1592984526000 1312637261000 Standard Record object-156446 1755194559019 1714475166000 1755194515997 adlib fitz-online adlib-object-156446 https://data.fitzmuseum.cam.ac.uk/id/object/156446 35b242f5-e76e-30e3-8d60-b5b01d0cdf37 12 person reference agent-154123 adlib-agent-154123 2fef3fa1-e550-35f4-b4de-2ced0eb2272a Virgin Mary person reference agent-149975 adlib-agent-149975 e6f5b711-54e0-351d-a83c-758cad4cba19 angel 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 reference term-107444 adlib-term-107444 571df7cf-e062-3968-ae5e-bec9d5a82f92 C. B. Marlay blue, turquoise, yellow, flesh pink, mulberry, pale brown, 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 rectangular, slightly convex copper plaque with arched top, enamelled on a white ground in blue, turquoise, yellow, flesh pink, mulberry, pale brown, black, and white, with a little gilding. The surface is extremely smooth and shiny. The Virgin, Child and angels are drawn in blue, and the throne in dark brown or black, also used for cross-hatching of shaded areas. The reverse has clear counter-enamel appearing pinkish-red from the copper beneath, and having several black spots and larger black area. Gilt-metal frame set with ruby and yellow pastes, and a plaque enamelled in red and gilded blue, turquoise, yellow, flesh pink, mulberry, pale brown, black, 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 possibly brass reference term-107470 adlib-term-107470 f6217ee1-61ca-3c57-92a1-dd13e97bc77c gilt-metal Height cm 13.7 Width cm 7.9 Frame red reference term-32638 adlib-term-32638 97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b enamel yellow and ruby paste stones reference term-115066 adlib-term-115066 7195a194-0f9c-399f-b87a-17e6ee18a2f0 paste reference term-39593 adlib-term-39593 e3e2a3f8-2433-3f63-9bcf-e776644d312d gold Frame Decoration reference term-106692 adlib-term-106692 ed7baa11-5901-3307-81b6-77370e40ebb4 wood Back Of Frame reference term-39588 adlib-term-39588 b17ff981-06b2-30a2-b9a9-b514fe84a191 copper Height cm 7.7 Width cm 6.2 Plaque Applied Arts Copper decorated in polychrome enamels and gilt. The Virgin and Child enthroned and flanked by angels, in a gilt-metal frame set with pastes, and inscribed AVE (hail) Rectangular, slightly convex plaque with arched top. Copper, enamelled on a white ground in blue, turquoise, yellow, flesh pink, mulberry, pale brown, black, and white, with a little gilding. The surface is extremely smooth and shiny. The Virgin, Child and angels are drawn in blue, and the throne in dark brown or black, also used for cross-hatching of shaded areas.. The reverse has clear counter-enamel appearing pinkish-red from the copper beneath, and having several black spots and larger black area. The Virgin sits on a massive throne holding the Christ Child on her left knee. She has a circular mulberry halo and pale brown hair, and wears a blue cloak over a mulberry gown. The nude Christ Child is fair-haired, and leans against his mother, grasping her cloak in his left hand.The pale brown throne has nude figures carved on the fronts of its arms, and a lozenge and formal leaf sprays in the end panels of its sides. The apsidal canopy is carved with a shell, coloured turquoise. On either side are standing angels with turquoise wings and white robes. The angel on the viewer’s right is playing a gold flute, and the one on the left holds his vertically in front of him. The blue sky behind them is scattered with gold stars, which are barely visible on the right side. The ground in front of the throne is turquoise. The rectangular gilt-metal (brass?) frame has a central pediment surmounted by a vase and flanked by red paste gems. The pediment is set with a circular plaque enamelled in translucent red and painted in gold with a central quatrefoil flower surrounded by four foliated scrolls.. Below it the word AVE (Hail) is engraved with double lines. On each end of the top of the frame there is a matching vase. The oval aperture for the plaque is flanked at the top by two claw-set, clear table cut yellowish pastes, and at the bottom by two pale ruby pastes. There are three holes between them on each side. The plaque is held in position on the reverse by folded teeth. A removable gilded wood panel covers the back. MAR.M.251-1912 1 accession number MAR.M.251-1912 156446 priref 156446 uri https://data.fitzmuseum.cam.ac.uk/id/object/156446 https://data.fitzmuseum.cam.ac.uk/id/object/156446 on frame below plaque at the top engraved in double lines AVE inscription reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum C.B. Marlay Bequest reference agent-149674 adlib-agent-149674 de1bf9dd-2091-39ca-85f6-41e736f6e32b Marlay, Charles Brinsley 1912 1912 1912 bequeathed Marlay died on 18 June 1912 1540 1540 CE 1540 circa 1540 1560 1 1560 CE 1560 1560 workshop of maker reference agent-114217 adlib-agent-114217 d84e37de-af7e-3317-8a55-c97eb4e99bcc Reymond, Pierre Representations of the Virgin enthroned with the Christ Child emphasized her exalted status as the mother of Christ, and often included adoring saints or angels. However, although it was one of the most popular images of the Virgin, it does not appear to have been represented frequently on Limoges enamels until the second quarter of the sixteenth century. On plaques of this subject made in the Reymond workshop the Virgin sits in a massive throne with projecting arms, and a tall back capped by a shell-shaped apse, a classical feature which had appeared in Italian paintings of this subject in the fifteenth century. By the early sixteenth century thrones of this type were being depicted by French artists, and by about 1520 the church of Saint-Pierre-du-Queyroix in Limoges had a stained glass window of the Coronation of the Virgin, in which God the Father and Christ sit on a similar throne while crowning the kneeling Virgin. There are at least eight closely comparable Limoges polychrome enamel plaques of this subject, each differing from the other in small details, such as the position of the Christ Child on the Virgin's knees, the details of her head and head covering, and the position of the angels. Of these two are signed PR for Pierre Reymond but not all appear to be by his hand. Three more plaques have no angels, but either candlesticks or large scrolls on the arms of the throne. Some of them were probably mounted as in pax frames, while others could have been mounted as small devotional pictures. The frame on this example was probably fitted to it in the second half of the nineteenth century. Ramon spectroscopy undertaken in December 2007 confirmed that the yellowish and ruby 'gems' set into the frame were glass pastes. 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 Limoges reference media-136159 adlib-media-136159 638e6f5c-fe92-3f29-9d58-9e9cf299d4cd jpeg aa/aa20/MAR_M_251_1912_20_281_29.jpg 1 height pixels 760 width pixels 539 1742591888531 1 image jpeg aa/aa20/mid_MAR_M_251_1912_20_281_29.jpg 1 height pixels 705 width pixels 500 1742591888531 1 image jpeg aa/aa20/MAR_M_251_1912_20_281_29.jpg 1 height pixels 760 width pixels 539 1742591888531 1 image jpeg aa/aa20/preview_MAR_M_251_1912_20_281_29.jpg 1 height pixels 353 width pixels 250 1742591888531 1 image 0 media image reference media-136160 adlib-media-136160 cc4c1bb8-6489-337a-b81f-f7d0213d61ec jpeg aa/aa20/MAR_M_251_1912_20_282_29.jpg 1 height pixels 760 width pixels 557 1742591869643 1 image jpeg aa/aa20/mid_MAR_M_251_1912_20_282_29.jpg 1 height pixels 682 width pixels 500 1742591869643 1 image jpeg aa/aa20/MAR_M_251_1912_20_282_29.jpg 1 height pixels 760 width pixels 557 1742591869643 1 image jpeg aa/aa20/preview_MAR_M_251_1912_20_282_29.jpg 1 height pixels 341 width pixels 250 1742591869643 1 image 1 media image reference media-3321051301 portfolio portfolio-media-3321051301 75411624-20ff-32f2-a336-c86eab2feab1 jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/302/large_MAR_M_251_1912_1_mas.jpg 1 height pixels 1308 width pixels 1024 1529370899000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/302/mid_MAR_M_251_1912_1_mas.jpg 1 height pixels 639 width pixels 500 1529370899000 1 image MAR.M.251-1912_1_mas.tif 1529370899000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/302/preview_MAR_M_251_1912_1_mas.jpg 1 height pixels 319 width pixels 250 1529370899000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/302/MAR_M_251_1912_1_mas.ptif 1 height pixels 5410 width pixels 4236 1529370899000 1 image 2 media image reference media-3943707590 portfolio portfolio-media-3943707590 475841f3-509b-36dc-aaa2-06f35da97dec jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/305/large_MAR_M_251_1912_2_mas.jpg 1 height pixels 1536 width pixels 1024 1529370902000 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/305/mid_MAR_M_251_1912_2_mas.jpg 1 height pixels 750 width pixels 500 1529370902000 1 image MAR.M.251-1912_2_mas.tif 1529370902000 1 1 image jpeg portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/305/preview_MAR_M_251_1912_2_mas.jpg 1 height pixels 375 width pixels 250 1529370902000 1 image pyramid tiff portfolio/F25982D9_7CB9_CFFF_028E_8BBFC531887C/505/305/MAR_M_251_1912_2_mas.ptif 1 height pixels 4992 width pixels 3328 1529370902000 1 image 3 media image reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque pax plaque history note uncertain before the testator, Charles Brinsley Marlay (1831-1912) , St Katherine's Lodge, Regent's Park, London 1 reference object-156447 adlib-object-156447 c7a55d42-7b4e-3e08-b9e0-a72144468f8b

1 reference 1 term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque

plaque reference agent-149638 adlib-agent-149638 7376d833-d0a7-3be0-916e-9c892b7a24d8 The Fitzwilliam Museum Cf. p. 190, no. OA 4010, the angels supporting the Holy House on a plaque of the arrival of the Virgin and the Holy House at Loretto, attributed to Pierre Reymond. Another plaque of this subject is in the Musée d'Agesci, Niort, inv. 914.1.129. Cf. the hair and features of the angels on both plaques. 190 reference publication-6073 adlib-publication-6073 273632b3-da99-366e-9c3b-efd466467b8e Les émaux peints de Limoges. Musée du Louvre, Département des objets d'art reference publication-6134 adlib-publication-6134 3d06ffd8-a9da-35c3-bc4c-83598bb4afe7 Catalogue of the well-known collection of Works of Art of the Classic, Mediaeval and Renaissance Times, formed by Sir Thomas Gibson Carmichael Bart, of Castle Craig, N.B Cf. Vol. II, ‘Les Emaux Peintes’ with note by Claudius Popelin, p. 34, no. 47, a circular plaque illustrated by line drawing, and, closer in design to the Fitzwilliam's p. 53, no. 111 an oval plaque attributed to Pierre Reymond. 34 reference publication-6135 adlib-publication-6135 cc146046-f404-3060-80d3-e86167038ec4 La Collection Spitzer- Antiquité - Moyen-Age - Renaissance Cf. p. 362, no. 185, a mosaic of 1496 by David Ghirlandaio (1452-1525) depicting the Virgin and Child Enthroned with Angels, given by the Florentine Republic to Jean de Ganay who became First President of the Parlement of Paris in 1505 and Chancellor of France in 1508. On his death in 1512 the mosaic was erected in his funerary chapel in Saint-Merri in Paris. It is now in the Musée national de la Renaissance, at Écouen. ECl 1536. The throne does not have projecting arms, but it illustrates the Italian influence on this iconography. 362 reference publication-8959 adlib-publication-8959 17f8ebc7-ffae-3124-a240-da7d8f89e0bd France 1500 entre Moyen Age et Renaissance Cf. p. 208, fig. 183. A stained glass window installed c. 1510-20 in Saint-Pierre-du-Queyroix at Limoges showing the Coronation of the Virgin at the top, in which God the Father and Christ sit in a double throne with shell niche and projecting arms while crowning the kneeling Virgin before them. This local example would have been known to the enameller and could well have been a source of inspiration, rather than an imported print. 208 reference publication-8960 adlib-publication-8960 cf5706ee-79e9-36b0-96cf-5b8e565a1e70 Les vitraux d’Auvergne et du Limousin reference publication-8961 adlib-publication-8961 c933bef5-3aec-3868-8b26-c006e755356a Works of Art, Newsletter, 19 reference term-10618 adlib-term-10618 9ebc0ae1-8cf8-312b-832c-9cf44da02136 Renaissance object name reference term-74068 adlib-term-74068 9a5f0ce0-dff9-39d2-999a-c7f3e5c3fccb throne object name reference term-107029 adlib-term-107029 4527b50d-ef1b-3665-9e05-de14e13bc7ed shell subject reference term-110080 adlib-term-110080 7ce8184f-021d-3613-8e23-b6995a20829e Virgin and Child Enthroned literal throne throne literal shell shell literal Virgin and Child Enthroned Virgin and Child Enthroned

reference term-107484 adlib-term-107484 935e21d3-0b7f-3ca6-9987-b79c82e054fd plaque

plaque object OBJECT