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THE MEDALLISTS OF IRELAND AND THEIR WORK.
By WILLIAM FRAZER, F.R.C.S.I.,
Member of Council, Royal Irish Academy, &c.
No. I. - THE MOSSOPS.
THE medals that a country has produced may be compared to so many
isolated portions, or detached fragments, from a continuous narration of
its history; and, when studied under this aspect, their value to the historian
becomes obvious. It is difficult to estimate the extent of our
obligation to the medals of Greece and Rome, and the coins of these
countries, which, in truth should rank as medals, in elucidating their early
records. In Ireland, it is only within about the last hundred years that
they assume a true national character: and that we can claim to possess a
national series; yet they have failed to secure accurate investigation which
alone would render them useful. Students have been few, and the
medallic collections exceptional and limited; so that in the present day
we cannot point to even reliable descriptions which may be consulted.
Their history is still unwritten. The English series of medals has received
ample recognition and illustration in the two fine volumes lately published
by the Trustees of the British Museum; and in R. W. Cochrane-Patrick,
M.P., Scottish medals have secured an enthusiastic and liberal editor,
who has, at considerable personal expense, treated them fully and with
admirable illustrative engravings in his splendid work. We can point to
nothing of this character in Ireland, and whatever assistance our medals
could afford to elucidate the past, it will, so far as books are concerned, be
sought in vain. Yet the Irish series of medals are well deserving of
description. The men whose portraits are preserved on them are those
whose names we have reason to be proud of, the events they commemorate
form much of our modern history; and even should their theme relate
to some subject of local or limited interest, still it recalls objects or
circumstances once considered to deserve a record, and which at the time
produced sufficient impression on the public mind to be thus transmitted.
Medals, when studied with reference to their appreciation as objects
of art acquire augmented value in proportion to the talent displayed in
design, and the technical skill of their fabricator. In these respects, we
have reason to point with pride to two distinguished Irish artists-the
Mossops, father and son-both of whom, though labouring under serious
disadvantages, achieved brilliant successes. We have to acknowledge our
indebtedness to their labours for a long series of works in metal, reproducing
the portraits of many an Irishman, whose features we would
gladly look on: a Charlemont, for instance, or a Grattan, a David
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La Touche, a Primate Robinson, or O'Connell as he appeared in the year
1816, and others equally esteemed.
Being the fortunate possessor of an extensive series of Irish medals,
the result of several years' acquisitions, I have long considered their
ownership demanded, at least, an attempt to place on record such circumstances
connected with their history as could he collected, and which, if not
preserved, would to a large extent pass into oblivion. The effort may, perhaps,
induce others to supply my shortcomings, and possibly lead to our
Irish medallic works becoming better appreciated. In doing this I will,
in the first place, give brief histories of the Mossops, and describe their
medals; hereafter I may, perhaps, review the later medals of Parks,
the Woodhouses, Jones, and other Irish workmen in the same special
department of art.
There are already published accounts of the Mossops, father and son,
by Dean Dawson, in the Transactions of the Royal Irish Academy, also
a paper chiefly relating the history of William Stephen Mossop, junr., in
"The Dublin Monthly Magazine" for 1842, by a gentleman who knew
him for many years, and a number of details relating to both artists in
Gilbert's Dublin, where a list compiled by Mossop, junr., is given of the
principal works executed by his father and himself.
William Mossop.
William Mossop (Born, 1751; died, 1806).- The eminent position
which Mossop attained as an artist, nearly a century ago, renders it a
duty to collect these fast-fading traditions of his professional labours which
well deserve to be recorded. Those few individuals who are familiar
with the series of medals he struck, and value them, will feel that in
attempting to perpetuate his name, and direct fresh attention to his many
successes in medallic representations, the effort is far from needless; for
already, similar to the lot of too many Irishmen of genius, his countrymen
have begun to forget his claims to their recognition and gratitude.
His history presents us with another example of undoubted talent of a
high order, engaged in constant, uncomplaining labour, without receiving
the reward of adequate recompense from his cotemporaries, who were
liberal enough in admitting his genius, but failed to offer him that pecuniary
recompense which, in other countries has been willingly accorded
to men who have devoted themselves to similar artistic pursuits.
William Mossop, a Dublin citizen, was born, in 1751, in Mary's parish.
his father's name was Browne, and when be died, his widow married W.
Mossop, a relation of the popular actor and stage-manager, Henry Mossop.
The father of her child having been a Roman Catholic, she changed his
name, to obtain admission for him into the Blue Coat School, to that of her
second husband. On leaving this school, about 1765, he was apprenticed
to Mr. Stone, a die-sinker, who made seal-dies for the Linen Board, and
work of similar descriptions, upon which he kept young Mossop occupied.
At this time, and for many years afterwards, the trade of die-sinking in
Dublin was remunerative; for there was much demand for buttons struck
in metal, which was so well paid that the workmen who fabricated heavy
gilt buttons (then in ordinary use for gentlemen and their servants'
liveries) were able to earn large wages, and seldom worked above three
or four days each week, spending the rest of their time in idleness and
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drinking. Change of fashion has long since altogether destroyed this
lucrative trade.
Stone, like many others of his class, was of intemperate habits,
which caused his death; and his son, following the father's example,
likewise soon killed himself. The entire support of unfortunate Stone's
family devolved on Mossop. He continued to work for the Linen
Board up to 1781, when a change took place in the managment of the
board; and the dismissal of their secretary led to a system of contract,
which deprived him of his employment at a time when, having married,
he was burdened with a young family. A circumstance occurred about this
period which in a material degree influenced the course of Mr Mossop's
life. He was requested to value a collection of medals for some friend,
who contemplated purchasing them; and becoming much interested in
their execution, when his friend declined to do so, he secured the collection
himself. Their possession excited in him the desire to make similar
beautiful works of art; and thus his labours as a medallist commenced.
He carried his ambitious design into execution without delay, and the
result proved how wisely he had selected his proper vocation. The medal
he first produced was that of Mr. Ryder, a well known popular actor in
Dublin, which was made in 1782 and when we consider this premier
essay was executed by a person who had no previous training in such a
peculiar and special department, that the modelling of the portrait, and
its subsequent engraving on a steel die, were due to the unaided development
of his skill and natural talent, resulting in a finished work deserving
of high commendation, and one that placed him in the rank of a medallist
of exceptional ability, it must be admitted we are describing the history
of a man of genius, far beyond the average standard. The portrait of
Ryder was, by general consent, considered a striking likeness. There is
a rather rare engraving, which may have possibly aided Mossop's modelling
- and, no doubt, he enjoyed opportunities of studying his appearance
when acting on the stage - but we have no evidence that he was permitted
to model Ryder's face from life sitting; and if this be so, the result is
still more surprising and exceptional. When the model was completed
it was inspected and admired by crowds of citizens; yet it is related that,
after the lapse of several months there was "only a single medal sold:"
whether this is correct or not, it is beyond question that it it is seldom met
with at present. Soon after he executed a medal-still more scarce, of
which I know only a solitary impression in the Royal Irish Academy
that, with side busts, of the Right Hon. John Beresford and his wife. For
the curious history of this medal I refer to its description hereafter.
Two works of such marked excellence succeeding each other attracted the
notice, and, better still, the assistance and friendship of Dr Quin, advantages
which to Mossop's serious disappointment, were soon lost by the death
of his influential friend and benefactor, of whom he completed a good
medallic likeness, at the request of Mr. Wade, one of his patients, in
grateful acknowledgment of his recovery from a severe illness. Dr. Quin
contemplated the idea of sending Mossop to Boulton's great mint works in
Birmingham; but his death put an end to this arrangement. In Gilbert's
History of Dublin (Appendix to vol. ii.) there is a detailed list of most of
Mossop's works, compiled by his son, and collated by Dr. A Smith, with the
assistance of private letters, which formed the first reliable record of his
labours. In the year 1784, Mossop resided at 13, Essex-quay. He
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modestly describes his occupation as 'letter cutter and die-sinker." He
was subsequently employed by the firm of Camac, Kyan, & Camac (1793)
in coining into halfpence the copper which they obtained from their
property, the Wicklow Copper Mines. There was a scarcity of copper
coinage at that period, owing to the restricted working of the royal mint,
which led to numbers of traders striking private tokens throughout
Ireland and England, amongst them the Dublin company of Camac,
competed so largely that, to a great extent, at least in Ireland, they displaced
the royal coinage, and the phrase "a Camac" became for several
years synonymous with a halfpenny. Mossop was engaged in making
their dies and superintending the practical working of their private mint.
The subsequent failure of this firm, in addition to the loss of his appointment,
entailed on him serious pecuniary loss. In 1797 he returned to
his occupation as a private die-sinker, and so long as work could be obtained
he continued his laborious and little appreciated toil.
The disturbed state of Ireland, the successive Rebellions of 1798 and
1803, and the loss of trade in Dublin, caused by the Legislative Union
combined to produce a depressing, and almost destructive influence in
every department connected with local manufuctures. During the
entire of Mossop's career he laboured under a total want of that patronage
which, either from the State or from wealthy individuals, work similar
to his usually requires to produce its best efforts; and it is a matter
for justifiable national pride, that without such aid, without a master's
help or previous instruction, he achieved success in his art. The
celebrated sculptor, Edward Smith, was, however, a friend of Mossop's,
and aided him by his council and designs in some of his medals. It is
difficult to obtain information respecting the numerous seals of which
Mossop prepared dies for different incorporated and other public bodies
in Ireland. Several of these seals were executed in silver, and as they
became disused were melted down for their intrinsic metallic value, and
so destroyed. I have a small silver seal of the Irish Ordnance Department
which, I believe, is his workmanship. He engraved a few compositions
in cornelian and on ivory, in the latter material he cut a small
copy of the marriage of Cupid and Psyche, but I am unable to trace its
present possessor.
Before cutting the steel die, Mossop was in the habit of executing in
wax a careful model of the portrait or design he intended to complete. He
employed wax softened with turpentine, and coloured white or brown,
which was laid down on pieces of slate or glass, and accurately moulded
to the intended form. In modelling figures, they were designed as a
primary study, and the drapery laid on by subsequent stages. He thus
preserved the positions of the limbs correct, however minute they were;
and the examples I have of his workmanship evince by their delicate
manipulation the fineness of his touch and skill as a draughtsman. The
original wax model for Mossop's masonic medal in my possession was
made after a drawing of Edward Smith's, to whom the original conception
of the design was due; but its practical execution was altogether his own.
Several of his steel dies are still preserved in the possession of Mr. J.
Woodhouse of this city, who follows the same interesting profession as a
medallist. Mr. Mossop died in Dublin in 1804, after a few hours' illness,
from an attack of paralysis and apoplexy.
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MEDALS MADE BY WILLIAM MOSSOP, SENIOR.
THOMAS RYDER.- The bust to right, inscribed with the name, and in
smaller letters, W. M. F. Reverse.- Wreaths of laurel and palm with
lyre and comic mask at their junction. In centre, NON ALIENA |
UNQUAM | RYDER | VESTIGIA | PRESSIT; and below, W. M. F. Size, 1·7 of
English inch. This medal, which occurs in bronze and silver, was
Mossop's first work. It records a talented comic actor, manager of Smock
Alley Theatre from 1772. He was son of Preswick Ryder, a printer,
who resided in portion of Old Cork House, in Castle-street, Dublin, and
absconded after printing a pamphlet against the Government. He lived
as an itinerant player for many years in England under the name of
Darby, during which time his son was born. As manager of Smock Alley
Theatre Ryder made money, and got £3000 by the Royal Exchange
Lottery, but lost it, and became bankrupt. After visiting London,
Edinburgh, &c., he returned, in 1791, to Dublin, and died of a broken
heart. There is a touching note in White's "Miscellanea Nova," published
in 1800, on his career. When wealthy he built a large house in
Eccles-street, now divided into two, which was known as "Ryder's
Folly." There is a scarce portrait of Ryder, painted by Harding and
engraved in stipple by W. N. Gardiner, which I possess. The medal
was struck in 1782; but, though much praised, its sale was a failure,
and hence it is seldom to be procured.
MEDALLION OF RIGHT HON. JOHN AND MRS. BERESFORD.- Their busts,
superimposed, and beneath, W. Mossop. Reverse, blank. Size.- 2·1. In
bronze in Royal Irish Academy. Hon John Beresford, second son of
Viscount Tyrone, represented Waterford in Parliament for forty-four
years until his death in 1805. His second wife, Barbara, daughter of
Sir Wm. Montgomery, was a celebrated beauty. The medal, which is
curved, was struck to be set in the side of a tankard of silver which
Dr. Achmet, proprietor of baths in Dublin, presented in acknowledgment
of some favours conferred on him through the Beresfords' influence.
Achmet, who was the son of a Dublin tradesman named Kearns, dressed
like a Turk, and passed for one for somc years. An amusing account of
his baths, &c., is given in Madden's "Periodical Literature," vol. ii.,
p. 209. Mr. Beresford, after whom Beresford-place is named, was
practically the ruler of Ireland for many years. His wife and her
sisters were drawn by Sir J. Reynolds as "The Graces." The picture is
now in the National Gallery. The medal was struck in 1788; I believe
it is unique.
HENRY QUIN, M.D.- Bust to right; inscription, HENRICUS QUIN, M.D.,
and under the neck, in small leters, W. MOSSOP F. Reverse.- blank.
Size, 1·65. This was struck for Robert Watson Wade, First Clerk
of the Irish Treasury, to show his gratitude after recovering from a severe
illness, caused by an "imposthume" in his side. The original gold medal
given to Dr. Quin is in the possession of his grandson, Rev. R. Quin,
Rector of Forkhill. It has an engraved inscription: "EX | ANIMO
GRATO | OB | SANITATEM | RESTITUTAM | EXCUDI CURAVIT | R. W. WADE |
M.DCCLXXXVIII. The original steel die is in my possession. Examples
The size of these Medals is given in English inches and tenths of an inch.
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occur in silver, bronze, and silver gilt. Dr Quin presented copies to his
friends, for one made in silver and gilded, and which I have, is inscribed
"The gift of Henry Quin, Esq., M.D., to John Logan, Sculptor of Gems,
as a token of friendship, Nov. 1, 1789." Mossop likewise acknowledged
his obligations to Dr. Quin, according to his own statement, by inscribing
one of these medals as follows:- "Sacred to the man who, after
finding out the author in obscurity, led him into the profession of this
polite art, and became his patron, his friend, and his liberal benefactor."
I have failed to trace this medal. Dr. Quin was a distinguished Dublin
physician, and near relative to the celebrated actor. He discovered a
mode of reproducing gems in coloured glass paste, and instructed James
Tassie in his method of fabricating them. This led to his future success
in London in making the so-termed "Tassie's Gems," which obtained
wide celebrity. I possess some made by Dr. Quin himself, which are fine
specimens of workmanship.
DAVID LA TOUCHE.- Bust to waist, with cravat and coat; a cap on the
head. Inscription-DAVID LATOUCHE ESQ BELVIEW; and on the arm, in
small letters, MOSSOP. Reverse.- A group of allegorical figures, representng
Justice, Truth, and Liberality, with Eagle and QUI BENE PARTA
MELIUS DISPENSAVIT for inscription, and in the Exergue NAT 1704 OB
1785. Size, 1·7. There is an engraving of this medal in Clayton's
Views of Dublin. The dies are in the possession of Mr. J Woodhouse.
He has also a wax impression of a seal representing the portrait, but
evidently not a work of Mossop's. It is needless to allude to the
distinguished position which David La Touche held in the city of Dublin.
This medal occurs in bronze and silver.
WILLIAM ALEXANDER, Esq.- Bust to right, with draped shoulders
and bare neck; a soft conical cap on head; arm inscribed in small letters,
MOSSOP. The name WILLIAM ALEXANDER around bust. Reverse.- Blank.
Size, 1·8. This medal, of which Mr. Woodhouse has the die was made
in 1785. It represents a leading Dublin merchant, who lived in 15,
Sackville-place; in 1779 he became alderman, and in 1788, Lord Mayor.
He was afterwards one of the superintendent magistrates, and as such,
arrested Henry Sheares in 1798, in his house in Baggot-street. I have
seen it only in bronze.
WILLIAM DEANE, Esq.- Draped bust to right, inscribed GVLIELMVS
DEANE ARM, and on the arm, in small letters, MOSSOP F. Size, 1·7. Occurs
in bronze and copper gilt; stated to have been made in 1785. Mr.
Deane was a solicitor and officer in the Court of Chancery, and further
distinguished himself by practical scientific pursuits; for he established
works to make bottles and window glass, which were aided by parliamentary
grants. His name appears amongst the original members of the
Royal Irish Academy. He died in 1793, leaving his chemical apparatus
of glass, and planetarium to Trinity College, and large bequests to Stevens'
Hospital and the Rotundo.
EDMUND SEXTON VISCOUNT PERY.- Head to right, with inscription EDM
SEX VISCOUNT PERY, and below, MOSSOP. Reverse.- Blank. Size, 1·7.
Made in bronze and silver. Mr. J. Woodhouse has the die. Edmund
Sexton, Viscount Pery, born 1719, entered Parliament in 1751, and was
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Speaker of the House of Commons from 1771 to 1785. On vacating
office he was created viscount, and received £3000 per annum. He died
in 1806. Dean Dawson states, that when Mossop had finished this medal,
Lord Pery expressed himself highly pleased, and inquired what remuneration
he expected. On Mossop replying, "Twenty guineas," He handed
him a cheque for forty, remarking that he "considered the artist had not
put a fair price on his work, and hoped he would be satisfied with what
he thought proper to give."
CUNNINGHAM PRIZE MEDAL OF ROYAL IRISH ACADEMY.- Bust of Lord
Charlemont, in uniform of the Volunteers, to left, inscribed IACOBVS
COMES DE CHARLEMONT PRĈS. On the arm, MOSSOP. Reverse.- Hibernia,
helmetted, seated on a pile of books, holding a shield, with harp and
Irish crown, and a rod, with cap of Liberty, to left; in front are ruins
of a round tower, emblematic of antiquities, and behind, various emblems
of astronomy, chemistry, and literature. The motto VERETAS REVOCAVIT
ARTES and under the seated figure, MOSSOP. In the exergue ACAD
REG HIB INST JAN 28 MDCCLXXVI. Size, 2·2. Struck in gold when
issued, as the Cunningham Prize Medal. Some early proofs in silver
and copper occur. The dies, which are worn out, remain in the possession
of the Academy, and are replaced by new dies, made in 1886, by
Mr. J. Woodhouse. The medal, when originally proposed, consisted only
of the reverse portion, the portrait of Lord Charlemont being added
when he was nominated President by Royal Charter. I possess the
wax model of Lord Charlemont, made by Mossop preparatory to cutting
the die.
To appreciate this medal, an early unworn impression should be
examined; it then ranks with Mossop's best works. The portrait is
considered an excellent resemblance, and its execution is soft and delicate.
The allegorical design was planned with skill, and well worked out, the
central figure filling, without overcrowding, the surface of the medal.
Lord Charlemont was so pleased with it that he gave the artist free
access to his library and the numismatic and art collections in his
possession.
Mr. Woodhouse's replica of the Charlemont medal follows closely the
design of the original made by Mossop. It can, however, be readily
recognized by having J W in minute letters on the arm of the bust, after
Mossep's name, and likewise on the reverse, immediately behind the lyre.
The inscription also is struck in somewhat larger lettering.
DOWN CORPORATION OF HORSE BREEDERS.- A small medallion in the
centre, with two racehorses and jockeys racing, surrounded by perforated
rays like a sun, by which it is joined to an outer circle or garter, having
the motto METAM AVIDI PETVNT. In the exergue, MOSSOP F. Reverse.-
On the central medallion a brood mare and foal; inscription, IN EQVIS
PATRVM VIMTVS, and the name MOSSOP. Size, 2·0. Struck in bronze
about 1787. This medal had the perforations of the sun's rays removed
by filing, after being struck. The Royal Irish Academy owned a
gold pattern, which was lost.
PRIMATE ROBINSON, LORD ROKEBY.- The Primate's portrait, with
full wig and canonicals, to right. Inscription-RICH ROBINSON BARON
ROKEBY LORD PRIMATE OF ALL IRELAND. On the arm, MOSSOP. Reverse.- A
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front elevation of the Armagh Observatory marked MOSSOP, and in exergue,
MDCCLXXXIX. The motto is, THE HEAVENS DECLARE THE GLORY OF GOD.
Size, 2·2. Made in bronze and silver, and occasionally met in white
metal. Mr. J. Woodhouse has the dies. An engraving of it was published
in "Anthologia Hibernica," for 1793; and I have an impression
of the obverse struck as a proof in thin card-board. The medal
commemorates the erection of the Armagh Observatory, which was built
at his lordship's expense.
PATTERN FOR CAMAC HALFPENNY.- "Camac Kyan and Camac," with
cypher H M C (Hibernian Mining Company), and beneath, ONE HALFPENNY
| MOSSOP F | 1793. Reverse.- The usual figure of Hibernia with harp
and whiskey still, PAYABLE AT BALLYMURTAGH. It is struck in copper, but
was probably a pattern piece, as in the current issues Mossop's name is
omitted. Size, 1·2.
UNION PENNY.- The head of George III. to right, and beneath a
small harp, the motto, GEOROIUS III REX. Reverse.- Britannia with shield,
and Hibernia with harp, uniting hands over the altar of Concord; the
inscription being, CON-COR-DIA. In exergue 1789. Size, 1·4 A few
bronze proofs were struck, when the die broke. It was made during
the viceroyalty of the Marquis of Rockingham, after a design by Sir
Joshua Reynolds. There is an impression in the Royal Irish Academy,
struck, after the fracture-which extends across the harp-was repaired
by a piece of metal let into the die. A specimen in the British Museum
is still more damaged.
MEDALS GIVEN AT THE COMMENCEMENTS, TRINITY COLLEGE, DUBLIN.-
On both medals, SEMEL RAPTOS NVNQVAM DIMITTET HONORES.
Reverse of No. 1. - PROPTER ARTIVM STVDIA INDVSTRIA CONTINENT NEC SINE GLORIA NAVATA.
Reverse of No. 2. - PROPTER LITERAS GRĈCAS ATQVE LATINAS FELICITER EXCVLTAS.
It is stated this was originally designed for a science medal, but given
up for those termed Commencement Medals, which were superseded by
the Science and Classic Medals. Size, 1·3. Examples in bronze are
in the Royal Irish Academy, made in 1793.
CASTLEBAR MEDAL.- A silver medal in the British Museum, representing
a female seated to left, with three children, one suckling, and one
at each side. Reverse.- In four lines, inscribed, BENEFACIENDUM | EST
OMNIBVS - CASTLEBAR | 1791. This is probably Mossop's work.
MARIE ANTOINETTE.- Bust to right, and underneath W. M. Inscribed
MARIE ANTOINETTE REINE DE FRANCE. Reverse.- IMMOLÉE | PARLES FACTIEVX
LE 16 OCT 1793 | PLEURÉS ET VENGÉS LA. Size 1·35.
I possess a unique white metal impression of this medal; it was
intended as part of a series, as I have the wax portrait of Louis XVI.
prepared for engraving on a die, designed in Mossop's usual manner,
and also a medal of
THE DAUPHIN AS LOUIS XVII.- Bust with long hair; to right, LOUIS
XVII ROI DE FRANCE, and beneath W. M. Reverse.- SI TOT | QU'IL HAIT UN
ROI | DOIT ON CESSER | DE L' ETRE, and below, 1793. Size, 1·3; unique.
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MEDAL OF THE FRIENDLY BROTHERS OF SAINT PATRICK.- So far back as
1762, a medal of this Society is described, made in gold -"Impressed with
St. Patrick's Cross fixed in a heart, over which is a crown, the whole
being set round with an emblematic knot, embellished with trefoil or
shamrouge leaves, and this motto, FIDELIS ET CONSTANS, implying fidelity
and constancy in religion, loyalty, and friendship. On the reverse
shall be impressed the arms of the order, namely, a group of hearts in
fesse, or, (as an emblem of the strict union of the members of the order)
charged with a celestial crown of the same in chief in a field vert (the
reward of their benevolence and fidelity). Round the shield an endless
knot set with shamrouge leaves, the mantling proper, and two emblematic
dolphins, their faces downwards, argent, a label coming from their
mouths, with this motto, QUIS SEPARABIT (and above a hound W. F.).
This medal shall be worn, pendant to a green ribbon, by all the members,
and on the ribbon of the 'Perfect' Friendly Brothers the cross is
blazoned in embroidery (and ornamented with a celestial crown), which
no regular brother shall at any time dare to wear."
Mossop's medal corresponds with this description; it is struck in gold
and bronze gilt. Size, 1·25. After his death it was re-engraved by his
son, and several other Dublin medallists; but I have never seen one of the
earlier medals such as described above.
This club appears to have originated soon after the Revolution of
1688 amongst the disbanded troops of William III., who, feeling a necessity
of co-operating for mutual assistance, instituted a common bond of
union, consisting of several lodges, or "knots," in the principal towns of
Ireland, and also in Bath, Cheltenham, Liverpool, and London. Several
of these continue to flourish. One of their ostensible designs was the
suppression of duelling, and the arranging of misunderstandings amongst
the brethren. This good feeling was promoted by social intercourse.
They were prominent in benevolent schemes, and frequently discharged
the debts of poor prisoners confined in gaol. The association still prospers
as a Friendly Club, in Stephen's-green, in this city, and have their
special pew in St. Patrick's Cathedral, where they attend service on the
seventeenth of March, and they are contributors to the funds of the
cathedral. I have reason to believe Dean Swift was a member of this body;
at all events, its roll of membership shows a long succession of celebrated
names.
There is a rare allegorical engraving of this association, of which
there is a copy in my possession, where the medal is represented. So far
as can be ascertained, it was engraved by William Paulett Carey, publisher
of the National Evening Star Newspaper, but has no artist's name.
TICKET MEDALS OF THE PRIVATE THEATRE, 1796.- Three figures representing
tragedy, comedy, and lyric art, holding a ribbon, inscribed,
DESCRIBO MORES HOMINVM, and marked in exergue, MOSSOP. Reverse.-
Blank, with a name engraved, Patt. Marsh Esq.
TICKET MEDALS OF THE PRIVATE THEATRE, 1796.- The figures differently
and more gracefully disposed, marked MOSSOP in field to right.
Reverse.- Inscribed, PRIVATE THEATRE, and engraved in centre, No. 1,
Earl Farnham. Size, 1·4. Of the first medal I possess a bronze impression,
and of the second silver.
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In 1792 several of the nobility fitted up a private theatre, under Earl
Westmeath and Fred. E. Jones, for amateur performances. Each subscriber
was allowed two silver tickets, and could, if qualified, perform.
(Gold tickets were presented to the Marchioness of Camden, having her
cypher, J C, under a coronet.) It is not certain when these tickets were
first made; the earlier die appears to have been struck some years before
the more finished medal; one only is described in the list by Mossop's
son, with the date 1796. In Gilbert's History of Dublin, he states that
Jones opened Crow-street theatre in 1798; and having suffered much
from the base coin then in circulation, devised an issue of silver tokens,
to be received and paid for at the theatre, probably about 1803 - from
which idea Earl Hardwicke was led to originate the bank tokens. I have
failed to trace these pieces, but possess one made for Crow-street
Theatre in the year 1790, memorable as being the year when a succession
of riots were organized against its manager, Daly.
MEDAL OF THE SOCIETY FOR PROMOTING RELIGION AND VIRTUE.- Two
draped female figures, bearing a cross and cup, conducted by a winged
angel with Spear, are seen advancing to a shrine on an eminence, behind
which the sun is rising. The inscription is RIGHTEOUSNESS EXALTETH A
NATION. In the exergue, MOSSOP F. Reverse.- Inscribed, ASSOCIATION FOR
RELIGION AND VIRTUE INST OCT 9 1792. And around this, ACQUAINT THYSELF
WITH GOD & BE AT PEACE Size, 1·6. Struck in silver and bronze.
This society was founded by Mr. Watson of Capel-street, and two
clerical friends, to promote religion and morality. They instituted
catechetical examination-for which these medals were given as prizes-
obtained the suppression of Sunday evening promenades at the Rotundo,
distributed bibles, checked the sale of immoral books, opposed with
success the lottery system, and were so far in advance of their age, that
they succeeded in stopping the Sunday trade in whiskey: in a word,
inaugurated a vast change for the better in society. They became
incorporated by Act of Parliament in 1800, and still continue their
benevolent labours.
The Examinations of this Society were held at the Parochial Schools,
and medals and bibles distributed for good answering in the Church
Catechism.
DR. BARRET'S SCHOOL MEDAL.- A globe, lyre, and books, marked
HOMER, &c. Inscription, HIC SVNT PRMIA LAVDI. On Reverse, HOC
PRMIVM MERITVS AC CONSECVTVS EST HABITA IN SCHOLA REV JOHANNIS
BARRETT DVBLINII A.D.- . Size, 2·6. Struck in bronze, and probably
silver.
Dr. Barrett, who was a Catholic priest, died in 1798, with symptoms
of mental disease; but his school appears to have continued, for Jones
engraved a medal inscribed, HOC PRMIVM MERITVS AC CONSECVTVS EST
EXAMINATIONE HABITA IN ACADEMIA DD BARRETT AC BERNE DVBLINII AD -
TYRONE REGIMENT.- FOR SOLDIERY MERIT, and outside a wreath,
ROYAL TYRONE REGIMENT. Reverse.- A harp and royal crown, GOD SAVE
THE KING. Size, 1·6. Struck in bronze and silver.
This medal has not Mossop's name. Mr. Woodhouse possesses the
dies, which were evidently made in haste, the stars on the harp being
double struck; and it also became cracked soon after completion. The
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