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Renaissance Portraiture And The Teston

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tdziemia's Avatar
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 Posted Yesterday   10:55 am Show Profile   Bookmark this topic Add tdziemia to your friends list Get a Link to this Message Number of Subscribers
Late in the 15th century, Europe emerged from its "bullion famine," and began striking a new, larger type of silver coin featuring a large portrait of the sovereign. Portraiture of important persons was a notable innovation of the Renaissance. Most previous art (before early 15th century) had stuck to sacred themes, reflecting the persavive influence of religion in medieval Europe.

The firsts of these new types were made in Italy, and nicknamed "testone," literally "big head" coins. This naming was picked up by the French as "teston," the English as "testoon," and became a permanent feature of the European numismatic landscape for the next century.

While Wikipedia will tell you that the first one was produced in Milan by Galeazzo Maria Sforza, Philip Grierson disagrees, pointing instead to this 1 lira coin of Niccolo Tron struck 1472-1473 in Venice, the largest silver coin (6.5 gr.) for standard circulation produced at that time in western Europe (Paolucci #2, N#116370):
Renaissance-Portraiture-And-The-Teston
Renaissance-Portraiture-And-The-Teston

As it is commonlty referred to as the lira tron (rather than a teston), maybe it's best considered as the "proto-teston." For Venice, the image was a radical departure from the normal posture of a generic doge kneeling before Saint Mark, and apparently was a bridge too far for the ruling council of the Republic. After Tron's death, they ruled that no coin could portray the doge in any posture other than the traditional one.

Interestngly there is no contemporary painting of Tron for comparison to the engraver's art on the coin.

I think we have other CCF members with examples of this genre to show (we are talking about a late-15th to 16th century portrait coin of 6-10 grams). Let's show them, starting with Italy, then moving to France, and the rest of Europe (and maybe follow at the end with renaissance portraits we like, regardless of the size of coin!).

Moderators: if this fits better elsewhere please feel free to move, but the intent is to cover roughly 1470-1575.
















Edited by tdziemia
Today 14M ago
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Spence's Avatar
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 Posted Yesterday   2:20 pm  Show Profile   Bookmark this reply Add Spence to your friends list Get a Link to this Reply
Great idea for a thread @tdz. I'll look to see what I can contribute (from Italy for now).
"If you climb a good tree, you get a push."
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tdziemia's Avatar
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 Posted Yesterday   4:29 pm  Show Profile   Bookmark this reply Add tdziemia to your friends list Get a Link to this Reply
Thanks!

I don't have a lot of examples in my collection, but will also pull in some from auction sales. And when the testons are exhausted, open it up more generally to 16th century renaissance portraits (I know you have some nice ones from Brandenburg-Prussia)
Partially inspired by your museum thread, I like the angle of looking for a contemporary painting of the same ruler, to see how well they match. It was a shock to learn that there is no known contemporary painting of Tron.
Oh well, that's not going to be an issue with the Sforzas.

Edited by tdziemia
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 Posted Yesterday   9:38 pm  Show Profile   Bookmark this reply Add Sap to your friends list Get a Link to this Reply

Quote:
" For Venice, the image was a radical departure from the normal posture of a generic doge kneeling before Saint Mark, and apparently was a bridge too far for the ruling council of the Republic. After Tron's death, they ruled that no coin could portray the doge in any posture other than the traditional one.

It's worse than that. Because the coin designs prior to Tron are different to those that came afterwards, in one important aspect. Tron's radical coin design caused a new "traditional design" to be commenced, which continued until the end of the Serene Republic.

Prior to Doge Tron, the standard coin design of Venetian coins was very "byzantine" in appearance - not surprising as Venice was effectively a breakaway Byzantine territory and they still did a lot of trade in that direction (even though the Empire itself had evaporated away by that point) - and the coins showed the Doge in a very Byzantine Imperial stance, standing in his regalia side-by-side with the patron saint (in the case of Venice that would be St Mark). The artwork was still very "Byzantine" in style, with the image of the Doge being symbolic rather than photo-realistic.

But Tron putting his photo-realistic portrait right there in everybody's face and St Mark's symbolism getting relegated to the reverse, which generated the outrage. After Tron, every Doge was depicted on the coins side by side with St Mark once again - but now the Doge would be no longer standing, but kneeling. As if in perpetual repentance for allowing that one guy to elevate himself above the patron saint.

A coin of Tron's predecessor, Cristoforo Moro: https://en.numista.com/115556
A coin of Tron's successor, Nicolo Marcello: https://en.numista.com/116380
Don't say "infinitely" when you mean "very"; otherwise, you'll have no word left when you want to talk about something really infinite. - C. S. Lewis
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tdziemia's Avatar
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Thanks for those insights, Sap. The fuller story is pretty compelling.

I think the pattern we'll see is that it was largely autocratic principalities that embraced the teston portrait design. I guess we can chalk it up to vanity/ego of the powerful, but the flip side is that these were the guys who also were keeping the Renaissance artists and sculptors employed (OK, some of them had merchants or bankers as patrons, but far fewer I think).

So, let's move to Galeazzo Maria Sforza, and we will see some parallels with Tron's misstep. Galeazzo undertook a major coinage reform in 1474 (like Tron), and (like Tron) decided to break with the 200 year Milanese tradition of featuring Saint Ambrose on the largest silver coin (until then a grosso or "grossone" - big grosso). Possibly he was "one upping" his dad, Francesco, who had put his portrait on a grossone (a 3.5 gram coin) but still kept Saint Ambrose on the reverse:
Renaissance-Portraiture-And-The-Teston
Copyright Nuismatica Varesi 2025. MIR MI#173, N#& 472207

Galeazzo's testone on the other hand, is 99% about Sforza glory:
Renaissance-Portraiture-And-The-Teston
Copyright Sincona 2026. MIR MI#201, N#& 130343

Galeazzo's portrait on one side, Sforza heraldic symbols on the other, and his titles spread across both sides: GALEAZZO MARIA SFORZA VISCONTI, FIFTH DUKE OF MILAN, COUNT OF PAVIA AND ANGERA, AND LORD OF GENOA.
Saint Ambrose is relegated to a small medallion at 12:00 on the obverse.

Galeazzo Maria would be brutally assassinated on St. Stephen's feast day, 1466.

A contemporary portrait by Piero Benci (called della Pollaiuolo) now hanging in the Uffizi (then enemy territory ):
Renaissance-Portraiture-And-The-Teston
Edited by tdziemia
Today 12M ago
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