Ercole on Horseback [reverse] c. 1472

Curator: Here we have a bronze medal created circa 1472 by Baldassare d'Este, titled “Ercole on Horseback [reverse]". Editor: It strikes me as a really interesting object; the scale surprises me—intimate, almost like a lucky coin or charm, yet the image it portrays is so grand. Curator: Indeed. The medal was likely commissioned to celebrate Ercole I d'Este, Duke of Ferrara, portraying him as a strong, classical ruler, much like the Roman emperors of antiquity. It’s not just a portrait; it's an assertion of power and legitimacy during his reign. Editor: The horse is central here; it really conveys authority. Throughout history, equestrian figures have served as powerful visual symbols of control and domination. Is there something particularly resonant about horses in this context? Curator: Certainly, the horse here is not simply a means of transport, but a carefully constructed representation. It is important to consider what it evokes at a moment of intense political negotiations among Dukes in northern Italy. The very medium, bronze, has classical links, making it a vehicle for portraying Ercole’s cultural associations. The medal's production in quantity also signals something about this. Editor: Mass production implies broader dissemination, an effort to circulate Ercole's image and, by extension, his authority among a wider audience. Even the lettering surrounding the image seems classical, solidifying those historical connections. Do you think the "reverse" is of any consequence? Curator: Absolutely. The other side of a portrait medal frequently included personal emblems, heraldic devices, or allegorical scenes that complemented the primary portrait and further reinforced the subject's identity and aspirations. I believe that without the reverse side, we only grasp part of the historical meaning. Editor: It certainly provides more depth when you examine not only the artistic intent but its function in the social framework of its time. Something as straightforward as a sculpted scene gains further resonance when you grasp how it was consumed, disseminated, and what it evoked in its intended audience. Curator: I agree, delving into an object like this makes us appreciate its symbolic density and function inside particular political settings and power dynamics. Editor: Precisely, I had the simple response that the piece held an equestrian authority in a miniature format. With just a little historical context we arrive at the medal operating almost as an early form of political propaganda.