822:
834:
355:
256:
290:
19:
311:
396:
512:
783:
587:
132:
524:
371:
801:
479:
274:
717:
497:
422:
761:. They were relatively cheap and transportable, and were soon disseminated widely across Europe, offering an opportunity for artists to display their virtuosity and sophistication, and promote themselves beyond their own city. The same factors, combined with their modern display behind glass, make them relatively little appreciated today. The moulds were also sometimes re-used at considerable distances from their time and place of creation, or new moulds were made from a plaquette. German 17th-century plaquettes were still being used as models for silverware in
869:
2527:
34:
689:, sometimes after being given a frame. Some shapes were designed for particular roles such as decorating sword hilts, though perhaps not all copies made were used in this way. Others were framed for hanging, but many were probably just kept and displayed loose, perhaps propped up on a shelf or desk, or in drawers or boxes. Many images show signs of wear. Devotional images were probably often carried around in a pocket, a habit that became common with
612:, and numbers of copies were presumably normally made, although many now only survive in a unique copy, and perhaps never had others. The quality of individual castings can vary considerably, and the time and locations of individual castings from the same mould my vary considerably. Some designs can be shown to have had different generations of casts made from casts. Most are in bronze, but silver and gold, in solid or plated and
540:
2792:
2520:
2802:
2534:
659:, where both sides are normally decorated. Most are rectangular or circular, but other shapes are found, as in the example illustrated. Typical sizes range from about two inches up to about seven across a side, or as the diameter, with the smaller end or middle of that range more common. They "typically fit within the hand", as
952:, who played an important role in the development of the form. Most of the rest are from the collection of Louis Carrand, who bequeathed it to Florence. After that of Drefus, this is the next most important collection assembled in Paris in the 19th century and still intact. Paris was then the centre of plaquette collecting.
192:
and repeats the design. Other larger religious reliefs by
Donatello were copied or adapted in a smaller plaquette format by other artists, probably including his own workshop. These grew out of a wider context of small religious images that represented mass-produced versions for the middle classes of
94:
The form began in the 1440s in Italy, but spread across Europe in the next century, especially to France, Germany and the Low
Countries. By about 1550 it had fallen from fashion in Italy, but French plaquettes were entering their best period, and there and in Germany they continued to be popular into
343:
was the main centre. German examples tended to draw their designs from prints, and were in turn frequently reused in other media, and perhaps more often produced primarily as models for other trades. The repeated reuse of moulds, and their distribution far from their place of making, are especially
680:
The purpose and use of decorative plaquettes was evidently varied and remains somewhat unclear; their creation and use is relatively poorly documented. Some were mounted in furniture, boxes or other objects such as lamps, and many examples have holes for hanging on walls, added later. Other copies
741:
Plaquettes were also collected, and in particular 16th-century examples are often crowded with figures, making the scenes hard to read. They are best appreciated when held in the hand near a good light source, and were probably passed round when a collection was shown to fellow connoisseurs. The
569:
Especially in France and
Germany, commemorative plaquettes for industry and institutions involved a wide range of contemporary subject matter. A number of artists produced examples purely because they were attracted by the form, or the possibility of reaching a wider market. A number of regular
742:
difficulty of reading the scenes, and an often obscure choice of subjects, suggest that a self-conscious display of classical learning was part of their appeal, for collectors and artists alike. They were one of the types of objects often found in the – normally male – environment of the
897:
The
Washington collection of medals, plaquettes and small bronzes includes the leading French collection assembled by Gustave Dreyfus (1837–1914), which was bought by Samuel H. Kress (1863–1955). In 1945 the Kress Foundation added over 1,300 bronzes collected by the British art dealer
150:
Plaquettes grew from two rather different
Italian origins. In Rome in the 1440s and 1450s they began as a way of reproducing the designs of classical engraved gems, by taking a wax impression of them. The Venetian Pietro Barbo (1417–1471) became a cardinal when his uncle was elected
244:, and several of these were reproduced in plaquette form around 1520–40, some cast from wax impressions taken off the crystals. Riccio was also a sculptor of small bronzes, and his plaquettes tended to have a relatively high relief. He had a large workshop and many followers.
821:
893:
in
Washington D.C., despite being essentially a collection of paintings, has what is recognised as the finest single collection, especially of Italian Renaissance work, which includes over 450 plaquettes, and is very well displayed on the ground floor.
772:, played an important part in the diffusion of styles and trends in iconography, especially for classical subjects. Some drawings for plaquette designs survive; others copied prints, book illustrations and designs in other media, including classical
354:
106:
of 1886 was the first large study, and these two between them defined the form as it is understood today. To
Renaissance Italians plaquettes were known, along with other similar types of objects, by a variety of somewhat vague terms such as
2500:
86:. They have always been closely related to the medal, and many awards today are in the form of plaquettes, but plaquettes were less restricted in their subject-matter than the medal, and allowed the artist more freedom.
833:
77:
periods were often made for purely decorative purposes, with often crowded scenes from religious, historical or mythological sources. Only one side is decorated, giving the main point of distinction with the artistic
255:
310:
289:
642:
was also used, especially in
Germany. In Italy lead was also used for an initial trial cast. The castings were normally not worked much further with tools, beyond polishing and often giving an artificial
395:
800:
1214:"Gothic and Renaissance Art in Nuremberg, 1300–1550", pp. 75–76; #s 193, 194, 204, 205, 254–257, 261, 1986, Metropolitan Museum of Art (New York, N.Y.), Germanisches Nationalmuseum Nürnberg,
511:
170:, already an important centre of metalworking, is seen by many historians as the crucial location. Two significant works, neither typical of later examples, were the self-portrait head by
212:
recorded in Rome around 1500. Some 45 plaquettes are signed by or attributed to him (and hardly any medals), and a number of members of his workshop have been identified by their styles.
782:
2805:
523:
344:
typical of south German plaquettes. Even fewer of the artists involved are known than in Italy. Production lasted well into the 17th century, when it became involved in the "
82:, where both sides are normally decorated. They can usually be held within a hand. At the smaller end they overlap with medals, and at the larger they begin to be called
370:
2673:
1520:, Vol. 44, No. 3 (Autumn, 1991), pp. 590–593, The University of Chicago Press on behalf of the Renaissance Society of America, Article DOI: 10.2307/2862612,
176:
550:
The form saw a small revival in the 19th century; examples from this period are typically rather larger than in the
Renaissance. Artists such as, in America,
2656:
1334:
2173:
2125:
1389:
273:
1676:, a collection catalogue from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on plaquettes (see index).
18:
163:, and perhaps participating in the casting himself. These plaquettes had the same small size and classical subject matter as the gems they replicated.
2100:
478:
496:
421:
236:
by art historians, such as
Moderno and Master IO.F.F., who often signed their works. Belli and Bernardi were the leaders in the luxury form of small
2795:
586:
570:
awards by institutions chose the plaquette form, though often retaining "medal" in the name of the award. The circular so-called "death penny" (the
2153:
856:'s Silver Plaquette was awarded to filmmakers in some years between 1968 and 1994. As of 2024 current examples include plaquettes as awards for
131:
2234:
1701:
623:, which was the main German centre, plaquettes, like other metalwork types of objects, were often made in the relatively plebeian material of
2443:
1574:
776:
and sculpture. In Germany models in wood or limestone might be made. They were often made in sets, illustrating a story, or set of figures.
2115:
2090:
201:
and others. By the later decades of the century medals and plaquettes were being produced in most of the north Italian artistic centres.
2138:
2256:
1856:
2288:
961:
444:
Further north plaquettes were produced from around 1550, initially under influence more from Germany than Italy. Artists (often
2239:
2076:
2810:
753:
The artists who made them tended to be either sculptors in bronze, also making small figures and objects such as inkwells, or
1673:
1647:
1611:
1538:
1219:
616:
forms, are also found, as well as other metals. Often plaquettes with copies in precious metal also exist in bronze copies.
1719:
166:
Around the same time north Italian artists began making plaquettes, often much larger and with religious subject matter.
2833:
2110:
2081:
1439:
716:
221:
933:, and a number of German museums, although the outstanding Berlin collection was lost in World War II. Not much of the
681:
have three or four holes, for holding in a setting. Religious subjects in a pair or set might be set into the doors of
2617:
2181:
2143:
628:
571:
2838:
1861:
1694:
914:
185:
2244:
2211:
701:
in 1373. A large part of the market was probably other artists and craftsmen looking for models for other forms.
300:
2163:
918:
635:. Lead was also used, especially in German castings intended as artisan's models rather than for collectors.
232:, are among the artists to whom a clear name can be attached. Many significant unidentified masters are given
95:
the 17th century. The form continued to be made at a low level, with something of a revival from about 1850.
2263:
2201:
2158:
1889:
1627:
1554:
1223:
890:
868:
788:
686:
2221:
2196:
1936:
747:
551:
2526:
2216:
1687:
1339:
592:
171:
136:
465:
427:
2848:
2678:
2374:
2251:
2148:
2133:
1946:
1911:
1894:
1805:
967:
853:
726:
664:
376:
316:
237:
83:
457:
2743:
2666:
2661:
2191:
2186:
1977:
1843:
1727:
555:
502:
198:
70:
889:
Many major museums have collections, which are not always given room in the gallery displays. The
33:
2843:
2030:
1873:
1589:
910:
1582:
The Walters' "Madonna and Child" Plaquette and Private Devotional Art in Early Renaissance Italy
663:
puts it. At the smaller end they overlap with medals, and at the larger they begin to be called
449:
1362:
2731:
1972:
1967:
1851:
1820:
1643:
1615:
1607:
1570:
1542:
1534:
1529:
1414:
1215:
903:
881:
702:
660:
345:
217:
103:
720:
205:
2758:
2753:
2428:
2041:
1774:
922:
769:
698:
632:
461:
280:
152:
37:
208:(as he signed many of his works), who was very likely Galleazzo Mondella, a goldsmith from
2783:
2763:
2748:
2683:
2639:
2612:
2489:
2438:
2433:
2065:
1931:
1765:
1748:
938:
193:
the larger and unique religious art made for the rich and for churches. Also in the 1440s
160:
57:
22:
539:
98:
The word plaquette is a 19th-century invention by the French art historian Eugene Piot.
2622:
2406:
2320:
2095:
2001:
1926:
1883:
1868:
1784:
934:
762:
402:
1533:, Volume 1, Editor, Gordon Campbell, pp. 220–223, 2006, Oxford University Press,
2827:
2768:
2726:
2651:
2607:
2450:
2411:
2052:
949:
806:
792:
773:
295:
225:
213:
2721:
2356:
2013:
1810:
1710:
1185:
American Sculpture: A Catalogue of the Collection of the Metropolitan Museum of Art
655:
Only one side is decorated, giving the main point of distinction with the artistic
2519:
1390:"European Title-Winning Bulgarian Tennis Players Awarded Commemorative Plaquettes"
2716:
2706:
2567:
2494:
2325:
2312:
2206:
2047:
1959:
1723:
899:
706:
597:
575:
559:
543:
229:
2602:
2584:
2477:
2389:
2035:
1916:
1599:
682:
563:
453:
62:
546:, cast iron, 8x9.8cm, inscribed "1914·VERTRIEBEN·1915" ("Refugees 1914–1915")
2634:
2562:
2418:
2384:
2379:
2351:
2025:
1991:
1921:
926:
811:
758:
754:
639:
620:
194:
181:
74:
73:
and later. They may be commemorative, but especially in the Renaissance and
1297:
Wilson, p.8, Grove, 220, 222; Syson and Thornton, 78–91 for a wider context
948:
in Florence has some 400 plaquettes, about half from the collection of the
472:
worked as a sculptor in Rome from 1618, and influenced Flemish plaquettes.
197:
was establishing the genre of the double-sided portrait medal, followed by
25:
at the bridge, Renaissance plaquette by Master IO.F.F., late 15th century,
750:, along with other small forms such as classical coins and engraved gems.
189:
2738:
2711:
2701:
2574:
2552:
2282:
1941:
945:
743:
694:
690:
605:
469:
445:
340:
2533:
1593:
2394:
2346:
2020:
1521:
857:
613:
609:
233:
156:
155:
in 1431. He became an enthusiastic pioneer of this form, maintaining a
1632:
1559:
2644:
2472:
2423:
1996:
1982:
930:
644:
241:
209:
66:
604:
As with medals, Renaissance plaquettes were normally made using the
348:
revival", with several of his prints being turned into plaquettes.
2629:
2557:
2464:
2401:
2341:
1735:
1731:
867:
715:
710:
656:
624:
585:
538:
320:
167:
130:
79:
32:
26:
17:
1640:
Renaissance Small Bronze Sculpture and Associated Decorative Arts
2334:
1986:
1588:, Vol. 59, Focus on the Collections (2001), pp. 73–84, The
1567:
Beautiful Bookbindings, A Thousand Years of the Bookbinder's Art
1683:
1679:
906:
had already given the museum a significant collection in 1942.
339:
German production began in Nuremberg, around 1500, but by 1600
188:, London). This remained highly unusual in that the reverse is
2579:
1550:
Deutsche, Niederländische und Französische Plaketten 1500–1650
1187:, pp. 92–94, 1965, Metropolitan Museum of Art (New York, N.Y.)
1623:
Placchette, secoli XV-XVIII nel Museo Nazionale del Bargello
2806:
Knowledge (XXG):WikiProject Orders, decorations, and medals
174:, oval and 20 cm high, and a slightly larger circular
1663:, Vol. 22, Symposium Papers IX: Italian Plaquettes (1989).
558:
made commemorative portrait plaquettes of figures such as
902:, and donated all its collection to the museum in 1957.
1606:, 2001, Getty Trust Publications: J. Paul Getty Museum,
1789:
heads of currently or formerly sovereign royal families
937:'s important collection is on display, nor that of the
815:, one of a set of four, for an inkpot or similar object
1473:
Grove, 220; Wilson is the handbook for this collection
29:, 6.1 x 6.0 cm, in a shape for decorating a sword hilt
1631:, Vol. 138, No. 1125 (Dec., 1996), pp. 832–833,
1558:, Vol. 118, No. 884 (Nov., 1976), pp. 779–780,
827:
Two small plaquettes by Riccio used in a dagger hilt
578:
is a large twentieth-century commemorative example.
2786:
is the accepted criterion for official distinctions
2692:
2593:
2543:
2463:
2367:
2311:
2300:
2280:
2172:
2124:
2109:
2075:
2064:
2012:
1904:
1882:
1842:
1835:
1798:
1764:
1757:
1742:
713:, often of designs that are also found in metal.
913:in London has a good smaller display, as do the
2674:International Commission for Orders of Chivalry
1279:Wilson, p.8 and various entries, Grove, 220–223
1779:and their national/public/official authorities
1642:, 1983, National Gallery of Art (Washington).
757:, who often practised in the related field of
69:or other materials. These were popular in the
1695:
100:Les Bronzes de la Renaissance. Les Plaquettes
8:
1604:Objects of Virtue: Art in Renaissance Italy
849:Many awards are in the form of plaquettes.
2308:
2297:
2121:
2072:
1901:
1879:
1839:
1761:
1754:
1702:
1688:
1680:
1066:Palmer, throughout; Wilson, 14; Grove, 221
1530:The Grove Encyclopedia of Decorative Arts
1388:Vodenicharova, Yoana (11 November 2023).
529:Low Counties, hunting scene, 17th century
261:Knight attacked by three lions, Italian,
2796:Category:Orders, decorations, and medals
978:
778:
474:
350:
251:
517:Allegory of Spring and Summer, 1600–10
360:Master of the Heroic Antique Legends,
1586:The Journal of the Walters Art Museum
56:
7:
2782:* = Direct or indirect reference to
2501:Prizes known as the Nobel of a field
709:that incorporate plaquette casts in
2801:
1021:Syson and Thornton, 117 ("reliefs")
1012:Grove, 220; Syson and Thornton, 117
204:Significant later artists included
2811:Knowledge (XXG):WikiProject Awards
860:, tennis, community, and singing.
14:
2800:
2791:
2790:
2532:
2525:
2518:
1674:European sculpture and metalwork
962:Royal Copenhagen 2010 plaquettes
832:
820:
799:
781:
522:
510:
495:
477:
420:
394:
369:
353:
319:, set of 1st 12 Roman emperors,
309:
288:
272:
254:
1512:Bober, Phyllis Pray, review of
1138:Grove, 221–222; Wilson, 111–116
638:From the 19th century onwards,
627:, even by top artists like the
1335:"Utmärkelser (Awards); Search"
1:
1661:Studies in the History of Art
873:
731:
485:
410:
384:
324:
262:
140:
61:; "small plaque") is a small
1720:Auxiliary science of history
1147:Grove, 221–222; Wilson,76–88
222:Francesco di Giorgio Martini
177:Madonna and Child with putti
2618:Fraternities and sororities
1156:Hayward, 779–780; Grove 222
1093:Wilson, 105–110; Grove, 221
2865:
1621:Warren, Jeremy, Review of
1552:, 2 Vols by Ingrid Weber,
1183:Gardner, Albert Ten Eyck,
915:Victoria and Albert Museum
566:(both by Saint-Gaudens).
440:France and the Netherlands
186:Victoria and Albert Museum
2777:
2516:
1717:
1569:, 2011, British Library.
1548:Hayward, J.F., review of
964:– modern ceramic examples
685:, and many were used for
574:) minted in the UK after
301:Christ Carrying the Cross
1527:"Grove": "Plaquette" in
44:, 1535–1540, gilt bronze
1628:The Burlington Magazine
1555:The Burlington Magazine
1440:"Prizes and plaquettes"
891:National Gallery of Art
591:Allegorical Triumph of
582:Materials and technique
484:Venus, Mars and Cupid,
1252:Palmer, 74; Grove, 220
886:
748:cabinet of curiosities
738:
619:In early 16th-century
601:
552:Augustus Saint-Gaudens
547:
452:, who mostly lived in
147:
135:Self-portrait head by
45:
30:
1580:Palmer, Allison Lee,
1518:Renaissance Quarterly
1340:Swedish Film Database
919:Cabinet des médailles
871:
719:
593:Giovanni Andrea Doria
589:
542:
172:Leon Battista Alberti
137:Leon Battista Alberti
134:
36:
21:
2679:Magical organization
2139:Intellectual freedom
1947:Master of ceremonies
1638:Wilson, Carolyn C.,
1625:by Giuseppe Toderi,
1602:and Thornton, Dora,
968:Commemorative plaque
854:Swedish Film Academy
727:Continence of Scipio
448:in France) included
407:Judgement of Solomon
2834:Italian Renaissance
2744:Order of precedence
1419:Mental Health Month
71:Italian Renaissance
2657:Hereditary society
1874:Royal family order
1590:Walters Art Museum
1514:Italian Plaquettes
1415:"About the Awards"
1369:. 29 February 2024
911:Wallace Collection
887:
791:with plaquette by
739:
703:Plaquette bindings
602:
548:
466:François Duquesnoy
148:
46:
31:
2839:Bronze sculptures
2821:
2820:
2787:
2732:Campaign streamer
2514:
2513:
2510:
2509:
2459:
2458:
2294:
2276:
2275:
2272:
2271:
2230:
2229:
2060:
2059:
1955:
1954:
1898:
1852:Order of chivalry
1831:
1830:
1824:
1821:Self-styled order
1614:, 9780892366576,
1575:978-0-7123-5823-1
1541:, 9780195189483,
1516:by Alison Luchs,
1222:, 9780870994661,
904:Joseph E. Widener
882:Diana and Actaeon
768:Plaquettes, like
362:Justice of Trajan
218:Giovanni Bernardi
2856:
2804:
2803:
2794:
2793:
2781:
2759:Awareness ribbon
2754:Devotional medal
2667:Gentlemen's club
2536:
2529:
2522:
2309:
2298:
2286:
2240:Religion-related
2122:
2073:
1902:
1887:
1880:
1840:
1818:
1766:Founts of honour
1762:
1755:
1704:
1697:
1690:
1681:
1501:
1498:
1492:
1489:
1483:
1480:
1474:
1471:
1465:
1462:
1456:
1455:
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1436:
1430:
1429:
1427:
1425:
1411:
1405:
1404:
1402:
1400:
1385:
1379:
1378:
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1374:
1359:
1353:
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1331:
1325:
1322:
1316:
1313:
1307:
1304:
1298:
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1289:
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1206:
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1118:
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1082:
1076:
1073:
1067:
1064:
1058:
1055:
1049:
1046:
1040:
1037:
1031:
1028:
1022:
1019:
1013:
1010:
1004:
1001:
995:
992:
986:
983:
923:Hermitage Museum
878:
875:
836:
824:
803:
785:
736:
735: 1500–1510
733:
526:
514:
503:Marie de' Medici
499:
490:
487:
481:
428:Caspar Enderlein
424:
415:
412:
398:
389:
386:
373:
357:
329:
326:
313:
292:
281:Battle of Cannae
276:
267:
264:
258:
248:Italian examples
199:Matteo de' Pasti
153:Pope Eugenius IV
145:
142:
60:
58:[plakɛt]
55:
2864:
2863:
2859:
2858:
2857:
2855:
2854:
2853:
2824:
2823:
2822:
2817:
2784:fount of honour
2773:
2764:Code of conduct
2749:Honorary degree
2694:
2688:
2684:Religious order
2640:Learned society
2613:Fraternal order
2595:
2589:
2545:
2539:
2538:
2537:
2531:
2530:
2524:
2523:
2506:
2455:
2363:
2302:
2290:
2285:
2268:
2226:
2168:
2154:Humanitarianism
2113:
2105:
2101:Law enforcement
2091:List of highest
2079:
2067:
2056:
2008:
1951:
1893:
1886:
1878:
1827:
1794:
1746:
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2289:Named after
2182:Architecture
2144:Human rights
2040:
1962:
1912:Grand master
1895:Post-nominal
1744:Distinctions
1743:
1711:Phaleristics
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1616:google books
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1543:Google books
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1448:. Retrieved
1443:
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1422:. Retrieved
1418:
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1397:. Retrieved
1393:
1383:
1371:. Retrieved
1366:
1357:
1345:. Retrieved
1343:(in Swedish)
1338:
1329:
1320:
1315:Hayward, 779
1311:
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1293:
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2849:Award items
2717:Vexillology
2707:Numismatics
2568:Passage fee
2544:Ceremonies
2326:Grand Cross
2301:For wearing
2048:Grand Lodge
1978:Hospitaller
1960:Grand Cross
1905:By function
1758:By conferee
1732:decorations
1724:numismatics
1600:Syson, Luke
1500:Warren, 833
1003:Warren, 833
900:Lord Duveen
877: 1610
864:Collections
683:tabernacles
651:Description
598:Leone Leoni
576:World War I
560:Leo Tolstoy
544:Ludwig Gies
489: 1590
414: 1575
388: 1550
328: 1550
266: 1465
230:Leone Leoni
159:in his new
144: 1435
113:medaglietti
2828:Categories
2645:Fellowship
2603:Fraternity
2585:Collar day
2546:and events
2390:Collar pin
2212:Philosophy
2202:Literature
2036:Commandery
1917:Chancellor
1815:Commercial
1648:0894680676
1612:0892366575
1539:0195189485
1507:References
1491:Bober, 593
1270:Palmer, 73
1261:Grove, 222
1243:Palmer, 75
1220:0870994662
1205:Grove, 222
1174:Grove, 222
1165:Grove, 222
1057:Wilson, 12
1048:Palmer, 75
1030:Palmer, 74
985:Wilson, 97
755:goldsmiths
691:crucifixes
564:Mark Twain
556:Emil Fuchs
454:Strasbourg
63:low relief
2844:Sculpture
2635:Syndicate
2563:Feoffment
2485:Plaquette
2419:Epaulette
2385:Lapel pin
2380:Award pin
2352:Medal bar
2164:Volunteer
2042:Obedience
2026:Bailiwick
1992:Postulant
1968:Commander
1922:Treasurer
1785:Dynasties
1482:Wilson, 6
1464:Wilson, 6
1363:"Honours"
1288:Marks, 40
927:Ashmolean
885:, in lead
812:Ecce Homo
759:engraving
640:cast iron
621:Nuremberg
600:, 1541–42
505:, 1600–10
434:, 1610–11
364:, 1525–50
304:, 1530–50
283:, 1503–04
279:Moderno,
238:intaglios
195:Pisanello
182:Donatello
75:Mannerist
50:plaquette
2739:Nobility
2712:Heraldry
2702:Chivalry
2695:concepts
2693:Related
2594:Related
2575:Festival
2553:Accolade
2439:Campaign
2407:Heraldic
2283:insignia
2257:Scouting
2159:Politics
2111:Civilian
2077:Military
2068:by field
1942:Chaplain
1927:Assessor
956:See also
946:Bargello
809:, 1532,
765:London.
744:studiolo
697:after a
695:Florence
606:lost wax
470:Brussels
462:Lorraine
446:Huguenot
341:Augsburg
234:notnames
2490:Rosette
2444:Service
2412:Pilgrim
2395:Tie pin
2375:Rosette
2347:Necklet
2235:Science
2222:Theatre
2197:History
2174:Culture
2126:Society
2066:Others,
2031:Chapter
2021:Charter
1973:Officer
1932:Bailiff
1836:By type
1799:Private
858:archery
845:Present
763:Regency
721:Moderno
665:plaques
610:casting
335:Germany
206:Moderno
190:concave
157:foundry
121:modelli
117:rilievi
109:piastra
90:History
84:plaques
54:French:
42:Vanitas
2473:Trophy
2465:Prizes
2434:Button
2424:Ribbon
2321:Collar
2313:Formal
2291:people
2264:Beauty
2252:Sports
2217:Poetry
1997:Squire
1983:Knight
1890:Styles
1884:Titles
1844:Orders
1775:States
1736:medals
1734:, and
1728:orders
1726:about
1646:
1610:
1573:
1537:
1218:
931:Oxford
925:, the
917:, the
770:prints
699:plague
645:patina
614:gilded
456:, and
432:Europe
228:, and
210:Verona
67:bronze
2630:Guild
2558:Vigil
2495:Money
2402:Badge
2368:Other
2342:Medal
2333:with
2207:Music
2134:Peace
2053:Lodge
1937:Prior
1749:Lists
1633:JSTOR
1594:JSTOR
1560:JSTOR
1522:JSTOR
1450:9 May
1424:9 May
1399:9 May
1373:9 May
1347:8 May
974:Notes
711:gesso
687:paxes
671:Usage
661:Grove
657:medal
625:brass
468:from
460:from
346:Dürer
321:Padua
168:Padua
127:Italy
119:, or
80:medal
27:Padua
2662:Club
2429:Ring
2335:sash
2192:Film
2116:List
2082:List
2002:Page
1987:Dame
1722:and
1644:ISBN
1608:ISBN
1571:ISBN
1535:ISBN
1452:2024
1426:2024
1401:2024
1375:2024
1349:2024
1216:ISBN
944:The
909:The
852:The
746:and
725:The
676:Past
631:and
562:and
554:and
111:and
2580:Vow
2478:War
2281:By
2187:Art
2149:Law
1394:БТА
929:in
789:Pax
693:in
180:by
102:by
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1730:,
1592:,
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1442:.
1417:.
1392:.
1365:.
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879:,
874:c.
732:c.
730:,
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409:,
405:,
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383:,
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325:c.
323:,
298:,
263:c.
224:,
220:,
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141:c.
139:,
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