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Ann Hersey Allison
a pious woman. Eight of eighteen books concerned religion. It would then appear that the Interpretation of
Fulgentius with a strong biblical parallel would be closest to the mtended meaning of the impresa . Parallel to
Fulgentius’s second Interpretation, “Proverbs” (1:7; 9:10) and “Ecclesiasticus (1:14, 16, 18, 20) repeat that fear
of the lord is the beginning of wisdom or knowledge. “Proverbs (9:10) goes on to say and the knowledge of the
Holy One is insight. The two pegasi could represent a combination of the attributes connected with winged horses.
Therefore, the general meaning of the reverse may be that, through life’s trials Antonia has gained wisdom and
insight (represented by the horses) and, come what may, that, guided by true love, these attributes, together with
her faith in God (Hope, the anchor of the so«/) 283 , will at the end lift her ship-chariot into the heavenly realms.
The diagonal cut of the bust, yet the plasticity of the portrait of Antonia del Balzo places her image in a
intermediate position between that on the obverse of this medal and Antico s final imperially classizing portrait
of Gianfrancesco on the Fortuna medal (cat. 7). Corresponding to the latter, the relationship between the legend
and the bust gives greater prommence to the portrait. These styhstic charactenstics suggest a later date than the
series of which this portrait was a reverse (cat. 2-5). A dating of c. 1484-1485 is likely for this medal.
7. Gianfrancesco Gonzaga/Fortuna (Fig. 24, cat. 7o); Hill, no. 206
Obverse: IOHANNES-FRANCISCVS-GONZ- (around; triangulär stops)
Profile bust of Gianfrancesco Gonzaga with curly hair facing left. He wears in Roman fashion a cloak fastened
on the right shoulder by a bulla. Pearled border
Reverse: •FOR-VICTRICI (above, in arc) ANTI (in exergue)
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24. Gianfrancesco Gonzaga / Fortuna (enlarged). Venice, Galleria Giorgio Franchetti alla Ca d’Oro
Fortuna with her right finger pointing upwards and her left hand holding her flying mantle Stands upon a starry
globe which rests upon a ship’s prow. To her right a nude Mars Stands, his arms tied behind his back to a tree-trunk,
a cloak over his right shoulder. A trophy to his right consists of a helmet, bow, shield with the Gonzaga emblem
of the thunderbolt, etc. Against it leans a cuirass. To Fortuna’s left Diana in a garment to her knees, one breast bare,
Supports her spear with her right arm and rests her left hand on top a shield charged with the head of a horned
animal, possibly representing a deer, which is hung mid-way upon a tree. A helmet may be the object represented
at the top of the tree, while a “tabula ansata” is hung below. Both Diana and Fortuna have corkscrew curls. Profiled
groundline. Pearled border
283 ) St. Paul, The Letter to the Hebrews, VI, 19.
