Who was GAVINO, GIOVANNI?

GAVINO, GIOVANNI (Ital.). Medallist of note, born at Padua in 1499 or 1500, where he died in 1570. He is far better known for his wondertul imitations of Roman large brass coins and medallions, which are commonly called Paduans, " and were designed as studies and not as forgeries, " than for the artistic medals which he produced in so great a number. His copies of antique coins, numbering about 120, belong mostly to the period of the Twelve Caesars, although there are some of later specimens; he was assisted in his work by his friend Alessandro Bassiano, and his son Vicenzo Cavino, who was also a clever engraver. The Bibliothéque Nationale at Paris preserves 122 of Ca vino's dies, which were bought in the seventeenth century by Th. Lecomte from the Lazzara family of Padua, and bequeathed by him to the Abbey of Sainte-Geneviéve in 1670. R. H. Lawrence, after mentioning that Cavino's imitations were not originally designed as forgeries and that they were passed off as genuine antiques against his wishes says : "But as such many of them found their way into the most celebrated collections of Europe and were the subjects of numerous dissertations. Even during the present century several of them were regarded as antique by such numismatists as Mionnet and Barthélemy. The greater number of the coins passing as "Paduans" are cast from moulds and are of little value and easily detected ; but the pieces struck from Cavino's dies possess great artistic merit and are often not readily distinguishable from ancient coins. There are, however, several general points of difference which become apparent after careful comparison with the genuine coins. The "Paduan" is usually too round and regular, and the flan thinner ; the dots of the border of engrailment are large and in irregular relief ; the letters are flat and square, especially N ; M. is broad at the base and narrow at the top ; H and D are square and heavy, and A and N are too narrow and sharp. The coins struck by Cavino himself (the dies were used after his death) are usually composed of red and yellow copper, poorly alloyed." The following is a fairly complete list of Cavino's imitations : Julius Gesar, ??, R,. VENI VIDI VICI (Cohen, I Ed., VI, P. 556; — Another, ??, R. L.BVCA Caduceus &c. (Montigny, 1); — Julius Caesar and Augustus, ??, R. DIVVS AVGVSTVS PATER (Mont. 2); — Augustus, ??, R. OB. CIVES SER (Cohen, II Ed., n° 302); — Tiberius, ??., R. The Altar of Lyons (C. 28 and 29); — — Antonia, ?? (C. 6); — Agrippina senior, ??, R. Carpentum (C. 231, illustrated); Another, ??, (C. 2); — Caligula, ??, R.. The three Sisters of Caligula (C. 4); — Another, ??, R. Similar, without S.C. (C. 4); — Another, ??, R. DIVO AVG.S.C. Caligula sacrificing at an altar; sometimes with the countermark N.C.A.P.R. (C. 10); — Another, ??, obv. Head of Caligula, laureate, R. Similar (C. p. 238, note 1); — Another, ??, R. ADLOCVT.COH.S.C. (C. 1 ; Cavino designed four varieties of this type); — Claudius, ??, R. NERO.CLAVDIVS . DRVSVS . GERMAN. IMP. S.C. Triumphal arch (C. 48); —Another, ??, R. Hope (C. 1408); — Britannicus, (C. 2); — Nero, ??, R. ANNONA &c. Ceres seated (C. 14; two varieties of head, one bearded) ; — Another, ??, R. DECVRSIO S.C. Nero on horseback followed by a horseman (C. 83); — Another, ??, R. The Port of Ostia (C. 38); — Another, ??, R. ADLOCVT.COHS C. Emperor standing to 1., addressing five soldiers; — Another, ??, R. S.C. Triumphal Arch (Balmanno Collection, New-York); — Galba, ??, R Honos and Virtus (C. 92) ; — Another, ??, R. ADLOCVT.COH.S.C.(C6); — Otho. ??, R. SECVRITASPR. Securitas standing to 1. (C. 16,3 var.); — Another, ??, R. Same legend; Emperor standing before an altar (C. p. 354, note 1); — Another, ??, R. S.C. Figure standing in a temple (C. p. 354, note 1); — Vitellius, ??, R. MAT. AVG. MAT. SEN. MAT. PATR., Female seated to 1. (Montigny, 26); — Another, ??, R. Honos and Virtus (C. 38); — Another, ??, R. S.C. Mars to r. (C. 78); — Vespasian, AR. Denarius, R. IMP. Emperor in quadriga; — Another, ??, R. IVDAEA CAPTA (C. 239); — Another, ??, R. Honos and Virtus (C. 202); — Another, ??, R. ROMA.RESVRGES.S.C. The Emperor raises Roma (C. 425); — Another, ??, R.. S.C Mars to r. ; — Another, ??, R.. Spes (C. 1408); — Titus, ??, R.. View of the Colosseum and Meta Sudans (C. 399) ; — Another, R. Titus seated (Keary, 123); — Another, ??, R.. IVDAEA. CAPTA. S.C. (C. 114, 2 var.); — Another, ??, R. S.C. Mars to r. (C. 198- 203); — Another ??, R. Caduceus between two cornucopiae (C. 248; a specimen of this type, probably the one mentioned by Cohen, was catalogued as antique in the Montagu Sale Catalogue lot 609, and realized ? 5.2.6, but was subsequently returned by the purchaser on unmistakable evidence of it; being a " Paduan ") — Domitian,??, R.. PONT. MAX. TR. P. VIII. LVD. SAEC S.C. Emperor seated to 1. on suggestum, &c. (C. 81, and p. 502 note 1); — Another, ??, R. Spes (C. 1408); — Domitia, AR Denarius (C. p. 535, n°1); — Nerva, ??, R. ADLOCVT. AVG S.C. (C. 1); — Another ??, R. CONGIAR.P.R.S C. Emperor seated on curule chair (C. 37); — Trajan, ??, R. River-god reclining to 1., under arch, beneath which is AQVA. TRAIANA (C. 23) ;— Another, AR. Denarius, R. PARTHICO &c. Head of Sol, radiate (C. 188); — Hadrian, ??, R. FELICITATI &c. Galley on sail (C. 710"); — Another, ??, R. FID EXERCIT.S.C. The Emperor addressing three soldiers (C. p. 167, note 1); — Another, ??, R. Bridge (C. 1508); — Another AR. Denarius, R. COS.III.NEP. Galley (C. 445); — Antinous ?. Medallion, R. TOIC-AXAIOIC-ANE?HKE. Mercury with caduceus holding back Pegasus (Keary, 126); — Another, ? Medallion. R. MAGIS.VICI.SED.TIBI. Horseman transfixing another one (Armand, I, p. 182, n° 22); — Aelius, ??, R. PANNONIAE. CVRTA.AEL.S.C. (Montigny, 50); — Another, ??, R. Concordia seated to 1. (C. 7); — Antoninus Pius, ??, R. COS. III. The Emperor receives an olive-branch from Roma, (Montigny, 51); — Marcus Aurelius, ? Medallion, R. Victory seated (C. 367, 2 var.); — Another, ? Medallion, R. Jupiter seated to r. on the seven hills of Rome (C. p. 508, note; obv. illustrated); — Another,? Medallion, R. Argos and Minerva (C. 400); — Faustina Junior, ? Medallion, R. S.C. The Empress and five veiled women sacrificing to r. and 1. of an altar before the temple of Vesta (C. 101); — Lucius Verus, ? Medallion, R. Jupiter seated upon the seven hills of Rome, &c. (C. 97); — Another, ? Medallion, R. Similar (C. III, p. 16, 97); — Another, ? Medallion, R. COS. III. The Emperor receives an olive-branch from Roma (C. 92, 2 var.); — Commodus, ? Medallion, R. Salus (C. 735; this R. was also used with the obverse die bearing the head of Cosmus Scaptius) ; — Pertinax, ??, R.. Providence (C. 44); — Didius Julianus, AR. Denarius, R. Fortuna standing to 1. (C. 6); — Another, ? Medallion, R. COS. II. S.C Quadriga to 1., horses in high action, imitated from Syracusan decadrachms (C., p. 209, note); — Clodius Albinus, ??, R. ITALIA (Montigny, 63) ;— Septimius Severus, ? Medallion, R. Mars (Cf. C. 467) ;— Caracalla, ? Medallion, R. The Emperor in triumphal car (C. 382); — Geta, ??, R. ADLOCVTIO (C. VII, p. 227, 472); — Elagabalus, ??, R. SACERD.DEI. SOLIS.ELAGAB.S.C. The Emperor standing to 1., sacrificing at an altar (C. 222); — Macrinus, AR. Denarius, R. PONT. MAX., &c. (C. 39); — Diadumenianus, AR Denarius (Montigny, 68); —Julia Paula, ??, R. CONCORDIA. AETERNA. S.C. (C. 19); — Severus Alexander and Julia Mamaea, ? Medallion, R. FELICITAS TEMPORVM (C. IV, p. 70, n° 6); —Another, ? Medallion, R. Thermae of Severus Alexander (C. IV, p. 71, n° 10). By Cavino are also : Homer, obv. -Bust to r. R. Male figure between Jupiter and Ceres (Montigny, 94) ; — Mithridates VI. (copy of a tetradrachm, with R. Stag feeding) ; — Artemisia, R. MAY???EION Mausoleum (Montigny, 91); — Hercules, obv. Head of Hercules to r., R. Hercules receives from Dejaneira the garment steeped in the blood of Nessus (Cigognara, II, pp. 426-30). M. de Barthélemy, in Numismatique ancienne (Manuels Roret), gives the following points of consideration to distinguish between genuine old coins and Cavino's imitations. The latter can generally be detected by careful examination : 1. Cavino's flans are thinner than the originals; 2. The condition of the coins is nearly always perfect; 3. The letters of the inscriptions are uniform in style and point to modern engraving; 4. Patina seldom is found on "Paduans"; 5. The edges are generally filed; 6. The pieces are beautifully struck, of circular shape, and perfectly symmetrical. Cavino's medals bear the dates 1539, 1540, 1554, and 1565; some are very rare : Benedetto Accolti, Archbishop of Ravenna in 1525, and Cardinal, 1 527-1 549; — Fioriano Antonini; — Alessandro Bassiano, a Paduan scholar, who entered partnership with the artist circa 1540 for the production ot imitations of ancient coins ; (a) Obv. Busts jugate of Bassiano and Cavino. R. Bust of Marco Benavides ; (b) R. Eagle to 1. ; (c) Ceres draped standing (illustrated) ; (d) GENIO . BENEVOLENTIAE . DVLCIS. Male figure holding dolphin and patera; — Giovanni Battaglini (2 types); — Gianpietro Benavides, Paduan physician , † 1520 ;— Marco Benavides, Paduan jurisconsult, 1489-1 582 ; (a) R.. Bust of Gianpietro Benavides ; (b) R. Temple ; — Marcantonio Contarini, surnamed " II Filosofo", Venetian statesman, dated MDXL ; — Girolamo Cornaro, also dated MDXXXX; — Tiberio Deciano, jurisconsult, 1508-1581 ; — Giovanni Antonio Vincenzo Dalce, Paduan jurisconsult, born in 1482; — Girolamo Fracastorio, Veronese physician, astronomer, and poet, 1483-15 53 (mentioned by Cicognara); — Dr and Bishop Paolo Giorio of Florence R. PACE. TERRA. MARIQ. COMPOSITA Boston Collection) ; — Girolamo Gemini (in the Brit. Museum) ; — Marino Grimani, Venetian Cardinal, 1528-1546; — Goro Gualteruzzi; Alfonso II. d'Avalos, Marquis of Guastalla R. AFRICA CAPTA ; signed C. C. ; — Jesus Christ, obv. Bust to 1. and legend, IESVS. LIBERATOR . ET.SALVATOR. — 1565. IOAN.CAVINVS PA. R. DEVS.TRIVNVS.ET.VNVS. God, with triple visage, seated facing in the attitude of blessing, &c. : — Another, with bust to r., and legend PORVS.CONSILII.FILIVS. —IOANNES.CAVINEVS. R. Christ on the cross; on the sides, the Virgin and St. John standing ; at his feet Mary Magdalene kneeling; legend, OMNIA. SVRSVM.TRACTA.SVNT. (illustrated); — Pompeo Lodovisi, a Bolognese, and Girolamo Panico, a Paduan, obv. Busts conjoined (a) R. Male figure sacrificing at altar; (b) Two shields of arms ; — Giovanni Melsi, jurisconsult; — Balduino del Monte, brother of Julius III., created Count of Montesansovino in 1550. (a) R. Draped female figure standing; (b) Horsemen fighting; — Andrea Navagero, Venetian poet and scholar, 1485-1 529 ; — Bernhardt, Count of Ortenburg; — Restoration of Popery in England, 1554, obv. Bust of Pope Julius III. R. ANGLIA RESVRGES. The Pope raising suppliant England ; on one side stand Philip and Mary, and on the other Cardinal Pole and Charles V.; in ex. VT NVNC NOVISSIMO DIE (The late Mr H. Montagu only possessed a gilt specimen of this fine and rare medal (illustrated); — Marcantonio Passeri, Paduan, 1491 1565 (2 types); — Francesco Quirini, Venetian poet; — Luca Salvioni, Paduan jurisconsult; (a) R. Ceres; (b) R.Bust of Marcantonio Bonavides; — Giovanni Salviati; born at Florence in 1490, Cardinal, 1517-1553, with Greek legends ; — Cosmus Scaptius (illustrated); — Niccolo Verzi, of Capo d'Istria, jurisconsult; (a) Female figure standing; — Giampolo Zuponi, Paduan, &c. According to Giulianelli, Cavino was also an expert Gem-engraver, and produced some beautiful busts in cast bronze and bas-reliefe with the portraits, life-size, of Andrea Navagero and Girolamo Fracastorio. Some of Cavino's medals are found in silver, but they are all extremely rare, as most of the specimens have been melted down. It is probable that they were all executed at Padua, where the artist resided until his death in 1570, and where he is buried in the church of S. Giovanni di Verdara. It is said that " the stone bound by an iron ring, which he used in coining, was preserved for a long time in that church ". Lawrence observes : " The imitation of Roman art seems from an early period to have been traditional at Padua, which contained one of the greatest universities of Europe. The earliest Italian medals were struck in that city and are quite classical in style. In the case of Cavino, this close adherence to the style of his Roman models is very marked and it prevented him from equalling the best medallists of his period as an artist in portrait-medals". Bibliography. — Richard Hoe Lawrence, Medals by Giovanni Cavino, " Tlx Paduan", New-York, 1883 (My information as regards Cavino's imitative pieces is mostly derived from this valuable pamphlet which was only printed for private circulation). — Cohen, Médailles impériales, 2nd edition, Paris, 1880- 1892. — Armand, op. cit. — Bolzenthal, op. cit. — Rev. P. Claude du Molinet, Le Cabinet de la Bibliothéque de Sainte-Geneviéve, Paris, 1692. — M. Montigny, Cabinet de l'Amateur de Piot. — L. Cicognara, Storia delta scultura dal risorgimento delle belle arti in Italia fine al secolo die Napoleon, Venezia, 1813-18. — P. -A. Gaetani, Museum Mazzuchellianum, &c, Venetiis, 1761-63. - C. F Keary, A Guide to the Italian Medals exhibited in the King's Library, London, 1881. — Pompeo Litta, Famiglie celebri Italiane, Milano, 1819- 1852. — C. de Montigny, lies faussaires Jean Cavino et Alex. Bassiano, Padouans, Paris, 1842-46. — A. de Barthélemy, Nouveau Manuel de numismatique ancienne, Paris, 1898. — Dr J. Cahn, op. cit. — J. B Supino, II Medagliere Mediceo, Firenze, 1899.

Source: Biographical dictionary of medallists; coin, gem, and seal-engravers, mint-masters, ancient and modern, with references to their works B.C. 500-A.D. 1900; compiled by L. Forrer, London 1904