Henry Lawrence Swinburne and Charles Francis Atkinson

Summary

Henry Lawrence Swinburne and Charles Francis Atkinson 1911 Encyclopædia Britannica (1911)

The modern medal and the plaquette aim at being decorative yet vigorous, reticent and dignified, delicate and tender, graceful and pure; it may be, and often is, all these in turn. Imagination, fancy, symbolism, may always be brought into play, allied to a sense of form and colour, of arrangement and execution. By the demonstration of these qualities the artist is to be differentiated from the skilful, mechanical die-sinker, who spreads over the art the blight of his heavy and insensitive hand and brain.
Source: Wikisource

Henry Lawrence Swinburne and Charles Francis Atkinson 1911 Encyclopædia Britannica (1911)

The medal, properly considered, is not sculpture. Vasari was happy in his definition when he described the medallic art as the link between sculpture and painting—that is to say, painting in the round with the colour left out. Less severe than sculpture, it need not be less dignified; it is bound down by the conventions of low relief, and by compulsions of composition and design, dependent on shape, from which sculpture, even when the relief is the lowest, is in a great measure free. In the medal, otherwise than in sculpture, elaborate perspective and receding planes are not out of place.
Source: Wikisource

Henry Lawrence Swinburne and Charles Francis Atkinson 1911 Encyclopædia Britannica (1911)

The medal—as it is understood to-day—enjoys a life entirely independent of the coin on the one hand, and, on the other, of the sculptured medallion, or bas-relief; and its renaissance is one of the chief phenomena in art during the period since about 1870. It is in France that it has risen to the greatest perfection.
Source: Wikisource

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