1592997000000 1312637261000 Standard Record object-139841 1755194595648 1754040047000 1755194515997 adlib fitz-online adlib-object-139841 https://data.fitzmuseum.cam.ac.uk/id/object/139841 17a9e5bf-a7c0-30a6-bc50-dae3db8bce3d 18 person reference agent-150796 adlib-agent-150796 ec5a0c8a-e54c-3735-adea-0fd5dd14f994 Cupid reference term-107563 adlib-term-107563 38dcd825-1de1-3222-82c6-15a95729b5ff enamels reference term-125750 adlib-term-125750 2b10ac09-63c3-34ed-87d5-487058c1c344 Limoges painted enamels blue, turquoise-green, flesh-pink, mulberry, black, and white reference term-32638 adlib-term-32638 97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b enamel reference term-39593 adlib-term-39593 e3e2a3f8-2433-3f63-9bcf-e776644d312d gold Decoration blue, turquoise-green, flesh-pink, mulberry, black, grey, and white reference term-28662 adlib-term-28662 dd47e505-ccda-3f2b-b576-6104109430e8 enamelling reference term-28681 adlib-term-28681 c1f659e2-1209-31cf-8ff4-154e11452559 gilding Applied Arts Copper decorated with polychrome enamels and gilding with a female head on the top, a male head on the base, and on one side Cupid holding an arrow, and on each of the other sides a putto Copper, enamelled in blue, pale bluish-green, flesh-pink, mulberry, and white on a black background, and gilded. Hexagonal with a circular depression in the top and bottom, projecting top and bottom edges, and straight sides. In the salt pan there is a bust of a woman wearing a cap and elaborate coiffeur in profile to left, against a black background semé with gilt heraldic tears (gouttes), and surrounded by a border of three pairs of adorsed turquoise-green and mulberry foliated scrolls terminating in small white flowers, and three pairs of pale blue and turquoise-green. In the depression on the base is a bust of a man wearing armour and a parade helmet in profile to left surrounded by gold ‘tadpoles’ and enclosed by a gold line broken by groups of short oblique strokes. The border comprises small flowers on gold stalks flanked by pairs of feathery leaves: turquoise-green paired with blue; mulberry paired with turquoise-green; and blue paired with mulberry, repeated on the next three facets. The six sides are decorated respectively with Cupid standing beside a rock holding a gold arrow in his right hand, and a gold knot on a string in his left; a putto standing beside a small tree and holding aloft a bowl of fruit , a putto walking to the left holding a basket with a gold knot above his head; a putto sitting on the ground with a gold thread around his left leg and knot above, and overhead, a dove holding a gold necklace in its beak; a putto kneeling on a block of stone and beating a small drum; and a putto seated on a rock holding up a billowing drape. All have gold hair. At the top of each angle there is a half sunburst in gold. At the top and bottom there is a narrow gold line broken by five or six short oblique strokes. 21 reference exhibition-3305 adlib-exhibition-3305 534a3247-91a9-398f-abe9-7b419586f568 Feast and Fast: The Art of Food in Europe (1500-1800) M.4-1966 1 accession number M.4-1966 139841 priref 139841 uri https://data.fitzmuseum.cam.ac.uk/id/object/139841 https://data.fitzmuseum.cam.ac.uk/id/object/139841 reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum Given by the Friends of the Fitzwilliam Museum reference agent-149645 adlib-agent-149645 10925b71-6838-30f7-a8dd-b68a2afaa14d The Friends of the Fitzwilliam Museum 1966 1966 1966-06-16 given Entry date: 1966-06-16 1540 1540 CE 1540 circa 1540 1550 1 1550 CE 1550 1550 workshop of maker reference agent-114217 adlib-agent-114217 d84e37de-af7e-3317-8a55-c97eb4e99bcc Reymond, Pierre Hexagonal salts were fashionable during the mid 16th century and were made in silver, and ceramics, as well as in Limoges painted enamel. Limoges salts of this form bear dates from 1542 to 1547. The salt depression in the top and the matching depression in the base were usually decorated with a male or female head in antique or contemporary costume, sometimes identified in gold capitals as Paris and Helen, Hercules and Deianeira or Omphale, or Pallas and Jupiter. The sides were decorated with several different themes.The most popular, judging by the number of surviving examples, was the Twelve Labours of Hercules divided between two salts, which suggests that they were supplied in pairs. Others included half-length classical and contemporary male and female figures, classical and biblical male and female busts, singly or in pairs, sometimes enclosed by wreaths, and 'The Follies of Wise Men' and 'The Ages of Love' (see M. 50-1904), which diners probably found amusing. A few are decorated with nude little boys (putti) participating in the grape harvest, dancing, fighting, playing with various objects or on musical instruments. Pairs of analogous hexagonal salts with different heads in the salt depressions are in the Metropolitan Museum of Art, New York ( 32.100.372 and 32.100.373), and the Musée des Beaux-Arts, Limoges (84.432 and 84.433). Putti in various roles, derived from Roman architectural ornament and reliefs on the sides of sarcophagi, had become increasingly popular as decorative motifs in Italy during the fifteenth century. These archetypes were dissemininated to France and elsewhere in Europe through prints by artists such as Nicoletta da Modena, Master IB, and Marcantonio Raimondi. They also appeared on the title pages and borders of late fifteenth-century illuminated manuscripts (e.g. the Fitzwilliam's Book of Hours MS 153) and printed books imported from Italy, and by the beginning of the sixteenth, were appearing in French examples. Putti in the role of cherubs occur on early sixteenth century Limoges enamels of religious subjects, but were not often depicted until the 1530s when classical subjects based on Italian prints were introduced. On this salt the boy holding up a basket of grapes and the boy sitting on the ground with a bird above him were probably copied from a print of 'Children Harvesting Grapes', dated 1529 by the Monogrammist IB after Raphael (Bartsch, VIII.311.35; Illustrated Bartsch, 16, p. 78, no. 35 (311) . reference term-110475 adlib-term-110475 223ae6a7-2f91-3314-ae3c-da3233ae47dc 16th Century, Mid reference term-15498 adlib-term-15498 61725bf5-360f-3837-8aab-3c90b956a537 literal France France country literal Haute Vienne Haute Vienne region Limoges reference term-39588 adlib-term-39588 b17ff981-06b2-30a2-b9a9-b514fe84a191 copper Height cm 5 Width cm 7.5 reference media-115279 adlib-media-115279 134abc89-b0e4-3953-8e20-7fc03f06627e jpeg aa/aa20/M_4_1966_20_281_29.jpg 1 height pixels 671 width pixels 760 1676484038056 1 image jpeg aa/aa20/mid_M_4_1966_20_281_29.jpg 1 height pixels 441 width pixels 499 1676484038056 1 image jpeg aa/aa20/M_4_1966_20_281_29.jpg 1 height pixels 671 width pixels 760 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1 reference 1 term-91292 adlib-term-91292 d8901c0c-4f46-3a5a-b7db-d7013fed9c66 salt

salt reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum Publ. p. 3 3 reference publication-3860 adlib-publication-3860 6bb10567-309f-3919-a7d5-312bf029b94c Friends of the Fitzwilliam Museum, Fifty-eighth Annual Report, for the Year 1966 Publ. p. 158, fig. 5.36, text p. 159, p. 248, cat. 23 158, 248 reference publication-8743 adlib-publication-8743 a86a8f73-aae5-372c-930d-aa215bd02c9b Feast & Fast. The Art of Food in Europe 1500-1800 Cf. p. 68-9, nos. 13-14, a pair of hexagonal salts of almost identical size, decorated with infant boys harvesting grapes and doing other activities, and with sunbursts on the angles of the sides. Dated c. 1540-45. No. 14 is initialled PR for Pierre Reymond. The salts are in the Musée municipal de L'Évêché de Limoges accession nos. 84.432 and 84.433. Later renamed the Musée des Beaux-Arts, Limoges. The source for the figures has not been identified 68-9 reference publication-6142 adlib-publication-6142 517e6c62-56b3-3ca3-8314-d7e94fafb6e2 La Rencontre des Héros, Regards croisées sur les émaux peints de la Renaissance appartenant aux collections du Petit Palais, Musée des Beaux-Arts de la ville de Paris et du Musée municipal de L'Évêché de Limoges Ref. Higgott, 2011, p. 227 pl. 65.24, copy of a design by Raphael. The author discusses this and other design sources for putti on Limoges enamel caskets. 227 reference publication-7299 adlib-publication-7299 6f4a68e9-f500-30d4-b9dd-88b93e40816a The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels Cf. p. 15, for results of x-radiography of a salt in the British Museum, 1888.0705.1, revealing its construction 13-17 reference publication-200002564 adlib-publication-200002564 292257b1-8817-3726-8f37-6bdaa3f7d9e1 Limoges Painted Enamels: evidence for specialist copper-smithing workshops Ref. pp. 41-52, Chapter 6, Cupids 41-52 reference publication-8957 adlib-publication-8957 2b712dd0-9650-3a12-880b-d41884b3b8bf Roman Children’s Sarcophagi: their Decoration and its Social Significance reference publication-8958 adlib-publication-8958 9f0f475b-c03f-37e3-aeff-4bb0f42c57b6 Inventing the Renaissance Putto reference term-10618 adlib-term-10618 9ebc0ae1-8cf8-312b-832c-9cf44da02136 Renaissance

reference term-91292 adlib-term-91292 d8901c0c-4f46-3a5a-b7db-d7013fed9c66 salt

salt object OBJECT