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See Documentation, Williams, 1999 and 2002"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40286","uid":"adlib-term-40286","uuid":"8fc73caf-f6db-304c-8880-bd6a706a6101"},"summary_title":"low-carbon steel"}}],"name":"Skull"},{"materials":[{"note":[{"value":"modern"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40335","uid":"adlib-term-40335","uuid":"80b8ec5a-ae92-3ae0-8967-f2a28e1658d4"},"summary_title":"brass (alloy)"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-37424","uid":"adlib-term-37424","uuid":"3a890bca-aa0e-3843-a2b9-703f4443354c"},"summary_title":"iron (metal)"}}],"name":"Rivets"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40286","uid":"adlib-term-40286","uuid":"8fc73caf-f6db-304c-8880-bd6a706a6101"},"summary_title":"low-carbon steel"}}],"name":"Neck Plate"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40286","uid":"adlib-term-40286","uuid":"8fc73caf-f6db-304c-8880-bd6a706a6101"},"summary_title":"low-carbon steel"}}],"name":"Visor"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40335","uid":"adlib-term-40335","uuid":"80b8ec5a-ae92-3ae0-8967-f2a28e1658d4"},"summary_title":"brass (alloy)"}}],"name":"Rivet Caps"},{"name":"Cheek-pieces","techniques":[{"note":[{"value":"ventilation-holes"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-26483","uid":"adlib-term-26483","uuid":"c5756b64-2720-3558-9d90-98bd4a27592f"},"summary_title":"piercing"}}]},{"name":"Decoration","techniques":[{"note":[{"value":"counterfeit-damascened"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28765","uid":"adlib-term-28765","uuid":"4345f670-5e3d-3cd1-a75d-db0231f927c4"},"summary_title":"damascening"}},{"note":[{"value":"low and high relief"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-26881","uid":"adlib-term-26881","uuid":"88d2ea1e-d238-34e8-8bde-82e4187f5ad4"},"summary_title":"embossing"}},{"note":[{"value":"low and high relief"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-29641","uid":"adlib-term-29641","uuid":"2cca4338-6a77-3f63-9174-0a137a118930"},"summary_title":"chasing"}}]},{"name":"Parts","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120061","uid":"adlib-term-120061","uuid":"00718844-995d-3c46-9e3f-25465df6a3cc"},"summary_title":"rivetting"}}]},{"name":"Ribs","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28809","uid":"adlib-term-28809","uuid":"6f9a7fc1-729b-30a9-8d8d-95c62e235c6e"},"summary_title":"raised (metal forming process)"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Burgonet, for parade use, with embossed, chased and counterfeit-damascend classical decoration. Formed of a one-piece skull with a pivoted 'visor', an incomplete pair of cheek-pieces, and a neck-defence of one lame.  The skull has a high, medial comb, extending from the brow to the nape.  The crest of the comb is decorated to either side with acanthus leaves, embossed and chased in low relief.  Each side of the comb is decorated between raised ribs with a panel of trophies including arms and armour, musical instruments, a ewer, a basin and a mask, all embossed and chased in relief, and retaining traces of counterfeit-damascened gold ornament.  The panel on the right side includes an open book, counterfeit-damascened with the Greek inscription (By these things to the stars).  Each side of the skull is decorated with a central winged, nude, female demi-figure with a skirt of acanthus from which a pair of adorsed acanthus volutes terminating in flowerheads issue, all embossed and chased in high relief.  The figure on the right side represents Fame, and the figure on the left side, Victory.  The skull is decorated around the nape with a rounded rib, divided into short sections by numerous transverse grooves and superimposed on a broader, flat rib.  The lower edge of the skull is cut away at the front to form a shallow, arched face-opening.  Each side of the face-opening is pierced with a rivet-hole for the attachment of a missing brow-plate.  The lower edge of the skull has a shallow, concave cut-out at each side to accommodate the cheek-pieces.  The apex of each cut-out is itself cut with a shallow, rectangular notch to accommodate the internal hinge of the cheek-piece.  The hinge is lobed around each of the pair of rivets that secure it to skull and cheek-piece respectively.  The rivets that secure it to the skull are externally flush and of iron.  The rear one on the right side is missing.  The rivets that secure the hinge to the cheek-piece are round-headed and of brass.  Each cheek-piece has a convex upper edge, matching the profile of the cut-out at the side of the skull, which it overlaps.  The rear edge of the cheek-piece  is decorated with a short continuation of the embossed rib that runs around the nape of the skull.  The cheek-piece is pierced just in front of the rib with four circular ventilation-holes arranged in a lozenge-formation around a further such hole.  The lower front corner of the cheek-piece is cut away in a concave curve with a roped inward turn accompanied by a recessed border.  The straight lower edge of the cheek-piece is bordered by five round-headed brass rivets, arranged as a row of three with one located below each of the outer ones.  Both of the lower rivets are now missing on the right cheek-piece, and both of the front ones on the left.  Some or all of these rivets originally served to secure the missing lower extension-plates of the cheek-pieces which probably met and were fastened together at the chin.  The lower edge of the skull is cusped and flanged outwards at the centre of the nape, and lobed to either side of it to receive the modern, round-headed, brass rivets with circular, internal washers that attach the overlapping neck-defence.  Later holes for three further rivets at either side are pierced in both the lower edge of the skull and the upper edge of the neck-defence.  All are now vacant except for the inner one on the left side which is occupied by a round-headed brass rivet that has, however, broken out of the hole in the skull.  The central cusp of the lower edge of the skull, which is split and bent, is pierced with three rivet-holes of which the left one is occupied by an externally-flush rivet of iron.  The neck-defence of one plate curls outwards at its lower edge which is obtusely pointed at its centre.  The point is pierced with a later hole that has broken out to the edge.  The edge is pierced to either side of this hole with a pair of later smaller holes, possibly for wiring purposes.  The neck-defence is decorated at its upper edge with a series of scallops emphasised by pairs of punched crescents, and below them with deep longtitudinal gadroons interrupted at the centre by acanthus leaves all embossed and chased in relief.  Attached by modern pivots at either side of the skull, just behind the hinges for the cheek-pieces, is a one-piece 'visor'.  The pivots take the form of brass-capped, round-headed iron rivets with octagonal, internal washers.  Pierced in both the skull and the 'visor' just in front of the left pivot is a further hole which may at one time have served as a pivot-point.  The hole in the 'visor' is plugged with an externally-flush rivet, while that in the skull remains vacant.  The hole in the 'visor' for the right pivot has broken out and been repaired with an internal patch secured by two iron rivets.  The 'visor' is decorated with a lion's mask beneath an approximation of a gladiator's visor, in both cases embossed and chased in high relief.  The 'gladiator's visor' is of prow-shaped form with a bold, inward, partial turn at its upper edge, divided into short sections by numerous transverse grooves and scrolled at its ends.  Its lower edge is bordered by a rounded rib likewise divided into short sections by transverse grooves and superimposed on a broader, flat rib which is bordered at its lower edge by a series of scallops emphasised by pairs of punched crescents.  The intervening space is filled with upward-directed, vertical gadroons interrupted at the centre by acanthus leaves.  The centre of the 'gladiator's visor' is pierced top and bottom with a pair of later holes.  The lower pair are occupied by modern, round-headed, brass rivets.  A hole at the centre of the brow of the lion's mask is occupied by a smaller, modern, round-headed iron rivet.  The elaborately-shaped lateral and lower edges of the 'visor' are flanged inwards."}],"exhibitions":[{"@link":{"catalogue":"43","type":"reference"},"admin":{"id":"exhibition-201","uid":"adlib-exhibition-201","uuid":"14c86d72-5b3b-32f3-85f5-cf71b1bb9878"},"summary_title":"Treasures from the Fitzwilliam, \"The Increase of Learning and other great Objects of that Noble Foundation\""},{"@link":{"catalogue":"40","type":"reference"},"admin":{"id":"exhibition-1310","uid":"adlib-exhibition-1310","uuid":"3ad3bad2-8e30-3955-bec5-3af5115b811b"},"summary_title":"Heroic Armor of the Italian Renaissance: Filippo Negroli and his Contemporaries"},{"@link":{"catalogue":"57","type":"reference"},"admin":{"id":"exhibition-1789","uid":"adlib-exhibition-1789","uuid":"847b68d6-8267-37e9-868c-223c9328083f"},"summary_title":"Saved! 100 Years of the National Art Collections Fund"}],"identifier":[{"accession_number":"M.19-1938","primary":true,"type":"accession number","value":"M.19-1938"},{"priref":"18563","type":"priref","value":"18563"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/18563","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/18563"}],"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 with a contribution from the National Art Collections Fund"},"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":1938,"latest":1938,"value":"1938-07-13"}],"method":{"value":"given"},"note":[{"value":"The grant from the National Art-Collections Fund was \u00a31,250"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1545,"note":[{"value":"Possibly later"}],"range":true,"to":{"earliest":1545,"era":["CE"],"latest":1545,"value":"1545"}}],"maker":[{"@link":{"qualifier":"perhaps","role":[{"value":"armourer"}],"type":"reference"},"admin":{"id":"agent-98114","uid":"adlib-agent-98114","uuid":"24e79a65-d5ce-3b6d-a800-a2d2c8f78d78"},"summary_title":"Negroli, Filippo"}],"note":[{"value":"The cheek-pieces must be recognised as old replacements since the quality of their workmanship does not match that of the other elements of the helmet.  The 'visor' must originally have been fixed in the raised position since it lacks the apertures for vision that would have been essential if it had been fixed in the lowered position as it now is."},{"value":"The helmet has a russet colour with traces of gold counterfeit damascening on the comb."},{"value":"The present piece closely resembles a burgonet formerly in the armoury of the Archduke Ferdinand II of Tirol at Schloss Ambras and now in the Hof jagdt- und R\u00fcstkammer, Vienna (Inv. No. A693), which is attributed to Filippo Negroli of Milan and has, since about 1565, been associated with a circular shield bearing, among other inscriptions, the Greek motto (To the stars through these).  It also bears an abbreviated Latin text which is interpreted as indicating that the helmet and shield were made for the Emperor Charles V to commemorate his second campaign against the Turks in Algeria in 1541 (Ortwin Gamber & Mattheus Pfaffenbichler, Leibrustkammer II, 1990, pp.45-7, pl.13).  An incomplete burgonet of a very similar design is preserved in the Metropolitan Museum of Art, New York (Acc. No. 04.3.223).  A burgonet in the same collection (Acc. No. 17.190.1720), signed by Filippo Negroli and dated 1543, is of a different form to the present example, but shows very similar decoration.\nFor discussions and illustrations of the work of the Negroli family, see B. Thomas & O. Gamber, 'L'Arte dell'Armatura', Storia di Milano, Vol. XI, Milan, n.d. [1958], pp. 697-841; and L.G. Boccia & E.T. Coehlo, L'Arte dell'Armatura in Italia, Milan, 1967."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106356","uid":"adlib-term-106356","uuid":"172bc668-c96c-3553-a7e3-9adbe68c760a"},"summary_title":"16th Century, 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In 1936 it was sold by Foster's Sale Room of Pall Mall, London, to Captain R. P. Johns who in 1937, after some six months, sold it for \u00a3200 to Mr John Hunt from whom it was acquired by the Fitzwilliam Museum in the following year.  According to a statement published by Charles R. Beard in 1945, the helmet had 'been in England for the better part of a century'.   Francis H. Cripps-Day claimed that it had come from the collection of the 1st Lord Amherst of Hackney (1835-1909).  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The samples were shown to be of low carbon steel. Cf. The comparable more complete helmet in Vienna (A.693), fig. 18 and sample fig. 19.","page":"109-11","type":"reference"},"admin":{"id":"publication-200001251","uid":"adlib-publication-200001251","uuid":"f5ee1772-fbdd-347f-bf35-f7d2b9d6e4a1"},"summary_title":"The Steel of the Negroli"},{"@link":{"notes":"Publ. 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It also bears an abbreviated Latin text which is interpreted as indicating that the helmet and shield were made for the Emperor Charles V to commemorate his second campaign against the Turks in Algeria in 1541 (Ortwin Gamber & Mattheus Pfaffenbichler, Leibrustkammer II, 1990, pp.45-7, pl.13).","page":"pp. 45-7","type":"reference"},"admin":{"id":"publication-1833","uid":"adlib-publication-1833","uuid":"ffd3e4b5-fac4-3896-b798-722e1691527d"},"summary_title":"Leibrustkammer II"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-77946","uid":"adlib-term-77946","uuid":"2e247e8a-b570-3be9-8e4d-75b507dc0902"},"summary_title":"burgonet"}},"summary_title":"burgonet","techniques":[{"description":[{"value":"formed of a one-piece skull with a pivoted 'visor', an incomplete pair of cheek-pieces, and a neck-defence of one lame; hammered, shaped, riveted, with embossed, chased and counterfeit-damascening decoration, pierced ventilation-holes, recessed borders and raised ribs"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28779","uid":"adlib-term-28779","uuid":"9ded0180-afed-3209-bd56-ea3a2c252893"},"summary_title":"hammering"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-25884","uid":"adlib-term-25884","uuid":"86bb7058-7ded-3d65-8de1-80ad064ebbee"},"summary_title":"forming"}}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-13626","_score":16.32543,"_source":{"admin":{"added":1592995779000,"created":1312637261000,"flag":"Standard Record","id":"object-13626","indexed":1747159844388,"modified":1677161401000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-13626","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/13626","uuid":"3df41c16-67cf-3ae0-a96e-127a6bb2860f","version":13},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-156088","uid":"adlib-agent-156088","uuid":"0763bc97-3d4f-3cc8-9081-9212fe657e17"},"summary_title":"brother"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-156087","uid":"adlib-agent-156087","uuid":"6b9e7532-f1f6-3e9d-93ee-1d188e92c0bc"},"summary_title":"sister"}],"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 overall green patina. 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R called me every sort of name - 'As soon as a man does something he is reasonably pleased with, some B.F. comes along and wants to take it away', so I calmed him down, gave him lunch and didn't refer to it again. A month or so later a packing case arrived in London. In it was 'Fr\u00e8re et Soeur' cast and a note from R. saying 'I was quite wrong. When a man does something which arouses the enthusiasm of the man who sees it, then that is the man who should possess it.' It was a gift to me.'' 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In 1747 he moved to Rome and then c.1750 moved to Florence. He returned to England in 1755 with the architect William Chambers, whose friendship helped him to gain important patrons. He was a talented portraitist. Wilton was one of the Foundation Members of the Royal Academy in 1768, and in 1790 became its third Keeper of collections."},{"value":"This portrait, in a style inspired by the busts of ancient Greece and Rome, is undated but may have been made in 1766, the year when Pitt became first Earl of Chatham and the Stamp Act (a direct tax on the American colonies) was repealed. This made Pitt popular in the American colonies in the run-up to the American War of Independence (1775\u201383). 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The plaster model for this bust was exhibited at the Royal Academy in 1811. Joseph Nollekens described it as \u2018the best bust of all busts\u2019 and moved one of his own pieces to give it greater prominence. Public acclaim followed, and Chantrey\u2019s career as a sculptor was thus assured. At that time, however, neither Tooke nor Chantrey could afford to reproduce it in marble. The present bust was commissioned in 1818 by George Watson Taylor, MP, but on completion in 1819 it was never paid for, and thus remained in Chantrey\u2019s possession until his death. It was inherited by his widow who presented it to the Museum in 1861, describing it \u2018as one of my husband\u2019s best works\u2019."},{"value":"Chantrey\u2019s bust is a sympathetic portrait of a man already suffering from his last illness. 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Lockhart made further visits in the years up to his death in 1675, and in 1672 \nreceived a boite \u00e0 portrait de diamonds (a portrait of the King, framed with diamonds)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118768","uid":"adlib-term-118768","uuid":"29189213-4535-3c4d-91a9-481c59775014"},"summary_title":"17th Century, third quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-15536","uid":"adlib-term-15536","uuid":"02571f2e-a606-30c6-a49e-85d820d4a0cd"},"summary_title":"Louis XIV (1638-1715)"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-129470","uid":"adlib-term-129470","uuid":"8353db27-fba9-33c1-94a1-f268fd2a2d21"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"}]],"note":[{"value":"probably"}],"summary_title":"Paris"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39778","uid":"adlib-term-39778","uuid":"8bd60ed6-968d-3faf-8ad5-b4e4ee9bb245"},"summary_title":"silver"}}],"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-206481","uid":"adlib-media-206481","uuid":"e2c2d3a1-1411-3fe2-a924-40feba50db93"},"processed":{"large":{"format":"jpeg","location":"aa\/aa37\/large_M_468_20_26_20A_1985_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":769},{"dimension":"width","units":"pixels","value":1023}]},"modified":1616282422104,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa37\/mid_M_468_20_26_20A_1985_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":376},{"dimension":"width","units":"pixels","value":500}]},"modified":1616282422104,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa37\/M_468_20_26_20A_1985_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":789},{"dimension":"width","units":"pixels","value":1050}]},"modified":1616282422104,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa37\/preview_M_468_20_26_20A_1985_dc2.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":188},{"dimension":"width","units":"pixels","value":250}]},"modified":1616282422104,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}},{"@link":{"type":"reference"},"admin":{"id":"media-2433405388","source":"portfolio","uid":"portfolio-media-2433405388","uuid":"2cfd2fe3-673d-393d-8460-b282d6745b59"},"processed":{"large":{"format":"jpeg","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/508\/145\/large_M_468___A_1985_mas.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":770},{"dimension":"width","units":"pixels","value":1024}]},"modified":1529374252000,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/508\/145\/mid_M_468___A_1985_mas.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":376},{"dimension":"width","units":"pixels","value":500}]},"modified":1529374252000,"resizable":true,"type":"image"},"original":{"location":"M.468 & A-1985_mas.tif","modified":1529374252000,"processed":true,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/508\/145\/preview_M_468___A_1985_mas.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":188},{"dimension":"width","units":"pixels","value":250}]},"modified":1529374252000,"resizable":true,"type":"image"},"zoom":{"format":"pyramid tiff","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/508\/145\/M_468___A_1985_mas.ptif","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":3840},{"dimension":"width","units":"pixels","value":5110}]},"modified":1529374252000,"resizable":true,"type":"image"}},"sort":"1","source":{"title":[{"primary":true,"type":"main title","value":"French silver embossed ewer and basin"}]},"type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-88137","uid":"adlib-term-88137","uuid":"eeab1777-4158-31f4-8f8a-0015cb1910f7"},"summary_title":"ewer"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89303","uid":"adlib-term-89303","uuid":"7012fd66-769f-33c8-bb38-d805db27c8c9"},"summary_title":"basin"}}],"note":[{"type":"history note","value":"Sir William Lockhart of Lee (1621-1675); 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number"}],"type":"literal"},"name":[{"type":"name","value":"Sculpture UK"}],"summary_title":"Sculpture UK"}],"publications":[{"@link":{"notes":"Publ. p. 213, no. 839","page":"p. 213","type":"reference"},"admin":{"id":"publication-1264","uid":"adlib-publication-1264","uuid":"f04bce52-febf-3461-8a02-41589e992e85"},"summary_title":"The National Exhibition of Works of Art"},{"@link":{"type":"reference"},"admin":{"id":"publication-200001112","uid":"adlib-publication-200001112","uuid":"707689cb-7be7-3778-bb26-6fc931b19b31"},"summary_title":"Eine Bronze von Giovanni Bologna"},{"@link":{"notes":"Publ. p. 718","page":"p. 718","type":"reference"},"admin":{"id":"publication-3291","uid":"adlib-publication-3291","uuid":"e0ecf0d1-8717-3b46-afde-a8d8f1e9d0ea"},"summary_title":"Storia dell'Arte Italiana. X: La Scultura del Cinquecento, part 3"},{"@link":{"notes":"Publ. I, p. 100 (under no. VII)\n(rough translation by C. van H. & RAB), vii: pp. 98-101, pl. 45\nBacchus of Latanzio Cortese\n'Two small bronzes are being connected falsely with the Bacchus and are attibuted to Jean Bologne. One was formerly in the Bisschoffsheum Palace Collection (W. Gramberg 1936, pl. 11). The other is in the Fitzwilliam Museum at Cambridge (Ulrich Middledorf, 1933; A Venturi, Roman X, 3-1937, p. 718). I have not seen the first. Judging it from the photograph (reproduction) it is difficult to regard it as a work by Jean Bologne because it lacks buoyancy in the posture, the block-like base, and the apparent lack of careful finishing. The Bacchus at Cambridge is certainly not work by Jean Bologne. Composition, posture, and movement lack the firm, balanced contraposto of the master; the motifs of the movement of the arms and head converge in the same direction. The attitude is hesitant and lacks buoyancy and tension. It is impossible to recognise in it the qualities of Jean Bologne's execution. The face is sharp; the eyes are drawn in, and the head-dress is chiselled decoratively, but not modelled plastically. Details, like the nails, show uneven finish. As a whole the little bronze lacks that marvellous and natural life found in Jean Bologne's work. It could very well be ascribed to Caccini.' [The sense of the Flemish base is such that a definite attribution is being suggested, although it sounds hesitant in translation]","page":"p. 100","type":"reference"},"admin":{"id":"publication-1180","uid":"adlib-publication-1180","uuid":"2cef542b-28b8-3f14-97b0-998f4b1ce7ce"},"summary_title":"Jean Bologne-Giovanni Bologna Fiammingo"},{"@link":{"notes":"Publ.","page":"139","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-15","uid":"adlib-publication-15","uuid":"a688918a-bb81-3998-99cc-81244715767d"},"summary_title":"The Fitzwilliam Museum, An Illustrated Survey"},{"@link":{"notes":"Publ. p. 16 (under lot 61)","page":"p. 16","type":"reference"},"admin":{"id":"publication-2264","uid":"adlib-publication-2264","uuid":"8ff1b543-9530-3fbf-9433-dd213642fdfc"},"summary_title":"Sotheby's Sale Catalogue, 12th December 1958"},{"@link":{"notes":"Publ. pp. 62-65 (entry by C. Theuerkauff)","page":"pp. 62-65","type":"reference"},"admin":{"id":"publication-3292","uid":"adlib-publication-3292","uuid":"4b2646be-bcf3-3b3b-8d69-4369c7772002"},"summary_title":"Stiftung zur F\u00f6rderung der Hamburgischen Kunstsammlungen. Erwerbungen 1963"},{"@link":{"notes":"Publ. pp. 191-204","page":"pp. 191-204","type":"reference"},"admin":{"id":"publication-200001113","uid":"adlib-publication-200001113","uuid":"d1ee1be1-b131-3e9d-b5ca-65dbcc8ac24a"},"summary_title":"\u00dcber die Florentinische Einwirkung auf die Kunst des Johann Gregor von der Schardt"},{"@link":{"notes":"Publ. p. 194 (under entry on Hamburg Bacchus)","page":"p. 194","type":"reference"},"admin":{"id":"publication-3293","uid":"adlib-publication-3293","uuid":"791b7358-efd9-3c3c-909a-ff9f74110628"},"summary_title":"Jahrbuch der Hamburger Kunstsammlungen, 10, 1965"},{"@link":{"notes":"Publ. p. 21","page":"p. 21","type":"reference"},"admin":{"id":"publication-200001114","uid":"adlib-publication-200001114","uuid":"8bc56c20-cfd1-3c6c-80b2-46cde86ed66f"},"summary_title":"Aspetti della Scultura Fiorentina al Tempo della Formazione di Francesco Mochi"},{"@link":{"notes":"Publ. pp. 99-100, 102-3, fig. 1","page":"pp. 99-100","type":"reference"},"admin":{"id":"publication-200000840","uid":"adlib-publication-200000840","uuid":"9d15d085-52a2-3a0c-98c5-8e176bb1eae4"},"summary_title":"Schardt, Tetrode and some possible sculptural sources for Goltzius"},{"@link":{"notes":"Publ. p. 276, no. 30","page":"p. 276","type":"reference"},"admin":{"id":"publication-200001115","uid":"adlib-publication-200001115","uuid":"8eeab179-00b3-3f8f-8296-a9d2a6813f02"},"summary_title":"Willem Danielsz. van Tetrode"},{"@link":{"notes":"Publ. Cat. no. 42, p. 39 (entry by R. Crighton)","page":"p. 39","type":"reference"},"admin":{"id":"publication-1119","uid":"adlib-publication-1119","uuid":"8b3701d3-a6b9-3cdf-8f20-d50dda99c46c"},"summary_title":"Treasures from the Fitzwilliam: ''The Increase of Learning and other great Objects of that Noble Foundation''"},{"@link":{"notes":"Publ. pp. 112-115","page":"pp. 112-115","type":"reference"},"admin":{"id":"publication-3294","uid":"adlib-publication-3294","uuid":"3afd6e2d-9e38-3b57-bd08-13737efe17e0"},"summary_title":"Johan Gregor van der Schardt. Bildhauer bei Kaiser Maximilian II, am d\u00e4nischen Hofe und bei Tycho Brahe"},{"@link":{"notes":"Publ. Cat. no. 99, pp. 328-29, repr. (entry by U. Berger)","page":"pp. 328-9","type":"reference"},"admin":{"id":"publication-1232","uid":"adlib-publication-1232","uuid":"b82e6277-72ed-383a-a717-375529b3c494"},"summary_title":"Von Allen Seiten Sch\u00f6n, Bronzen der Renaissance und des Barock"},{"@link":{"notes":"Publ. p. 531","page":"p. 531","type":"reference"},"admin":{"id":"publication-200001116","uid":"adlib-publication-200001116","uuid":"ddfee090-056d-36f3-94a8-6d3d4d27af15"},"summary_title":"Tetrode, Willem Danielsz. van"},{"@link":{"notes":"Publ. p. 5","page":"p. 5","type":"reference"},"admin":{"id":"publication-200001117","uid":"adlib-publication-200001117","uuid":"52872929-a1e0-3fe9-93f9-3a6f57512128"},"summary_title":"Review of Berlin 1995"},{"@link":{"notes":"Publ. pp. 212-217, 295, no. 34. Attributed to Delft, c. 1570s","page":"pp. 212-217","type":"reference"},"admin":{"id":"publication-3259","uid":"adlib-publication-3259","uuid":"a66336df-0598-3f93-8c6d-4d1fa070ea38"},"summary_title":"Renaissance and Baroque Bronzes from the Fitzwilliam Museum, Cambridge"},{"@link":{"notes":"Publ. Illustrated, p. 30, no. 26, p. 29 and 32 discussion, - Catalogue by, Bieke van der Mark & Frits Scholten, p. 119, no. 13. The authors attribute the model to Rome or Florence","page":"pp. 29-30","type":"reference"},"admin":{"id":"publication-200001300","uid":"adlib-publication-200001300","uuid":"5d9acc5d-c414-3453-86db-b399f73b9646"},"summary_title":"Willem van Tetrode, alter Praxiteles"},{"@link":{"notes":"Publ. 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See a bronze attributed to Adrien de Vries, cat. no. 181, p. 150: pl. 181, p. 151.This was pointed out by Ian Robertson of the Ashmoleon, Oxford (H. 51.8 cm)","page":"pp. 150-1","type":"reference"},"admin":{"id":"publication-1265","uid":"adlib-publication-1265","uuid":"dc55db52-9b6c-3bf1-93ba-46b7a5274a1c"},"summary_title":"Die Bildwerke in Bronze und in Anderen Metallen"},{"@link":{"notes":"Cf. pp. 410-12, lot 639 another paired with a Faun (attributed to Adriaen de Vries), described as probably German, 17th century. 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Behind double doors the interior is fitted with two sets of six drawers on sliding runners."},{"value":"Side cabinet of larchwood and ebony with gilt brass mounts and boulle work. Rectangular standing on a low plinth, the top of Glen Tilt marble, bordered on the front and sides with a brass wreath moulding. The two panelled doors each enclose six larchwood tiered drawers constructed with side runners. The doors are veneered with larchwood surrounds and a narrow border of ebony framing a boulle work panel in contre-partie of formal flower with foliage above and below. The corners of each door and of the panelled larchwood sides are decorated with applied brass mounts in the form of a stylised anthemium and scrolling leaves. The plinth is flanked at each side by free-standing turned columns of larch and ebony with bands of boulle work in premiere partie, and applied brass lotus and acanthus leaf mounts. The top of the plinth is decorated with styhlised anthemia in premiere partie boulle work, and the shaped apron and bracket supports are similarly decorated: on the front wtih a central anthemion linked to a floriated scroll at each end, and on the sides with two floriated scrolls."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-1427","uid":"adlib-exhibition-1427","uuid":"b334aefb-5535-3bfc-8a31-25cd4aa669c2"},"summary_title":"The National Art Collections Fund at the Fitzwilliam Museum, An Exhibition to celebrate the Fund's 85th Anniversary"},{"@link":{"catalogue":"134","type":"reference"},"admin":{"id":"exhibition-1609","uid":"adlib-exhibition-1609","uuid":"6d201037-48f1-3a69-9e4e-72551b7f32d0"},"summary_title":"Treasures from the Fitzwilliam"}],"identifier":[{"accession_number":"M.16-1980","primary":true,"type":"accession number","value":"M.16-1980"},{"priref":"95835","type":"priref","value":"95835"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/95835","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/95835"}],"inscription":[{"location":"back","method":"printed","transcription":[{"value":"LALONDE BROS. & PARHAM'S DEPOSITORIES\/BRISTOL & WESTON SUPER-MARE"}],"type":"label"},{"location":"between two printed lines on label","method":"handwritten in pencil","transcription":[{"value":"Mrs. C. Adams 45"}],"type":"label"}],"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":"Purchased with the Gow Fund and contributions from the National Art Collections Fund, and the Regional Fund administered by the Victoria and Albert Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-164399","uid":"adlib-agent-164399","uuid":"37153e1e-08d8-30d5-a762-6d1ecfcd821a"},"summary_title":"Temple Williams, Ltd."}],"date":[{"earliest":1980,"latest":1980,"value":"1980-10-13"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1980-10-13"}]}],"creation":[{"date":[{"earliest":1817,"latest":1817,"precision":"circa","value":"1817"}],"maker":[{"@link":{"role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-20018","uid":"adlib-agent-20018","uuid":"b956cc57-c49b-3d63-9b49-9ea0d15db3ad"},"summary_title":"Bullock, George"}],"note":[{"value":"A design among the 'Wilkinson Tracings' in the Birmingham City Museum and Art Gallery, found by the late Clive Wainwright, Department of Furniture at the Victoria and Albert Museum, shows the pattern of the boulle work on the doors of the cabinet. It is inscribed 'Mrs Barrows\/Oak Book Commode\/Pubd. Augt 1816'."},{"value":"Bullock's dates are uncertain; his birth date may be 1782\/3."},{"value":"George Bullock was one of the most enterprising and original English furniture-makers of the early nineteenth century. Initially a wax modeller and sculptor, he went into business as a furnisher and marble-cutter in Liverpool in 1804, and moved to London in 1812. His success there was ensured by the superb quality of his work, which was strongly influenced by the French Empire style."},{"value":"The cabinet was made for the 4th Duke of Atholl (1755-1830) and is described in Bullock's account dated 12th July 1817 as 'A Cabinet with Drawers of Larchwood the panels of Doors of Brass and ebony two columns enriched with Brass ornaments and Brass wreath moulding round the Top   \u00a345.\/ A slab of Glen Tilt marble at Top 6.2 @ 12\/-  3.14.  The price of the marble refers to the rough slab not the finished top.  Its design and the materials used are closely related to two larger cabinets commissioned by the Duke, probably for Dunkeld,  which were delivered in 1818, and survive at Blair Castle, Perthshire."},{"value":"The cabinets illustrate prominent traits of Bullock\u2019s style. Their rectangular forms have a strong sense of projection and recession. Smooth surfaces of dark and light woods are counterbalanced by the textured effect of coloured marble and the opulent but unostentatious glow of the mounts and brass inlay or boulle-work (a technique perfected by Andr\u00e9 Charles Boulle (1642-1732) \u00e9beniste to Louis XIV)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-107437","uid":"adlib-term-107437","uuid":"96f4b0d1-fc11-39ff-ae91-1b23d888d479"},"summary_title":"George III"},{"@link":{"type":"reference"},"admin":{"id":"term-106498","uid":"adlib-term-106498","uuid":"272179a1-524b-3f36-aab7-bf342ce484d6"},"summary_title":"19th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-106216","uid":"adlib-term-106216","uuid":"825b8379-ec94-388e-9a59-624e40c090d0"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"note":[{"value":"possibly 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Adams, probably of Bristol or Weston-super-Mare; Temple Williams, Ltd., Haunch of Venison Yard, Brook Strret, London, W1, from whom purchased."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 57, no. 2838, and see pp. 56-7","page":"56-7","type":"reference"},"admin":{"id":"publication-3673","uid":"adlib-publication-3673","uuid":"d01b9dec-7616-3430-8019-e1f40e586520"},"summary_title":"National Art-Collections Fund Annual Report 1980"},{"@link":{"notes":"Publ. Discussed and illustrated. The author notes that this is perhaps the cabinet mentioned in the Blair accounts on 12 July 1817. 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The three-sided base is closed underneath and has a concave area at the front, and a large circular ventilation hole further back. The interior of the group and the central area of the base are glazed. Beltrame sits on a large green and brown mound with Columbine seated on his left knee. His right foot rests on Harlequin who reclines on the ground in front of them, lasciviously lifting Columbine's skirt a little with his left hand and peering beneath it.\nBeltrame wears a black hat, a white shirt with a ruff; a white jacket with red and white striped sleeves, and gold trimming round the armholes and waist; breeches with red and white stripes at the top and yellow fabric at the bottom and a gold rosette at the knee; and black shoes with gold bows. Columbine wears a small yellow tricorn hat, a green bodice with blue lacing over a white stomacher, a flowered skirt, and yellow high-heeled shoes with white bows. Harle-quin has a long-sleeved, pale greyish-brown jacket with red collar and cuffs, and four gold flower-shaped buttons down the front; breeches with a red trellis diaper pattern; blue stockings, and black shoes with a red rosette on top.\nThe top of the base is green with applied green leaves, and flowers: a white, a yellow, a blue and three red and white."}],"exhibitions":[{"@link":{"catalogue":"166","type":"reference"},"admin":{"id":"exhibition-1517","uid":"adlib-exhibition-1517","uuid":"9cda4842-9484-3d44-89b2-984a85309d59"},"summary_title":"The English Ceramic Circle, 1927-1948: English Pottery and Porcelain. 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MIT (HARLEKIN)'"}],"type":"label"}],"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 Mrs W.D. Dickson"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-180712","uid":"adlib-agent-180712","uuid":"855e3948-593a-3b3c-9d66-028df74284fe"},"summary_title":"Dickson, W. D. 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The copis and adaptations wee mainly of single figures or pairs. Groups were attempted infrequently, probably because fewer seem to have been imported, and because they posed greater technical problems for inexperienced English modellers. The 'Indiscreet Harlequin' was based on a Meissen group (model number 344) modelled by J.J. Kaendler, about 1742, but not mentioned in his Taxa or work notes. Like many of his groups, it displays a sly sense of humour, rarely found in English groups. The Bow group differs from the Meissen model  in minor details, such as the shape of the lover's hat. The pose of Columbine may have been inspired by an engraving of Columbine and Harlequin from Les Amours de Columbine by Petrus Schenck after drawings by G\u00e9rard-Joseph Xavery, and Harlequin's pose by that in Harlequin and the Blind Beggar, plate 32 of Gregorio Lambranzi, New and Eccentric School of Theatrical Dancing, 1716. See Documention, Chilton, 2001."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106496","uid":"adlib-term-106496","uuid":"bd563695-7339-3178-a8c4-251899070993"},"summary_title":"18th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-107736","uid":"adlib-term-107736","uuid":"e93a8dd1-d76d-320b-be9b-afa352e322a1"},"summary_title":"George II"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110490","uid":"adlib-term-110490","uuid":"bb9026c5-22c6-3c07-8c4c-b6817acc50c4"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"England"}],"summary_title":"England","type":"country"}]],"summary_title":"Stratford-le-Bow"},{"@link":{"type":"reference"},"admin":{"id":"term-110409","uid":"adlib-term-110409","uuid":"2040047c-eefc-3538-8b3d-60185614825b"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Germany"}],"summary_title":"Germany","type":"country"}]],"summary_title":"Meissen"}]}]},"materials":[{"note":[{"value":"presumed phosphatic, containg bone ash"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-37637","uid":"adlib-term-37637","uuid":"89b09133-dc0a-3a88-bd40-5aef1ad30ecb"},"summary_title":"soft-paste porcelain"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"19.5"},{"dimension":"Width","units":"cm","value":"17.9"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-17330","uid":"adlib-media-17330","uuid":"95ecae6f-de48-350a-96d1-bd5411b98cad"},"processed":{"large":{"format":"jpeg","location":"aa\/aa19\/C_80_1950.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":760},{"dimension":"width","units":"pixels","value":610}]},"modified":1702926640492,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa19\/mid_C_80_1950.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":623},{"dimension":"width","units":"pixels","value":500}]},"modified":1702926640492,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa19\/C_80_1950.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":760},{"dimension":"width","units":"pixels","value":610}]},"modified":1702926640492,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa19\/preview_C_80_1950.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":311},{"dimension":"width","units":"pixels","value":250}]},"modified":1702926640492,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}},{"@link":{"type":"reference"},"admin":{"id":"media-2815675609","source":"portfolio","uid":"portfolio-media-2815675609","uuid":"dc57b6fa-cbb2-33a7-af04-e73a2d4d6ef2"},"processed":{"large":{"format":"jpeg","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/504\/692\/large_C_80_1950_mas.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":1268},{"dimension":"width","units":"pixels","value":1024}]},"modified":1529369937000,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/504\/692\/mid_C_80_1950_mas.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":619},{"dimension":"width","units":"pixels","value":500}]},"modified":1529369937000,"resizable":true,"type":"image"},"original":{"location":"C.80-1950_mas.tif","modified":1529369937000,"processed":true,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/504\/692\/preview_C_80_1950_mas.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":310},{"dimension":"width","units":"pixels","value":250}]},"modified":1529369937000,"resizable":true,"type":"image"},"zoom":{"format":"pyramid tiff","location":"portfolio\/F25982D9_7CB9_CFFF_028E_8BBFC531887C\/504\/692\/C_80_1950_mas.ptif","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":5061},{"dimension":"width","units":"pixels","value":4087}]},"modified":1529369937000,"resizable":true,"type":"image"}},"sort":"1","source":{"title":[{"primary":true,"type":"main title","value":"The Indiscreet Harlequin, Bow Factory, after Kaendler"}]},"type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-110220","uid":"adlib-term-110220","uuid":"e22d3544-a393-3f19-9be4-dc2632ca9942"},"summary_title":"figure group"}}],"note":[{"type":"history note","value":"Unknown before donor, Mrs W.D. (Frances Louisa) Dickson, Bournemouth"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 34, no. 166, and pl. 36. Lent by Mrs W.D. (Frances) Dickson","page":"p. 34","type":"reference"},"admin":{"id":"publication-2680","uid":"adlib-publication-2680","uuid":"14e0ae9b-8225-3775-8207-77fecb766539"},"summary_title":"The English Ceramic Circle, 1927-1948: English Pottery and Porcelain. Commemorative Catalogue of an Exhibition held at the Victoria and Albert Museum"},{"@link":{"type":"reference"},"admin":{"id":"publication-1206","uid":"adlib-publication-1206","uuid":"bf808e9c-786e-3606-8698-4440c479ffa5"},"summary_title":"Fitzwilliam Museum, Cambridge. Annual Report for the Year ending 31 December 1950"},{"@link":{"notes":"Publ. pl. 115, and see p. 172","page":"p. 172","type":"reference"},"admin":{"id":"publication-2615","uid":"adlib-publication-2615","uuid":"12dac179-7352-34cf-a17d-37cdcaefefb9"},"summary_title":"English Ceramics"},{"@link":{"notes":"Publ. p. 268, fig. 14","page":"p. 268","type":"reference"},"admin":{"id":"publication-200000891","uid":"adlib-publication-200000891","uuid":"e9fedd6b-e4a2-3360-a28b-c8c4d8178dff"},"summary_title":"Commedia dell'Arte in Glass and Porcelain"},{"@link":{"notes":"Publ. p. 38, no. 167, dated c. 1753-55","page":"p. 38","type":"reference"},"admin":{"id":"publication-2688","uid":"adlib-publication-2688","uuid":"2634db86-6ad0-3838-a637-0970bac11a83"},"summary_title":"Bow Porcelain"},{"@link":{"notes":"Publ. p. 187, pl. 338","page":"p. 187","type":"reference"},"admin":{"id":"publication-2763","uid":"adlib-publication-2763","uuid":"b00b4b20-9281-3cc4-a9f5-21a2be192a4c"},"summary_title":"European Porcelain of the 18th Century"},{"@link":{"notes":"Publ. p. 50, H1","page":"p. 50","type":"reference"},"admin":{"id":"publication-992","uid":"adlib-publication-992","uuid":"e26b9de8-5607-3d6e-82c1-bba7d8cb57c4"},"summary_title":"Plagiarism Personified? 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Lord Hastings; Christie, Manson & Woods, 20 March 1888, Catalogue of majolica, Palissy ware, German stoneware, Limoges enamels, the property of The Right Hon. Lord Hastings of Melton Con\u00acstable, Norfolk, ADD;                          Frank McClean, Tunbridge Wells"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 581,  no. 681. 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The Fitzwilliam's plaque is mentioned.","page":"30-31","type":"reference"},"admin":{"id":"publication-6521","uid":"adlib-publication-6521","uuid":"be793c7d-f03e-39a5-abbf-2cdaf1d3717f"},"summary_title":"Medieval Ivories and Works of Art, The Thomson Collection at the Art Gallery of Toronto"},{"@link":{"notes":"Publ. p. 22, no. 24.","page":"22","type":"reference"},"admin":{"id":"publication-1119","uid":"adlib-publication-1119","uuid":"8b3701d3-a6b9-3cdf-8f20-d50dda99c46c"},"summary_title":"Treasures from the Fitzwilliam: ''The Increase of Learning and other great Objects of that Noble Foundation''"},{"@link":{"notes":"Publ. p. 39, pl. 3","page":"39","type":"reference"},"admin":{"id":"publication-200001889","uid":"adlib-publication-200001889","uuid":"161da3ed-1712-371c-a643-8f90ecf7cb51"},"summary_title":"Le Fitzwilliam Museum. Une \u00c9tude de go\u00fbt"},{"@link":{"notes":"Publ. p. 90 illustrated in black and white, and p. 214 mentioned in connection with lot 59, the other pentagonal plaque in the Keir Collection. Dated c. 1200-10. Unsold. See Toronto 2008 below for present location.","page":"90","type":"reference"},"admin":{"id":"publication-5203","uid":"adlib-publication-5203","uuid":"57286fa7-477a-3e11-ac10-332e2deed2f4"},"summary_title":"The Keir Collection of Medieval Works of Art"},{"@link":{"notes":"Publ. p. 17, no. 19","page":"17","type":"reference"},"admin":{"id":"publication-1225","uid":"adlib-publication-1225","uuid":"c17787bc-ef30-308b-acbc-741e14c18062"},"summary_title":"The Fitzwilliam Museum 1848-1998, One Hundred and Fifty Years of Collecting"},{"@link":{"notes":"Publ. p. 131","page":"131","type":"reference"},"admin":{"id":"publication-382","uid":"adlib-publication-382","uuid":"ee5148de-e3eb-3d38-88db-9a331edf70b6"},"summary_title":"Treasures of the Fitzwilliam Museum"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10603","uid":"adlib-term-10603","uuid":"09088083-a78d-3d70-9f4f-343b5c3283d7"},"summary_title":"Medieval"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-32149","uid":"adlib-term-32149","uuid":"8d0a972c-4bee-31ec-9bee-976d7cc14d21"},"summary_title":"bone"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-89931","uid":"adlib-term-89931","uuid":"d5498ff1-7dd3-3742-b4d5-278c256c6b29"},"summary_title":"coffin"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-106439","uid":"adlib-term-106439","uuid":"b46bf56f-caaa-353d-b915-2c74e79b63bb"},"summary_title":"wave"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-107522","uid":"adlib-term-107522","uuid":"16c7d20b-e1b6-35b8-93b6-8a9309551bb5"},"summary_title":"palm"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-30746","uid":"adlib-term-30746","uuid":"c9b49335-33a0-3ee8-b9d3-3f1f3abc5414"},"summary_title":"foliage"},{"@link":{"type":"literal"},"name":[{"value":"bone"}],"summary_title":"bone"},{"@link":{"type":"literal"},"name":[{"value":"coffin"}],"summary_title":"coffin"},{"@link":{"type":"literal"},"name":[{"value":"wave"}],"summary_title":"wave"},{"@link":{"type":"literal"},"name":[{"value":"palm"}],"summary_title":"palm"},{"@link":{"type":"literal"},"name":[{"value":"foliage"}],"summary_title":"foliage"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque","title":[{"value":"Two Crowned Martyrs"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-170618","_score":16.32543,"_source":{"admin":{"added":1592999840000,"created":1312637261000,"flag":"Standard Record","id":"object-170618","indexed":1755194563557,"modified":1724145046000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-170618","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/170618","uuid":"b5456428-ecb8-339a-ae9d-4a538a6500ed","version":23},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-187664","uid":"adlib-agent-187664","uuid":"b098ca6a-6612-3ebd-b082-3944b4fdd29e"},"summary_title":"Fareham, Viscount Lee of"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-110558","uid":"adlib-term-110558","uuid":"ee824bc5-8d70-3060-824d-9ed6f392557b"},"summary_title":"illuminated manuscript"},{"@link":{"type":"reference"},"admin":{"id":"term-114522","uid":"adlib-term-114522","uuid":"76be19ae-554e-3b73-af2d-112e09263aaf"},"summary_title":"manuscript"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-118780","uid":"adlib-term-118780","uuid":"c5f3b968-f763-357a-b740-9f216e114859"},"summary_title":"parchment"}}],"name":"Support"}],"department":{"value":"Manuscripts and Printed Books"},"description":[{"value":"MS 3-1954, Grandes Heures (Great Book of Hours) of Philip the Bold\n\nPhilip the Bold, Duke of Burgundy (1363-1404), is said to have recited his prayers daily from this manuscript, his Grandes Heures. A witness to his spiritual life, the volume is also his crowning achievement as an art-loving bibliophile. With nearly 200 images, this is one of the most sophisticated manuscripts to survive from the library of the Burgundian Dukes. \n\nThe manuscript was produced in two main campaigns. The first was initiated in 1376 by Philip the Bold and paid for in 1379, with a few texts and images added in 1390. Philip\u2019s confessor Guillaume de Valen entrusted the production to leading members of the Parisian book trade who also worked for the Duke\u2019s brother, King Charles V of France. The second campaign was completed in 1451 for Philip\u2019s grandson, Philip the Good, Duke of Burgundy (1419-1467), by Flemish scribes and artists.  At least nineteen artists worked on different illustrations within this book. Although we know the names of some of them from the Duke\u2019s accounts, the majority of the artists remain anonymous.\n\nPHYSICAL DESCRIPTION: \nParchment, i modern parchment flyleaf + 275 fols. (fols. 226 \u2013 261 have mid-fifteenth-century foliation in red ink: i \u2013 xviii, xxii \u2013 xxviii, xxxiiii \u2013 xxxv, xxxvii \u2013 xlv) + i modern parchment flyleaf, 250 x 180 (163 x 105) mm, 24 long lines (except fols. 84r \u2013 89v, 20 long lines), ruled in brown or pink (fifteenth-century additions) ink, leaves lost between fols. 69 \u2013 70, 78 \u2013 79, 105 \u2013 106, 152 \u2013 153, 243 \u2013 244, 250 \u2013 251, 252 \u2013 253,  265 \u2013 266, offsets of some 25 devotional tokens and bracteates once attached to margins on fols. 226r \u2013 228r, 236v \u2013 252r, 262v \u2013 263v.\n\nBINDING: 1983, red leather over cushioned oak boards, by the Cockerell Bindery; boards from previous binding kept on file and spine mounted inside lower cover: eighteenth century, gold-stamped mottled brown leather over pasteboards.\n\nCONTENTS: fols. 1r \u2013 12v Calendar; fols. 13r \u2013 26v Hours of the Virgin, Matins (fols. 13r \u2013 20v, continue on fol. 90r), Vespers (fols. 21r \u2013 24r), Compline (fols. 24v \u2013 26v), fols. 27r \u2013 32v Penitential Psalms; fols. 32v \u2013 35v Litany; fol. 36r-v Prayer O excellentissima et gloriosissima atque sanctissima virgo (fifteenth-century addition); fols. 37r \u2013 57r Office of the Dead; fols. 57r \u2013 62v Gradual Psalms; fols. 62v \u2013 76v Hours of the Holy Spirit; fols. 76v, 78r-v Hours of the Cross (incomplete); fols. 79r \u2013 80v Ordo, Prefaces and Canon of the Mass\nfols. 90r \u2013 91v Hours of the Virgin, Matins (continued from fol. 20v); fols. 92r \u2013 96v Hours of the Virgin, Lauds; fols. 97r \u2013 99v Hours of the Virgin, Prime\nfols. 100r \u2013 101v Hours of the Virgin, Terce; fols. 102r \u2013 103v Hours of the Virgin, Sext; fols. 104r \u2013 105r Hours of the Virgin, None; fols. 106r \u2013 108r Prayer in Latin verse summarizing events in New Testament (Acts 5 \u2013 Apocalypse), Monstrans umbria varia signa petri ducis (begins imperfectly); fol. 108r Suffrage of St Claude; fols. 109r \u2013 120v Votive Masses for each day of the week to be said in Sainte Chapelle fols. 121r \u2013 213r Votive Masses for major feasts, mainly in the Temporal, including fifteenth-century additions of Mass for Pentecost (fols. 190r \u2013 192v), beginning of Mass of the Holy Sacrament (fol. 193v, repeating original text on fol. 189v), and Mass for the Visitation (fols. 200r \u2013 202r); fols. 213r \u2013 219r Prayers in French and Latin to be said at Mass; fols. 219r \u2013 225r Prayers to Christ in French (fols. 221 \u2013 225 fifteenth-century addition); fols. 226r \u2013 260v Suffrages, with French rubrics (fols. 237 \u2013 238, 242 \u2013 243, 252 \u2013 257 fifteenth-century additions containing suffrages to Sts; fols. 260v \u2013 261r Two prayers in French to be said at Elevation of the Host, Ie te salue ihesucrist parole du pere and Ihesu de Nazareth mon dieu et mon confort; fols. 261r \u2013 262v O intemerata in French, O tres enterine et pardurablement benoite especiaux et non comparable vierge; fols. 263r \u2013 264v Obsecro te in French, Ie te pri dame sainte marie, with papal indulgences; fols. 264v \u2013 266v Prayers to Sts Michael, Gabriel, Raphael, Guardian Angel, and St John the Baptist; fols. 266v \u2013 271v Lord\u2019s Prayer, with exposition; fols. 271v \u2013 273r Hymn to the Virgin indulgenced in 1367 by David Pauteix, Bishop of Autun (1361 \u2013 1377); fols. 273v \u2013 274r Meditation on the Passion in verse, Imperator celestium, infernorum terrestruim, indulgenced in 1370 by David Pauteix, Bishop of Autun (1361 \u2013 1377); fols. 274v \u2013 275v Two indulgenced Passion prayers in French, Seigneur Ihesu crist filz de dieu and Sire Ihesu crist qui as prins ceste tres sacree char de la tres glorieuse vierge marie, followed by a Latin version of the second prayer, Domine Ihesu Christequi hanc sacratissimam carnem de gloriosissime virginis marie utero assumpsisti (fifteenth-century additions).\n\nDECORATION:\nFOURTEENTH CENTURY:  Twenty-four small framed marginal miniatures of Occupations of the Month and Zodiac Signs in Calendar: fol. 1v January, Janus drinking at table, Aquarius; fol. 2v February, Warming by fire, Pisces; fol. 3v March, Pruning, Aires; fol. 4v April, Youth with flower, Taurus; fol. 5v May, Hawking, Gemini; fol. 6v June, Mowing, Cancer; fol. 7v July, Reaping, Leo; fol. 8v August, Threshing, Virgo; fol. 9v September, Treading grapes, Libra; fol. 10v October, Sowing, Scorpio; fol. 11v November, Beating acorns for pigs, Sagittarius; fol. 12v December, Slaughtering pig, Capricorn.\n\nOne full-page framed miniature with gold ivy-leaf spraywork extensions in border and a kissing Crucifix in bas-de-page:\nfol. 77r Canon of the Mass, Throne of Mercy within a quadrilobed mandorla, with Evangelists\u2019 symbols in corners.\n\nTen large framed miniatures enclosed within red, white, blue and gold quatrefoils, at major text divisions: fol. 13r Hours of the Virgin, Matins, Annunciation, with Philip the Bold praying in historiated initial below and arms of Burgundy supported by lions (almost erased) in bas-de-page; fol. 21r Vespers, Flight into Egypt, bas-de-page scene of horse-taming; fol. 24v Compline, Coronation of the Virgin, bas-de-page scene of man attacking lion; fol. 27r Penitential Psalms, Christ in Majesty blessing Chalice and Host on right, Tablets of the Law on left, Evangelists\u2019 symbols in corners, bas-de-page scene of boar-hunt; fol. 37r Office of the Dead, Funeral office, bas-de-page scene of combat between hybrid and snail; fol. 92r Hours of the Virgin, Lauds, Visitation, bas-de-page scene of wild-man attacking lion; fol. 97r Prime, Nativity, bas-de-page scene of hybrids in combat; fol. 100r Terce, Annunciation to the Shepherds, bas-de-page scene of hare pursued by hounds; fol. 102r Sext, Adoration of the Magi, bas-de-page scene of kickboots game; fol. 104r None, Presentation in the Temple, bas-de-page scene of the Miracle of the Harvest.\n\nOne hundred and four small framed miniatures with ivy-leaf spraywork extensions: fol. 57r Gradual Psalms, Philip the Bold kneeling at foot of seven steps leading to altar with Crucifix; fol. 62v Hours of the Holy Spirit, Matins, Baptism of Christ; fol. 66r Lauds, Pentecost; fol. 67v Prime, Saint preaching inspired by the dove of the Holy Spirit; fol. 69r Terce, Young man confessing to saint, dove of Holy Spirit by his ear; fol. 70v Sext, Saint baptising young man and woman; fol. 71v None, Saint cast in prison, dove of Holy Spirit descending to comfort him; fol. 73r Vespers, Saint beaten by persecutors supervised by king, dove of Holy Spirit descending to comfort him; fol. 74v Compline, Martyrdom of three saints, executioner with sword supervised by king, dove of Holy Spirit descending; fol. 78v Hours of the Cross, Matins, Betrayal; fol. 109r Votive Masses, Trinity Sunday, Throne of Mercy Trinity; fol. 121r Masses for major feasts, Advent, Annunciation; fol. 122v Christmas midnight Mass, Nativity, midwives bathing Christ; fol. 124r Christmas morning Mass,  Annunciation to the Shepherds; fol. 126r Christmas High Mass, Nativity, Virgin embracing Christ Child; fol. 128v Epiphany, Adoration of the Magi; fol. 130v Candlemas, Presentation in the Temple; fol. 132v Palm Sunday, Entry into Jerusalem; fol. 140r Tuesday of Passion Week, St Mary Magdalene wiping Christ\u2019s feet with her hair; fol. 145v Wednesday of Passion Week, Last Supper with eleven Apostles and Christ\u2019s Institution of the Eucharist; fol. 162r Good Friday, Deposition; fol. 186r Easter Sunday, Resurrection, Christ stepping from Tomb; fol. 187v Ascension; fol. 189v Votive Mass for the Holy Sacrament, Elevation of the Host; fol. 195v Votive Mass for St John the Baptist, Nativity of St John the Baptist, Zacharias writing name on tablet; fol. 197v Votive Mass for St Peter, St Peter freed from prison by angel; fol. 202r Assumption; fol. 203v Nativity of the Virgin; fol. 205v St Michael defeating devil; fol. 207v All Saints, Christ seated among saints; fol. 210r Votive Mass for St Andrew, Martyrdom of St Andrew; fol. 213r Prayers at Mass, Philip the Bold attending Mass said by priest accompanied by acolyte; fol. 226r Suffrages, Virgin, Philip the Bold praying to Virgin and Child; fol. 226r Holy Cross, Philip the Bold praying to Crucified Christ; fol. 226v Crown of Thorns, Philip the Bold praying at altar with Crown of Thorns and two head reliquaries; fol. 226v Angels, St Michael subduing devil, watched by angelic host; fol. 227r Annunciation; fol. 227v Philip the Bold praying to St John the Baptist; fol. 227v St John writing, eagle above; fol. 228r St Luke writing, ox below; fol. 228r St Mark writing, lion below; fol. 230r St Mary Magdalene, Noli me tangere; fol. 230r Philip the Bold reading from book, St Peter standing on right with book and key; fol. 230v Philip the Bold praying to St Paul; fol. 230v Sts Peter and Paul; fol. 231r Philip the Bold praying to St James the Great; fol. 231v Philip the Bold reading book, St Bartholomew standing on right with book and knife; fol. 231v St Matthew writing, angel above; fol. 232r Philip the Bold praying to St Simon; fol. 232r Philip the Bold reading book, St Jude standing on right with book; fol. 232v Philip the Bold praying to St Andrew; fol. 233r St Thomas placing hand in Christ\u2019s side; fol. 233r Philip the Bold praying to St Mathias; fol. 233v Philip the Bold praying to St James the Less; fol. 233v Philip the Bold reading book, St Phillip standing on right with book; fol. 234r St Veronica, Holy Face; fol. 234v Martyrdom of St Benignus; fol. 234v Philip the Bold praying to St Barnabas; fol. 235r Martyrdom of St Stephen; fol. 235v Martyrdom of St Lawrence; fol. 235v Martyrdom of St Clement; fol. 236r St Vincent in bed, his soul received by two angels; fol. 236v St George slaying dragon, princess praying behind; fol. 239r Martyrdom of St Peter Martyr; fol. 239r Martyrdom of St Thomas of Canterbury; fol. 239v Martyrdom of St Blaise; fol. 240r Trinity, Throne of Mercy; fol. 240r Martyrdom of St Sebastian; fol. 241r Vision of St Eustace; fol. 241r St Julian the Hospitaller ferrying the leper (Christ) across river; fol. 241v St Julian of Le Mans producing miraculous spring with his staff; fol. 244r St Christopher carrying Christ Child across river; fol. 244r Martyrdom of St Denis and companions; fol. 244v Sts Cosmas and Damian as doctors holding drug pots; fol. 245r Martyrdom of St Maurice and companions; fol. 245v Holy Innocents, Massacre of the Innocents; fol. 245v St Germanus of Auxerre blessing and holding archiepiscopal cross; fol. 246r St Martin dividing cloak with beggar; fol. 246v St Nicholas reviving three youths in tub; fol. 246v St Anthony with book and crutch standing among flames; fol. 247r Charlemagne enthroned, holding sword and orb; fol. 247v St Augustine holding book and crosier; fol. 247v St Bernard holding book and crosier; fol. 248r St Yves pointing at book; fol. 248v St Louis IX holding fleur-de-lis staff and main de justice; fol. 248v St Louis of Marseilles in Franciscan habit, with mitre, holding crown and crosier; fol. 249r St Dominic preaching inspired by Holy Spirit; fol. 249v St Thomas Aquinas teaching; fol. 249v St Francis receiving stigmata; fol. 250r St Giles holding book and sheltering deer; fol. 250r St Leonard with two prisoners fol. 250v St Maurus as Benedictine monk holding crosier and book; fol. 251r St Fiacre in brown hood and scapular with spade and book; fol. 251r St Sulpicius with mitre and archiepiscopal cross; fol. 251v St Martha with book and palm branch, Tarasque with fish-tail and dragon\u2019s wings at her feet; fol. 258r St Agnes with book, palm branch, and lamb; fol. 258r St Catherine disputing with doctors; fol. 258v St Margaret emerging from dragon; fol. 259r Martyrdom of Sts Valerian and Cecilia; fol. 259r Suffrage for St Elizabeth of Hungary, Visitation; fol. 259v Martyrdom of St Agatha; fol. 259v Martyrdom of St Lucy; fol. 260r Martyrdom of St Apollonia; fol. 260v 11,000 Virgins.\n\nHistoriated initial in white-patterned blue on pink ground within gold frame:\nfol. 13r Hours of the Virgin, Matins, [D, 5 ll.] Philip the Bold kneeling in prayer and looking up to Annunciation miniature.\n\nFIFTEENTH CENTURY: Full-page framed miniature on separate piece of parchment pasted in, with full acanthus, floral and spraywork border including parrot and cat with mouse:\nfol. 254v Suffrage for St Mary Magdalene, St Mary Magdalene standing in apse and holding ointment jar; full-page framed miniature on separate piece of parchment once pasted on fol. 78r and surrounded by acanthus, floral and spraywork border has been removed.\n\nTwo large framed miniatures, the first one with full acanthus, floral and spraywork border: fol. 242r Prayer to the Magi, Adoration of the Magi; fol. 253v Suffrage for St Gregory, on separate piece of parchment Mass of St Gregory witnessed by Philip the Good who wears the collar of the Order of the Golden Fleece and prays kneeling on carpet displaying arms of Burgundy, vision of Christ surrounded by Instruments of the Passion, retable depicting Crucifixion with St Agnes, St Peter and Virgin on liturgical right, and Sts John, Paul, and Catherine on liturgical left.\n\nThree half-page framed miniatures with full or partial acanthus, floral and spraywork borders including birds: fol. 193v Mass of the Holy Sacrament, Elevation of the Host, angels attending to priest elevating the Host at altar with retable showing Carrying of the Cross, Crucifixion, Deposition, and Resurrection, and surmounted by folding side-panels depicting Virgin and Christ in Majesty; fol. 252r Suffrage for All Saints, God the Father and Virgin enthroned in Heaven among saints and angels; fol. 256r Suffrage for St Anne, St Anne seated with open book, Virgin and Child standing beside, angels playing harp and lute, picture frame including gold fusil and flint.\n\nEleven small framed miniatures for masses and Suffrages, some with partial acanthus, floral and spraywork borders: fol. 190r Pentecost; fol. 200r Visitation; fol. 237r St Adrian in full armour standing on lion, holding sword and hammer resting on anvil; fol. 237v Suffrage for St Lazarus, miniature pasted in c.1450 has been removed; fol. 238r on separate piece of parchment pasted in St Eligius and the Miracle of the horse\u2019s leg; fol. 238v St Remigius blessing and holding archiepiscopal cross, canopy and picture frame displaying Philip the Good\u2019s devices, the double \u2018e\u2019 monogram and the golden fusils and flints of the Order of the Golden Fleece; fol. 243r St Claude with mitre, open book, and archiepiscopal cross; fol. 252v Suffrage for St Barbara, miniature pasted in c.1450 has been removed; fol. 253r on separate piece of parchment St Marcellus holding red-hot iron bar and assisting blacksmith at forge; fol. 255v St Gertrude holding book and staff; fol. 257r St Waltrude holding staff and standing before table with open book; fol. 257v St Aldegund holding book and crosier,  standing in chapel, dove flying down with her black veil; fol. 274v Passion prayer, Flagellation; fol. 275r Passion prayer, image on separate piece of parchment pasted in border c.1450 has been removed.\n\nORNAMENTATION:\nFOURTEENTH CENTURY: Blue or pink white-patterned initials [5 \u2013 7 ll.] with foliage infill on gold grounds, three-sided gold, blue and red bar borders and full ivy-leaf borders including birds, in Calendar and at main text divisions; identical initials [2 ll.] with ivy-leaf spraywork extensions; alternate gold and blue one-line initials with blue or red pen-flourished infill and extensions; gold, blue and red geometric line-fillers; capitals highlighted in red.\n\nFIFTEENTH CENTURY: Blue white-patterned initials [2 \u2013 4 ll.] with foliage infill on gold grounds (fols. 237v, 242r, 257r-v); gold initials [1 \u2013 3 ll.] on dark pink and blue white-patterned grounds (fols. 190r -193v, 200r \u2013 202r, 237r-v, 238v, 242v \u2013 243v, 256v \u2013 257v, 274v \u2013 275v); blue penwork initials [2 \u2013 5 ll.] with red and blue pen-flourished infill and extensions (fols. 36r, 252r, 253r \u2013 255v); alternate gold and blue one-line initials with blue or red pen-flourishing; alternate red and blue penwork initials [1 \u2013 3 ll.] (fols. 221r \u2013 225r); gold, blue and red foliate, geometric or bar linefillers."}],"exhibitions":[{"@link":{"catalogue":"570","type":"reference"},"admin":{"id":"exhibition-214","uid":"adlib-exhibition-214","uuid":"50c39575-cab1-3aea-9b59-e020294564f4"},"summary_title":"Flemish Art 1300-1700"},{"@link":{"catalogue":"67","type":"reference"},"admin":{"id":"exhibition-2138","uid":"adlib-exhibition-2138","uuid":"ab490e25-0be4-3535-bf1b-19a6a5eaa7b9"},"summary_title":"Illuminated Manuscripts in the Fitzwilliam Museum: An Exhibition to Commemorate the 150th Anniversary of the Death of the Founder, Richard, 7th Viscount Fitzwilliam of Merrion"},{"@link":{"catalogue":"36","type":"reference"},"admin":{"id":"exhibition-2143","uid":"adlib-exhibition-2143","uuid":"b9d53221-4225-3bbc-b401-dbc023a6e645"},"summary_title":"Treasures from the Fitzwilliam Museum"},{"@link":{"catalogue":"46","type":"reference"},"admin":{"id":"exhibition-2134","uid":"adlib-exhibition-2134","uuid":"be2064b4-b88f-37ec-a6fa-a379aa74a425"},"summary_title":"The Splendours of Flanders"},{"@link":{"catalogue":"34","type":"reference"},"admin":{"id":"exhibition-2147","uid":"adlib-exhibition-2147","uuid":"2ed70e55-fcc6-3328-ad54-4fbd04b50ecc"},"summary_title":"L\u2019art \u00e0 la cour de Bourgogne: le m\u00e9c\u00e9nat de Philippe le Hardi et de Jean sans Peur (1364-1419), les princes des fleurs de lis"},{"@link":{"catalogue":"15-090","type":"reference"},"admin":{"id":"exhibition-3315","uid":"adlib-exhibition-3315","uuid":"36578f86-1273-3840-aed2-973e3e65e938"},"summary_title":"The Human Touch: Making Art, Leaving 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Rectangular with one long drawer at the top and two pairs of short drawers below. The top is veneered with a marquetry panel of a landscape with ruins and figures set within a border of rosewood. The sides have panels veneered with rosewood and marqutry floral sprays. The commode is richly decorated with ormolu mounts, the top with a gadrooned border and the long drawer with three boldly cast and chased ram's heads linked by beribboned festoons of husks, with four foliate rosettes above, continuing round the sides. A reeded and banded ormolu moulding runs below the long drawer, and another at the base at the front and sides. The four lower drawers have reeded loop handles with foliate rosette backplates. Square ormolu foliate motifs at each corner of the four lower drawers, and at each corner of the side panels are linked by applied carved and gilt Greek key borders. It stands on tapering fluted and gadrooned ormolu legs. The name 'Daniel Langlois' is hand-written in red chalk on the carcase under the top drawer."}],"exhibitions":[{"@link":{"catalogue":"316","type":"reference"},"admin":{"id":"exhibition-18","uid":"adlib-exhibition-18","uuid":"d710f826-fb52-350a-bae1-4630a842e7cb"},"summary_title":"Treasures of Cambridge"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-1886","uid":"adlib-exhibition-1886","uuid":"01e152ce-de39-364b-ac3f-d6c8c5189d5b"},"summary_title":"The Age of Neo-classicism"},{"@link":{"catalogue":"116","type":"reference"},"admin":{"id":"exhibition-1609","uid":"adlib-exhibition-1609","uuid":"6d201037-48f1-3a69-9e4e-72551b7f32d0"},"summary_title":"Treasures from the Fitzwilliam"}],"identifier":[{"accession_number":"M\/F.11-1938","primary":true,"type":"accession number","value":"M\/F.11-1938"},{"priref":"95852","type":"priref","value":"95852"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/95852","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/95852"}],"inscription":[{"location":"on carcase under top drawer","method":"handwritten in red chalk","transcription":[{"value":"Daniel Langlois"}],"type":"name"}],"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":"L. 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In 1774 Peter Langlois (Peter Daniel Langlois) her son,  was listed as ratepayer for the workshop, and continued until his death in 1781. Peter Daniel Langlois whose second name is written on the carcase of the commode below the top drawer, was 66 when he died in 1816 and was therefore born about 1749-50. He  was therefore old enough to be learning the cabinet-making trade at the time the commode was made. 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The authors rejecting the possibility of a Pierre Langlois attribujtion, presumably not having seen the documentary evidence in the Woburn accounts.","page":"33-34","type":"reference"},"admin":{"id":"publication-200001932","uid":"adlib-publication-200001932","uuid":"fb79a836-a512-3007-bca7-f84f48c8b525"},"summary_title":"Pierre Langlois, Ebeniste, Part 5"},{"@link":{"notes":"Publ. The author suggests that Daniel Langlois was the maker of the marquetry top, and mentions the possibility that because it was sold fromWoodeaton, Oxfordshire in 1904, it might have been commissioned by the Duke of Marlborough for Blenheim, where there is a comparable commode","page":"15-16","type":"reference"},"admin":{"id":"publication-200001931","uid":"adlib-publication-200001931","uuid":"2934f2e2-b1ab-3e90-b01e-7be15bf9194d"},"summary_title":"AGM and Special Members' Meeting, 21 November 1992"},{"@link":{"notes":"Publ. 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daughter of the late Giovan Gualberto), Palazzo Rinuccini, Florence; 19th century, by inheritance, Prince Ludovico Trivulzio, Milan; The Luccardi Collection, Milan; Z\u00fcrich art market, where purchased by John Winter; Given by John Winter, Esq. in memory of his father, Carl Winter, Director of the Fitzwilliam (1946-1966), 1984."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-14004","uid":"adlib-object-14004","uuid":"f8ea6a6b-7341-359e-b7f7-6da702131002"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-110220","uid":"adlib-term-110220","uuid":"e22d3544-a393-3f19-9be4-dc2632ca9942"},"summary_title":"figure group"}},"summary_title":"figure 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The flat unglazed base has a circular ventilation hold in the centre. The square rocky base rises up into a low mound of rocks at the back which supports the figure. On the top there are applied leaves and flowers: one mauve and white with two leaves: one yellow with mauve centre and one leaf; two blue and white with three leaves and one leaf on the side of the heap of rocks. The Mine Commandant stands on his right leg with his left advanced. He turns his head to his left, and has his left arm bent with the hand on his hip, and his right extended in front holding an axe with a short handle. He has a long curling brownish-grey wig falling down over his right shoulder and back, and wears a bluish-green pillbox hat with a turned up flap at the front inscribed AR (Augustus Rex) in mongram in gold, and a gold edging. 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