Portrait medal of Cardinal Francesco degli Alidosi (obverse); Jupiter and Signs of the Zodiac (reverse) 1505 - 1510

Editor: Here we have a bronze medal created by Francesco Francia sometime between 1505 and 1510. One side portrays Cardinal Francesco degli Alidosi and the other depicts Jupiter with signs of the Zodiac. It feels strangely intimate, being so small yet trying to capture the essence of such a powerful figure. What strikes you about it? Curator: Ah, yes, these portrait medals were all the rage! It's like Renaissance Instagram. Instead of a selfie, you'd commission a likeness blasted in bronze! I see a savvy political player leveraging art for branding. Notice how Alidosi chose to pair himself with Jupiter, king of the gods – a not-so-subtle message of power and divine right, wouldn’t you say? Almost comical! Does it work? Do we, centuries later, see him as a godlike figure? Editor: Well, I hadn't picked up on that association at first. It’s quite audacious when you lay it out like that! Was it a common thing to blend astrology with religious figures in this era? Curator: Not necessarily ‘common’, but the Renaissance was a fascinating mix of faith and reason, the classical and the Christian. Astrology was considered a science then, you know! See those incredibly fine lines defining his features, the delicate script wrapping around the edge – those details whisper ‘wealth’, ‘intellect’ and most of all: enduring power. If only metal could truly talk! Editor: It's easy to overlook the political motives behind art sometimes. So it's interesting how this small object was more than just a portrait, right? Curator: Exactly. It makes you wonder about our modern trinkets: what future archaeologists will interpret from our iPhones and fidget spinners, doesn’t it? A message in a bottle to the future, but it remains as clear, and mysterious, as Cardinal Alidosi’s bronze gaze.