The Russo-Turkish War of 1828-1829
RUSSIA, Tsars of Russia. Nikolai I Pavlovich. 1825-1855. Æ Medal (38mm, 38.15 g, 12h). Commemorating the Treaty of Adrianople (Edirne). Struck by G. Loos; engraved by H. Gube. Dated 1829. NICOLAUS I TOTIUS RUSSIAE IMPERATOR, laureate head right / PAX DATA TURCIS PETENTIBUS, Tsar Nikoliai standing right, extending olive branch to Sultan Mahmud II standing left; shields decorated with Russian imperial double eagle and Ottoman crescent to left and right, respectively; three Russian flags around; cityscape of Constantinople in background; in two lines in exergue, HADRIANOP.D.II.SEPT.ST.V/MDCCCXXIX. Diakov 487.1. UNC, attractive warm chocolate brown patina with proof-like fields. A very artistic and historically important piece.
Ultimately sparked by the Greek War for Independence, the Russo-Turkish War of 1828-1829 emanated from Russia’s earlier involvement in the Battle of Navarino, a decisive naval victory for the United Kingdom, France, and Russia against the Ottoman Empire. On account of this participation, Mahmud II closed the Dardanelles to Russia, as well as revoked the Akkerman Convention.
After some initial success in Wallachia, Russian forces were later driven back with the approaching winter of 1828. Upon the following spring, however, they regained key cities throughout the area south of the Black Sea and continued ever-closer to Constantinople, rousing a great deal of panic in the streets of the capital. Left with no choice but to accept defeat and secure peace with Russia, Mahmud II ceded much of the eastern Black Sea region, as well as modern-day Georgia and parts of Armenia, in the Treaty of Adrianople.
Struck in commemoration of this event, this medal offers both artistic engraving and detailed symbolism. The legend pax data Turcis petentibus (the peace given to the seeking Turks), along with the posture of the two figures (the Tsar and the Sultan) exemplify the decisiveness of the Russian victory, as well as the overly-embellised imperial double eagle on the flags and robes of the Tsar himself. Furthering the precise nature of the engraving are the minarets which are visible in the background, indicative of the much-panicked Constantinople.
