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On the rim there are grotesques reserved in a blue ground, interrupted by eight oval medallions, painted with eight subjects from the Bible and Roman history: Marcus Curtius leaping into the chasm, Dido falling on her sword, David with the head of Goliath, Judith with the head of Holofernes, Mucius Scaevola thrusting his right hand into the fire, a woman with a shield, Horatius defending the bridge and, probably, the suicide of Lucretia.\nThe back is decorated in blue and yellow with a trophy of two crossed quivers, a bow, and an arrow, surrounded by delicate coiling blue stems with blue, orange, and green foliage. The footring is blue with an invected circle within it. The sides and rim are decorated with blue and orange horizontally striped petals between blue bands and there are two blue bands on the outer edge."}],"exhibitions":[{"@link":{"catalogue":"5162","type":"reference"},"admin":{"id":"exhibition-1265","uid":"adlib-exhibition-1265","uuid":"723e9b4e-5a35-3d5f-933e-29f6c9da35fe"},"summary_title":"Special Exhibition of Works of Art of the Mediaeval, Renaissance and More Recent Periods"},{"@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":"no catalogue","type":"reference"},"admin":{"id":"exhibition-1605","uid":"adlib-exhibition-1605","uuid":"04d3c358-0bef-3d8f-8df5-14f16987ac1b"},"summary_title":"Italian Maiolica in the Fitzwilliam Museum"},{"@link":{"catalogue":"63","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"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-2573","uid":"adlib-exhibition-2573","uuid":"992d85e4-5168-30d5-8235-23b6ec4bc04e"},"summary_title":"Majolique. La Fa\u00efence des Humanistes 1480-1530"}],"identifier":[{"accession_number":"EC.19-1946","primary":true,"type":"accession number","value":"EC.19-1946"},{"priref":"48362","type":"priref","value":"48362"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48362","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/48362"}],"inscription":[{"transcription":[{"value":"E COSI VA CHE TROPO VOLLE"}],"type":"inscription"}],"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 Leverton Harris Fund and with a contribution from the National Art Collections Fund (now The Art Fund)."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-153300","uid":"adlib-agent-153300","uuid":"d8e1c7e5-a741-32d5-ae02-e8eb6741e59e"},"summary_title":"Spero, 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for ewer"}],"note":[{"type":"history note","value":"Lionel de Rothschild (1808-79), before 1862; presumably Leopold de Rothschild (1845-1917); Mrs Leopold de Rothschild (n\u00e9e Marie Perugia,1862-1937); Alfred Spero, London."}],"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. 405, no. 5162. Property of Baron Lionel de Rothschild.","page":"p. 405","type":"reference"},"admin":{"id":"publication-3192","uid":"adlib-publication-3192","uuid":"df600ce5-9138-3913-b5fb-404b7fa08261"},"summary_title":"Special Exhibition of Works of Art of the Mediaeval, Renaissance and More Recent Periods"},{"@link":{"notes":"Publ. p. 24, no. 14237, ill. opposite","page":"p. 24","type":"reference"},"admin":{"id":"publication-3193","uid":"adlib-publication-3193","uuid":"5edd3161-aca9-3d87-9a81-288cff7b4b50"},"summary_title":"National Art-Collections Fund Annual Report 1946"},{"@link":{"notes":"Publ. Illustrated p. 210","page":"p. 210","type":"reference"},"admin":{"id":"publication-3194","uid":"adlib-publication-3194","uuid":"40d7c2d2-5f47-3670-9eef-dd1f1e3a6ef0"},"summary_title":"Illustrated London News"},{"@link":{"notes":"Publ. pl. 50A & B & p. 18. 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In note 2 the author states that the Dini owned the Erbaia farm in the Mugello, near Cafaggiolo. He dates the plate  to c. 1550-60 on the grounds of its similarity to another with a comparable border, decorated in the centre with the impaled arms of Puccini and Bussini of Florence, probably celebrating a marriage in 1569, see p. 148, no. 189. 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The jug has an ovoid body contracting into a short cylindrical neck with a slight lip. There is a horizontal cordon at the level of the upper junction of the handle, which has a longitudinal ridge, and a hole on top for the attachment of a mount. On the front is an incised stylized floral spray curving around a striped medallion with a petal edging (perhaps a flowerhead), on either side of which is a stem and two spots. The lower junction of the handle is surrounded by a blue line with curved strokes projecting on each side, and a curl at the bottom. The neck has two horizontal blue bands above and below the cordon, and below that, a row of ten incised ovals filled in with blue. A short distance above the edge of the base there is a blue horizontal band. The underside of the base is inscribed faintly in a black substance '1697\/A.n. 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Painted in dark blue, green, yellow, orange, manganese-purple, and black. Modelled in the round; hollow underneath.\nThe old woman faces front, her head inclined to her right. She has a broad, smooth brow, a large nose, high cheek-bones, wide-set eyes and a slight double chin. Her mouth is set in a wide grimace showing the gaps in her teeth. She wears a close-fitting cap, half green, half yellow, with blue zig-zag stitching on the seams and two blue strings hanging down at the back. Her dress has a low neckline edged in yellow, above which is the top of her chemise, edged in blue and orange. The bodice is partly blue and partly green at the front, and partly manganese and partly brown with a black spiralling pattern at the back. Her right sleeve is purple and her left has a geometrical pattern in orange, yellow and black. She has a square jewel on a cord round her brow and a string of beads round her neck."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-1680","uid":"adlib-exhibition-1680","uuid":"ae4f21f2-b55b-3cdb-931f-71b62890e666"},"summary_title":"L'art ancien \u00e0 l'exposition de 1878"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-7","uid":"adlib-exhibition-7","uuid":"402373ec-9de7-3594-a5c1-e9a53ff076ce"},"summary_title":"Exhibition of Italian Art 1200-1900"},{"@link":{"catalogue":"B1","type":"reference"},"admin":{"id":"exhibition-1070","uid":"adlib-exhibition-1070","uuid":"2cb713dc-899f-35df-9c15-515a05f38d48"},"summary_title":"Plagiarism Personified? 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Clarke"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1955,"latest":1955,"value":"1955"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1490,"from":{"earliest":1490,"era":["CE"],"latest":1490,"precision":"circa","value":"1490"},"latest":1510,"range":true,"to":{"earliest":1510,"era":["CE"],"latest":1510,"value":"1510"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-149652","uid":"adlib-agent-149652","uuid":"0d4f90dc-b166-3d4b-b0db-25f4118b6e98"},"summary_title":"Unknown"}],"note":[{"value":"The commemoration of individuals by realistic portraits, medals or busts became increasingly common in Italy during the fifteenth century. The earliest maiolica busts, excluding those decorated with coloured glazes from the Della Robbia workshop, were probably made between about 1490 and 1510. In the nineteenth century this bust was attributed to Cafaggiolo near Florence, but no evidence for the manufacture of maiolica sculpture there has yet come to light, and it seems more likely that the bust was made in Emilia-Romagna or the Marches. The colouring and glaze are comparable to maiolica relief sculpture attributed to Faenza or Pesaro, such as a large 'Lamentation over the Dead Christ' dated 1487 in the Metropolitan Museum of Art, New York (1904.04.26a,b). The floral and geometrical motifs on the woman's costume are comparable to those on domestic and pharmaceutical pottery from those centres. Two larger maiolica busts of younger women are respectively in the Boston Museum of Fine Arts (54.146), attributed possibly to Montelupo, and the Cleveland Museum of Art (40.344), which has more pronounced modelling, thicker white glaze, and a plain blue bodice, is attributed to Tuscany. A smaller female bust, actually a ewer, was once in the collection of Mrs Maxwell Macdonald of Pollok House, Pollokshaws, Glasgow. The Fitzwilliam's bust stands apart from these three-dimensional belle donne in its candid portrayal of gap-toothed middle age.  The male maiolica busts which have survived from this period are more sculptural in style. An impressive polychrome bust of Christ is in the Getty Museum, Malibu, busts of the young St John the Baptist are n the Ashmolean Museum, Oxford and the Museo di Capodimonte, Naples. An uncoloured bust of Christ, attributed to Sansovino, is in a collection at Arezzo, and one of Pope Paul III is in the Museo Internazionale delle Ceramiche, Faenza."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106437","uid":"adlib-term-106437","uuid":"59e72604-922d-3194-ac46-27c1c5ac76a4"},"summary_title":"15th Century, Late"},{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, 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The circular bowl has curved sides and handles in the form of branches with leaves and fruit, and the slightly domed cover also has a branch handle. The sides of the bowl and the cover are decorated with bouquets of flowers, butterflies and other insects.  The leaves on the handle are green and the berries are red. The stems are gilt, as are the rim of the lid and bowl."}],"identifier":[{"accession_number":"EC.20 & A-1946","primary":true,"type":"accession number","value":"EC.20 & A-1946"},{"priref":"140402","type":"priref","value":"140402"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/140402","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/140402"}],"inscription":[{"location":"on base of bowl","method":"painted underglaze in blue","transcription":[{"value":"fleur de lys"}],"type":"factory mark"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by 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 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porcelain"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"11.7"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-115356","uid":"adlib-media-115356","uuid":"0d9380f4-c380-31b4-95d3-e6f4b25ad94f"},"processed":{"large":{"format":"jpeg","location":"aa\/aa20\/EC_20_20_26_20A_1946.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":578},{"dimension":"width","units":"pixels","value":760}]},"modified":1616240765015,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa20\/mid_EC_20_20_26_20A_1946.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":380},{"dimension":"width","units":"pixels","value":500}]},"modified":1616240765015,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa20\/EC_20_20_26_20A_1946.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":578},{"dimension":"width","units":"pixels","value":760}]},"modified":1616240765015,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa20\/preview_EC_20_20_26_20A_1946.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":190},{"dimension":"width","units":"pixels","value":250}]},"modified":1616240765015,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-125995","uid":"adlib-term-125995","uuid":"7ee21071-9222-324b-98ae-e24ef4b9a65e"},"summary_title":"bowl 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Below the dial is an opening showing the days of the week with their deities. Above the chapter ring openings display an annual calendar and the sun's position in the ecliptic, its apparent annual path through the heavens. The movement is of year duration."},{"value":"Dial: Dial plate 12 inches by 16 7\/8 inches high, with spandrels and chapter ring within an engraved line 11 1\/4 inches square.  Silvered chapter ring engraved I-XII twice and 5-60 twice with minute and half minute divisions outside the minute numbers and half hour divisions on the inner edge.  The chapter ring engraved near the top with \u2018EQUAL TIME' and with fleur de lys type half hour marks.  It is mounted on the matted dial centre which is supported on three dial feet independently of the dial plate.  Surrounding the chapter ring is a rotating minute ring with divisions and numbers as on the chapter ring and inscribed at the top \u2018APPARET TIME'.  The spandrels are of a cherub and flower design (Cescinsky & Webster, No.7) introduced by Tompion and used mainly by him.  Between the spandrels fine scrolling foliage is engraved and at the lower edge \u2018THO. TOMPION.LONDON.INVENT.' Curved openings below the dial centre show the days of the week, each with its appropriate deity.  Similar openings above the chapter ring display an annual calendar and the sun's position in the zodiac.  Finely pierced steel hands, the minute hand being accurately balanced and having a gilt tip to point to apparent time.\n\nMovement: The year timepiece movement has no seat board but rests directly on metal plates on the tops of the reinforced sides of the case.  The movement is inverted, with the escapement at the bottom, and is made in two sections with the barrel assembly and the second wheel in a small frame to the rear.  The remainder of the train and all the calendar and equation work are mounted on the large front plate.  Bolt and shutter maintaining power is fitted to protect the delicate escapement and is operated by a lever on the right hand side of the dial.  The equation cam, on the same arbor as the annual calendar, is driven by a vertical arbor from the motion work.  A bell crank which follows the cam carries a rack which engages with a wheel at the centre of the apparent time ring and moves it backwards or forwards as required.\n\nCase: Has an oak carcase veneered with burr walnut and with narrow herring-bone bandings.  The skirting appears to be original.  The case has a rising hood, originally without a door and with acanthus design side frets of walnut veneer.  The very elaborate superstructure appears to be of slightly different carcase wood and to be slightly later in date than the rest of the hood.  A disturbing feature of the case is that, with the hood door closed, both calendar and zodiac slots are covered and when the door is opened only the calendar slot is visible.  Arising from a consideration of these peculiarities it is suggested that the hood, originally without a door, had only a modest-sized superstructure.  Traces remain of the spoon lock for securing the hood and the catch for holding it in the raised position.  The hood would have had to be raised for winding or adjusting the clock when both calendar and zodiac slots would have been visible.  It is quite probable that the original customer wanted a more imposing clock in keeping with a lofty room and the large caddy top with its elaborate mounts was then provided.  The hood thus became too unwieldy to raise for winding or setting the clock so a door was made.\n\nThe trunk door has its original iron lock and hinges, exceptionally three in number.  The remain\u00acing mounts are of gilt brass and include fine vase and urn finials, a central figure of a warrior, probably Mars, and fine repouss\u00e9 frieze frets consisting of strapwork and of floral scrolls wtih central female mask and cherub heads at the corners.  Like other special clocks the trunk door has tiny metal spandrels in the corners.  The `gothic' shaped metal frame to the pendulum window is also used on the William III clock mentioned belowand resembles a design by David Marot."}],"identifier":[{"accession_number":"M.22-1947","primary":true,"type":"accession number","value":"M.22-1947"},{"priref":"95862","type":"priref","value":"95862"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/95862","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/95862"}],"inscription":[{"location":"at bottom of dial","method":"engraved","transcription":[{"value":"THO.TOMPION. LONDON.INVENT"}],"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":"Given by S.E. Prestige, through the National Art Collections Fund."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-150066","uid":"adlib-agent-150066","uuid":"eac0bcc0-4628-323a-939c-82e371318ef5"},"summary_title":"Prestige, Sidney Ernest"}],"date":[{"earliest":1947,"latest":1947,"value":"1947"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1947-12-12"}]}],"creation":[{"date":[{"earliest":1695,"from":{"earliest":1695,"era":["CE"],"latest":1695,"precision":"circa","value":"1695"},"latest":1700,"range":true,"to":{"earliest":1700,"era":["CE"],"latest":1700,"precision":"circa","value":"1700"}}],"maker":[{"@link":{"role":[{"value":"maker of movement"}],"type":"reference"},"admin":{"id":"agent-135477","uid":"adlib-agent-135477","uuid":"753ca684-9b23-3366-a70a-0aecd125e05c"},"summary_title":"Tompion, Thomas"}],"note":[{"value":"It is instructive to compare this clock with the year equation clock made for William III and dated c.1695 (see Symonds, figs. 22, 23, 64).  This has a small break arch to expose the calendar and zodiac slots and its rising hood is also cut for a door.  Apart from the upper parts of the hoods the cases are virtually identical."},{"value":"This clock is said to have been supplied by Tompion to Drayton House, which Lady Mary Mordaunt, Duchess of Norfolk inherited from her father in 1697. Lady Mary had separated from the Duke of Norfolk and formed a liason with Sir John Germane, whom she married after being divorced from the Duke in 1700. She died in 1705. In 1718 when Sir John died, the house was inherited by his second wife, Lady Betty Germaine. An inventory of the contents of Drayton House taken in 1710 mentions 'In the Great Hall itself . . . 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