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Copper, enamelled en grisaille on a black ground, and gilded; the top also enamelled in turquoise-green, and the base in turquoise, and pale mauve. The salt pan is decorated with a bust of a man in profile to right wearing a hat with a feather in it, and is inscribed \"IE SVIS PARIS\" (I am Paris) in gold surrounded by two gold circles. On the flat surround there are three pairs of cornucopia with foliated terminals, containing turquoise fruits. Round the outer edge is a gold line broken at regular intervals by five oblique strokes. In the depression in the base is a head of a woman in profile to left, wearing a turquoise frontlet, a snood, and a turquoise oval cabochon over her ear. The black ground is dotted with gold, and inscribed \"LABELLE ELLENE\" (Beautiful Helen) in gold within a gold circle. On the flat area there are three white roses and three pale mauve roses linked by stems bearing either two pairs of turquoise or two pairs of green leaves, and pairs of gold tendrils. Round the outer edge is a gold line broken at regular intervals by five oblique strokes. The sides are decorated with six figures flanked by rocks and small gold plants, each with a gold inscription above. From right to left:\nFortune stepping to the right, holding the staff of a billowing pennant in her right hand, and its tail in her left; inscribed \"TOVT. FORTVNE\/LE VA\" with an orb between the LE and VA.\nA jester steps to the left raising his right hand, and holding a jester's staff over his shoulder in his left; inscribed \"IL SEMBLE AVVILART.ABVZ.QVE.LES. IEVLX\/DAY MER SOYENT PERDVZ\" (It seems to the old mistakenly that the games of love may be over, i.e. lost for ever or It seems to the old that enjoyment of the games of love may be lost through over indulgence).\nAn old woman in sixteenth century costume holding a walking stick in her left hand and placing her right held to her bosom; inscribed, \"QVA(N)T.DVIEV.DAYMER. ME\/SOVVIE(N)T.LA.LARME.AVXI.EVLVLX.ME VIEN.A 70 ANS\" (When I remember the game of love a tear comes to my eyes at 70 years).\nAn old man in sixteenth century costume walking to the left, holding up his right hand and holding a walking stick in his left; inscribed \"HELAS.IESVS.VR(A)I\/DIEV:DE GRACE.E.IEV.D.YMER.FAICT.N.ENCORES A.80 .ANS (Alas, Jesus true God of Grace, I still like to do it at 80 years).\nA middle aged woman, perhaps a nun, wearing sixteenth century costume, walking to the left, holding a gold rosary in her right hand and holding up her skirt in her left hand; inscribed \"QVANT.ON.LE ME.PRE SANTE. IELE. PRENS.EN\/ PACIANCE A. 40.ANS\" . (When someone offers I take it patiently at 40 years).\nAn middle aged man in sixteenth century costume with a turquoise jewel on each sleeve opening, walking to the left leaning on a walking stick held in his right hand, and holding his left with its thumb tucked into his belt; inscribed \"ET.MOY.TEL.QVE.IE.SVYs IL LE .FAIZ QVANT.IE.PV.A.50 ANS\" (And me, such as I am, I do it when I can at 50 years).\nOn each of the angles there is a foliated spindle (?), and on the top of the projecting base a border of overlapping wavy lines forming a cable."}],"exhibitions":[{"@link":{"catalogue":"1725","type":"reference"},"admin":{"id":"exhibition-1754","uid":"adlib-exhibition-1754","uuid":"d50e860c-2dca-313a-9970-1b01cecbbb85"},"summary_title":"Catalogue of the Special Exhibition of Works of Art of the Medieval, Renaissance, and more Recent Periods, on loan at the South Kensington Museum, June 1862"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-1077","uid":"adlib-exhibition-1077","uuid":"a9790b74-5102-3534-9d71-e4f0dc4f89f3"},"summary_title":"Tempus, The Art of Time"},{"@link":{"catalogue":"188","type":"reference"},"admin":{"id":"exhibition-2376","uid":"adlib-exhibition-2376","uuid":"3e2208a0-ad25-3b64-b03f-cb63aa00fd02"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"}],"identifier":[{"accession_number":"M.50-1904","primary":true,"type":"accession number","value":"M.50-1904"},{"priref":"139843","type":"priref","value":"139843"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843"}],"inscription":[{"location":"on salt pan","method":"painted in","transcription":[{"value":"IE SVIS PARIS"}],"type":"inscription"},{"location":"on base","method":"painted in","transcription":[{"value":"LABELLE ELLENE"}],"type":"inscription"},{"description":[{"value":"an orb between the LE and VA"}],"location":"on side decorated with Fortune","method":"painted in","transcription":[{"value":"TOVT\u2022PAR\u2022FORTVNE\/LE VA"}],"type":"inscription"},{"location":"on side decorated with jester","method":"painted in","transcription":[{"value":"IL SEMBLE AVVILANT\/ PAR\u2022ABVZ\u2022QVE\u2022LES\u2022 IEVLX\/DAY MER SOYENT PERDVZ"}],"type":"inscription"},{"location":"on side with old woman with walking stick","method":"painted in","transcription":[{"value":"\u2018QVA(N)T\u2022DVIEV\u2022DAYMER\u2022 ME\/SOVVIE(N)T\u2022LA\u2022LARME\u2022AVXI\/\u2022EVLVLX\u2022ME VIEN\/\u2022A 70 ANS"}],"type":"inscription"},{"location":"on side with old man with walking stick","method":"painted in","transcription":[{"value":"HELAS\u2022IESVS\u2022VR(A)I\/DIEV:DE GRACE\u2022LE\u2022 IEV\u2022D\/AYMER\u2022FAICT\u2022ON\u2022ENCORES\/A\u202280\u2022ANS"}],"type":"inscription"},{"location":"on side with middle aged woman holding rosary","method":"painted in","transcription":[{"value":"QVANT\u2022ON\u2022LE ME\u2022PRE\/ SANTE\u2022IELE\u2022PRENS\u2022EN\/PACIANCE A\u202240\u2022ANS"}],"type":"inscription"},{"location":"on side with middle aged man","method":"painted in","transcription":[{"value":"ET\u2022MOY\u2022TEL\u2022QVE\u2022 IE\u2022SVYs\/IL LE\u2022FAIZ QVANT\u2022IE\u2022PV\/\u2022A\u202250 ANS\u2019"}],"type":"inscription"},{"description":[{"value":"part of a circular paper label with a black border"}],"location":"on rim below the depression containing Helen","method":"hand-written in pencil","transcription":[{"value":"390\u2019"}],"type":"label"},{"description":[{"value":"a very small rectangular paper label"}],"location":"stuck on top of the circular label","method":"printed in black","transcription":[{"value":"512"}],"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":"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"}}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1545,"note":[{"value":"The dating is suggested by a salt dated 1542 in the Wallace Collection"}],"range":true,"to":{"earliest":1545,"era":["CE"],"latest":1545,"value":"1545"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"}],"note":[{"value":"The amorous message of this salt is related to the theme of the Ages of Man, which during the Middle Ages and Renaissance might be identified as three, four, seven, or twelve stages. The Ages of Man in decades was a late medieval development and was more common in the Low Countries and Germany. Normally the ages of life after forty would be shown as a gradual decline towards death, but the decoration here presents a more optimistic view because the middle aged and old people express views which indicate that their interest in love-making continues. The goddess Fortuna\u2019s ability to make or marr lovers\u2019 happiness by her fickle behaviour is mentioned frequently in French literature from the late 12th century onwards, and a jester or fool was often used in 15th and 16th century art as an indication of lust or folly. The jester's statement on the salt is ambiguous, according to the interpretation of the word 'abus'. It could be read as meaning that the old are mistaken in thinking that their ability to enjoy love-making is lost, or that the ability to love is lost through excessive indulgence in love-making, a view expressed in a well known late 12th century treatise 'De Amore' by Andreas Cappellanus. Possibly the head of Helen, the beautiful wife of Menelaus, King of Sparta, and that of Paris, who precipitated the Trojan War by abducting her, represent the prime of life, but their presence could also be a reminder that unbridled passion may lead to disaster.\n\nThere is an analogous polychrome salt in the Wallace Collection, which has similar figures and inscriptions with variant spellings but without the ages on the sides, and, on the top and bottom depressions respectively, profile busts of Pallas surrounded by cornupias, and Jupiter surrounded by stylized roses (III M 260). (1) It is inscribed, with the letter \u2018N\u2019 in gold suspended from a swag on the side of the old woman. A companion salt in the Wallace (III M.261), dated 1542, is decorated in a similar manner, but with different heads and figures. The top and base are decorated respectively with Paris and Athena with cornucopia borders. One side is decorated with Cupid blindfold, one with Venus in her chariot, and the other four with a young lady or a gentleman accompanied by an inscription. (See Documentation, Higgott, 2011) These salts suggest that the Fitzwilliam's may originally have had a pair which represented the earlier Ages of Man or Love. The figures of the middle-aged man and woman are reminiscent of two lovers on a small plaque attributed to Colin Nouailher in the Mus\u00e9e des Arts D\u00e9coratifs in Paris, (See Documentation Biron, 2011).\n\nThe Fitzwilliam\u2019s salt was attributed tentatively to Colin Nouailher by Dalton, 1912, a reasonable suggestion in view of the inscriptions, a feature of Colin Nouailher\u2019s work, and the expressions of the figures, which are similar in character to those on his few initialled works. This attribution is supported by the letter 'N' on one of the salts in the Wallace Collection. The rose border on one end of this salt was also used in Pierre Reymond's workshop and there are several hexagonal salts of this form initialled PR, but they are enamelled in a very different style. See Fitzwilliam M.4-1966, where these are mentioned. \n\nThe salts were constructed in an interesting way. X-radiography of a hexagonal salt in the British Museum revealed that it was made in three parts. The sides were made of one piece of copper which was bent into shape and had a flap folded over on one angle. The top and bottom were joined to the side by wires (see Documentation, La Niece, 2009)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120009","uid":"adlib-term-120009","uuid":"690a6332-cfc1-3411-a716-4dd4ec7d9a65"},"summary_title":"16th Century, second 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Hexagonal with a circular depression in the top and bottom, projecting top and bottom edges, and straight sides.\nIn the salt pan there is a bust of a woman wearing a cap and elaborate coiffeur in profile to left, against a black background sem\u00e9 with gilt heraldic tears (gouttes), and surrounded by a border of three pairs of adorsed turquoise-green and mulberry foliated scrolls terminating in small white flowers, and three pairs of pale blue and turquoise-green. In the depression on the base is a bust of a man wearing armour and a parade helmet in profile to left surrounded by gold \u2018tadpoles\u2019 and enclosed by a gold line broken by groups of short oblique strokes. The border comprises small flowers on gold stalks flanked by pairs of feathery leaves: turquoise-green paired with blue; mulberry paired with turquoise-green; and blue paired with mulberry, repeated on the next three facets. The six sides are decorated respectively with Cupid standing beside a rock holding a gold arrow in his right hand, and a gold knot on a string in his left; a putto standing beside a small tree and holding aloft a bowl of fruit , a putto walking to the left holding a basket with a gold knot above his head; a putto sitting on the ground with a gold thread around his left leg and knot above, and overhead, a dove holding a gold necklace in its beak; a putto kneeling on a block of stone and beating a small drum; and a putto seated on a rock holding up a billowing drape. All have gold hair. At the top of each angle there is a half sunburst in gold. At the top and bottom there is a narrow gold line broken by five or six short oblique strokes."}],"exhibitions":[{"@link":{"catalogue":"21","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"}],"identifier":[{"accession_number":"M.4-1966","primary":true,"type":"accession number","value":"M.4-1966"},{"priref":"139841","type":"priref","value":"139841"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139841"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1966,"latest":1966,"value":"1966-06-16"}],"method":{"value":"given"},"note":[{"value":"Entry date: 1966-06-16"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"}],"note":[{"value":"Hexagonal salts were fashionable during the mid 16th century and were made in silver, and ceramics, as well as in Limoges painted enamel. Limoges salts of this form bear dates from 1542 to 1547. The salt depression in the top and the matching depression in the base were usually decorated with a male or female head in antique or contemporary costume, sometimes identified in gold capitals as Paris and Helen, Hercules and Deianeira or Omphale, or Pallas and Jupiter. The sides were decorated with several different themes.The most popular, judging by the number of surviving examples, was the Twelve Labours of Hercules divided between two salts, which suggests that they were supplied in pairs. Others included half-length classical and contemporary male and female figures, classical and biblical male and female busts, singly or in pairs, sometimes enclosed by wreaths, and 'The Follies of Wise Men' and 'The Ages of Love' (see M. 50-1904), which diners probably found amusing. A few are decorated with nude little boys (putti) participating in the grape harvest, dancing, fighting, playing with various objects or on musical instruments. Pairs of analogous hexagonal salts with different heads in the salt depressions are in the Metropolitan Museum of Art, New York ( 32.100.372 and 32.100.373), and the Mus\u00e9e des Beaux-Arts, Limoges (84.432 and 84.433).\n\nPutti in various roles, derived from Roman architectural ornament and reliefs on the sides of sarcophagi, had become increasingly popular as decorative motifs in Italy during the fifteenth century. These archetypes were dissemininated to France and elsewhere in Europe through prints by artists such as Nicoletta da Modena, Master IB, and Marcantonio Raimondi. They also appeared on the title pages and borders of late fifteenth-century illuminated manuscripts (e.g. the Fitzwilliam's Book of Hours MS 153) and printed books imported from Italy, and by the beginning of the sixteenth, were appearing in French examples. Putti in the role of cherubs occur on early sixteenth century Limoges enamels of religious subjects, but were not often depicted until the 1530s when classical subjects based on Italian prints were introduced. On this salt the boy holding up a basket of grapes and the boy sitting on the ground with a bird above him were probably copied from a print of 'Children Harvesting Grapes', dated 1529 by the Monogrammist IB after Raphael (Bartsch, VIII.311.35; Illustrated Bartsch, 16, p. 78, no. 35 (311) ."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"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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