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The tail tip and mane are modeled to suggest thick fur and coloured grey brown. The lion\u2019s genitals are shown and the underbelly is left unpainted. The rest of the body is mustard yellow, with visible brush marks indicating the pelt. The tongue is red and the mouth and eyes outlined in red. The ball, or globe, is also red.  The figure is fully shaped in the round and decorated all over. The base is a grass green rectangular plinth supported on a grey sponged table base which has six feet, a moulded polychrome swag frieze and on the front two raised ovals with the impressed inscription \u2018THE.RORING\u2019 and \u2018LION\u2019. 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But by c.1835 three-part press-moulding had largely taken over, enabling faster and cheaper production  for a growing market."},{"value":"The lion is based on a pair which stand at the entrance of the Loggia dei Lanzi in Florence, one a 2nd Century Roman lion and its companion sculpted by Flaminio Vacca in 1594.  They were moved from the gardens of the Villa Medici in Rome to Florence in 1789. Small scale reproductions in stone, marble, plaster and bronze were widely circulated and may have been used as a source for earthenware lions,  often made in pairs to be placed at opposite ends of a dresser or bookcase."},{"value":"This is one of several Staffordshire lions in the Fitzwilliam collection. The size, base, palette and style of moulding are so similar to a tiger figure in the collection, \u2018The Death of Munro\u2019 (C.967-1928), that they are probably by the same maker and perhaps companion pieces. In 1921, Dr Glaisher wrote:  \u2018these two pieces were in such wonderful condition that I felt obliged to buy them\u2019.  The table-base helps to fix the date. 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Another possible source was a chimney piece of white marble against blue lapis lazuli formerly in the Palazzo Borghese in Rome, which in the 18th century was installed in Moor Park, Herts, home of Sir Lawrence Dundas, and is now in the Lady Lever Art Gallery."},{"value":"This vase may have been made in the Wedgwood & Byerley period, or after the reintroduction of solid jasper in 1844."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106853","uid":"adlib-term-106853","uuid":"25492eb4-1164-35eb-8dce-3601486f3415"},"summary_title":"19th Century"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113623","uid":"adlib-term-113623","uuid":"87ef9eaf-54a8-3838-8337-94dbf03aad62"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Etruria"}]}]},"materials":[{"note":[{"value":"pale blue and 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The Dancing Hours first appeared on a tablet, no. 205 in the 1779 Catalogue . . ., but was also used for mantelpiece friezes, teapots and other wares."},{"value":"The design for the figures was probably derived from engraved book illustrations after a Greco-Roman marble frieze, The Borghese Dancers or Dancing Hours, now in the Louvre (reserve).  See Documentation.  Another possible source was a chimney piece of white marble against blue lapis lazuli formerly in the Palazzo Borghese in Rome, which in the 18th century was installed in Moor Park, Herts, home of Sir Lawrence Dundas, and is now in the Lady Lever Art Gallery."},{"value":"This vase may have been made c. 1800 or in the late 19th century after the reintroduction of solid jasper in 1844."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106853","uid":"adlib-term-106853","uuid":"25492eb4-1164-35eb-8dce-3601486f3415"},"summary_title":"19th 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She wears a long dress with a cloak, the right end of which is draped across in front of her body and falls down over her left arm."}],"exhibitions":[{"@link":{"catalogue":"J4","type":"reference"},"admin":{"id":"exhibition-1070","uid":"adlib-exhibition-1070","uuid":"2cb713dc-899f-35df-9c15-515a05f38d48"},"summary_title":"Plagiarism Personified? 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Until then it was not among the best-inown examples of classical sculpture, but thereafter gradually gained esteem, particularly for its drapery. The excellent moulding properties of Meissen biscuit porcelain enabled these to be rendered with great precision. During the Marcolini Period (1774-1814) Meissen issued large numbers of biscuit figures after antique sculpture, modelled by J.C. Sc\u00f6nheit, J.D. Sch\u00f6ne, C.J. J\u00fcchster, and J.G. Matthai. 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The lion stands on a separately-made rectangular base with a border of acanthus leaves in relief. Its right forepaw rests on a ball, and its body is supported in two places by a rock. The lion is painted naturalistically in brown, red-brown and black, the base and rock are marbled, the acanthus moulding is picked out in green and gold, and the ball is gold. The underside is recessed and glazed; a central wall makes two squares, in one of which is a round vent hole."}],"exhibitions":[{"@link":{"catalogue":"J13","type":"reference"},"admin":{"id":"exhibition-1070","uid":"adlib-exhibition-1070","uuid":"2cb713dc-899f-35df-9c15-515a05f38d48"},"summary_title":"Plagiarism Personified? 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They were generally made at smaller potteries, drawing on a variety of sources, including sculpture and porcelain figures, and are rarely marked. Classical, biblical, mythological and literary subjects were popular. Earlier figures are moulded, perhaps with moulded or modelled parts added, the bases often formed separately. After around 1810-1820,  they are often more vibrantly coloured and by c.1835 three-part press-moulding had largely taken over, enabling cheaper and faster production for a growing market."},{"value":"The model for this lion figure is a 2nd century Roman figure which stands at the entrance of the Loggia dei Lanzi in Florence with a companion sculpted by Flaminio Vacca in 1594.  The ancient lion was originally sculpted in high relief and was cut from its ground in 1591, which perhaps account for the \u2018marble\u2019 support between the right legs here. The lions were moved from the gardens of the Villa Medici in Rome, to Florence, in 1789. Small scale reproductions of these, in stone, marble, plaster or bronze, circulated widely and may have been the source for earthenware lions, which were produced in pairs and perhaps placed at opposite ends of a dresser or bookcase. 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