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The design is inspired by the shield forged by the Greek god Hephaestus for Achilles during the war between the Greeks and the Trojans, and is described in detail in book 18 of Homer's 'Iliad' (lines 478-609). During the course of the war between the Greeks and the Trojans, Achilles' close friend Patroclus was killed by the Trojan king's son Hector, whilst leading the Greeks disguised as Achilles. Hector took Achilles' armour from Patroclus' body. Achilles' mother, the nymph Thetis, asked Hephaestus to make a new set of armour for her son. Grief-stricken after the death of his friend, Achilles then wore the armour and used the shield in his famous fight against Hector, whom he killed. The centre of the shield depicts the heavens, with the chariot of the Sun surrounded by the constellations. The reliefs radiating outwards, around the centre of the shield, begin at the bottom with (1) the marriage procession and banquet, and proceed in an anticlockwise direction with: (2) the quarrel of citizens over a homicide and the judicial appeal by elders; (3) the siege and ambuscade; (4) the harvest field; (5) the grape harvest; (6) the shepherds defending their flocks; and (7) the Cretan dance. The border depicts the oceans. On the reverse there are four rings for suspension at the top, and a cross bar with a central hole. The reverse is engraved close to the edge 'DESIGNED AND MODELLED BY JOHN FLAXMAN RA\/EXECUTED BY RUNDELL BRIDGE & RUNDELL JEWELLERS TO HIS MAJESTY\/MDCCXXIV' (1824)"}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-1909","uid":"adlib-exhibition-1909","uuid":"364ab537-1781-3ca7-98eb-8ca46702e15b"},"summary_title":"Royal Goldsmiths: The Art of Rundell & Bridge 1797-1843"},{"@link":{"catalogue":"no numbers, last item","type":"reference"},"admin":{"id":"exhibition-1988","uid":"adlib-exhibition-1988","uuid":"ab970555-97b2-36fd-afa0-e74c1089ee29"},"summary_title":"From Reason to Revolution, Art and Society in Eighteenth-Century Britain"}],"identifier":[{"accession_number":"M.1-1842","primary":true,"type":"accession number","value":"M.1-1842"},{"priref":"12198","type":"priref","value":"12198"},{"source":"Art UK","type":"external ID","value":"CAM_CCF_M_1_1842"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12198","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12198"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by Rundell and Bridge"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-152960","uid":"adlib-agent-152960","uuid":"40cd3c7a-fb0d-33a7-a6e5-3bfc75f0a3e0"},"summary_title":"Rundell & Bridge"}],"date":[{"earliest":1842,"latest":1842,"value":"1842"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1842"}]}],"creation":[{"date":[{"earliest":1824,"era":["CE"],"latest":1824,"note":[{"value":"dated"}],"value":"1824"}],"maker":[{"@link":{"qualifier":"after","role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-45771","uid":"adlib-agent-45771","uuid":"b9e1e92c-edf1-3a4c-a4eb-f5fbaae070a3"},"summary_title":"Flaxman, John"},{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-173123","uid":"adlib-agent-173123","uuid":"c4b6edf7-00e4-3f79-8601-fa462448a1a1"},"summary_title":"Rundell, Bridge and Rundell"},{"@link":{"qualifier":"probably","role":[{"value":"chaser"}],"type":"reference"},"admin":{"id":"agent-108354","uid":"adlib-agent-108354","uuid":"c31dfe64-fbb0-393c-9abe-3ba0ad1ba419"},"summary_title":"Pitts, William"}],"note":[{"value":"It is unclear whether the idea for the shield came from Rundell, Bridge and Rundell, the London-based royal goldsmiths and jewellers, or from John Flaxman. Nor is the exact date of the commission to Flaxman known. The first documented reference to the shield is in a letter of 29 October 1810 from Rundell, Bridge and Rundell, in which a payment of 100 guineas 'for the beautiful design of the shield of Achilles' is mentioned (volume of autograph letters to the poet William Hayley, now Fitzwilliam Museum, fol. 98). Flaxman recorded a further payment of \u00a3200 for the design on 4 January 1817 in his ledger, and a payment of \u00a3525 for the model on 20 January 1818. The model was probably made in wax or clay. It was then cast in plaster, and the finer details carved into it. It appears that three (or more) bronze casts were made (documented as finished by William Pitts), followed by the first cast in silver in summer 1819. The latter was probably the silver gilt cast bought by George IV in early 1821 (hallmarked for 1821-22), which was displayed at the coronation banquet that same year and remains in the Royal Collection. A total of five silver gilt casts were made. A limited edition of probably only three casts in plaster was also made. 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Shape 266. Ovoid with gently curving shoulders, slender neck, flaring mouth and two high scroll handles inter-twined with serpents, standing on a circular foot on a square plinth. The sides of the plinth are decorated with a row of anthemions. The foot has an acanthus border and a row of beading round the junction of the stem and body, which has a calyx of laurel leaves. The body is decorated on one side with Thetis delivering Achilles to the Centaur, and on the other, with Achilles on the back of the Centaur (Chiron) hunting a Lion. The shoulder is decorated with a laurel wreath, on the neck there is a row of elongated anthemions and a band of guilloche ornament, and on the rim, a row of beading."}],"identifier":[{"accession_number":"C.36-1935","primary":true,"type":"accession number","value":"C.36-1935"},{"priref":"11604","type":"priref","value":"11604"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/11604","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/11604"}],"inscription":[{"location":"on the base","method":"impressed","transcription":[{"value":"WEDGWOOD"}],"type":"mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by L.C.G. 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He modelled six tablets illustrating the life of Achilles in 1788.  A pen and wash drawing by Pacetti of Achilles on the back of Centaur hunting a Lion is in the Wedgwood Museum, Barlaston. The source of the design was a classical marble, the Luna Disc, of c. 800-400 BC in the Capitoline Museum. It shows the hero mounted on a female centaur which was altered into Chiron, Achilles' tutor. See Documentation."},{"value":"This form was no. 266 in the Shape Book (54.80019? or 54.30019), and a jasper vase was illustrated in the 1787 Wedgwood Catalogue. It also appears in the 1888 Catalogue in Class XVIII, 'Vase with chariots in the\/Clouds serpents round\/handles'. See also the Shape Book watermarked 1794, rebound in 1916, no. 266. 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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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