Isotta degli Atti of Rimini, d. 1470 1446

Editor: So this bronze medal, crafted in 1446 by Matteo de' Pasti, portrays Isotta degli Atti of Rimini. The profile is so delicate; it really speaks to her status, doesn’t it? How can we place this within the context of its time? Curator: This medal speaks volumes about the emerging power structures of the Italian Renaissance. Medals like these weren't just pretty objects. They served as a form of political propaganda. Consider: who commissioned this? What message were they trying to convey? Editor: That’s fascinating! I hadn't thought of it as propaganda. Perhaps it was commissioned by her husband, Sigismondo Pandolfo Malatesta, to elevate her status. Curator: Precisely. Isotta wasn't nobility by birth, and Sigismondo used art, architecture, and even military strength to solidify his and her position. These medals would have circulated amongst the elite, visually cementing Isotta's image as a woman of power and beauty - virtues in that context. Do you see the inscription around the portrait? What does that communicate? Editor: It says "Isotta Ariminensi Forma Omnia Virtute Superat Italiae Decorique." "Her virtue surpasses all beauty and ornament of Italy." That’s quite the statement! Curator: Exactly. And it's a calculated one. The inscription works in tandem with her carefully rendered portrait to craft a specific image of Isotta: beautiful, virtuous, and therefore deserving of her elevated station. It raises questions about the relationship between women, power, and representation at the time, right? Editor: Yes! So it’s about power and legitimization. I guess I initially focused too much on the aesthetic aspect. I see so much more now, thanks to this deeper understanding of its historical role! Curator: And I learned something from you about how the object impacts our sensibilities today.