 310

City of Furnes—Tentoonstelling (Medal M316), 317 City of Ypres (Medals M61, M62, M63, M155), 307, 311 Clemen, Paul, 128 Cloister, 91, 127, 150, 155, 200, 206, 265, 290, 295, 299 Cloth Hall of Ypres – See Les Halles d’Ypres Clovis (King of the Franks), 205 Club de Gymnastes Malinois (Medal M307), 316 Clutton-Brock, Arthur, 114, 327 Coal Exchange, 13 Coal Tax, 103 Collegiate Church of Brussels (Medal M16), 306 Collegiate Church of Saints Michael and Gudula – See Sts. Michael and Gudula Cologne, 5, 27, 34, 50–52, 53, 54, 57–59, 83, 84, 86, 95, 96, 98, 127, 128, 155, 235–236, 326 Cologne Cathedral, 15, 50–52, 72–74, 96, 98, 200, 236, 290, 326 Cologne Cathedral (Medals M50, M81, M82, M151, M152, M240, M286, M287), 14, 18, 19, 22, 26, 28–37, 39, 47, 52–74, 80, 87, 88, 93, 100, 111, 117, 118, 124, 136, 147, 170, 307, 308, 310, 311, 314, 316, 323 Cologne Opera House, 236 Cologne Synagogue, 96, 235, 236, 328 Cologne Synagogue (Medal M239), 22, 33, 96, 230, 234, 235, 236–239, 314, 324 Cologne War, 127 Colombier (Medals M103, 104), 309 Colonne du Congrès (Medal M226), 314 Comice Agricole d’Audenarde (Medal M306), 316 Comines Fire Department (Medal M216), 313 Commission for the Conservation of Monuments— Ribbon reverse (Medal M112), 309 Commission Royale d’Histoire (Medal M228), 314 Community of the Crucified and Resurrected Love, 96 Compostela, Santiago de, 265 Concordat of 1801, 155 Concours Dramatique (Medal M290), 316 Conrad, Karl Emanuel, 73, 74 Conrad II (Holy Roman Emperor), 221 Conseil Communal—Antwerp 1861 (Medal M244), 314 Conseil Communal—Antwerp 1863 (Medal M264), 315 Conseil Communal—Antwerp 1864 (Medal M269), 315 Conservation, 51, 228, 272, 276 Consistoire Central de Belgique, 7

339

Constantine I (Roman Emperor), 15, 109, 127, 161, 247, 249, 251 Constantinople, 14, 18, 20, 32, 33, 121, 167, 168, 170, 265, 313, 323, 327 Constituent National Assembly, 67 Contarini, Domenico (Doge), 121 Convent of Batalha – See Batalha, Monastery of Cordoba, 185–186, 190–191, 328 Cordoba Cathedral, 185–186, 190–191, 328 Cordoba Cathedral (Medals M219, M220), 22, 24, 25, 32, 86, 170, 186–191, 313, 323 Cotta, Johann Georg, 70, 331 Council of Trent, 162 Courthouse – Verviers—Léopold I reverse (Medal M101), 309 Courthouse – Verviers—Plan reverse (Medal M100), 308 Cromwell, Oliver, 109 Crown Prince Wilhelm Friedrich (Later Wilhelm I), 96, 100 Crystal Palace, 15 Curie, Marie, 182 Curie, Pierre, 182 D-Day, 258 Da Vinci Code, 150 Danes, 113, 231, 143 Dannecker, Johann Heinrich von, 193 Danube River, 193 Davis, Joseph, 8, 13 Day, William, 170 De Brouckere Fountain (Medal M261), 315 De Lombaert, Stefan, 7, 333 De Smet, Firmin, 179, 333 De Stad Dendermonde (Medal M80), 308 Deanery (Lincoln Cathedral), 150 Deger, Ernst, 96, 98 Dehio, George, 281, 329 Della Porta, Giacomo, 162 Denmark, 18, 20, 22 Dentu, Edouard, 30, 333 Deutsch-Flämischer Sängerbund (Medal M29), 5, 306 Di Cagno, Gabriella, 276, 329 Diakov, Mikhail E., 39, 329 Didron, Adolphe N., 14, 331 Didron, Edouard, 14, 331 Dieudonné, Adolphe Edmond, 230, 329 Diocletian (Roman Emperor), 109 Distribution d’Eau Inaugurée (Medal M310), 317

Dom Pedro I, 295 Dombauverein Speyer, 221, 328 Dome (Architectural), 81, 87, 104, 110, 112, 121, 124, 125, 162, 164, 167, 168, 170, 175, 179, 181, 182, 238, 253, 265, 267, 275–278, 290, 292, 293 Dominican Order, 91 Don Mauricio (Bishop of Burgos), 298 Donations, 81, 228, 231, 248, 257 Donaustauf, 193 Doornik - See Tournai Doppelkapelle (Double Chapel), 222, 224 Dorchester, 149 Dordogne, 227 Double Choir, 281, 289 Dratwa, Daniel, 4, 325 Dublin, 29 Duke of Brabant—Philharmonic Society of Brussels (Medal M129), 310 Dukes of Ursel, 7 Dumas, Alexander, 182 Dumoulin, Jean, 156, 327 Duomo of Florence – See Florence, Duomo of Duomo of Pisa – See Pisa, Duomo of Duomo of Siena - See Siena, Duomo of Dürer, Albrecht, 193 Durham, Chapel of St. George, 15 Düsseldorf Academy, 96 Dutch – See Netherlands Early English Gothic (Architectural Style), 113 Earthquakes, 122, 150, 161, 167, 186, 227, 247, 295 East Germany, 286 Edgar I (King of England), 143 Edict of Milan, 247 Edward V (King of England), 144 Edward VIII (King of England), 144 Edward the Confessor, 143 Edwin (King of Northumbria), 113 Eeuwfeest – Maastricht (Medal M263), 315 Eggers, Friedrich, 111, 331 Egypt, 162, 248 Eidlitz, Robert James, 39, 329 Eighth School of the City (Medal M267), 315 Eimer, Christopher, 23, 39, 329 Einstein, Albert, 193 Eisen, Franz Carl, 8, 18, 27, 28, 34–38, 47, 54–56, 58–59, 64, 66–71, 80, 83–88, 94, 98, 100, 110, 111, 118, 124, 130, 136, 140, 141, 147, 153, 331, 332 Ekroll, Øystein, 242

340

Elizabeth I (Queen of England), 109 Elkington, Mason & Co., 18, 26, 34–38, 109–111, 115, 117–119, 139, 145, 146, 151, 152 Ely Cathedral, 15 English Cathedrals, 26, 35, 37, 109, 111, 117, 118, 121, 140, 141, 143, 147, 153, 242 English Civil War, 103, 113, 137, 150 English National Gothic (Architectural Style), 143, 150 English Reformation, 103, 113, 137, 143 Engraver, 2, 3, 4–8, 11, 13, 15, 18, 110, 119, 124, 147, 207, 208, 212, 234, 303 Erasmus, 193 Erban (Archbishop of Reims), 205 Erbkam, Georg, 71, 125, 331 Erlendsson, Øystein (Archbishop of Trondheim), 241 Eroeffnung der Bahn Coblenz-Oberlahnstein (Medal M268), 315 Eroeffnung der Rhein-Bahn Coeln-Mainz (Medal M227), 314 Errera-Bourla, Milantia, 11, 325 Etruscan, 253, 271 Eudoxia (Byzantine Empress), 167 European Economic Community, 295 European Union, 295 Excavations, 50, 127, 138, 161 Exhibition of the Industry of All Nations 1851 London (Medal M92), 308 Exhibitions and Expositions 1848 Exposition Nationale des Beaux-Arts, Brussels, 29, 67 1851 Great Exhibition, London, 29, 30 1853 Irish Industrial Exhibition, Dublin, 29 1854 Exposition Générale des Beaux-Arts, Brussels, 18, 29, 30, 47, 67, 80, 87, 99, 111, 118, 124 1855 Exposition Universelle, Paris, 29, 30, 47, 67, 80, 87, 99, 111, 118, 124, 140 1855 Exposition Universelle, Paris (Medals M156 through M187), 311, 312 1860 Exposition Générale des Beaux-Arts, Brussels, 29, 47, 67, 80, 87, 93, 99, 111, 118, 124, 130, 135, 140, 152, 158, 164, 180, 184, 198, 202, 212, 220, 225 1861 Exposition Nationale, Antwerp, 29, 30, 67, 80, 87, 93, 99, 111, 118, 124, 130, 135, 140, 152, 158, 164, 180, 184, 198, 202, 212, 220, 225, 245, 250 1862 International Exhibition, London, 29, 47, 67, 80, 87, 93, 99, 111, 118, 124, 130, 135, 140, 147, 152, 158, 164, 170, 180, 184, 198, 203, 208,

225, 245, 250, 262, 268 1863 Exhibition of the Royal Academy, 30, 135, 220 1866 Paris Salon, 29, 87, 124 1866 Exposition Générale des Beaux-Arts, Brussels, 29 1867 Exposition Universelle, Paris, 30, 93 1873 Universal Exposition, Vienna, 20, 30, 47, 67, 80, 87, 93, 99, 111, 118, 124, 135, 164, 180, 212, 225, 245, 250, 262, 268, 274, 278, 292 1876 International Exhibition, Philadelphia, 20, 30, 64, 67, 135, 297 1878 Exposition Universelle, Paris, 30, 67, 297 Fabris, Emilio de, 276 Falck, Anton Reinhard, 7, 9, 306 Falck, Anton Reinhard (Medal M11), 306 Fame Pulsa Egenis Succurrit—Inscription reverse, with oak wreath (Medal M41), 306 Fame Pulsa Egenis Succurrit—Plan reverse 1847 (Medal M42), 306 Fame Pulsa Egenis Succurrit—Plan reverse 1849 (Medal M65), 307 Fatima, 91 Feast Days, 88, 96, 175, 215, 275 Feast of the Nativity, 275 Feldmann, Achim, 82, 326 Férauche, J., 24 Ferdinand I (King of Portugal), 91 Ferdinand II (King Consort, Portugal), 91 Ferdinand III (King of Castille), 298 Festival d’Harmonie (Medal M312), 317 Festival d’Harmonie et Chant d’Ensemble (Medal M315), 317 Fête-Dieu (Medal M37), 67, 88, 306 Field of Miracles (Pisa), 253 Fire, 50, 77, 82, 91, 103, 106, 109, 113, 114, 116, 121, 122, 127, 149, 167, 199, 205, 209, 215, 221, 227, 230, 231, 232, 236, 242, 246, 247, 249, 251, 253, 265, 281, 283, 285, 289, 291 First World War – See World War I Flemish, 8, 70, 77 Flemish-German Singing Union (Medal M30), 306 Florence, 122, 275, 276 Florence Duomo of, 162, 271, 275, 276, 329 Florence, Duomo of (Medal M266), 22, 33, 274, 276–279, 288, 315, 324 Florentius (Martyr), 127 Floriculture and Horticulture (Audenaerde) – See City Hall (Hôtel de ville) of Audenaerde—Flori341

culture and Horticulture Foppen, M. (Photographer), 95 Forrer, Leonard, 2, 20, 28, 30, 31–33, 47, 66, 86, 116, 135, 153, 297, 329–330 Fossati, Gaspare, 167, 168, 170, 172 Fossati, Giuseppe, 167 Fourth Crusade, 121, 167 Francesco I (Grand Duke of Tuscany), 276 Franciscan Order, 96 Franco-Prussian War, 227 Franits, Wayne, 77, 326 Franks, 199, 205 Fratelli Alinari (Photographer), 270 Freckenhorst Church (Medal M115), 309 Frederick III (Holy Roman Emperor), 215 Frederick Barbarossa, 209 Frederick William IV (King of Prussia), 51, 54, 55, 57, 58, 60, 61, 62, 316 Freiherrn (Auction Catalogue), 125 Fremantle, Katherine, 77, 326 French Gothic (Architectural Style), 131, 143, 150, 281, 285 French Legends (on English Cathedral medals), 38, 108, 115, 116, 117, 119, 310, 312 French Revolution, 77, 96, 132, 155, 181, 182, 200, 205, 227 Friedenberg, Daniel, 4, 325 Friedrich III – See Frederick III Friedrich Wilhem IV – See Frederick William IV Friedrich, Wilhelm (Crown Prince, Later Frederick III), 72 Frotaire (Bishop of Périgueux), 265 Fuchs, Johann Peter (Medal M142), 100, 310 Fulbert (Bishop of Chartres), 231 Fünfte Geflüge—Ausstellung zu Coeln (Medal M303), 316 Fünfzig Jährige Vereinigung (Medal M276), 315 Furnes – See City of Furnes Fürstenberg-Stammheim, Franz Egon (Count), 96, 97, 100 Fußbroich, Helmut, 236, 328 Gagern, Heinrich von, 67, 70 Gailhabaud, Jules, 268, 269, 329 Galérie Valois, 6 Galilei, Galileo, 254 Gallia Belgica, 205 de Gama, Vasco, 294, 295 Gand – See Ghent Geerts, J., 9, 26, 27, 36, 110

Gent Fonteinisten (Medal M79), 308 George I (King of England), 110 George V (King of England), 35, 138 Géré, M., (Tailor, Jacques Wiener’s landlord), 6, 8, 9 German Confederation, 19, 67, 193 German-Flemish Singing Union (Medal M29), 5, 306 German V2, 96 Germanic Culture, 193, 227 Gervais (Archbishop of Reims), 205 Gesellschaft Flora zu Coeln (Medal M275), 315 Gewerbe-Ausstellung...Düsseldorf (Medal M114), 309 Ghent University, 176, 179 Ghiberti, Lorenzo, 275, 276 Gilbert, Antoine-Pierre-Marie, 199, 328 Glendinning, Miles, 51, 326 Glockengasse Synagogue – See Cologne Synagogue Gnoli, Domenico, 253, 329 Godfrey of Boullion (Jetons JB2, JB30), 317, 318 Godwin, George, 118, 153 Goetghebuer (Auction Catalogue), 47, 72, 88, 100, 111, 125 Goethe, Johann Wolfgang, 227, 328 Golden Stairs (Burgos Cathedral), 302 Good Friday, 281, 285 Gordo, Antonio Gámiz, 190, 328 Gothic (Architectural Style), 43, 46, 51, 52, 77, 82, 91, 96, 100, 113, 119, 121, 131, 135, 137, 143, 150, 154, 155, 200, 202, 209, 210, 215, 216, 227, 231, 232, 241, 257, 265, 267, 276, 281, 285, 290, 295, 298, 299 Grand Cale et Machine d’Épuisement (Medal M258), 315 Grand’ Garde of Tournai—Conseil Communale (Medal M77), 308 Grand’ Garde of Tournai—Plan (Medal M75), 308 Grand Rabbi Mr. Bloch, 11 Grand Theater of Brussels (Medal M153), 311 Great East Windows, 113, 114, 149 Great Fire of London, 103, 109 Greece, 18–20, 22, 193 Greek Cross, 121, 162, 181, 235, 265 Grégoire, Henri Charles Martin, 200–202 Grenzing Pipe Organ, 44 Grindal, Edmund (Anglican Bishop of London), 103 Gruber, Reinhard, 216, 328 Grucker, Jean Gustave, 227, 328 Guadalquivir River, 185 Guild of St. George, 121 Guioth, J. Léon, 1, 46, 48, 303, 330

342

Gulden (Dutch Monetary Unit), 7, 38 Haghe, Louis, 170–172, 327 Hagia Sophia, 166–168, 170–172, 327 Hagia Sophia (Medal M208), 18, 20, 32, 33, 168–172, 313, 323 Hague, 18, 37 Ha’Levi, Jacob, 4 Halliday, Thomas, 13 Hamburg, 227 Harelle Revolt, 199 Hasselt, Maison d’Arrêt (Medals M202, M203), 313 Hatto, Archbishop, 289 Haussmann, Baron Georges-Eugène, 132, 182 Haydn, Josef, 216 Heilbronn, 227 Heiligthumsfahrt, 82, 83, 86, 326 D’Heisselaer, M. Charles Joseph Antoine Jean de Crane (Catalogue), 30, 47, 80, 88, 94, 100, 111, 118, 125, 130, 136, 141, 147, 153, 158, 164, 255, 332 Hellenic, 193 Henri of France (Medal M26), 306 Henry I (Duke of Brabant), 43 Henry II (Duke of Bavaria, King of Germany, Holy Roman Emperor), 227, 281, 283, 284 Henry II (Jasomirgott), 215, 217, 218 Henry III (Holy Roman Emperor), 221, 271 Henry III (King of England), 143, 144 Henry IV (Holy Roman Emperor), 221 Henry VII (King of England), 143, 144 Henry VII (Lady) Chapel, 16, 21, 144–147 Henry VIII (King of England), 150 Henry Levyssohn (Medal M7), 305 Heritage Lottery Fund, 150 Hermitage de Restelo, 294 Hernandez, Félix (Architect), 191 Herold, Ferdinand (Composer), 5 Hess, Adolph, 268, 331 Heussner, Ferdinand, 30, 331 Hieronymites (Order of St. Jerome), 294 Higgins, Sean, 51, 326 Hildebold (Bishop, Archbishop of Cologne), 50 Hippeau, Célestin, 258, 329 Hirn, François-Joseph (Bishop of Tournai), 155, 156 Hirsch, H., 11 Holbrook, Sabra, 205, 206, 328 Holland, 4, 6, 7, 19, 77 Holy Roman Emperors, 127, 161, 186, 221, 227, 271, 281, 284, 285 Holy See, 294

Holy Trinity (Abbey), 257 Holy Wisdom, 18, 167, 168 Honorius (Roman Emperor), 247 Horses of St. Mark, 121 Hörstgen (Prussia), 4 Hospice for the Blind—Conseil Communale reverse (Medal M126), 310 Hospice for the Blind—Royal Philanthropical Society of Brussels (Medal M318), 317 Hospice for the Blind—Schaerbeek plan reverse error (Medal M127), 310 Hôtel de Ville – Audenarde—Concours Dramatique (Medal M290), 316 Hôtel de Ville—Comice Agricole d’Audenarde Exposition (Medal M306), 316 Hôtel de Ville de Gand— Mej. Th. Hofman (Medal M296), 316 Hôtel Vieux-Augustins, 5 House of Hanover, 103 House of Orange, 77 Huggins, Darran, 325 Hugo, Victor, 132, 182 Huguenots, 265 Hunald (Duke of Aquitaine), 231 Hunchback of Notre Dame, 132 Hundred Years War, 199, 205, 257 Île de la Cité, 131, 132, 182 Immaculate Conception (Medal M144), 310 India, 294, 295 Industrial Exposition—J. Allard Goldsmith (Medal M6), 305 Inner Close, 138 Insignia of the Canotiers Coeln (Medal M301), 316 International Exhibition—Exterior & Interior Die Pair (Medal M255), 315 International Exhibition – See Exhibitions and Expositions International Exposition – See Exhibitions and Expositions International Gartenbau—Ausstellung zu Coeln (Medal M297), 316 Isaac Penning Nieuwland (Medal M12), 306 Islam, 14, 121, 167, 186, 253 Istanbul, 167 Ittenbach, Franz, 96, 98 Ivanov, Timofei, 175 Ixelles, 9, 26 J. Allard Goldsmith – See Industrial Exposition—J.

343

Allard Goldsmith Jager, Andries (Photographer), 43 Jamaica, 9 Jena-Auerstedt, Battle of, 193 Jerusalem, 82, 232 Jesus (Swaddling Clothes relic), 82 Jeton, 1–3, 6, 28, 39, 40, 47, 158, 230, 245, 262, 303, 305 Jewish (Culture/Community/Heritage), 4, 7, 11, 14, 141, 235–237 Jewish Emancipation Rights (1848), 235 Joan of Arc, 200, 205 Joannes Cardin of Geissel – See Cardin, Joannes (of Geissel) Johann von Schraudolph, 222, 224 John I (Aviz, King of Portugal), 91 John I (King of Castille), 91 Jokilehto, Jukka, 272, 329 Jones, Inigo, 103, 138 de Jonghe Auction Catalogue, 30, 47, 49, 72, 80, 88, 94, 100, 111, 118, 125, 130, 136, 141, 147, 153, 158, 164, 170, 180, 184, 190, 198, 203, 208, 255, 268, 331 de Jonghe, J. B. Th. – See de Jonghe Auction Catalogue Jourdain, Jean-Auguste, 47, 326 Jubilee Feast of the Blessed Sacrament in Liège – See Fête Dieu Judaism – See Jewish Justice Cellulaire – Arlon (Medal M291), 316 Justinian (Byzantine Emperor), 167, 168 Kaiser Dom – See Speyer Cathedral Kaiser, Jürgen, 128, 327 Kant, Immanuel, 193 Key Votes - Ypres (Jetons JY1 – JY45), 318–320 Kikawa-Sanchez, Tomoko, 23 King Frederick Wilhelm IV – See Frederick William IV (King of Prussia) King Wilhelm / Queen Augusta—Rhein-Eisenbahnbrücke (Medal M292), 316 Kinross, Patrick, 167, 168, 327 Kleager, Scott, 285, 329 Klenze, Baron Leopold von, 193, 195, 196 Kloster Berge, 285 Knight of the Order of Léopold, 11 Koepok-inenting (Medal M10), 306 Köln – See Cologne Kölner Domblatt, 28, 37, 38, 67–74, 88, 94, 100, 111, 118, 124, 136, 140, 141, 147, 153, 326, 331, 332

Kölner Männer-Gesang-Verein (KGMV), 70 Koninglyke Maetschappy van Rhetorica—400th Jubilee (Medal M48), 307 Koninglyke Maetschappy van Rhetorica “Te Gent” (Medal M49), 307 Kristallnacht, 236 Künker GmbH, 179 La Grande Procession de Tournai, 156 Laborde, Alexandre, 190 Ladrey, E. (Photographer), 181 Laeken – New Church—Busts and Interior (Medal M273), 315 Laeken – New Church—Consecration (Medal M295), 316 Laeken – New Church—Interior and Exterior (Medal M272), 315 Laeken – New Church—Louise reverse (Medal M139), 125, 310 Laeken – New Church—May 1 (Medal M137), 125, 310 Laeken – New Church—May 27 (Medal M138), 125, 310 Lambert, Baron, 11 Lambert II (Count of Louvain), 43, 45 Lanfranc (Archbishop of Canterbury), 257 Lassen, Louis, 7, 330 Lassus, Jean Baptiste, 132, 134 Late Romanesque Architecture, 281 Latin Cross, 162 Laurent, Jean (Photographer), 298 Laurie, Richard Holmes, 112 Le Chevallier, Jacques, 132 Le Keux, Henry, 263 Leaning Tower of Pisa, 254, 255 Lechfeld, Battle of, 285 Lees-Milne, James, 161, 327 Left Bank of the Rhine, 95 Legros, Martin (Bellmaker), 127 Leidsche Hoogeschool, 234, 239, 331 Leipzig, 15, 37, 140, 193 Leipzig, Battle of, 193 Leitzmann, Johann Jakob, 8, 331 Leningrad, 175 Leonor (Queen of Portugal), 91 Léopold I—Aalst Agriculture and Horticulture Society (Medal M207), 313 Léopold I—Act of Devotion (Medal M35), 306 Léopold I—Agricultural Association (Ypres) (Medal M64), 307 344

Léopold I—Agricultural Society of Luxembourg Virton Show (Medal M113), 309 Léopold I—Commission for the Conservation of Monuments (Medal M111), 309 Léopold II (King of Belgium), 11 Leopold IV (Margrave), 215 Léopold Duke of Brabant—Patriae Spes Altere Cresce (Medal M9), 305 Léopold Duke of Brabant—Patriae Spes Ditior Quo. Ongior (Medal M8), 305 Léopold Premier—Charleroi Veterans (Medal M314), 317 Léopold Premier—Cholera (Medal M47), 307 Les Halles d’Ypres—Arms (Medal M217), 313 Les Halles d’Ypres—Fame Pulsa Egenis Succurrit (Medal M91), 308 Les Halles d’Ypres—Festival d’Harmonie (Medal M312), 317 Les Halles d’Ypres—Festival d’Harmonie et Chant d’Ensemble 13 Août 1899 (Medal M315), 317 Les Halles d’Ypres—Oak wreath & legend (Medal M55), 307 Les Halles d’Ypres—Oak wreath & no legend (Medal M56), 307 Les Halles d’Ypres (no obverse signature)—Oak wreath & no legend (Medal M57), 307 Les Halles d’Ypres—Plan (Medal M53), 307 Les Halles d’Ypres—St. Martin’s Church (Medal M143), 310 Les Halles d’Ypres—Stad Yper (Medal M313), 317 Letarouilly, Paul-Marie, 251 Level, Léon, 11 Lévêque, Pierre (Engraver), 6 Leyden High School – See Leidsche Hoogeschool Liberal Wars, 295 Library of Congress, 172 Liège, 5, 8, 9, 15, 30, 88, 306–308 Lightning, 82, 103, 114, 122, 127, 227, 232, 276, 289 Limburg, 6, 8 Lincoln, 149, 150 Lincoln Cathedral, 149, 150, 327 Lincoln Cathedral (Medal M199), 16, 21, 32, 34, 35, 69, 117, 141, 150–153, 313, 323 Lincolnshire, 149 Linecar, Howard, 303, 330 Lippens, Jan (Catalogus van de patrijzen & matrijzen van het museum van het Munthof, Boekdeel II), 39, 330 Lippens, Jan (Die References), 39, 45, 62, 63, 79, 86, 93, 98, 99, 107, 116, 117, 123, 129, 134, 135, 139,

145, 146, 152, 157, 158, 163, 164, 169, 178, 179, 183, 184, 188, 189, 196, 197, 202, 207, 212, 218, 219, 224, 229, 233, 238, 244, 250, 255, 260, 261, 267, 273, 278, 283, 287, 292, 296, 297, 300, 301, 305, 330 Lisbon, 14, 20, 33, 91, 294–296, 329 Lisbon Opera, 295 Lithograph, 41, 89, 111, 112, 170, 172, 180, 200, 213, 222, 301, 302 London, 6, 13, 15, 16, 18, 19, 21, 24, 26–31, 34–36, 47, 67, 71, 72, 80, 86–88, 93, 94, 99, 100, 102– 107, 109–112, 115, 117–119, 124, 125, 130, 135, 136, 139–141, 143, 145, 147, 151–153, 158, 162, 164, 170, 175, 178, 180, 181, 184, 187, 190, 198, 203, 208, 212, 220, 225, 230, 234, 239, 245, 250, 262, 268, 274, 279, 284, 288, 292, 297, 301, 308, 310, 323 Louis IX (King of France), 205, 231 Louis XV (King of France), 181 Louis XVI (King of France), 205 Louis Bonaparte, 7, 77 Louis Philippe (King of the French), 132 Louis Roelandt (Medal M205), 313 Louis the Pious, 155, 205 Louvain—Distribution d’Eau Inaugurée (Medal M310), 317 Louvre Museum, 6 Ludendorff Bridge (Remagen), 96 Ludgate Hill, 103 Ludwig I (Crown Prince, King of Bavaria), 193, 195–197, 221–222, 224, 281 Lutheran, 242, 285 Luxembourg Gardens, 182 Lycée Malherbe, 258 Maastricht, 88 Maastricht (Medal M2), 305 Maastricht Exposition (Medal M5), 305 Maastricht Synagogue – See Synagogue of Maastricht Mackenzie, Frederick, 119 Maestro Enrique, 298 Magdeburg, 285–286 Magdeburg Cathedral, 51, 285–286, 329 Magdeburg Cathedral (Medal M271), 22, 33, 274, 286–288, 315, 324 Magi Relics, 95 Magyars, 285 Mailly, Marie-Anne de, 181 Maintenance, 121, 210, 216, 222, 228, 271

345

Mainz, 289–290, 293 Mainz Cathedral, 281, 289–290, 293, 329 Mainz Cathedral (Medal M278), 22, 25, 33, 274, 290–292, 315, 324 Maison d’Arrêt – Charleroy—Léopold I laureate reverse (Medal M122), 309 Maison d’Arrêt – Charleroy—Plan reverse (Medal M121), 309 Maison d’Arrêt – Courtrai—Léopold I laureate reverse (Medal M193), 313 Maison d’Arrêt – Courtrai—Plan reverse (Medal M192), 312 Maison d’Arrêt – Dinant—Léopold I laureate reverse (Medal M85), 308 Maison d’Arrêt – Dinant—Plan reverse (Medal M84), 308 Maison d’Arrêt – Hasselt—Léopold I laureate reverse (Medal M203), 313 Maison d’Arrêt – Hasselt—Plan reverse (Medal M202), 313 Maison d’Arrêt – Louvain—Plan reverse (Medal M289), 316 Maison d’Arrêt – Termonde (5-line exergue inscription)—Plan reverse (Medal M260), 315 Maison d’Arrêt – Termonde (6-line exergue inscription)—Plan reverse (Medal M259), 315 Maison d’Arrêt et de Justice Cellulaire – Arlon (Medal M291), 316 Maison de Sureté – Antwerp—Léopold I laureate reverse (Medal M195), 313 Maison de Sureté – Antwerp—Plan reverse (Medal M194), 313 Maison de Sureté – Brussels— Léopold I laureate reverse (Medal M71), 308 Maison de Sureté – Brussels—Léopold Premier in uniform reverse (Medal M72), 307 Maison de Sureté – Brussels—Plan reverse (Medal M70), 307 Maison de Sureté – Ghent (5-line exergue inscription)—Plan reverse (Medal M242), 314 Maison de Sureté – Ghent (7-line exergue inscription)—Plan reverse (Medal M241), 314 Maison de Sureté – Liège—Léopold I reverse (Medal M68), 307 Maison de Sureté – Liège—Léopold Premier reverse (Medal M69), 307 Maison de Sûreté – Liège—Plan reverse (Medal M67), 307 Maison de Sureté – Mons—Plan reverse (Medal M283), 315

Maison de Sureté – St. Gilles—Plan reverse (Medal M308), 316 Maison Pénitentiaire – Louvain—Léopold II (Medal M288), 316 Maison Pénitentiaire – Louvain—Plan reverse (Medal M225), 314 Malafarina, Gianfranco, 253, 329 Manchester Cathedral, 140 Manuel I (King of Portugal), 294, 296 Manueline Art, 91 Marat, Jean-Paul, 182 Marcellis, Charles (Medal 141), 310 March Revolution (Germany, 1848), 67 Marché de la Madeleine (Jetons JB3, JB30), 317, 318 Martin, Jonathan, 113 Martin Luther, 50, 285 Mary (Mother of Jesus), 82, 91, 131, 144, 205, 231, 253 Mason, 51, 52, 103, 242 Mass (Catholic), 132, 144, 216, 254, 294 Matilda of Flanders, 257 Mattarnovi, Georg, 175 Matthew Paris (Monk), 143 Maurice (Bishop of London), 103, 109 Maurice de Sully (Bishop of Paris), 131, 134 Maurice, Jacques Nathan, 5 Maximilian II (King of Bavaria), 222, 224 Mayer, Carl, 70, 72–74 Mazzariol, Mariachiara, 34, 333 Mechelen-Brussels (Diocese), 44 Medalists (Other than the Wiener Brothers), 4, 8, 13, 23, 135, 234 Medici, Lorenzo de, 276 Mediolanum (Roman Milan), 209 Mehmet (Ottoman Sultan), 167 Melitus (Bishop of London), 109 Menin Fire Department (Medal M214), 313 Mercia, 149 Merovingian Kings, 155 Mestbak of Brussels—J. Robyns (Medal M28), 306 Metcalf, Priscilla, 144, 150, 327 Metropolitan Church, 32, 174–177, 241 Mezger, Moritz, 234, 331 Mezquita-Cathedral (Cordoba) – See Cordoba Cathedral Michelangelo, 162 Midden-Comiteit (Medals M148, M154), 310, 311 Middle Eastern (Architectural Influence), 235 Milan, 209–210 Milan Cathedral, 209–210, 212–213, 328

346

Milan Cathedral (Medal M229), 22, 32, 210–212, 247, 314, 323 Military Order of Christ (Portugal), 11 Mintages, 7, 26–28, 93, 129, 145, 255 Mirabeau, Honoré (Count), 181, 182 Mitchell, John (Bookseller), 34 Moens, Jean-Baptiste, 11, 325 Mogford, Henry, 4, 14–16, 18, 24, 28, 29, 34, 36, 109–111, 118, 119, 140, 146, 147, 152, 303, 325, 326 Mon Passé, 4, 15, 26, 325 Monastery, 20, 31, 90–93, 96, 137, 138, 143, 235, 257, 281, 285, 294, 295 Monastery of Batalha – See Batalha, Monastery of Monastery of Saint Mary of the Victory – See Batalha, Monastery of Monday Demonstrations, 286 Montferrand, Henri Louis Auguste Léger Ricard de, 175, 177, 178, 180, 328 Mooren, Albert, 10 Mosaics, 82, 103, 121, 124, 167, 168, 247, 253, 255, 272, 276 Most Remarkable Edifices of Europe (Prospectus), 8, 15–21, 28, 38, 268 Mozart, Wolfgang Amadeus, 193, 216 Muhammed, 167 Mule (Die Pairings), 46, 59, 61, 64, 190, 316, 318 Müller, Andreas, 96, 98 Müller, Carl, 96, 98 Müller, T. M., 112 Munch, Peter Andreas, 245 Municipal Administration (Jetons), 317–320 Münster, Hermann Friedrich, 34, 123, 124, 333 Münsterkirche of Aix-la-Chapelle – See Aachen Cathedral Münsterkirche zu Aachen – See Aachen Cathedral Münsterkirche zu Bonn – See Bonn Cathedral Muslims, 185, 186 Myn Vaderland is my niet te klein—Inscription and crown (Medal M39), 306 Myn Vaderland is my niet te klein—Vlaemsch Midden-Comiteit (Medal M148), 310 Namur – See St. Aubain of Namur Church Napoleon I, 77, 122, 155, 193, 210 Napoleon III, 132, 311, 312 Napoleonic Occupation, 50, 82, 91, 96, 127, 193, 200, 210, 215, 221, 235, 285, 289, 290 National Assembly (Norway), 242 National Bank—Committee (Medals M298, M299,

M300), 316 National Bank of Brussels (Medal M284), 315 National Constituent Assembly (France), 181 Nave of St. Paul’s Cathedral (Arnout), 112 Naya, Carlo (Photographer), 120 Nazarenes (Artists), 96 Neoclassical (Architecture), 96, 181, 193 Neo-Gothic, 52, 82, 96, 200, 216, 276 Nero, Circus of, 161, 162 Netherlands, 4, 6–8, 18, 19, 20, 22, 37, 77, 80, 96, 140, 305, 316 Neumann, Franz, 221, 222 Neva River, 175 Newton, Alexander Levi, 9 Newton, Annette, 9, 10 Newton, Edouard, 9 Newton, Mary, 9 Newton, Samson, 9, 10 Newton, Sarah, 9, 10 Nicaise (Bishop of Reims), 205 Nicholas (Abbot, Son of Norman Duke Richard III), 199 Nidaros (St. Olaf ’s) Cathedral, 240–242, 245, 328 Nidaros (St. Olaf ’s) Cathedral (Medal M245), 22, 243–245, 314, 324 Nidaros (St. Olaf ’s) Cathedral Restoration Workshop, 242 Nijhoff, Martinus, 18–20, 28, 37, 38, 47, 80, 110, 124, 135, 136, 140, 147, 268, 332 Nika Revolt, 167 Nordhagen, Olaf, 242 Norman, 113, 137, 138, 143, 149, 150, 155, 157, 199, 257 Norman Bishops, 113, 137 Normandy, 199, 257 Norway, 18, 19, 20, 22, 240–245 Norwegian National Assembly, 242 Notre Dame Antwerp (Medals M14, M15), 8, 21, 306 Notre Dame Antwerp (4 concentric legends)—Conseil Communale reverse (Medal M118), 309 Notre Dame Cathedral (Paris), 131–133, 182, 205, 206, 327 Notre Dame Cathedral (Paris) (Medal M150), 21, 25, 31, 32, 37, 40, 41, 47, 64, 69, 71, 80, 93, 100, 111, 118, 125, 133–136, 140, 147, 310, 323 Notre Dame Cathedral of Reims – See Reims Cathedral Notre Dame of Tongres Church (Medal M17), 8, 21, 30, 306 Notre Dame of Tournai (Medal M23), 306

347

Notre Dame of Tournai—Conseil Communale reverse (Medal M60), 307 Notre Dame of Tournai—Plan reverse (Medal M51), 307 Notre Dame of Tournai—St. Jacques of Liège reverse error (Medal M24), 306 Nulens, Rik, 4, 7, 10, 29 The Numismatist, 325 Nussbaum, Robert, 285, 329 Olaf II Haraldsson, 241 Old Minster (Winchester), 137, 138 Old St. Paul’s Cathedral (London), 103 Ongania, Ferdinando, 123 Opera della Metropolitana di Siena, 271 Oppenheim, Abraham, 235, 236, 237 Oppenheim, Salomon, 235 Order of St. Jerome – See Hieronymites Order of the Red Eagle, 11 Organ, 44, 51, 96, 113, 127, 128, 132, 186, 200, 216, 257 Orient, 294 Orsenigo, Simone da (Architect), 209 Orseolo, Pietro I (Doge), 121 Ortega, Jesús García, 190, 328 Orthodox Patriarch of Constantinople, 167 Oswald (King of Northumbria), 113 Otto (Bishop of Bamberg), 281, 283 Otto I (Holy Roman Emperor), 285 Otto III (Holy Roman Emperor), 82 Otto IV (Holy Roman Emperor), 127 Ottomans, 167, 169, 215 Oudiné, Eugène André (Sculptor), 135 Ouse River, 114 Owen – See Audoin Palace of the University of Brussels (Medal M218), 313 Palais Royal, 6 Palatine Chapel, 81, 84–86, 122 Palatine Tower (entrance of the river Fleet), 109 Palermo, 253 Panini, Francesco, 251 Panthéon – See St. Geneviève (Panthéon) Papal Basilicas, 13, 222 Parboni, Pietro, 164, 165 Paris, 5–7, 21, 25, 27–32, 41, 47, 64, 67, 71, 80, 82, 87, 93, 99, 100, 111, 118, 124, 125, 131–135, 140, 143, 147, 162, 175, 181–184, 206, 231, 265, 297, 301, 310, 313, 323

Paris Mint, 27 Partecipazio, Giustiniano (Doge), 121 Parthenon, 193 Partini, Giuseppe Domenico, 272 Passau, 215 Passover, 5 Patijn, Gerbrand (Auction Catalogue), 47 Patriae Spes Altere Cresce – See Léopold: Duke of Brabant—Patriae Spes Altere Cresce Patriae Spes Ditior Quo. Ongior – See Léopold: Duke of Brabant—Patriae Spes Ditior Quo. Ongior Patriarch of Constantinople, 167 Paul I (Tsar), 175 Paulinus (Archbishop of York), 149 Pavia, 22 Pellegrini, Pellegrino, 210, 211 Pereira, Nuno Álvares, 91 Périgueux, 264–265, 329 Perkins, Thomas, 199, 328 Perpendicular Gothic (Architectural Style), 113 Peter (Apostle), 143, 161, 162 Peter the Great (Tsar), 175 Petre, Jonathan, 138, 327 Pevsner, Nikolaus, 144, 150, 327 Philadelphia (Centennial International Exhibition), 20, 30, 64, 67, 135, 297, 333 Philip III (King of Spain), 294 Philip of Swabia (King of Germany), 127 Philippe Auguste (King of France), 131, 134 Piazza Venezia (Rome), 248 Picqué, Camille, 26, 330 Pietro IV Candiano (Doge), 121 Pietsch, Jürgen, 286, 329 Piranesi, Giovanni Battista, 251 Pisa, 252–254 Pisa, Duomo of, 252–254, 329 Pisa, Duomo of (Medal M247), 22, 23, 32, 33, 36, 47, 71, 254–256, 268, 314, 324 Pisano, Andrea, 275 Pisano, Giovanni, 271 Pisano, Niccolo, 271, 273 Place du Géneral de Gaulle, 200 Plague (Black Death), 156, 227, 271, 275 Poletti, Luigi, 248 Police Agency – Brussels (Medal M40), 306 Pope Pius IX (Medal M262), 315 Poperinghe Fire Department (Medal M213), 313 Popes Alexander III, 131, 271 Eugenius IV, 161, 276

348

Gelasius II, 253 Gregory I (The Great), 103, 161 Gregory IX, 205 Honorius I, 149, 161 Julius II, 161, 163 Leo I, 161 Leo III, 81, 205 Leo IX, 143, 257 Leo XII, 247 Martin V, 161, 210 Nicholas II, 161, 257, 271 Nicholas V, 161 Paul II, 215 Paul V, 162, 163 Paul VI, 161 Pius VII, 122, 155, 247 Pius IX, 11, 315 Pius XII, 161 Siricius, 247 Sixtus V, 162 Stephen IV, 205 Sylvester, 247 Urban V, 161 Urban VIII, 162 Portail Latéral of Sts. Michael and Gudula—Conseil Communale 1851 (Medal M96), 308 Portail Latéral of Sts. Michael and Gudula—Conseil Communale 1852 (Medal M107), 309 Portail of Sts. Michael and Gudula—Conseil Communale 1857 (Medal M204), 313 Portail of Sts. Michael and Gudula—Louis Roelandt reverse (Medal M205), 313 Portail Latéral of Sts. Michael and Gudula—Notre Dame Antwerp Interior reverse error (Medal M108), 309 Portail Latéral of Sts. Michael and Gudula—Nouvel Escalier (Medal M83), 308 Porte de Hal Museum, 8 Portigiani, Domenico, 253 Portugal, 11, 18, 20, 22, 90–94, 294–297 Portuguese Ethnological Museum, 295 Portuguese Tomb of the Unknown Soldier, 91 Postage Stamps, 1, 2, 9 Pressbourg, 4 Prince Consort Albert, 23, 314, 315 Prince Consort Albert—Exterior view reverse (Medal M253), 315 Prince Consort Albert—Interior view reverse (Medal M254), 315 Prince Henry the Navigator, 294, 295

Prince Napoleon (Medal M187), 312 Princes of Ligne, 7 Prior Park Medal, 13 Protestant, 34, 51, 103, 227, 242, 285 Provincial Council of Brabant, 12 Prussia, 4, 11, 51, 54, 55, 57, 58, 60, 61, 62, 193, 227, 235 Pugin, Augustus Charles, 119 Pullen, Louise (St. George’s Museum), 121 Purchase Histories (British Museum, Victoria & Albert Museum), 27, 323–324 Puttrich, Ludwig, 15 Pycke, Jacques, 156, 327 Quellinus, Artus (Sculptor), 77, 78, 79 Rainaldus (Architect, Pisa), 253 Rauch, Christian Daniel, 193 Ravenna, 81 Rawle, Samuel, 119 Re-punched Die Lettering, 26, 40, 46, 64–66, 79, 87, 99, 108, 117, 129, 135, 146, 152, 158, 164, 179, 189, 190, 198, 202, 207, 212, 219, 224, 229, 233, 238, 244, 250, 255, 262, 267, 274, 278, 283, 284, 287, 292, 301 Regensburg, 32, 193, 328 Reims, 204–206, 298, 328 Reims Cathedral, 204–206, 298, 328 Reims Cathedral (Medal M224), 21, 32, 206–208, 298, 314, 323 Reinecke, Hiltrud, 2, 330 Reinecke, Klaus, 2, 330 Reinecke (Reference), 2–4, 39, 44, 52, 78, 83, 86, 92, 97, 104, 108, 114, 116, 122, 128, 133, 138, 144, 150, 156, 162, 168, 176, 182, 186, 194, 201, 206, 210, 216, 223, 228, 232, 236, 243, 248, 254, 258, 266, 272, 276, 282, 286, 290, 295, 299, 303, 305–321, 330 Remagen, 95–100, 236, 309 Rembrandt, 77 Rèmes Tribe, 205 Remi (Bishop of Reims), 205 Remigius (Bishop of Dorchester), 149 Renaissance (Era), 18, 161, 253 Renaissance-style (Architecture), 186, 210, 215, 220, 295, 299 Renard, Bruno, 155 Renard, Bruno (Medal M206), 313 Restoration, 8, 16, 43, 45, 51, 52, 82–87, 91, 103, 114–116, 120–122, 127, 128, 132, 134–135,

349

143–144, 150, 155–157, 161, 167–168, 170, 176, 182, 199–200, 205–206, 209–210, 216, 221–222, 225, 227–228, 232, 240, 242, 245, 247–248, 258, 265–268, 272, 286, 290, 295, 299 Revolution, 67, 77, 96, 132, 155, 175, 176, 181, 182, 200, 205, 206, 221, 227, 258 Rhein-Bahn Coeln-Mainz (Medal M227), 314 Rhein-Eisenbahnbrücke (Medal M292), 316 Rhine River, 95, 97, 100, 289 Richard II (Duke of Normandy), 257 Richard II (King of England), 144 Richard III (Duke of Normandy), 199 Rinaldi, Antonio, 175 Ritter, Franz, 130, 332 Robert I (Duke of Normandy), 199 Roger (Archbishop of York), 113 Rollo (Robert I), 199 Roman Buildings, 77, 127, 161, 181, 185, 253, 275 Roman Catholic – See Catholic Church Roman Emperors, 127, 131, 162, 247 Roman Empire, 155, 271 Roman Pantheon, 14, 162, 181, 275 Roman Republic, 271 Roman Road, 155, 247 Roman Sculpture, 121 Roman Settlements, 113, 155, 205, 209 Roman Temple, 127, 181, 185, 253, 275 Romanesque (Architectural Style), 43, 109, 127, 137, 154, 155, 215, 221, 222, 225, 227, 253, 257, 265, 281, 285, 290, 298 Romanesque-Gothic (Architectural Style), 290 Rome, 13, 14, 20, 22, 32, 33, 77, 81, 96, 110, 143, 160–163, 193, 205, 209, 246–251, 253, 289 Rondelet, Jean, 181 Rossi, Attilio, 253, 329 Rouen Cathedral, 137 Rousseau, Jean-Jacques, 182 Roussel, Abbot Jean, 199, 201 Royal Agriculture and Botanical Society – Ghent (Medals M123, M124, M125), 309, 310 Royal Cloister (Batalha), 91 Royal Library of Belgium – See Belgian Royal Library Royal Mint of Belgium – See Belgian Royal Mint Royal Museum of Art and History (Porte de Hal Museum), 8 Royal Philanthropical Society of Brussels (Medal M318), 317 Royal Society of Architects, 109 Royal Victoria Medal, 138 Rue de Pole, 9, 10

Ruef, Sandrine, 230 Ruiz, Hernán, 186 Ruland, Johann Gerhard, 222 Ruskin, John, 121 Russia, 18, 20, 22, 39, 175–180, 193, 248, 313 Russian Orthodox Church, 176 ‘s-Hertogenbosch, 18, 22 Sacre Coeur Basilica (Paris), 265 Saint Ambrose, 209 Saint Ansano, 271 Saint Augustine, 103 Saint Helena, 127 Saint Isaac of Dalmatia, 175 Saint Maurice, 285 Saint Mellitus, 103 Saint Piatus, 155 Sainte Trinité Abbey (Caen), 257 Saints Michael and Gudula – See Sts. Michael and Gudula Salisbury Cathedral, 13, 15 Saluzzo (Archbishop of Milan), 209 San Pietro di Castello (Venice), 122 Sancta Camisa (Chartres), 231 Sandrine, Ruef, 230 Santa Maria Maggiore Basilica (Milan), 209, 210 Santa Reparata Cathedral (Florence), 275 Santa Thecla Basilica (Milan), 209 Santiago de Compostela, 265 Saracen, 161, 247, 253 Sardinia, 253 Saunders, Ann, 103, 326 Saxon, 109, 137, 139, 143 Sayn, Gerhard von, 127, 129 Schadow, Friedrich von, 96 Schadow, Johann Gottfried, 193 Schayes, Antoine Guillaume Bernard, 8, 15, 109, 110, 325, 333 Schirmer, Heinrich Ernst, 242, 245, 328 Schmid, Georg Victor, 71, 88, 331 Schmidt, Charles Frédéric, 227, 328 Scholl, Sophie, 194 Schraudolph, Johann von, 222, 224 Schütz, Bernhard, 281, 299, 329 Schwartz, Israel (Rabbi), 235 Schwartzenberger, Albert, 222, 328 Schwarzmann, Joseph, 222, 224 Scotland, 144 Sculpture, 77, 79, 103, 121, 179, 181, 193 Sebert (King of the East Saxons), 143

350

Second Vatican Council, 44, 132, 216, 281 Second World War – See World War II Secular, 14, 37, 96, 138, 162, 168, 181, 182, 200, 205, 241, 258, 281, 289, 295 Seine River, 131 Seven Weeks War, 193 Seville – See Cathedral of Seville Sforza Dynasty, 210 Shaffer, Jenny, 82, 326 Shury & Sons, J., 46 Siècle du Progres (Medal M95), 308 Siena, 270–272 Siena, Duomo of, 270–272, 329 Siena, Duomo of (Medal M265), 22, 32, 33, 272–274, 278, 284, 288, 292, 315, 324 Silbergroschen, 38, 68, 71, 88, 99, 100, 153 Sinan (Architect), 167 Sir C. Barry – See Barry, Sir C. Siret, Adolphe, 29, 333 Soc. Roy. D’Agriculture and Botanique de Gand (Medal M125), 310 Société des Courses de Tournay (Medal M198), 313 Société Royale de Numismatique de Belgique, 17 Soest (St. Patroclus Cathedral), 22 Sommer & Behles (Photographer), 160 Soufflot, Jacques-Germain, 181–183 Southam, Hazel, 138, 327 Spain, 18, 20, 22, 77, 185, 186, 231, 294, 299, 301 Spanish Flamboyant Gothic (Architectural Style), 299 Spanish Reconquista, 185 Spanish Succession – See War of the Spanish Succession Sperber, Jonathan, 51, 326 Speyer, 221–222, 328 Speyer Cathedral, 51, 221–222, 224, 281, 289, 328 Speyer Cathedral (Medal M236), 22, 33, 223–225, 284, 314, 324 Sproule, John, 29, 333 St. Apollinaris Church, 95, 96 St. Apollinaris Church (Medal M120), 18, 19, 22, 31, 32, 34, 37, 47, 69, 71, 80, 88, 93, 97–101, 111, 118, 125, 136, 147, 236, 309, 323 St. Aubain of Namur Church (Medal M25), 8, 306 St. Bavon of Ghent Church (Medal M18), 8, 21, 306 St. Catherine’s Chapel (Speyer), 222 St. Catherine’s Church of Brussels (Medal M232), 314 St. Chapelle (Paris), 82 St. Clement’s Church (Trondheim), 241 St. Étienne de Caen – See St. Stephen’s Church (Caen)

St. Front of Périgueux Cathedral, 19, 264–265, 268, 269, 329 St. Front of Périgueux Cathedral (Medal M250), 19, 21, 25, 32, 33, 266–268, 314, 324 St. Geneviève (Panthéon), 162, 175, 181–182, 328 St. Geneviève (Panthéon) (Medal M211), 32, 182– 184, 313, 323 St. Géry Church (Brussels), 43 St. Isaac’s Cathedral, 174–176, 180, 327–328 St. Isaac’s Cathedral (Medals M209, M210), 22, 26, 32, 108, 162, 169, 176–180, 187, 313, 323 St. Jacques of Liège Church (Medals M19, M20, M24), 8, 15, 306 St. Janskerk in ‘s-Hertogenbosch, 18, 22 St. John Lateran (Archbasilica), 162 St. John the Baptist Church - Grand-Béguinage (Medal M252), 314 St. John’s Church (Mainz), 289 St. John’s Church – See St. Janskerk in 's-Hertogenbosch St. Maria Maggiore Basilica (Rome), 162 St. Maria of Belém, 91, 294–295, 329 St. Maria of Belém (Medal M281), 20, 21, 22, 33, 64, 234, 295–297, 315, 324 St. Marie of Schaerbeek Church—Conseil Communale reverse (Medal M134), 310 St. Marie of Schaerbeek Church—Laurel & Oak Wreath, blank center reverse (Medal M98), 308 St. Marie of Schaerbeek Church—Laurel & Oak Wreath, Le Conseil de Fabrique reverse (Medal M99), 308 St. Marie of Schaerbeek Church—Plan reverse (Medal M97), 308 St. Mark’s Basilica (Venice), 120–122, 265, 327 St. Mark’s Basilica (Venice) (Medal M145), 18, 22, 25, 31, 34, 47, 69, 71, 80, 93, 99, 100, 108, 111, 118, 122–125, 136, 147, 310, 323 St. Martin Church (Liège)—Fête-Dieu (Medal M37), 88, 306 St. Martin Church (Remagen), 95, 96 St. Martin of Ypres Church (Medal M32), 8, 30, 306 St. Martin of Ypres Church Fire (Medals M212, M213, M214, M215, M216), 313 St. Martin Cathedral (Mainz) – See Mainz Cathedral St. Mary of the Assumption – See Pisa, Duomo of St. Olaf ’s Cathedral – See Nidaros (St. Olaf ’s) Cathedral St. Ouen at Rouen Church, 199–200, 328 St. Ouen at Rouen Church (Medal M223), 22, 32, 201–203, 314, 323

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St. Paul’s Cathedral (London), 102–104, 111, 112, 326 St. Paul’s Cathedral (London) (Joseph Davis Medal), 13 St. Paul’s Cathedral (London) (Medals M135, M146, M147), 15, 16, 18, 21, 24, 26–28, 31, 35–37, 47, 71, 80, 86–88, 93, 100, 104–112, 117, 118, 124, 125, 136, 143, 147, 162, 175, 178, 181, 187, 310, 323 St. Paul Outside the Walls Basilica, 161, 162, 246– 248, 253, 328 St. Paul Outside the Walls Basilica (Medal M246), 19, 20, 22, 33, 248–251, 314, 324 St. Peter’s Basilica, 160–162, 164–165, 247, 327 St. Peter’s Basilica (Medal M201), 19, 20, 22, 32, 110, 162–165, 250, 313, 323 St. Petersburg, 14, 32, 162, 175–180, 313, 323, 327–328 St. Rombaut of Malines Church (Medal M21), 8, 21, 306 St. Rumbold Cathedral, 44 St. Sauveur of Bruges Church (Medal M22), 8, 21, 306 St. Sophia – See Hagia Sophia St. Stephen’s Cathedral (Vienna), 214–216, 328 St. Stephen’s Cathedral (Vienna) (Medals M230, M231), 24, 25, 32, 33, 216–220, 314, 323 St. Stephen’s Church (Caen), 257–258, 263, 329 St. Stephen’s Church (Caen) (Medals M248, M249), 24, 25, 33, 258–263, 314, 324 St. Vincent Church, 185 St. Waudru of Mons Church, 22 Stack’s Numismatists, 64, 333 Stad Dendermonde (Medal M80), 308 Stad Yper (Medals M313, M319), 317 Statue of André Vésale (Medal M36, Jeton JB1), 306, 317 Statue of Burgermeister Rouppe (Jeton JB4), 317 Statue of Godfrey of Bouillon (Jeton JB2), 317 Stein, Edith, 193 Stein, Theodor, 83–86, 88 Steinbach, Master Erwin von, 227 Stern, Gerald, 4, 5, 10, 235, 325 Stern, Josef, 235 Stiklestad, 241 Stone of Scone, 144 Storms, 122, 186, 205, 227, 242, 258 Strasbourg, 226–228, 328 Strasbourg Cathedral, 226–230, 289, 290, 328 Strasbourg Cathedral (Medal M237), 22, 33, 228– 230, 314, 324

Strobridge, William H., 94, 212, 331 Sts. Michael and Gudula, 43, 44, 46–49, 326 Sts. Michael and Gudula (Belgian Cathedral Series Medal M16), 8, 21, 306 Sts. Michael and Gudula (Most Remarkable Edifices Medal M251), 1, 22, 28, 29, 30, 31, 33, 36, 43, 44, 46–48, 71, 80, 136, 314 Sts. Michael and Gudula—Nouvel Escalier (Medal M83), 308 Sts. Michel et Gudule – See Sts. Michael and Gudula Sweden, 18, 19, 20, 22, 193 Switzerland, 20, 22 Sylvanus, Urban, 9, 325 Synagogue, 5, 11, 22, 33, 96, 230, 234, 235–239, 306, 308, 314, 324, 325, 328 Synagogue of Maastricht—Limburg congregation reverse (Medal M93), 308 Synagogue of Maastricht—Religious tolerance reverse (Medal M94), 308 Synagogue of the Hague (Medal M31), 306 Tagus River, 295 Tarlier, Hippolyte, 7, 26, 330 Taylor, Jeremy, 13, 23, 25, 141, 325 Temple (Roman), 127, 185, 253 Temple des Augustins (Medal M274), 315 Temple of Reason, 205, 258 Thaler, 38, 68, 69, 71, 88, 99, 100, 118, 141, 153 Theodosius (Byzantine Emperor), 167 Thiis, Helge, 242 Thimm, Franz, 34 Thoenes, Christof, 161, 327 Thomas of Bayeux (Norman Bishop of York), 113 Thorn Island, 143 Tiber River, 248 Tieck, Christian Friedrich, 193 Till, Michael (Dean of Winchester), 138 Tintoretto, 121 Titian, 121 Toledo Cathedral (Medal), 20, 21, 23, 33 Tongres – See Notre Dame of Tongres Church Tornacum, 155 Tournai, 40, 155–156, 305 Tournai—Académie de Dessin (Medal M294), 316 Tournai Cathedral, 155–156, 327 Tournai Cathedral (Medal M200), 19, 22, 32, 48, 156–159, 313 Tournai—Fête du Septembre 11, 1865 (Medal M277), 315 Tournai International Festival September 17, 1871 352

(Medal M293), 316 Tournay Municipal Council (Jetons JT1 – JT23), 320–321 Treaty of London, 6 Treaty of Mautern, 215 Trieste, 34, 123 Trondheim, 14, 240–242 Trondheim Cathedral – See Nidaros (St. Olaf ’s) Cathedral Tronzo, William, 161, 327 Turkey, 20, 22, 167–169 U. S. Capitol, 162 Uccle, 11 Ucelles, 11 Umayyad Moors, 185 Unfinished Chapel (Batalha), 91 University of Brussels (Medal M218), 313 University of Ghent, 176, 179 Upper Rhine, 289 Urban, Sylvanus, 9, 325 Utrecht, 6 Valadier, Giuseppe (Architect), 247 Valentine, James (Photographer), 102 Valentinian I (Roman Emperor), 131 Van Bommel, C. R. A. (Bishop) (Medal M109), 309 Van Campen, Jacob, 77, 78 Van den Berg, N. P.—Netherlands Indies (Medal M309), 317 Van Der Chies, Peter Otto, 234, 331 Van Hoydonck, Emiel, 2, 3, 7, 28, 31–33, 36, 39, 40, 44, 46, 47, 52, 66, 78, 83, 86, 92, 97, 104, 114, 116, 122, 128, 133, 138, 144, 150, 156, 162, 168, 176, 182, 186, 194, 201, 206, 210, 216, 223, 228, 230, 232, 236, 243, 248, 254, 258, 266, 272, 276, 282, 286, 290, 295, 299, 303, 305–321, 330 Vanblaeren, F. J. (Medal M13), 306 Vandals, 205 Vandenberghen (Medal M105), 309 Vandercruysse, Baron de, 23, 24, 47, 72, 80, 88, 94, 100, 111, 119, 125, 130, 136, 141, 147, 153, 158, 164, 170, 180, 184, 190, 198, 203, 208, 212, 220, 225, 230, 234, 239, 245, 262, 268, 274, 279, 284, 288, 292, 297, 301 Vatican, 160–162 Vatican City, 160–162 Venerable Bede, 149 Veneranda Fabbrica del Duomo (Milan), 209 Venice, 34, 120–122, 265, 327

Venlo, 4, 6–8, 305, 332 Verhulst, Ferdinand, 47, 331 Verona, 34, 123 Veronese, 121 Verviers Courthouse (Medals M100, M101), 308, 309 Verzaschi, Enrico (Photographer), 246 Vésale, André – See Statue of André Vésale Via Ostiense, 247, 248, 251 Victor Emmanuel II, 276 Victoria & Albert Museum, 20, 23, 24, 27, 35, 38, 47, 49, 72, 80, 88, 94, 100, 111, 119, 125, 130, 136, 141, 147, 153, 158, 164, 170, 180, 184, 190, 198, 203, 208, 212, 220, 225, 230, 234, 239, 245, 250, 255, 262, 268, 274, 279, 284, 287, 288, 292, 297, 301, 323, 324 Vienna, 4, 20, 22, 24, 25, 30, 32, 33, 47, 67, 80, 87, 93, 99, 111, 118, 124, 135, 164, 180, 212, 215–219, 225, 245, 250, 262, 268, 274, 278, 292, 314, 323 Vieux Augustins, 5 Vikings, 103, 199 Villa-Amil, Genaro Perez de, 301, 302, 329 Ville de Nivelles (Medal M257), 315 Vio, Ettore, 121, 327 Viollet-le-Duc, Eugène-Emmanuel, 132, 134, 135, 206, 268, 269, 327 Visconti, Gian Galeazzo (Duke of Milan), 209–211 Visigoths, 185 Vlaardingerbroek, Pieter, 77, 326 Vlaemsch Midden-Comiteit (Medal M148), 310 Voigtel, Richard (Cologne Cathedral Master), 72 Voltaire, 182 Vte S. De Rouville, 312 Wacker, Erhard, 96, 100 Walhalla, 192–194, 328 Walhalla (Medals M221, M222), 19, 20, 22, 24, 25, 32, 194–198, 314, 323 Walkelin (Bishop of Winchester), 137 Walker, William, 138 Wap, Jan Jakobus Franciscus, 80, 331 War of the Palatine Succession, 221 War of the Spanish Succession, 77 Wars of Religion, 215, 257, 265 Weigel, Rudolph, 140, 141, 153, 331, 332 Weiler, Hanno, 23, 39, 64, 72, 330 Weiss, Benjamin, 36 Wells Cathedral, 35, 119, 141, 327 Werner I (Bishop of Strasbourg), 227 Wervicq Fire Department (Medal M215), 313 Westminster Abbey, 15, 142–144, 181, 327 353

Westminster Abbey (Medal M189), 15, 21, 25, 26, 32, 34, 35, 37, 47, 71, 80, 93, 100, 103, 111, 118, 125, 135, 136, 140, 144–147, 153, 312, 323 Westminster Hall, 144, 145, 147 Westwerk, 81, 82, 221, 222, 225 Wethered, Charles, 132, 327 Weyden, Ernst, 71, 235, 328, 332 White Rose (Nazi Resistance), 194 Whittle, James, 112 Wiener, Charles, 2, 10, 11, 20, 21, 23, 26, 30, 53, 62, 64, 67, 134, 135, 220, 234, 296, 297, 300, 301, 303 Wiener, Fernand, 11 Wiener, Hannah, 4, 5, 10 Wiener Jacques (Biography), 4–12 Wiener, Jacques (Medal Production), 13–41, 109– 111, 118, 140, 146–147, 152–153 Wiener, Léopold, 2, 5, 6, 7, 8, 10, 11, 29, 37, 67, 80, 88, 141, 234, 303 Wiener, Loeb Baruch, 4, 5 Wiener, Marcus, 4, 5, 10 Wiener, Samuel, 12 Wilhelm I (King of Prussia, German Emperor), 51, 72, 96, 100 Willem I – See William I (King of the Netherlands) Willem I (King of the Netherlands) (Medal M1), 305 Willem II (King of the Netherlands) (Medal M3), 305 Willems, J. F.—Midden-Comiteit (Medal M154), 311 Willems, J. F.—Myn Vaderland reverse (Medal M38), 306 William I (King of Prussia) – See Wilhelm I (King of Prussia, German Emperor) William I (King of the Netherlands), 7, 77 William II (Duke of Normandy), 257 William II (King of the Belgians) (Medal M4), 305 William Frederick (Later William I) – See Wilhelm I (King of Prussia, German Emperor) William of Wykeham (Bishop of Winchester), 137, 139 William Rufus, 144

William Tell Society of Antwerp (Medal M27), 306 William the Conqueror, 103, 137, 143, 144, 149, 199, 257, 259, 260 Willigis (Archbishop of Mainz), 289 Winchester Cathedral, 19, 25, 35, 137, 138, 141, 327 Winchester Cathedral (Medal M188), 16, 19, 21, 25, 32, 34, 35, 37, 69, 135, 136, 138–141, 147, 153, 242, 312, 323 Windsor Castle, 15 Winkles, Benjamin, 113, 327 Wittenberg, 285 World War I, 82, 103, 114, 156, 167, 206, 236, 276 World War II, 51, 82, 103, 104, 114, 128, 132, 143, 156, 175–176, 206, 216, 222, 227, 236, 258, 276, 285, 290 Wren, Christopher, 103, 105–110, 143, 150 Wuerst, E. A., 130, 332 Wulsinus (Monk), 143 Wyon, Benjamin, 13 Wyon Dynasty, 303 Wyon, William, 13 Yapp, George Wagstaffe, 29, 333 York Cathedral, 113–114, 119, 242, 326, 327 York Cathedral (Medals M136, M191), 15, 16, 18, 21, 31, 32, 34, 35, 38, 40, 47, 71, 80, 93, 100, 108, 110, 111, 114–119, 125, 136, 147, 310, 312, 323 York Minster – See York Cathedral Ypres—De Stad Yper (Medal M319), 317 Ypres Fire Department (Medal M212), 313 Ypres—Visite Officielle 1891 (Medal M311), 317 Ypres—Visite Officielle 1901 (Medal M317), 317 Zentral-Dombau-Verein zu Köln, 67–70, 72, 326, 331, 332 Zeppelin Raids, 103, 114 Zipser, Andreas, 18, 332 Zwirner, Ernst Friedrich, 16, 51, 53–60, 70, 72, 96, 98, 100, 236, 237

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