Lot 92: Antonio Pisano, called Pisanello (1395-1450) Leonello d'Este, bronze medal, 67mm., an extremely fine old cast with attractive brown ..

Antonio Pisano, called Pisanello (1395-1450)
Leonello d'Este, bronze medal, 67mm., an extremely fine old cast with attractive brown patina, pierced at 12 o'clock

Obverse: bare-headed bust of Leonello d'Este in profile to the right wearing surcoat with scale decoration over mail. Three juniper branches separate the words of the legend LEONELLVS MARCHIO ESTENSIS

Reverse: head with three infant faces between two poleyns (armoured knee defenses) suspended from juniper branches dividing the legend OPVS - PISANI. PICTORIS.

Pisanello's medallic portraits of Leonello d'Este emphasise his thick curly hair (a 'lion's mane' of hair, a pun on his name Leonello or 'little lion'). The artist cannot completely obscure the sloping forehead, long nose and fleshy lower lip that is a feature of the d'Este clan, seen also in the portraits of his father Nicolò and his brother Borso, though there does seem to be a conscious effort to soften these features. The survival of drawings from the Pisanello workshop of ancient coins, including portraits of Alexander the Great, has led to the suggestion that a flattering comparison to the Greek hero was subtly intended. The fact that Alexander allowed himself to be depicted, as Hercules, wearing the lion's skin, adds credence to this.

The Juniper was a favourite plant of Leonello. A covered way of juniper bushes was planted for his wedding to Margherita Gonzaga in 1435, and branches appear in other medals.

The three faced head on the reverse has been interpreted as the defender of peace and prosperity, or of prudence (Hill) or the defender of peace and property (Middeldorf) A pen and ink drawing of this head from the Pisanello workshop survives (Paris, Musée du Louvre RF421 verso) and the same device was incorporated as a shoulder guard in a sketch for the medal of Alfonso V of Aragon (Paris, Musée du Louvre 2307). The device was copied in 1443 by Giovanni Badile in a fresco in Santa Maria della Scala at Verona.

The poleyns are accurately depicted. They occur frequently in Pisanello's drawings, paintings and medals, reflecting his concern to minutely depict the costly decorative armour, as well as all other aspects of the rich dress and luxuries of court life that were so dear to his patrons.

References
Armand I, 3, 4; Bargello, I, 7; Hall 12; Hill 24; Kress 6