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The reverse has dark brown counter-enamel."}],"note":[{"value":"dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white; dark manganese-brown mottled counter-enamel"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"29"},{"dimension":"Width","units":"cm","value":"12"}]},"name":"Frame"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper decorated with polychrome enamels and jewelling over silver (?) foil, and gilded. Gilt-metal frame"},{"value":"Thick, narrow rectangular copper plaque, enamelled in dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white, and gilded.A very thin wash of red produces flesh pink.The jewels and flower centres are foiled in silver (?).The reverse has dark brown counter- enamel.\nJoseph of Aramathea stands on a ladder with his right arm over the tau Cross and round the body of Christ which he lowers into the arms of Nicodemus who stands on the right. On the left of the Cross, the Virgin Mary has sunk to her knees, and holds her hands together in prayer. Mary Magdalene (?) kneels beside her with her right arm around her shoulders. A skull and a bone lie at the foot of the Cross. The foreground on each side is scattered with jewelled flowers, and the sky is scattered with stars.\nJoseph of Aramathea is balding and bearded. He wears a short mulberry gown over a garment with long yellow sleeves, and blue boots. Christ wears a crown of thorns and a white loin cloth. His white body is tinged with pink and blood trickles from his brow, hands, side, and feet. Nicodemus has a short beard, and a yellow hat with a jewel on its upturned brim. He wears a dark blue and mulberry tunic with jewelling round the neckline, green tights and brown boots with jewelled tops. The Virgin wears a dark blue mantle over a white wimple and mulberry dress. Mary Magdalene has a turquoise jewelled cap over her pale brown hair. She wears a dark blue cloak over a mulberry dress. The skull and bone are white and grey, and the flowers have white dotted petals around yellow and blue foiled centres.\nThe rectangular gilt-metal frame,  has two applied twisted stems with leaf terminals at the top and bottom and five on each the side."}],"identifier":[{"accession_number":"MAR.M.250-1912","primary":true,"type":"accession number","value":"MAR.M.250-1912"},{"priref":"156445","type":"priref","value":"156445"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445"}],"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":"C.B. Marlay Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149674","uid":"adlib-agent-149674","uuid":"de1bf9dd-2091-39ca-85f6-41e736f6e32b"},"summary_title":"Marlay, Charles Brinsley"}],"date":[{"earliest":1912,"latest":1912,"value":"1912"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1520,"from":{"earliest":1520,"era":["CE"],"latest":1520,"precision":"circa","value":"1520"},"latest":1525,"note":[{"value":"the very dark counter enamel indicates a date before about 1530"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"The role of Joseph of Arimathea in the removal of Christ\u2019s body from the Cross and its subsequent burial is described in all the Gospels, but it is only in St John (20.38-40) that Nicodemus is mentioned as his helper. 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The Louvre\u2019s plaque differs from the other two in having four bones instead of one, and in having the skull on the right of the base of the Cross instead of on the left. The central panel of the Walters' and Louvre\u2019s triptychs was derived from a woodcut illustration to a book of hours printed in Paris in 1505, and re-used in Antwerp in 1525, which explains the discepancy beween the style of the costume and the suggested date range. This Deposition also occurs in reverse on the left wing of a triptych attributed to Nardon P\u00e9nicaud in the Museum des Arts d\u00e9coratifs, in the H\u00f4tel Lallemant at Bourges."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"summary_title":"16th Century, 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He may have purchased the plaques, but they could have been inherited from his father, George Frederick Samuel Robinson (1827-1909); 1st Marquess of Ripon and 3rd Earl de Grey (1859-71), a politician and diplomat, who converted to Roman Catholicism in 1874, and died at Studley Royal."}],"type":"reference"},"admin":{"id":"agent-207552","uid":"adlib-agent-207552","uuid":"859a1816-bf5e-3b20-96c6-cbe4f66f7986"},"summary_title":"Robinson, Frederick Oliver (1852-1923)"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152235","uid":"adlib-agent-152235","uuid":"abbfd154-1b29-395b-915a-fc47cace0fad"},"summary_title":"Mary Magdalene"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-115872","uid":"adlib-term-115872","uuid":"6da1c0ff-a799-3023-9ff4-fe88fbdd54e2"},"summary_title":"Leonard D. Cunliffe"}],"component":[{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109906","uid":"adlib-term-109906","uuid":"cbea03fb-f9ac-3c28-ab2d-d20a955a2b53"},"summary_title":"silver foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"two adjacent narrow rectangular copper plaques enamelled in multicouche technique (Biron Type A) with dark and white layers overlaid by translucent pale and bright blue, green, tan, and brownish-mulberry, and in black, and opaque white, and gilded. The flowers and jewels are backed with lozenge-shaped silver foils (pailons)."}],"note":[{"value":"blue, green, red, tan, brown"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"22.5"},{"dimension":"Width","units":"cm","value":"16.3"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome with Mary Magdalene encountering Christ after his resurrection"},{"value":"Two joined narrow slightly convex rectangular copper plaques enamelled over dark and white layers in translucent blue, green, red, tan, mulberry-brown, and opaque white, and gilded  The flowers and jewels are backed with silver foil.                                                                                \nOn the left plaque (A), Mary Magdalene stands in profile to right holding an ointment pot in her left hand and raising its conical lid in her right. She wears a blue and white headscarf which billows out behind her, a mulberry brown dress and a royal blue cloak. Behind her there is a tan-coloured wattle fence with a lychgate on the left. In front of her is half of a tree with a tall narrow trunk and a round top with leaves and flowers with white petals and blue or mulberry centres.                                               \nOn the right panel (B), Christ stands facing three-quarters to the left, raising his right hand. to prevent the approach of Mary Magdalene, and showing the bleeding wound in his hand. Blood also trickles from his side and from the thorn wounds in his head. He has a dark brown cloak held together with a green brooch. In his left hand he holds the staff of a cross with a pennant. Behind him there is a tan wattle fence and to the left, half of a tree matching that on the other plaque.The ground of both plaques is green with numerous plants bearing daisy-like flowers with blue or red centres and white petals. The sky at the top of both panels is closely strewn with gold stars. The counter-enamel on the reverse is semi-translucent dark brown, with uneven concentrations of colour giving a mottled effect.     \nThe rectangular gilt-metal frame has applied ornaments of a twisted stem with a leaf on each end: two on the top and bottom, and three on he sides. The outer frame is of red velvet, extremely worn on the edge. The back of the plaque is covered by a red damask-covered board with a hinged prop in the centre of more recent manufacture."}],"identifier":[{"accession_number":"M.10A & B-1938","primary":true,"type":"accession number","value":"M.10A & B-1938"},{"priref":"156454","type":"priref","value":"156454"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156454"}],"inscription":[{"description":[{"value":"an octagonal white stick-on label edged by a broad blue line and a narrow blue line"}],"location":"on reverse of both plaques","method":"hand-written in black ink","transcription":[{"value":"E. De Grey"}],"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":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938"}],"method":{"value":"bequeathed"},"note":[{"value":"bequeathed 1937"}]}],"creation":[{"date":[{"earliest":1500,"from":{"earliest":1500,"era":["CE"],"latest":1500,"precision":"circa","value":"1500"},"latest":1525,"note":[{"value":"the frame is second half of 19th century"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"Mary Magdalene\u2019s meeting in the garden with the risen Christ whom she at first supposes is a gardener is described in the Gospel of St John (20:14-18), and more briefly by St Mark (16:9-10).\n\nThe design may have been derived from more than one printed source. Possibly Martin Schongauer\u2019s Christ appearing to Mary Magdalene, which has a fence and tree in the background but shows Christ with his arm outstretched and Mary Magdalene kneeling with her ointment pot beside her on the ground, and his Resurrection for the position of Christ\u2019s raised hand.  Comparable scenes with a central tree occur in manuscripts, such as a Flemish or northern French Legenda Aurea of c. 1480-1515, in the Fitzwilliam (MS 22, fol. 45 v) .The standing figure of Mary Magdalene might have been influenced by one of a series of forty-eight roundels for use by goldsmiths by Israhel van Meckenhem (1440-1503) after Master ES, which shows her standing holding her jar and wearing a turban-like cap with streamers at the back.\n\nThe plaques can be compared with three other versions of the same subject. One, likewise on two plaques, whose present location is unknown, was formerly in the collection of  Prince Czartoryski, in the Ch\u00e2teau de Goluchow, Poland.This has a tree divided between the two plaques, and a Magdalene who kneels holding her ointment pot in her right hand but it is not by the same enameller. The background is reminiscent of the central panel of a triptych in the Bargello, attributed to the Monvaerni Master (Pseudo Monvaerni) by Marquet de Vasselo, but at present to an anonymous enameller, which features an analogous wattled fence with a lychgate on the left, and a tree in the centre, but different figures of Christ and the Magdalene. A smaller version of the Noli me tangere on one plaque is in the Mus\u00e9e des Arts D\u00e9coratifs, Paris (see Blanc, 2011).                                                                                                           \n On entering the collection the two plaques were attributed to Nardon Penicaud and there seems no reason to change that. The design of the body of Christ and the draping and fastening of his cloak are fairly close to those of the Risen Christ in the right wing of a two-stage triptych attributed to Nardon Penicaud in the Frick Collection."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Royal, Yorkshire; his cousin, Clare Vyner, Esq., Studley Royal, Yorkshire; sold Sotheby's, 19 March 1926, Catalogue of the well-known collection of old English wine glasses, etc. the property of Henry Peech Esq., . . . . A Fine large enamel, Japanese Imari ware . . . the property of Clare Vyner Esq., removed from Studley Royal. From the collection of the late Marquess of Ripon, p. 13, lot 78; sold to S.J. Phillips. 113 New Bond Street,  London, W1, for \u00a3410 on behalf of Leonard D. Cunliffe (1860-1937), 109 Eaton Square, London, and Trelissick, Cornwall;  bequeathed by him"}],"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":{"type":"reference"},"admin":{"id":"publication-7042","uid":"adlib-publication-7042","uuid":"fbdb694f-29d2-3112-a1bf-3ce1177f5109"},"summary_title":"Objets d\u2019art du Moyen Age et de la Renaissance : Collections du ch\u00e2teau de Goluchow"},{"@link":{"notes":"Cf.  p. 350, no. 194, not illustrated, the plaque in the ch\u00e2teau de Goluchow","page":"350","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Cf. pp. 24-35, 16.4.3,  a triptych, with the risen Christ on the right wing, see illustrations on p. 25 and 35","page":"24-35","type":"reference"},"admin":{"id":"publication-200002180","uid":"adlib-publication-200002180","uuid":"a2294bc4-cc14-3e0f-9aab-728d1027c94e"},"summary_title":"Limoges Painted Enamels, Sixteenth and Seventeenth Centuries"},{"@link":{"notes":"Cf. pp. 40-1, no. 8,  four plaques with arched tops, the last of which depicts the Noli me tangere scene, which although different in details of iconography (e.g. the ointment pot is on the ground), and style, has some features in common, and is attributed to the Penicaud workshop","page":"40-1","type":"reference"},"admin":{"id":"publication-7297","uid":"adlib-publication-7297","uuid":"63470d8f-cfbe-3825-9919-c40c11c83e45"},"summary_title":"\u00c9maux peints de Limoges XVe-XVIIIe si\u00e8cles, la collection du Mus\u00e9e des Arts 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foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaques"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.8"},{"dimension":"Width","units":"cm","value":"3.5"}]},"name":"Side Plaques"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.8"},{"dimension":"Width","units":"cm","value":"7.1"}]},"name":"Centre Plaque"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"11"}]},"name":"Closed"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"21.2"}]},"name":"Open"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated in translucent and 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The Crucifixion in the centre panel with St James on the left wing and St Catherine on the right wing, enclosed in a wooden frame with folding wings"},{"value":"Three copper plaques, almost flat, and partly foiled in silver, enamelled in translucent royal blue, two shades of green, and mulberry, and opaque flesh, red, white, and black,and gilded.                                                                                                   On the centre plaque Christ hangs on a gilded Cross with the word INRI on a titulus above his head. He wears a crown of thorns, and a loin cloth, and blood streams from a wound in his right side. The Virgin Mary stands on the left with her hands extended, wearing a green veil, a royal blue gown over a green skirt, and a purple cloak. St John stands on the right with his hands clasped in prayer. He has long blonde hair and wears a blue gown with green sleeves, and a purple cloak. The cloudy blue sky is scattered with small groups of gold rays, and on the right is a white crescent moon enclosing a profile face. The lower background is uneven dark green.\n\nThe Saints on the two wings each stand on a green tiled floor beneath an ogee arch supported by diagonally fluted columns with a shallow apse behind them. Above the arches there are circular medallions, reserved in a black ground, that on the left wing occupied by a bearded man in profile to right wearing a turquoise helmet, and that on the right by a a clean-shaven man three-quarters to left wearing a green helmet. On the left wing St James is depicted as a pilgrim holding a staff in his right hand and an open book in his left. He is bearded, and barefooted, and wears a green hat, blue gown, and a dark bluish-green cloak. On the other wing St Catherine holds the hilt of a sword in her right hand, and an open book in her left. She wears a gold crown, a purple gown over a dark blue petticoat, and a royal blue cloak. The outlines of the costume, the architectural features, and medallions are gilded, and there are gold foliated scrolls in the spaces around the medallions."}],"identifier":[{"accession_number":"M.43-1904","primary":true,"type":"accession number","value":"M.43-1904"},{"priref":"156429","type":"priref","value":"156429"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156429","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156429"}],"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":"Frank McClean bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died in Brussels on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1850,"from":{"earliest":1850,"era":["CE"],"latest":1850,"precision":"circa","value":"1850"},"latest":1900,"range":true,"to":{"earliest":1900,"era":["CE"],"latest":1900,"value":"1900"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-149652","uid":"adlib-agent-149652","uuid":"0d4f90dc-b166-3d4b-b0db-25f4118b6e98"},"summary_title":"Unknown"}],"note":[{"value":"St Catherine and St James on the wings flanking the Crucifixion were early Christian martyrs, and among the saints most widely venerated in the later Middle Ages. Apart from their martyrdoms, they were particularly appropriate to accompany Nativity or Crucifixion scenes, because their feast days were respectively on 25 November and 25 July, the same day in the month as Christ's on 25 December.. \n\nAlthough in the style of Limoges Renaissance painted enamels, this triptych was made in the second half of the nineteenth century, probably in Paris. The martyrs on the wings were obviously inspired by their images on the wings of a famous late fifteenth-century triptych which has the inscription MONVAERNI on St Catherine\u2019s sword, then interpreted as the maker's name. In the nineteenth century that triptych was successively in the Didier-Petit, Odiot, and Cottreau collections in Paris, and was well known because it was exhibited at the Trocad\u00e9ro in the 1889 Exposition r\u00e9trospective. Since 1904 it has been in the Taft collection in the USA and is now in the Taft Museum, Cincinnati (See Documentation, Verdier, 1995). St Catherine's other attribute, a wheel, and her persecutor the Emperor Maxentius, which are shown on the original triptych wing have been omitted. Apart from its inferior quality, a feature which reinforces the dating of this triptych to the nineteenth century, is the stylistic mismatch between the wings and central Crucifixion which is reminiscent of early seventeenth-century examples, such as one by L\u00e9onard Limosin II in the Mus\u00e9e des Beaux-Arts, Limoges.\n\nAn almost identical nineteenth-century triptych in a similar frame, is in the Museo Diocesano Francesco Gonzaga at Mantua (see Documentation, Venturi, 2010), and another was sold by Christie's in London on 4 July, 2000, lot 37. It has not been possible to remove the plaques in the Fitzwilliam's triptych from their frame to see if they are signed, but another triptych at Mantua, which has a similar frame, contains  a plaque signed by Samson of Paris, a firm famed for reproductions of ceramics and enamels."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118652","uid":"adlib-term-118652","uuid":"5a255bf0-199c-337e-ae02-4096e18f0ccf"},"summary_title":"19th Century, second half"}],"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 made in Paris, or possibly in 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