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As at that time my whole thoughts were of my artistic equipment for the future, I conceived the idea that Perseus before becoming a hero was a mere mortal, and that he had to look to his equipment. That is a presage of my life and work at that time.' (Hatton 1903, p. 10). By showing Perseus in the act of quietly equipping himself for future trials, Gilbert emphasised Perseus\u2019 mortal rather than heroic character. Gilbert modelled the original plaster of Perseus Arming in Rome in 1880-1, and had the first bronze of it cast in Italy using the lost-wax casting method. This was exhibited at the Grosvenor Gallery, Bond Street, London in 1882 to great acclaim (his marble Kiss of Victory was exhibited at the Royal Academy at the same time) and at the Paris Salon in 1883, where it received an honourable mention.   \n\nPerseus Arming was a highly significant early work and the first of three important, deeply personal bronzes Gilbert made his highly creative period of 1881 to 1892 \u2013 the other two being Icarus and Comedy and Tragedy (for a cast of the latter, see M.1-2003). Perseus Arming was one of Gilbert's most popular models. It was reproduced in three sizes: full-scale (c.71-74 cm; see also M.22-2015, 67.9cm high), which is rare; half-scale (c.36 cm); and quarter-scale (c.14.5cm). The date and the place of casting of this example is uncertain."},{"value":"Sir Alfred Gilbert RA MVO (1854-1934) was an English sculptor. He studied in London, Paris and Rome, returning to England in 1884. Gilbert was the leading artist in the New Sculpture movement, which revitalised sculpture in late nineteenth-century Britain. He was also a vital force in reintroducing the lost-wax technique for casting works of art in bronze in England (sand-casting had been the norm for bronze sculpture since the 18th century, with lost-wax casting used only for small-scale work and jewellery). His commissions included the jubilee memorial to Queen Victoria in Winchester and the statue of Eros, in aluminium, for the Shaftesbury Memorial Fountain in Piccadilly Circus, and in 1900 he was appointed Professor of Sculpture at the Royal Academy. A period of bankruptcy and divorce followed, and Gilbert moved to Bruges. On his return to England in 1926, his fortunes improved, the highlight being the bronze Queen Alexandra Memorial, at Marlborough House, London, 1926-32. He was knighted by George V in 1932. Gilbert died in poverty in 1934."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120899","uid":"adlib-term-120899","uuid":"5e59b69b-0f3c-3b6d-8cb0-3722582507d7"},"summary_title":"19th Century, Late"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-107139","uid":"adlib-term-107139","uuid":"9fd5ef13-3709-388f-b925-702787340e32"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"England"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39741","uid":"adlib-term-39741","uuid":"47d44741-af05-37c3-b21e-0e278b114f3b"},"summary_title":"copper 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107, and in colour p. 53","page":"pp. 106-7","type":"reference"},"admin":{"id":"publication-1085","uid":"adlib-publication-1085","uuid":"9e6e2ffa-0be7-35e6-9706-bb46f33011b0"},"summary_title":"Alfred Gilbert 1854-1934 Sculptor and Goldsmith"},{"@link":{"notes":"Publ. Mentioned, p. 71","page":"p. 71","type":"reference"},"admin":{"id":"publication-1072","uid":"adlib-publication-1072","uuid":"cc21b4e3-d3f9-337a-859e-ce6392a2cc4f"},"summary_title":"Catalogue of European Sculpture in the Ashmolean Museum, 1540 to the present day"},{"@link":{"notes":"Publ. Illustrated in colour with short text","page":"168","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"},{"@link":{"type":"reference"},"admin":{"id":"publication-1086","uid":"adlib-publication-1086","uuid":"d973f565-91a8-33f4-a783-98dcc5b1adbb"},"summary_title":"Western European Bronzes of the Nineteenth Century"},{"@link":{"type":"reference"},"admin":{"id":"publication-1087","uid":"adlib-publication-1087","uuid":"93de7855-f2b6-3250-a471-841ca5b5ae1c"},"summary_title":"Victorian High Renaissance"},{"@link":{"notes":"Cf. Another, pp. 80-1, lot 381 (Valued at c.\u00a315-25,000)","page":"pp. 80-1","type":"reference"},"admin":{"id":"publication-2875","uid":"adlib-publication-2875","uuid":"2d07d605-053f-3485-9491-ab75245a2fdb"},"summary_title":"Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8th July 1981"},{"@link":{"type":"reference"},"admin":{"id":"publication-2462","uid":"adlib-publication-2462","uuid":"2f16f7f5-3ac4-3747-bad1-2d567df4dbcf"},"summary_title":"Nineteenth Century European Paintings, Drawings and Sculpture"},{"@link":{"notes":"Cf. p. 126, lot 250, another 14 in. high. (Estimate \u00a39-12,000)","page":"p. 126","type":"reference"},"admin":{"id":"publication-2876","uid":"adlib-publication-2876","uuid":"34a26c6e-3e40-3c90-8596-15e5b170b555"},"summary_title":"Victorian Paintings and Sculpture"},{"@link":{"notes":"Cf. Two more, pp. 86-7, lot 54 (72.5 cm.) (Est. \u00a315-20,000), lot 56 (Est. \u00a36-8,000) (37.00 cm.)","page":"pp. 86-7","type":"reference"},"admin":{"id":"publication-2878","uid":"adlib-publication-2878","uuid":"dd9ca8a5-9ffe-35c3-8d30-6efea7add8bc"},"summary_title":"Nineteenth Century European Paintings, Drawings and Sculpture Part I"},{"@link":{"notes":"Cf. Another 71.7 cm high, pp. 90-1, lot 133. (Estimate \u00a340-60,000)","page":"pp. 90-1","type":"reference"},"admin":{"id":"publication-2399","uid":"adlib-publication-2399","uuid":"f46aa2b2-e379-3d5b-9c14-a56d29a49244"},"summary_title":"The Nineteenth Century"},{"@link":{"type":"reference"},"admin":{"id":"publication-1088","uid":"adlib-publication-1088","uuid":"6c5e5fd0-4cdc-337e-994a-23ceddc47762"},"summary_title":"Pre-Raphaelite Sculpture, Nature and Imagination in British Sculpture 1848-1914"},{"@link":{"notes":"Cf. Another 73 cm. high, p. 84, lot 181. (Estimate \u00a318-22,000; fetched \u00a334,500)","page":"p. 84","type":"reference"},"admin":{"id":"publication-2180","uid":"adlib-publication-2180","uuid":"442625f1-2f91-36db-a711-7099a21a4385"},"summary_title":"19th and 20th Century Sculpture"},{"@link":{"notes":"Cf. An Italian cast by Fonderia Nelli, Roma, pp. 96-8, lot 133. (Estimate \u00a340-50,000; fetched \u00a384,000).","page":"pp. 96-8","type":"reference"},"admin":{"id":"publication-2170","uid":"adlib-publication-2170","uuid":"8ab2d354-caec-3cd7-91d5-ecf357bfa9b2"},"summary_title":"19th and 20th Century Sculpture, 21st November 1995"},{"@link":{"type":"reference"},"admin":{"id":"publication-5348","uid":"adlib-publication-5348","uuid":"34db80a1-cc6d-38f6-8148-1107e898a8e8"},"summary_title":"European sculpture and works of art 900-1900"},{"@link":{"notes":"Cf. Another, 36.5 cm high (including integral base), pp. 234-5, lot 151. Estimate: \u00a315,000-25,000.","page":"pp. 234-5","type":"reference"},"admin":{"id":"publication-3706","uid":"adlib-publication-3706","uuid":"1f351836-5cee-3992-be1e-2bbdf38ee7c9"},"summary_title":"The Forbes Collection of Victorian Pictures and Works of Art II"},{"@link":{"notes":"Cf. pp. 275-6, no. 420 an example 37 cm high in the Victoria and Albert Museum (77-1904). The authors mention controversy about the possibility that this example was an aftercast, but date it c. 1882.","page":"275-6","type":"reference"},"admin":{"id":"publication-3759","uid":"adlib-publication-3759","uuid":"73edca64-3289-371a-bf69-0300633e25ed"},"summary_title":"British Sculpture 1470 to 2000, A Concise Catalogue of the Collection at the Victoria and Albert Museum"},{"@link":{"notes":"Cf. Lot 236, an example 36 cm high. Estimate \u00a315-20,000. Previously exhibited at Joanna Barnes Fine Arts, London, 1996, Leighton and his sculptural legacy. British sculpture 1875-1930, p. 42, no. 13.","page":"105","type":"reference"},"admin":{"id":"publication-4714","uid":"adlib-publication-4714","uuid":"ab4f93bc-fa05-33f1-8819-e650d06f0023"},"summary_title":"European Sculpture & Works of Art 900-1900"},{"@link":{"notes":"Cf. pp. 154-5, lot 150, a cast of the larger size 72.7 cm (28\u00bd in) , probably one of ten casts prodcued by the Compagnie des Bronzes from 1901-20. From the Hon. Bobby Wills Collection, Farmington Lodge,Gloucestershire, . Estimate \u00a350-70,000","page":"154-5","type":"reference"},"admin":{"id":"publication-5299","uid":"adlib-publication-5299","uuid":"8566cb57-2e31-3d4b-83de-5bd12880df4a"},"summary_title":"European Sculpture & Works of Art"},{"@link":{"page":"84","type":"reference"},"admin":{"id":"publication-8565","uid":"adlib-publication-8565","uuid":"5a13015c-cd03-37e5-ab7c-a277c121551a"},"summary_title":"Collecting & Giving: Highlights from the Sir Ivor and Lady Batchelor Bequest"},{"@link":{"page":"38-42","type":"reference"},"admin":{"id":"publication-8668","uid":"adlib-publication-8668","uuid":"01ccb9f3-84a6-3aad-9b91-eb74be238e0a"},"summary_title":"Alfred Gilbert"},{"@link":{"page":"passim","type":"reference"},"admin":{"id":"publication-8669","uid":"adlib-publication-8669","uuid":"ce1d750d-c612-3e94-bb5d-c033e06f0c90"},"summary_title":"The New Sculpture"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-14252","uid":"adlib-term-14252","uuid":"028aa1e1-3098-309d-af11-62ae27515507"},"summary_title":"New Sculpture Movement"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107454","uid":"adlib-term-107454","uuid":"6ca0f2ab-c1f8-329d-8a45-8f1322f53a20"},"summary_title":"figure"}},"summary_title":"figure","techniques":[{"description":[{"value":"bronze, cast and chased"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-27438","uid":"adlib-term-27438","uuid":"6e8fa95f-07b1-35a4-bfed-2b07a46e0410"},"summary_title":"lost-wax process"}}],"title":[{"value":"Perseus Arming"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-13638","_score":17.502533,"_source":{"admin":{"added":1592995779000,"created":1312637261000,"flag":"Standard Record","id":"object-13638","indexed":1753812217552,"modified":1753285293000,"processed":1753812119276,"source":"adlib","stream":"fitz-online","uid":"adlib-object-13638","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/13638","uuid":"ca50ce3b-dcc5-3959-910a-ad7bdc0a9afe","version":13},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-151432","uid":"adlib-agent-151432","uuid":"0d14a371-f941-39b5-bcf6-43f02264b601"},"summary_title":"old man"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-98228","uid":"adlib-term-98228","uuid":"3d747999-296f-3944-9a84-2936c3ae9f5c"},"summary_title":"sculpture"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110500","uid":"adlib-term-110500","uuid":"6dc34c6c-d553-36b2-b489-9797a89deeea"},"summary_title":"society\/human life"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Bronze, cast,  with brown patina, and touches of green. 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Knowles"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-150079","uid":"adlib-agent-150079","uuid":"1342a766-ee82-3e8f-875b-d9e290ad7625"},"summary_title":"Knowles, Guy John Fenton"}],"date":[{"earliest":1959,"latest":1959,"value":"1959"}],"method":{"value":"bequeathed"},"note":[{"value":"Entry date: 1959-05-28"}]}],"creation":[{"date":[{"earliest":1881,"from":{"earliest":1881,"era":["CE"],"latest":1881,"precision":"circa","value":"1881"},"latest":1916,"note":[{"value":"Conceived in plaster 1863-1864."}],"range":true,"to":{"earliest":1916,"era":["CE"],"latest":1916,"value":"1916"}}],"maker":[{"@link":{"role":[{"value":"sculptor"}],"type":"reference"},"admin":{"id":"agent-116289","uid":"adlib-agent-116289","uuid":"78195edf-bf21-37f2-b5ed-614ce7f123d2"},"summary_title":"Rodin, Auguste"}],"note":[{"value":"A marble bust was exhibited at the Salon in 1878. Four bronze casts were made in 1895 by Griffoul, and twelve between 1916 and 1949 by Alexis Rudier, Paris. This is a Type 1 mask."},{"value":"This sitter was a man called Beb\u00e9, a cleaner and model at the Carrier-Belleuse studio (where Rodin worked in the 1860s) and whose broken nose was believed to be the legacy of a boxing career. Rodin told of how the newly modelled mask froze inn a harsh winter, causing the back of the head to split off. Intended as his debut work, Rodin portrayed Beb\u00e9 with classically modelled hair and blank eyes in the manner of ancient Greek sculpture, but the mask was rejected by the Paris Salon in 1864, on account of its expressive realism and rejection of traditional notions of ideal beauty. Despite this, Rodin was very proud of his creation, claiming, \u201cThat Mask determined all my future work. It is the first piece of modelling I ever did.\u201d"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106853","uid":"adlib-term-106853","uuid":"25492eb4-1164-35eb-8dce-3601486f3415"},"summary_title":"19th Century"},{"@link":{"type":"reference"},"admin":{"id":"term-107318","uid":"adlib-term-107318","uuid":"d27559f3-e90c-35cd-b7e4-46eaeb9ac521"},"summary_title":"20th 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Mentioned, Vol II, p. 69","page":"p. 69","type":"reference"},"admin":{"id":"publication-1072","uid":"adlib-publication-1072","uuid":"cc21b4e3-d3f9-337a-859e-ce6392a2cc4f"},"summary_title":"Catalogue of European Sculpture in the Ashmolean Museum, 1540 to the present day"},{"@link":{"notes":"Ref.  Pl. 3, no. 3. Rodin made a plaster bust in 1864. It was refused by the Salon in the same year. In 1875 a copy in bronze was made by one of Rodin's fellow sculptors, and was sent in again to the Salon, under his name, and was accepted. The original plaster has disappeared owing to numerous casts being taken. It was sent in first, and refused, under the title 'The Mask of Bibi'. Remodelled as bust and in marble in 1872 and sent in as the 'Bust of M.B...'","page":"pp. 16, 144","type":"reference"},"admin":{"id":"publication-1140","uid":"adlib-publication-1140","uuid":"86f86ada-fe48-3a1c-9407-bc63a9151f58"},"summary_title":"Rodin"},{"@link":{"notes":"Ref. p. 155, no. 5, example in San Francisco Fine Art Museum","page":"p. 155","type":"reference"},"admin":{"id":"publication-1151","uid":"adlib-publication-1151","uuid":"7efcdde4-1178-35f9-873c-cf53e500becc"},"summary_title":"Metamorphosis in 19th Century Sculpture"},{"@link":{"notes":"Ref. p. 476, no. 79-2, example in the Fogg Art Museum","page":"p. 476","type":"reference"},"admin":{"id":"publication-1152","uid":"adlib-publication-1152","uuid":"1c05ddf3-565a-3be9-bdd7-3a1bd7ffd861"},"summary_title":"The Sculpture of Auguste Rodin, The Collection of the Rodin Museum, Philadelphia"},{"@link":{"notes":"Ref. For bronzes in the Mus\u00e9e Rodin and the Koninklijk Museum, Anvers, see, p. 43, 13 a, top right and bottom left and right; and in the Mus\u00e9e de Poitiers, a complete head, p. 44, 13 e. For the text p. 42","page":"pp. 42-4","type":"reference"},"admin":{"id":"publication-1141","uid":"adlib-publication-1141","uuid":"44ee1833-2c3a-341e-ae83-d580336ee2d8"},"summary_title":"Rodin, Vie et Oeuvre, I"},{"@link":{"type":"reference"},"admin":{"id":"publication-2212","uid":"adlib-publication-2212","uuid":"e2219e60-9f74-3ab4-8262-901b8f70d90f"},"summary_title":"Sotheby's Sale Catalogue, 13th May 1913"},{"@link":{"notes":"Cf. Plaster version in the University of Texas (see p. 398 and fig. 15)","page":"p. 398","type":"reference"},"admin":{"id":"publication-200000751","uid":"adlib-publication-200000751","uuid":"329f0bad-84db-3720-a3f0-3cd251851082"},"summary_title":"Art Journal, Summer 1966"},{"@link":{"type":"reference"},"admin":{"id":"publication-2213","uid":"adlib-publication-2213","uuid":"91f40f51-cb1d-3f5e-bcb9-286bd5260eca"},"summary_title":"Sotheby's Sale Catalogue, 28th June 1967"},{"@link":{"type":"reference"},"admin":{"id":"publication-2214","uid":"adlib-publication-2214","uuid":"f42f555d-2a61-3447-beb4-215649eba58e"},"summary_title":"Importantes Sculptures des XIXe et XXe Si\u00e9cles, 25th November 1979"},{"@link":{"type":"reference"},"admin":{"id":"publication-2207","uid":"adlib-publication-2207","uuid":"11e931b1-00e7-3118-abc5-11282be672f1"},"summary_title":"Impressionist and Modern Paintings and Sculpture Part II, 25th June 1986"},{"@link":{"type":"reference"},"admin":{"id":"publication-2216","uid":"adlib-publication-2216","uuid":"46a2aa11-c164-39f1-aa51-7d5806f28e25"},"summary_title":"Impressionist and Modern Paintings and Sculpture, 30th June 1987"},{"@link":{"notes":"Cf. Another example, p. 45, lot 131, 30.2 cm high. Formerly in the collection of Sir Hugh Walpole, London and Sam Salz, New York from whom he bought in 1937 by the vendor's great uncle. (Estimate \u00a310,000-15,000).","page":"p. 45","type":"reference"},"admin":{"id":"publication-2217","uid":"adlib-publication-2217","uuid":"72fbccc1-c05b-3187-a8db-ae102915389a"},"summary_title":"Impressionist and Modern Paintings, Watercolours and Sculpture (Part II), 28th June 1994"},{"@link":{"notes":"Cf. Another example, with neck, p. 31, lot 124, H. 26 cm. Formerly Mus\u00e9e Rodin, Paris. (Estimate \u00a312,000-16,000)","page":"p. 31","type":"reference"},"admin":{"id":"publication-2218","uid":"adlib-publication-2218","uuid":"f7a1c6e5-fe32-3c5f-baa8-bb83739f6cc6"},"summary_title":"Impressionist and Modern Paintings, Watercolours and Sculpture (Part II), 24th June 1997"},{"@link":{"notes":"Cf. An example 25 cm high. Cast by Alexis Rudier between 1916 and 1928 when acquired by the family of the vendor from the Maison de l'Art Fran\u00e7ais, Buenos Aires. Estimate \u00a318-25,000; fetched \u00a3                            The entry lists references for further examples.","page":"42","type":"reference"},"admin":{"id":"publication-3672","uid":"adlib-publication-3672","uuid":"4547308f-9d75-3c21-835f-e8ec5ac4c0e4"},"summary_title":"Impressionist & Modern Art Day Sale"},{"@link":{"notes":"Cf.","page":"438","type":"reference"},"admin":{"id":"publication-4745","uid":"adlib-publication-4745","uuid":"b38637ef-86c1-3d3f-8ebe-038298b23c8c"},"summary_title":"Rodin's Art: the Rodin Collection Iris & B. Gerald Cantor Centre for Visual Arts Stanford University"},{"@link":{"notes":"Cf. p. 406, Type II, a sand cast of 1916 in the Mus\u00e9e Rodin. Other bronze casts mentioned include the Fitzwilliam Museum's.","page":"413-19","type":"reference"},"admin":{"id":"publication-6156","uid":"adlib-publication-6156","uuid":"42cd3589-f338-3b97-9c3b-539421a588eb"},"summary_title":"The Bronzes of Rodin, Catalogue of Works in the Mus\u00e9e Rodin"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106414","uid":"adlib-term-106414","uuid":"f3bc6e35-6744-3307-bd59-ed00318e8b62"},"summary_title":"mask"}},"summary_title":"mask","techniques":[{"description":[{"value":"bronze, cast and patinated"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-26699","uid":"adlib-term-26699","uuid":"a385eebb-7834-3204-a17f-d9c3cd15d9b8"},"summary_title":"casting (process)"}},{"note":[{"value":"brown"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120073","uid":"adlib-term-120073","uuid":"8f03d319-c397-37c8-a0e8-e23ef3cfdbbc"},"summary_title":"patinating"}}],"title":[{"translation":[{"value":"L'homme au nez cass\u00e9"}],"value":"L'homme au nez cass\u00e9"},{"value":"(Man with a broken nose)"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-12198","_score":17.41641,"_source":{"admin":{"added":1592999344000,"created":1312637261000,"flag":"Standard Record","id":"object-12198","indexed":1747159997579,"modified":1711380318000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-12198","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/12198","uuid":"2574e77e-a62d-3a9b-bef3-ad11742ae43d","version":10},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152818","uid":"adlib-agent-152818","uuid":"010cc02a-ac01-3db3-b930-e8c21cd64457"},"summary_title":"Achilles"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152959","uid":"adlib-agent-152959","uuid":"f81817f9-943a-3f82-ab96-0b4293073d03"},"summary_title":"shepherds"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-98228","uid":"adlib-term-98228","uuid":"3d747999-296f-3944-9a84-2936c3ae9f5c"},"summary_title":"sculpture"}],"component":[{"name":"Details","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-29641","uid":"adlib-term-29641","uuid":"2cca4338-6a77-3f63-9174-0a137a118930"},"summary_title":"chasing"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Bronze, cast and chased. 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. 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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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The moulded base is cast in one with the group - it is hollow cast - with dark brown patina, polished. The lion is seated on its haunches, looking down at the snake that it has pinned to the ground with its right paw. Its towering massive head and mane is supported by its left front leg. The word ''Barye'' is stamped on the base."}],"identifier":[{"accession_number":"M.1-1944","primary":true,"type":"accession number","value":"M.1-1944"},{"priref":"13599","type":"priref","value":"13599"},{"source":"Art UK","type":"external ID","value":"CAM_CCF_M_1_1944"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/13599","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/13599"}],"inscription":[{"location":"on base","method":"stamped","transcription":[{"value":"Barye"}],"type":"signature"}],"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 the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1944,"latest":1944,"value":"1944"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1944-03-17"}]}],"creation":[{"date":[{"earliest":1845,"era":["CE"],"latest":1845,"note":[{"value":"Date of original model 1838. 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Barye was a successful monumental sculptor, but also created hundreds of small-scale models of animals for reproduction in bronze editions for middle-class homes. His last sales catalogue of 1865 listed over 230 compositions available to order as edition bronze statuettes. Keen for accuracy, Barye studied ancient animal sculptures as well as live beasts in the Mus\u00e9e d\u2019Histoire Naturelle\u2019s menagerie, copied zoological specimens in the Mus\u00e9e d\u2019Anatomie Compar\u00e9e and made anatomical drawings of dead lions. Bayre\u2019s animal portraits include single animal figures (e.g. M.19-2015) and groups of predators with prey, or in combat with each other (e.g. M.1-2015), and some with human figures (e.g. M.5-2015).\n\nThe model for this bronze derives from a life-size plaster model made by Barye in 1832, which was exhibited at the Paris Salon in 1833. It was later cast into bronze for Louis-Philippe (King of France from 1830 to 1848), and exhibited at the 1836 Salon (now Louvre, Paris, L.P. 1184). The composition was intended as an allegory to flatter the king with the lion symbolic of courage, strength and good kingship triumphing over evil. It also commemorated the fact that in July 1830, when the Revolution saw Louis-Philippe placed on the French throne, Leo and Hydra were the ruling constellations.\n\nBarye\u2019s company produced different models derived from the original large sculpture at different dates and in different sizes. The sketch model with lion\u2019s paw raised (known as Lion au serpent, no. 3 [esquisse]: see M.3-2015) dates from 1832; a further version, with a much rockier landscape surface (known as Lion au serpent, no. 2: see M.2-2015) was first cast in bronze in 1857. Although listed as No. 2, this was actually Barye\u2019s third variant. 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