Provenance : Bequest of Pablo Bosch y Barrau, 1916.
Mexico boasts one of the captivating and substantial numismatic traditions in the world, the beginning of which can be traced back to the early 16th century with the conception of the Mexican mint, one of the oldest in the Americas and played a major role in the global economy of the colonial period. This numismatic tradition encapsulates a smaller one within itself; the tradition of issuing a wide variety of commemorative coins, medals and engravings in order to celebrate historical events and cultural achievements. As these branches of numismatics broadened further, they created occupational opportunities, subsequently leading to the emergence of engravers and medallists in two distinct phases in Mexico. The first phase is the early colonial period (16th century) following the establishment of the Mexican mint, "Casa de Moneda de Mexico" in 1535 CE, their purpose mainly in this era was to aid in minting coins and printing religious texts. The second phase is of the 18th century, when numismatics attained the identity of an independent fine art discipline or specialisation. The birth of formal medallists and master engravers occurred with the inception of the Academia de San Carlos in 1781 CE, in Mexico City. Under the guidance and mentorship of the royal engraver Geronimo Antonio Gil, the academy manufactured a new generation of Mexican medallists who created intricate, commemorative proclaimatory medals for Spanish royalty. The Mexican mint at the time was an already existing school of masterly production, forging professionals expertising in engraving and mintage. Jose Maria Guerrero is a medallist and engraver belonging to this school, he was born in the late 18th century and was active in the early 19th century. Although little is known about his personal life, he occupies a significant position in Mexican numismatical history, Guerrero was a pupil of Pedro Soriano; the chief engraver of the mint. Between the span of six years; 1808-1814, Guerrero engraved multiple commemorative medals reflecting on the accession and captivity of King Ferdinand VII, during the Napoleonic occupation of Spain. Credible institutions such as the Royal and Pontifical University of Mexico, Colegio de San Ildefonso, Colegio Mayor de Santa Maria de Todos los Santos and seminaries in Mexico and Puebla commissioned these medals. Guerrero continued this work even after Mexican independence by engraving medals commemorating the Army of the Three Guarantees; Ejercito Trigarante, Emperor Agustin I and Guadalupe Victoria, demonstrating his ability to adapt to changing political regimes while maintaining exceptional artistic quality. Guerrero's practice uniquely combines the neoclassical visuality with colonial semiotics, the portraits are modelled with exceptional realism. Guerrero devises this semiological structure in his works by utilising Latin inscriptions alongside classical allegorical figures such as fidelity, victory, justice and liberty to carefully convey political messages. The medal "The Tridentine Seminary of Mexico to Ferdinand VII" is made by the die engraving and striking technique, Guerrero made the medal in 1809 CE, when King Ferdinand VII was forced to abdicate his throne after Napoleon's invasion of Spain. Tridentine Seminary of Mexico, an important ecclesiastical educational institution founded according to the reforms of the Council of Trent, commissioned this medal as an official expression of fidelity to Ferdinand VII. The medal functioned as a ceremonial badge awarded to students and members of the seminary rather than currency, symbolizing loyalty to both the Catholic Church and the legitimate Spanish monarchy. Fidelity reflects classical Greco-Roman imagery frequently employed in European Neoclassical art. Today, the medal is a valuable historical artifact showcasing the intersection of religion, politics and artistic craftsmanship in the final years of Spanish colonial rule in Mexico.
The medal is much more than a portrait of Ferdinand VII. It symbolizes royal power, colonial authority, and the union of church and state in Spanish America. By presenting the king in an idealized classical style and surrounding him with symbols of victory and permanence, the artist conveys the message that Ferdinand VII's rule was both divinely sanctioned and politically legitimate. At the same time, viewed from a modern perspective, the medal also represents the complex legacy of Spanish colonialism, highlighting how art was used as a tool to reinforce imperial ideology and institutional loyalty. It reflects the political, religious, and artistic values of the Spanish colonial period in Mexico.The medal serves as a visual statement of loyalty, authority, and religious devotion. At its center is the bust of Ferdinand VII in profile, dressed in an elaborate military and ceremonial uniform decorated with insignia. This formal depiction emphasizes the king's dignity, legitimacy, and supreme authority over the Spanish Empire. It is of Neoclassical, characterized by a realistic profile portrait inspired by Roman imperial coins and medals. The fine engraving captures intricate details of the king's hair, facial features, embroidered uniform, and decorations, demonstrating the high craftsmanship of colonial medal-making.
