15929967000001312637261000Standard Recordobject-80698170914335097517091216750001709143347204fitz-onlineadlib-object-80698https://data.fitzmuseum.cam.ac.uk/id/object/80698547d1ea1-b693-32d3-948b-1b0b1ddebf3213personreferenceagent-149649adlib-agent-14964994539a8b-dbbb-3f21-8501-c4bf2d8b0190St Josephpersonreferenceagent-154123adlib-agent-1541232fef3fa1-e550-35f4-b4de-2ced0eb2272aVirgin Marypersonreferenceagent-149696adlib-agent-149696c1d7b5bf-63d4-3ba4-a080-9810b80bf16cChristreferenceterm-108348adlib-term-108348667e7a19-db33-3d85-bd9b-c2dafd8e02fftin-glazed earthenwarereferenceterm-42865adlib-term-4286592be1d50-bb1c-3472-950f-b140ee6cdde9maiolicareferenceterm-113184adlib-term-11318425fc548d-d02f-39a6-a34f-d609393a0043J. W. L. Glaisherdark blue, green, yellow, brownish-orange, and manganese-purplereferenceterm-108364adlib-term-108364115b8729-a560-35c1-b654-4b9d2fc5f68bhigh-temperature coloursDecorationreferenceterm-106226adlib-term-106226194567f2-2bcd-3446-ae31-652386611815paintingFiguresdark buff earthenware, tin-glazed on the upper surfaces; base streaked with glaze. Painted in dark blue, green, yellow, brownish-orange, and manganese-purple high-temperature (metallic oxide) coloursreferenceterm-111179adlib-term-111179be5c887b-c0ed-3d89-82b2-c3a870e72a68mouldingreferenceterm-23385adlib-term-233854c17df77-7d4e-32bf-8ec9-921b71d218a2religionApplied Artsmaiolica inkstand with a three-dimensional Nativity group at the back, and an inkwell and candlesocket on either sideDark buff earthenware, tin-glazed on the upper surfaces; base streaked with glaze. Painted in dark blue, green, yellow, brownish-orange, and manganese-purple. Modelled in the form of a shallow tray with a Nativity group in the round at the back, a cylindrical inkwell on the right, and a smaller cylindrical candle socket (incorrectly restored) on the left. The Virgin Mary and St Joseph kneel on either side of a wattle stall occupied by an ox and an ass. The infant Christ lies on a wavy-edged cloth between them. In front of the figures is a space for pens, enclosed by a low wall, decorated on the exterior with strapwork.A2referenceexhibition-1070adlib-exhibition-10702cb713dc-899f-35df-9c15-515a05f38d48Plagiarism Personified? European Pottery and Porcelain Figuresno cataloguereferenceexhibition-1605adlib-exhibition-160504d3c358-0bef-3d8f-8df5-14f16987ac1bItalian Maiolica in the Fitzwilliam MuseumPlate 20referenceexhibition-2806adlib-exhibition-28066e1b65bf-b6bc-3f65-8be7-5ea2aab18496Madonnas and Miracles. The Holy Home in Renaissance ItalyC.2179-19281accession numberC.2179-192880698priref80698old object number3106urihttps://data.fitzmuseum.cam.ac.uk/id/object/80698https://data.fitzmuseum.cam.ac.uk/id/object/80698referenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumDr J.W.L. Glaisher Bequestreferenceagent-152564adlib-agent-152564c20df94d-f096-3e0b-a9b5-6ddd12161fb7Glaisher, J. W. L., Dr192819281928-12-07bequeathedthe Glaisher ceramic collection was entered in the accession register as one item with the date of Dr Glaisher's death15091509CE1509circa15091516this date range is based on dated inkstands with comparable figures and animals11516CE15161516attributed tomakerreferenceagent-160569adlib-agent-160569f0277f0d-4a41-367d-aa6d-7b9f0c608226Giovanni di Nicola di Manzoni of ColleLabel text from the exhibition ‘Madonnas and Miracles: The Holy Home in Renaissance Italy’, on display at The Fitzwilliam Museum from 7 March until 4 June 2017: A household object such as this inkstand allowed its owner to recall the Holy Family while writing or doing accounts. In the colourful rustic scene, watched by Joseph and the animals, Mary adores the baby Jesus, who lies naked and motionless on a cloth like a corpse, as if to foretell his eventual death.Maiolica inkstands with three-dimensional figures were the ceramic equivalents of the bronze candle- and inkstands made by fifteenth-century sculptors such as Riccio. They enjoyed a fairly short period of popularity from probably about 1490 to between 1510 and 1515, and then seem to have been less fashionable until about 1570. This example is very close in appearance to three others in private collections, one of which is dated 1516. The iconography differs in several respects, but the figures and animals are modelled in the same simple style, and they all have a flat base, and at the front, a low wall. The figures and animals are comparable to those on fifteen more elaborate inkstands which have curved double-walled bases with inscriptions round the sides, and are raised on three lion, or hound supports. For a list and illustrations of these, and the examples with flat bases, see Documentation, Wilson and Sani, 2007.This inkstand was formerly attributed doubtfully to Faenza, but has been reattributed to Colle Val d'Elsa on the basis of the inscriptions on some of the other inkwells, in which the maker described himself as IOHANES NICHOLAI DEMANZONIBVS DECOLLE or GIOVANNI ACOLLE, and the discovery of a manuscript which confirms that the Manzoni family had a pottery at Colle Val d'Elsa (Siena), and concerns its sale in 1530. See Wilson and Sani, 2007, for an extract from the notarial document. It therefore seems possible that similar inkstands without inscriptions and the three-dimensional model (C.2180-1928) were made there though possibly not all in the same workshop. This inkstand has had the inkpot on the right incorrectly restored. On other examples the pot is not cylindrical, but of a bulbous from. See Documentation, La Grazia dell'Arte, for an inkstand with the original bulbous inkpot.referenceterm-106256adlib-term-1062561bd8ad44-09c2-3c55-825a-635e463bb56b16th Century, Early#referenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissancereferenceterm-126194adlib-term-126194a30906f4-7ef1-324d-b658-04e8598bd757literalItalyItalycountryliteralTuscanyTuscanyregionThe name translates as Giovanni son of Nicola Manzoni of ColleColle Val d'Elsadark buffreferenceterm-42861adlib-term-428615b368285-f1a8-3dcf-a5b2-637fd3c3956cearthenwarereferenceterm-39575adlib-term-39575cdf6707a-1eeb-3622-a26b-6e54f1f8d4abtin-glazeDepthcm17.1Heightcm15.8Lengthcm21.5referencemedia-200384adlib-media-2003843fd21d0d-ebd6-34a7-a65f-b5ce2accb330jpegaa/aa35/C_2179_1928_1_201611_mfj22_dc2.jpg1heightpixels768widthpixels102416162505590581imagejpegaa/aa35/mid_C_2179_1928_1_201611_mfj22_dc2.jpg1heightpixels375widthpixels50016162505590581imagejpegaa/aa35/C_2179_1928_1_201611_mfj22_dc2.jpg1heightpixels768widthpixels102416162505590581imagejpegaa/aa35/preview_C_2179_1928_1_201611_mfj22_dc2.jpg1heightpixels188widthpixels25016162505590581image0media
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imagereferenceterm-89786adlib-term-8978636564591-e31a-3539-bfdb-3e7110e77aa3inkstandhistory noteG.R. Harding & Sons, King Street, London, from whom purchased for £35 on 4 March 1910 by Dr J.W.L. Glaisher, FRS, Trinity College, Cambridge1same place of originreferenceobject-80700adlib-object-80700238d7994-0c0d-3adb-a0d6-d5799edd56ac1reference1term-110220adlib-term-110220e22d3544-a393-3f19-9be4-dc2632ca9942figure groupfigure groupreferenceagent-149638adlib-agent-1496387376d833-d0a7-3be0-916e-9c892b7a24d8The Fitzwilliam MuseumPubl. I, p. 283, no. 2179p. 283referencepublication-1031adlib-publication-1031a5cc6cb3-2b6f-390a-af51-7e9d123e55edCatalogue of the Glaisher Collection of Pottery and Porcelain in the Fitzwilliam Museum CambridgePubl. p. 49p. 49referencepublication-3318adlib-publication-3318b1dd3a6e-7510-3f06-bf52-fd0f9d4c41d0Maioliche di FaenzaPubl. p. 11, A2p. 11referencepublication-992adlib-publication-992e26b9de8-5607-3d6e-82c1-bba7d8cb57c4Plagiarism Personified? European Pottery and Porcelain FiguresPubl. pp. 242-4, no. 324, attributed doubtfully to Faenza, where further examples, some dated, and literature are citedpp. 242-4referencepublication-3010adlib-publication-3010e3e61863-a797-3051-8d0a-20288306ca36Italian Maiolica and Incised Slipware in the Fitzwilliam Museum CambridgeRef.86-93referencepublication-200001128adlib-publication-2000011285d506ce9-c5d4-3e37-ac4f-f6aaf9cb8ca0Di un calamaio in maiolica del rinascimento al Museo delle Arti Applicati di BudapestPubl. p. 10, fig. 6. Cf. Another inkstand with flat base with the original ink container on the right, showing that the Fitzwilliam's was incorrectly restored to match the candle holder. See p. 9 for information about various members of the Manzoni family.10referencepublication-200003165adlib-publication-2000031654758aab1-2193-390d-902b-fc41ef893d47I Calamai del Manzonireferencepublication-8422adlib-publication-8422849d6b11-70f3-3a5b-9261-5930e598885cMadonnas and Miracles. The Holy Home in Renaissance ItalyPubl. p. 65, no. 17, dated 1510. Cf. p. 63, nos. 16-19, and no. 20, examples with flat bases, and pp. 62-3, the 15 examples raised on lions or hounds, also the larger Adoration group without inkwell in the Fitzwilliam, all illustrated pp. 64-5.62-3, 65referencepublication-6085adlib-publication-60859e9f66b5-9967-3864-a61a-19e7c8db8cf5Le maioliche rinascimentali nelle collezioni della Fondazione Cassa di Risparmio di Perugia, Vol. IIreferencepublication-7526adlib-publication-7526ceb92dd4-7854-3192-82d7-ddfa5f0f3dd4Italian Renaissance MaiolicaCf. pp. 198-201, a completely different inkstand showing how complex these objects could be around 1490-1500. It has an architectural base, four seated female figures holding attributes, with four pots between them, and a partly covered case supported on their shoulders.198-201referencepublication-8439adlib-publication-843928a20a57-b6c1-390d-898a-0896650411e9Maiolica before Raphael. Italian ceramics before 1500referencepublication-8662adlib-publication-8662bb57772c-a9f8-35bc-be2b-fbfbe2ce42bbLa Grazia dell'Arte. Collezione Grimaldi Fava, MaiolicheRef. Chapter six, for discussion of how these small religious models were experienced by their owners. Cf. p. 59, fig. 47 an inkstand raised lions, Museum Ariana, Geneva (inv. no. AR 4092; p. 59, fig. 48, an inkstand raised on hounds, V. & A. (inv. no. 396-1889), p. 72, fig. 68, an inkstand on lions, Museum of Applied Arts, Budapest (inv. no. 69.1564.1). The Fitzwilliam's larger group of the Annunciation to the Shepherds and the Adoration of the Magi (C.1280-1928), is illustrated on p. 71, figs. 66-7, and discussed on p. 73.59referencepublication-8878adlib-publication-8878c5dde1e8-9160-3325-9efc-4b619e5736baThe Allure of Glazed Terracotta in Renaissance Italyreferenceterm-10618adlib-term-106189ebc0ae1-8cf8-312b-832c-9cf44da02136Renaissancereferenceterm-107315adlib-term-10731598433885-d668-3d77-aa4a-4b72d0beccd5writinganimalreferenceterm-106463adlib-term-1064634a736b24-1c26-3949-b923-21f0194b3ad9oxanimalreferenceterm-106808adlib-term-106808d45e9dcb-81f2-32ff-a4d7-9b1b5b144ed9asseventreferenceterm-107171adlib-term-107171edf12ba8-e744-37d3-a49b-2d54f151feacNativityobject namereferenceterm-60315adlib-term-6031552d046fb-0fb7-37a2-9e6b-0e8d70b980b4stableliteraloxoxliteralassassliteralNativityNativityliteralstablestablereferenceterm-89786adlib-term-8978636564591-e31a-3539-bfdb-3e7110e77aa3inkstandinkstandreferenceterm-120059adlib-term-120059dfa315b5-819d-37ab-ab22-bddfdbb3cbe7tin-glazingNativity Inkstandobject
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