[{"admin":{"added":1660672826000,"created":1660657630000,"id":"publication-200003261","indexed":1709056918721,"modified":1709051703000,"processed":1709056916824,"source":"adlib","stream":"fitz-online","uid":"adlib-publication-200003261","uuid":"58004fae-c935-3dfa-a460-28d9bdde9a92","version":2},"summary_title":"Crediton: the Story of Two Helmets","title":[{"primary":true,"value":"Crediton: the Story of Two Helmets"}],"type":{"base":"publication"}},{"current_page":1,"data":[{"_index":"ciim","_type":"data","_id":"adlib-object-156453","_score":20.076452,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156453","indexed":1747160606084,"modified":1714475184000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156453","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","uuid":"35669590-727e-3743-bf39-a50421cd6c98","version":10},"agents":[{"@link":{"note":[{"value":"proprietor of a furnishing showroom and restoration workshop, trading from 1881 under the name Amad\u00e9e Joubert & Son at the Pheasantry, 152 King\u2019s Road, Chelsea. F\u00e9lix probably became its head after the partnership between Henri Charles Ren\u00e9 Joubert and Jules Joubert was dissolved in 1898. After 1914 the showroom closed, and until F\u00e9lix Joubert\u2019s retirement in 1932, the business concentrated on restoration work. He was an extraordinarily versatile and gifted craftsman, who was referred to by J. H. Duveen as the \u2018Chelsea Wizard\u2019. He collected and restored armour and weapons, and also practiced as a sculptor, decorative painter, cabinetmaker, and designer."}],"type":"reference"},"admin":{"id":"agent-207549","uid":"adlib-agent-207549","uuid":"150c3ca3-e7da-3905-999f-0a5eac1aac8b"},"summary_title":"Joubert, Felix (1872\u20131953)"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"},{"@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":[{"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white"}],"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-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white and gilded. The drawing appears black on the white preparation. The circular jewels are foiled. The surface is slightly rippled and almost mat.The counter-enamel is not visible."}],"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white"}],"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-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107470","uid":"adlib-term-107470","uuid":"f6217ee1-61ca-3c57-92a1-dd13e97bc77c"},"summary_title":"gilt-metal"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"12.6"},{"dimension":"Width","units":"cm","value":"10.1"}]},"name":"Frame"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated with polychrome enamels, foiled 'jewels', and gilding"},{"value":"Rectangular, almost flat copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, pale purple, a little red,  black and white and gilded. The drawing appears black through the white preparation. The flesh is white over black with a pale mauve wash applied over parts of the faces and limbs.The circular jewels are foiled with presumed silver paillons. The surface is slightly rippled and almost mat.The counter-enamel is not visible.\nThe Virgin Mary is seated in the centre, looking down at the dead Christ who lies across her knees with his right arm hanging down, and his left extended but only partly visible. The Virgin\u2019s  right hand is raised, and she supports Christ\u2019s right shoulder with her left hand. Christ\u2019s left hand is held by Mary Magdalen, who stands on the right holding a jar of ointment in her right hand. St John stands on the left looking towards the others. Both he and the Magdalene are shown three-quarter view with their heads in profile.\nChrist wears a green head band and a brown cloth round his loins. The Virgin has a mulbery halo with gold rays and eight alternately green and blue jewels. She wears a dark blue cloak over a mulbery gown. Mary Magdalene has waist-length pale brown and gold wavy hair, and wears a green turban-like cap, and a pale purple cloak over a green dress. St John has shoulder-length golden hair, and a green halo with six alternately mulberry and blue jewels. wears a mulberry gown and has a pale blue cloth over his right arm. All have white flesh shaded in grey.\nBehind the figures is a niche with a trefoil arch rising from cylindrical columns with carved capitals and bases. The columns are blue and have three jewels on their capitals and two on their bases. The trefoil arch has a jewel on a trefoil on the two angles. The words \u2018O(insert a large n)  OVO AVER\u2019 are inscribed in gold on the wall of the niche. The lower part is scattered with gold dots over a black ground. The area within the trefoil arch is blue.\nThe plaque is set into a gilt-metal frame with a wire rope edge on the front partly covered by teeth folded over from the back which hold it in place. The frame covers the reverse completely and has  a vertically hinged prop, pierced by two groups of three holes. It is inscribed in black on the left B\/55\/L.D.C, and on the right 'igi' underlined, and lower down '615' on a tabula ansata with 'Ic.' (dot above I) above and below"}],"identifier":[{"accession_number":"M.7-1938","primary":true,"type":"accession number","value":"M.7-1938"},{"priref":"156453","type":"priref","value":"156453"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453"}],"inscription":[{"description":[{"value":"underlined"}],"location":"on back at top right","method":"hand-written, probably in black Indian ink","transcription":[{"value":"igi"}],"type":"inscription"},{"description":[{"value":"possibly with a V in front of the first Ic."}],"location":"half-way down the right of the back","method":"hand-written, probably in black Indian ink","transcription":[{"value":"'615' on  a tabula ansata inscribed with \u2018Ic.\u2019 (dot above I) above and \u2018Ic.\u2019 below"}],"type":"inscription"},{"location":"on left side of back","method":"hand-written in black","transcription":[{"value":"B\/55\/L.D.C"}],"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":"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":"1938-02-15"}],"method":{"value":"bequeathed"},"note":[{"value":"Provenance from information in list of objects selected by the Fitzwilliam from Mr Cunliffe\u2019s collection."}]}],"creation":[{"date":[{"earliest":1500,"era":["CE"],"latest":1500,"note":[{"value":"When acquired, the plaque was dated to c. 1480, but it probably dates from around 1500. Its authenticity has been doubted but the degree of damage to its edges suggests that it is probably genuine, but heavily restored."}],"precision":"circa","value":"1500"}],"maker":[{"@link":{"qualifier":"probably workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-88154","uid":"adlib-agent-88154","uuid":"fb2f6872-99ae-3003-8dd4-953d30c3a7dc"},"summary_title":"Master of the Orl\u00e9ans Triptych"}],"note":[{"value":"Plaques of this arched form were sometimes used as paxes, but few have retained their handle. Others were set into small free-standing frames, or were framed and hung at the head of the owner\u2019s bed, as an image de chevet."},{"value":"The composition is closely related to a Piet\u00e0 in the Hermitage, St Petersburg, which has a similar iconography but with a tau Cross and landscape in the background, and was attributed to the Master of the Orleans Triptych by Marquet Vasselot. (see Documentation). It differs from the Fitzwilliam\u2019s in three other iconographical details: the Magdelene has a jewelled halo, St John is shown three-quarter face instead of in profile, and there is a flower near the lower left corner. Another plaque in the Hermitage has analogous icongraphy and was alsoformerly attributed to the Master of the Orleans triptych. (see Documentation, Rapp\u00e9 and Boulkina, 2005). A plaque of this subject, presumably deriving from a shared source, but much more naively delineated, and with the group in a room with an ogee arch above is in the Louvre, OA 4011 (see Documentation, Baratte, 2000). All four plaques have a Mary Magdalene who wears a turban-like cap, fashionable in the mid to late 15th century, which distinguishes them from another series of plaques on which she it hatless and vaseless. She also appears in this way on the right wing of a triptych by the Master of the Orleans Triptych in the Hermitage (F 275), and in the Crucifixion forming the central panel of the triptych attributed to the workshop of Nardon P\u00e9nicaud at Bourges. This type of headdress went out of fashion by the early sixteenth century but continued to be worn by Mary Magdalene in works of art in which she was not depicted with her hair hanging loosely about her shoulders."},{"value":"The unidentified enameller known as the Master of the Orl\u00e9ans Triptych was named by J.J. Marquet de Vasselot in 1921 after a triptych which had been given to the museum at Orl\u00e9ans in 1825."}],"periods":[{"@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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M. Joubert, probably F\u00e9lix Joubert (1872\u20131953), The Pheasantry, 152 King\u2019s Road, Chelsea, London, from whom purchased probably on 17 November 1930 for \u00a350 by Leonard. D. Cunliffe (1860\u20131937); 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":{"notes":"Cf.  p. 88, and p. 249, no. 60, ill. pl. XXI in the Hermitage, St Petersburg, which the author attributes to the workshop of the Master of the Orl\u00e9ans Triptych. Formerly in the Basilewsky collection. Rectangular with rounded top. Unframed","page":"88, 249","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. 122-3, no. 48 (F 273) the plaque in the Hermitage published by Marquet de Vasselot in 1921 (above) illustrated in colour. The plaque is slightly larger than the Fitzwilliam's h. 15, w. 11 cm. Another plaque in the Hermitage is mentioned, but was not considered by the authors to be by the same hand.","page":"122-3","type":"reference"},"admin":{"id":"publication-6117","uid":"adlib-publication-6117","uuid":"11dbf863-8759-3f10-b7ae-107ffcf6fd4d"},"summary_title":"\u00c9maux limousins du Mus\u00e9e national de l'Ermitage de Saint-P\u00e9tersbourg"},{"@link":{"notes":"Cf. p. 52, OA 4011, the author does not attribute the plaque and is a little doubtful of its authenticity","page":"52","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. p. 32, no. 6 (F 273; See also Limoges, 2004, no. 48) and p. 33, no. 7 (F 1418). The triptych on which a comparable Mary Magdalene is on the right wing pp. 30-31 no. 5 (F 275).","page":"33","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"type":"reference"},"admin":{"id":"publication-6186","uid":"adlib-publication-6186","uuid":"d285f449-3ec3-39f8-be77-cd185ea3fe64"},"summary_title":"Painted Enamels of Limoges. 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The shaft is in two sections divided by a knop of flattened sherical form with a central ridge. The knop is of an openwork design of eight biting beasts, their tails ending in foliated scrolls. They are engraved with a scale pattern, except for a plain band on their back which is studded with three small turquoise pastes. The lower or socket part of the shaft is decorated with blue enamel with a foliated scroll pattern reserved in the metal. To it are attached three beasts (one missing) with their heads downwards and their tails curled above touching the lower part of the knop; the back of each is set with turquoise pastes.  The crook which springs from a collar of leaves, has a serrated outer edge, and is decorated with a scale pattern in blue enamel; it terminates in a serpent's head. The volute contains the winged figure of St Michael plunging a spear vertically through the back of the dragon. Its body is marked with scales except for a plain band running down either side which is studded with turquoise pastes, and its tail passes through the curl of the volute terminating in a spray of foliage fixed to the stem of the crosier."}],"identifier":[{"accession_number":"M.2-1924","primary":true,"type":"accession number","value":"M.2-1924"},{"priref":"139831","type":"priref","value":"139831"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139831","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139831"}],"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 Rt. Hon. F. 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