Papal Medal of Pope Alexander VII (circa 1659) Material: Cast bronze Theme: Androclus and the Lion – Allegory of clemency, justice, and eternal memory ⸻ Historical and Papal Context This papal medal belongs to the pontificate of Pope Alexander VII (Fabio Chigi), one of the most cultivated and intellectually refined popes of seventeenth-century Rome. A great patron of the arts and architecture, Alexander VII conceived Rome as a monumental and symbolic city, where art was not mere decoration but a moral and political language. In his era, the papal medal functioned not simply as a commemorative object, but as an ideological manifesto — a durable vehicle of universal values such as mercy, justice, and pietas, intended to endure ad memoriam. ⸻ Obverse The obverse depicts the pontiff in profile, following the classical Roman tradition, wearing mozzetta and richly rendered vestments. The portrait conveys strong psychological depth: a high forehead, vigilant gaze, and sharply defined beard express intellectual authority and moral vigilance. The Latin legend (ALEXANDER VII P. M., etc.) reinforces the dignity of the Supreme Pontiff. The sculptural modeling reflects the high baroque Roman portrait tradition, stylistically close to the circle of Gian Lorenzo Bernini, with whom Alexander VII maintained a privileged artistic relationship. ⸻ Reverse: Androclus and the Lion The reverse is the true narrative and symbolic masterpiece of the medal. It illustrates the classical story of Androclus, the fugitive slave, famously recorded by Aulus Gellius. According to the tale, Androclus aids a wounded lion by removing a thorn from its paw. Years later, condemned to the beasts in the arena, he finds himself facing the same lion — which recognizes him and refuses to attack. Moved by this act of memory and gratitude, the spectators and the emperor grant mercy. On the medal: • Androclus is shown in a dramatic, theatrical pose, body tense and arm raised in a moment of suspended action. • The lion, far from ferocious, appears restrained and almost grateful, embodying memory rather than violence. • The amphitheater, filled with spectators, evokes the judgment of both the people and history. The surrounding legend culminates in the concept of MEMORIA, the interpretative key of the entire composition. ⸻ Symbolic Meaning Within the papal context, Androclus becomes an allegory of power tempered by mercy: • justice is not blind vengeance, • brute force (the lion) submits to virtue and gratitude, • true authority is founded on remembrance of good deeds. For Alexander VII, the scene alludes to the Pope’s role as supreme arbiter, capable of clemency, and to the Church as an institution that governs force not through violence, but through caritas. ⸻ Artistic Aspects and Attribution The high relief, dense yet legible composition, theatrical gestures, and controlled emotional intensity are fully Baroque in spirit. The medal is traditionally associated with the artistic milieu of Girolamo Lucenti and Giovanni Battista Travani, leading figures of seventeenth-century papal medallic art. Bronze 96mm , gr 165