The reverse is redundant in allegory. In base, the eagle of Jove supports with extended wings a stage whereon are three devices,—the globe of command, with on one side a cuirass, buckler, and sword, and on the other a clothes-brush[205] and olive-branch; overhead are the planetary signs of Jupiter between Mars and Venus. On the vacant spaces are the names of the hero, "Federigo the Invincible, Count of Urbino, a.d. mcccclxviii.," and of the artist, "The work of Clemente of Urbino." The surrounding astrological legend runs thus:—

"The fierce Mars and Venus, in conjunction with the mighty Thunderer,
Unite to give you Kingdoms, and influence your Destiny."

The date indicates this medal to have commemorated his campaign in Romagna against Colleone, in 1467, and notwithstanding the questionable taste of crowding in so many symbolical appendages, its merit is ranked high by Cicognara (see his eighty-sixth plate).

No. II. A medal 16/8 inches across, which was probably cast at Naples in 1474, by order of Ferdinand, in honour of Federigo's visit and installation as a knight of the Ermine. Being no doubt prepared before his arrival, the likeness is not striking. Round the bust is "Federico Count of Montefeltro, Urbino, and Durante"; on the reverse, over a collared ermine, "Royal Captain-General. The work of Paulo di Ragusa."

No. III. A similar but smaller medal, executed after he had been elevated to the dukedom. His head is bald, and the legend is "Federigo the Montefeltrian, Urbino's Duke;" over the ermine, "Never," the motto of the Order.

No. IV. A medal 33/8 inches across, commemorating his dignities of Duke and Gonfaloniere of the Church. Round his bust in armour, with the mortier cap, we read, "Of the divine Federigo Duke of Urbino, Count of Montefeltro and Durante, Royal Captain-General, and unconquered Gonfaloniere of the Holy Roman Church." On the reverse he is represented in a cuirass, mail-coat, jack-boots, and the mortier cap, mounted on a heavy war-horse in housings of mail. He moves forward, stretching forth his truncheon in the attitude of anxious command, a two-handed sword on his side. Legend, "The work of Sperandei," who was a native of Mantua, greatly patronised by the sovereigns of Ferrara.

No. V. is a magnificent production, and of peculiarly English interest. On a medal 4¾ inches across, clasped round by the badge and gothic motto of the Garter, is a noble bust of Federigo in armour, his massive bald head uncovered. The reverse has five winged loves supporting an ample basin, from whence issue two grape-laden cornucopiæ; between them the crowned eagle of Montefeltro sits on a globe of command, gazing sunward, and supporting the armorial shield of that house, with the papal arms in pale as borne by the Gonfaloniere: the contracted inscription "Duke Fe." appears on the ground. Riposati conjectures that in this device may be preserved the design of a fountain for serving wine to the populace during the festivities on his investiture with the English order; at all events, this piece, in size and style, perhaps the grandest medallion of the age, bears interesting testimony to the honour in which that decoration was held.

No. VI. Among the Vatican Urbino MSS. (No. 1418) is a case containing two impressions, stamped on leather, of another medallion, which we have nowhere else met with. It is 3½ inches in diameter, and round the head is "Federigo Duke of Urbino, Count of Montefeltro, Royal Captain-General and Gonfaloniere of the Holy Roman Church." The reverse gives us a mounted knight cap-a-pie, who tramples down an armed soldier, while charging others who fly; in the distance are seen cities, and a martial host. Legend, "Mars gives him a worsted foe, Victory secures him fame. mcccclxxviii. The work of Gian Francesco, of Parma." This alludes to his successes against the Florentines when general of Sixtus IV.

No. VII. A medal of Federigo by Francesco di Giorgio, has neither been described nor preserved, unless it may have been No. V. above.

We have no medal of Duke Guidobaldo I.; but two have come down to us, representing his consort and her favourite Emilia Pia, so similar in character as to indicate probably the same artist and period, which Riposati presumes to have been in the Duchess's widowhood.