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The others have variants, identified as either the Triumph of Galatea or Amphitrite, who is sometimes accompanied by Neptune. In the upper part of the scenes there are usually putti, holding bows as they do in the print, or wreaths. The demand for such scenes might also have been fostered by Vasari's fresco of 'Water' in the Palazzo Vecchio in Florence, but the fashion for marine fantasies in the second half of the century was an aspect of the Mannerist style which can be paralleled in metalwork in Italy and elsewhere in Europe. 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earthenware"},{"@link":{"type":"reference"},"admin":{"id":"term-42865","uid":"adlib-term-42865","uuid":"92be1d50-bb1c-3472-950f-b140ee6cdde9"},"summary_title":"maiolica"}],"component":[{"materials":[{"note":[{"value":"blue and green"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-108364","uid":"adlib-term-108364","uuid":"115b8729-a560-35c1-b654-4b9d2fc5f68b"},"summary_title":"high-temperature colours"}}],"name":"Decoration","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110500","uid":"adlib-term-110500","uuid":"6dc34c6c-d553-36b2-b489-9797a89deeea"},"summary_title":"society\/human 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The design is outlined in blue and reserved in a dark blue ground. The reverse is painted in blue and green. Shape approximately 70 but deeper. Circular with a flat rim; wide shallow well with a slightly convex boss in the centre.\nOn the boss, encircled by wavy ribbon, is a half-length figure of a young woman, full face, her head inclined to her left. She has long wavy hair falling over her left shoulder, a high-waisted dress with a knot-like jewel on the front, and a cloak loosely draped round her shoulders. The sides are decorated in relief with radiating grotesques, comprising pairs of dolphins with scroll tails, pairs of winged sea horses and winged beasts with female heads addorsed, winged putto's heads, and grotesque masks flanked by dragons. On the rim, there are bunches of fruit, flowers, acorns and foliage with pairs of tendrils between them incised through the ground. The back is edged by twenty wavy-edged leaves outlined in blue (one smaller than the others), reserved in a green ground."}],"exhibitions":[{"@link":{"catalogue":"none","type":"reference"},"admin":{"id":"exhibition-1605","uid":"adlib-exhibition-1605","uuid":"04d3c358-0bef-3d8f-8df5-14f16987ac1b"},"summary_title":"Italian Maiolica in the Fitzwilliam Museum"}],"identifier":[{"accession_number":"C.4-1965","primary":true,"type":"accession number","value":"C.4-1965"},{"priref":"78876","type":"priref","value":"78876"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/78876","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/78876"}],"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 Cunliffe Fund and University Purchase Grant."},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-150858","uid":"adlib-agent-150858","uuid":"d36d1847-4d6a-33eb-974b-f4b061db49f9"},"summary_title":"Sotheby's"}],"date":[{"earliest":1965,"latest":1965,"value":"1965-11-25"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1965"}]}],"creation":[{"date":[{"earliest":1530,"from":{"earliest":1530,"era":["CE"],"latest":1530,"precision":"circa","value":"1530"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"role":[{"value":"potter"}],"type":"reference"},"admin":{"id":"agent-149652","uid":"adlib-agent-149652","uuid":"0d4f90dc-b166-3d4b-b0db-25f4118b6e98"},"summary_title":"Unknown"}],"note":[{"value":"The attribution of this basin to Deruta rests on the similarity between the grotesques in the well and those around a painted medallion of St Catherine on a lustred ewer basin in the Victoria & Albert Museum. Deruta relief-moulded dishes with lustred or reserved white grotesque decoration are uncommon in comparison with those without reliefs."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106602","uid":"adlib-term-106602","uuid":"bbb4c00f-eefa-3d64-9441-7a75aa07736e"},"summary_title":"16th Century"},{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110784","uid":"adlib-term-110784","uuid":"306cbe64-9c29-347d-bae9-6fa7b2d98848"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Umbria"}],"summary_title":"Umbria","type":"region"}]],"summary_title":"Deruta"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39575","uid":"adlib-term-39575","uuid":"cdf6707a-1eeb-3622-a26b-6e54f1f8d4ab"},"summary_title":"tin-glaze"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"35.5"},{"dimension":"Height","units":"cm","value":"4.5"}]},"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-90855","uid":"adlib-term-90855","uuid":"b48207ec-774d-3e3e-8ab3-536996bc5dac"},"summary_title":"dish"}},{"value":"dish for a ewer"}],"note":[{"type":"history note","value":"Baron Gustave de Rothschild; by descent to his grandson, Baron Henri Lambert; Baroness Lambert; New York, Parke-Bernet, 7 March 1941, Superb Italian majolica, Palissy ware, silver, Gothic and Renaissance objects of art, two important Beauvais tapestries, comprising masterpieces from the collection of the late Baron Gustave De Rothschild, now the property by inheritance of Baroness Lambert, New York, . . ., lot 106; Dr Robert Bak; Sotheby's, 7 December 1965, Catalogue of a highly important collection of early Italian maiolica formed by Dr Bak of New York, lot 56."}],"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. 55, lot 56","page":"p. 55","type":"reference"},"admin":{"id":"publication-3213","uid":"adlib-publication-3213","uuid":"06d5b213-89fa-3a46-a432-00488f432c86"},"summary_title":"Catalogue of a highly important collection of early Italian maiolica formed by Dr Bak of New York"},{"@link":{"notes":"Publ. p. 133, p. 134, fig. 5","page":"pp. 133, 4","type":"reference"},"admin":{"id":"publication-200001033","uid":"adlib-publication-200001033","uuid":"9727fed6-b8e0-39cf-8000-e35d4582fd07"},"summary_title":"Italian maiolica of the fifteenth and sixteenth centuries"},{"@link":{"notes":"Publ. p. 5, pl. 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Clarke Bequest"},"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":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1522,"era":["CE"],"latest":1522,"precision":"dated","value":"1522"}],"maker":[{"@link":{"role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-160294","uid":"adlib-agent-160294","uuid":"e7481a09-8063-3b03-b6b2-04e7e9154df5"},"summary_title":"Maestro Giorgio Andreoli"}],"note":[{"value":"The arms occur on two more plates painted by the same hand, and also dated 1522. A plate painted with the Fall of Phaeton in the Hermitage, St Petersburg, and another painted with a woman holding a dagger and taunting a young man, in the Metropolitan Museum of Art, New York. They were probably decorated by the painter of a dish decorated with the Judgement of Paris, in Maestro Giorgio's workshop in Gubbio on 2 October 1520, which is in the Petit Palais, Paris."},{"value":"The subject was taken from the Roman poet Ovid's Metamorphoses, II, 708-832.  The scene could illustrate Mercury's first or second visit to Cecrops' palace to see Herse with whom he had fallen in love. On the first occasion he was met by her sister Aglaurus who declined to lead him to Herse, and demanded gold for her compliance before sending him away. On his return, Aglaurus, who had become extremely envious of Herse's good fortune in attracting a lover, barred the way to her room. Thereupon Mercury exercised his supernatural power to open the door and transformed Aglaurus into stone.The figures of Mercury and Aglauros were derived from a woodcut in 'Ovidio metamorphoseos vulgare', Venice, 1497, p. 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Painted in dark blue, pale blue, green, yellow, orange, red, and black.\nCircular with sloping rim, upturned slightly at the edge; deep sides moulded with oblique reversed gadroons; flat centre with ribs encircling its outer edge and the emplacement for the ewer in the middle; low foot ring on the back. (Poole, 1995, Shape 69) \nThe central medallion contains a landscape in which a fox attempts to wrest a shield from the possession of a bear. The bear holds a sword in its right forepaw and rests its left on the shield, which is of testa di cavallo form, charged with the arms per fess gules and argent, overall a tree eradicated. A scroll above is inscribed, 'E COSI VA CHE TROPO VOLLE' (This is what happens to him who wants too much). The rest of the base is decorated with a battle between male and female satyrs and centaurs. The gadroons on the sides are painted in blue with stylised plants. 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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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. 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