The artist modelled an equestrian statuette by Leonardo – a treasured possession of the Museum of Fine Arts – omitting the rider, which research indicates was sculpted separately. The generously modelled statuette fully comes across on this medal without edging. The most characteristic representation of Leonardo’s work, the rearing, twisting movement of the animal, well complies with the medal shape. Ferenczy had already modelled the equestrian statue on the reverse of his medal made about Simon Meller in 1917. The statuette obviously captivated him so much that two years later, he made the work itself – without the rider this time – the theme of this medal. It is illuminating to compare the modelling of the two medals: while the reverse of the Meller medal, with its somewhat detailed rendering, shows the artist’s first meeting with the statuette, here he reduced the forms to the most essential features by omitting the mane, the tendons and even the rider.
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