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There is a white layer under the areas enamelled in greyish-blue, white and pale red. The drawing appears black on the copper or the white preparation. The translucent colours are applied directly over the copper (clearly visible where there is loss of enamel on the edge and elsewhere under magnification). Water is represented by a thin wash of translucent greyish-blue over white with black lines to represent waves. The reverse has translucent counter-enamel, tinged here and there with green."}],"note":[{"value":"slightly convex"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28779","uid":"adlib-term-28779","uuid":"9ded0180-afed-3209-bd56-ea3a2c252893"},"summary_title":"hammering"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-137590","uid":"adlib-term-137590","uuid":"c134dd31-a6dc-39ae-94c7-cf3bd7588c32"},"summary_title":"classical literature"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome and gilded with a scene showing Aeneas and the Cumaean Sybil in the Underworld."},{"value":"Slightly convex copper plaque, enamelled in translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white and profusely gilded. There is a white preparation under the areas enamelled in greyish-blue, white and pale red. The drawing appears black on the copper or the white preparation. The translucent colours are applied directly over the copper (clearly visible where there is loss of enamel on the edge and elsewhere under magnification). Water is represented by a thin wash of translucent greyish-blue over the dark and white layers with enlevage to produce black wavy lines. The reverse has brownish translucent counter-enamel, tinged here and there with green.\nThe Cumaean Sybil, labelled '(SY)BILLA', and Aeneas, labelled 'ENEAS', stand in the top left corner. At top centre is a label 'I.ET.VII' beside the bell-tower of a flaming tripple-walled castle with a green many-headed Hydra guarding its gates which occupies the top left corner.Outside the walls there is a man bound to a waterwheel, and three men's heads emerging from a mill pond. On the wall above the wheel is a label inscribed 'TI.ION' (?ILION - Troy). Below Aeneas is a label inscribed 'TISIPHONE' beneath which she and another Fury holding snakes, are beating four almost nude men bound to a tree, and another man who leans forward over a devil who is stabbing two men lying on the ground. Below to the right are two men prone, one upwards and one downwards, on a bed of nails, and further to the right, three being cooked in a cauldron attended by a green devil.  In the middle, Rhadamanthus, labelled 'FASAMANI9', robed and holding a sceptre, sits on a stool, and behind him on the ground, is a seated man with his right arm raised. A gold chain divides these figures from those below. In the lower left corner, a young man is seated at a table covered by a white cloth and laid for a meal. A bird with a female head stands opposite to him on the table. In the middle three men are seated on the ground , two of them holding a jug. In the lower right corner is a label inscribed 'TITVS' over a vulture which is pecking the thorax of Tityus, who is encircled by a gold chain. Gold is used lavishly for the hair of the figures, outlining of features, and shading."}],"identifier":[{"accession_number":"M.7-1945","primary":true,"type":"accession number","value":"M.7-1945"},{"priref":"118320","type":"priref","value":"118320"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320"}],"inscription":[{"description":[{"value":"first two letters of name are missing"}],"location":"on front","method":"painted in black enamel","transcription":[{"value":"(SY)BILLA"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"ENEAS"}]},{"location":"on front, top centre","method":"painted in black enamel","transcription":[{"value":"I\u00b7ET\u00b7VII"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TI\u0387ION"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TISIPHONE"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"SALMONE"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"FASAMANI9"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TITVS"}],"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":"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":1945,"latest":1945,"value":"1945-06-15"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1527,"from":{"earliest":1527,"era":["CE"],"latest":1527,"precision":"circa","value":"1527"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-171056","uid":"adlib-agent-171056","uuid":"5b4f2761-4c57-35f4-91cc-00e9d17e118a"},"summary_title":"The Master of the Aeneid Series"}],"note":[{"value":"This is one of a series of eighty-three recorded plaques each decorated with a different scene after the woodcut illustrations to Books I to IX of the Aeneid in Sebastian Brandt's edition of Virgil's 'Opera', printed by Johann Gr\u00fcninger in Strasburg in 1502 (a copy is in the Cambridge University Library, Tb.51.61). Or, possibly, from editions with the same woodcuts published at Lyon by Jacob Saccon in 1517 and by Jean Crespin in 1529. The series was probably the earliest example of classical subjects on Limoges enamels, and was the largest group of plaques with a coherent theme derived from the same source. The subject on this plaque is from Book VI, and was copied from the woodcut which appears on fol. 274 recto of the 1502 edition. It shows Aeneas with the Cumaen Sibyl who was guiding him through the Underworld to see his father, Anchises, when they reached a point where the path divided, one branch leading to Elysium, and the other to Tartarus where various souls are being judged and tormented. For listings of the other Aeneid plaques, see Documentation. \n\nThe iconography follows Vergil's description, but Piritho\u00fcs, the King of the Lapiths (lower left corner), who was unable to move after sitting down in the Underworld, appears more like Tantalus, who was usually assigned the punishment of being surrounded by food and drink but unable to assuage his thirst or hunger. Below the city walls (top right), the figure tied to a wheel is probably Ixion who was crucified on a wheel by Zeus as punishment for attempting to rape Hera. The enameller did not follow the woodcut exactly. The entrails and liver of Tityus (lower right corner) are not shown as they are in the woodcut. The anatomy of the almost nude figures is more rounded and realistic, and the Fury, Tisiphone, wears a small crown instead of a cap. \n \nNeither the patron nor the original situation of the plaques has been discovered. It seems possible that they were set into the panelling in a collector's cabinet or study, as in the often cited \u2018cabinet des \u00e9maulx\u2019 in Catherine de Medici\u2019s, h\u00f4tel in the rue de Grenelle, Paris, where the inventory after her decease mentioned \u2018Trent neuf petit tableau d\u2019\u00e9mail de Limoges en form ovale enchassez dans le lambris au dict cabinet\u2019.\n\nThe Master of the Aeneid Plaques has remained an enigma, although some scholars have considered that he might have been Jean I P\u00e9nicaud. Very few other enamels have been attributed to him on the basis of features which occur in the Aeneid plaques, such as a distinctive way of rendering clouds. These  including a Crucifixion after Lucas van Leyden in the Victoria & Albert Museum inv. no. 2820-1926, a Crucifixion after D\u00fcrer. formerly in the Givenchy Collection (see Documention, Descheemaecker), and an Adoration of the Magi acquired by the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges in 2006, which has a leaf of silver over the entire surface beneath the enamelling."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120009","uid":"adlib-term-120009","uuid":"690a6332-cfc1-3411-a716-4dd4ec7d9a65"},"summary_title":"16th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-15528","uid":"adlib-term-15528","uuid":"e0418d83-969d-363c-8fb5-34f0fc63d26a"},"summary_title":"Fran\u00e7ois 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Vol. II, p. 82, no. 7. This volume provides a Corpus of all the located examples of this type of enamelling. Cf. p. 82, no. 6, an example in the Louvre (R 283); p, 81, no. 5, an example in the Hermitage (F1545)","page":"82","type":"reference"},"admin":{"id":"publication-8619","uid":"adlib-publication-8619","uuid":"63f26cd0-64fc-369b-b85a-425ffcc076b1"},"summary_title":"I Rami smaltati detti Veneziani del Rinascinmento italiano. Les Cuivres \u00e9maill\u00e9s dits V\u00e9nitiens de la Renaissance italienne, 2 vols"},{"@link":{"notes":"Cf. objects decorated in a similar technique: pp. 4-6, no. 3, a bowl and cover, and pp. 6-7, no. 4, a candlestick, and pp. 6-7 a reliquary, and p. 8, no. 6 the body of a globular vase, the first dated late 15th century and the others c. 1500","page":"6-7","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 13, lot 15, a dish with a comparable design (but possibly not identical in shape), 19.7 cm in diameter. Estimate \u00a37-10,000; fetched \u00a3","page":"13","type":"reference"},"admin":{"id":"publication-2192","uid":"adlib-publication-2192","uuid":"10d8557f-f1ca-3bc5-806b-e0314d4e7b30"},"summary_title":"Important European Sculpture and Works of Art"},{"@link":{"notes":"Ref. This article provides the results of scientific analyses of the enamel (glass) on this group of vessels, and that of Venetian, Tuscan, and other Italian glass of the period, and concludes that they are unlikely to have been made in Venice, but possibly in Tuscany","page":"233-54","type":"reference"},"admin":{"id":"publication-200003192","uid":"adlib-publication-200003192","uuid":"7b01a833-b04f-38fd-91a7-d3d6c1f2f4c6"},"summary_title":"The So-called Venetian Enamelled Copper Artworks of the italian Renaissance: the Technology and Provenance of the Enamels - an Analytical approach"},{"@link":{"notes":"Ref. Vol. I of book. The author suggests revising the attribution of this group of enamels to Florence from Venice, on the basis of various points which he discusses","page":"55-69","type":"reference"},"admin":{"id":"publication-200003193","uid":"adlib-publication-200003193","uuid":"434f2749-6b77-3f94-a53c-972735bc114d"},"summary_title":"Venetian Enamels: The Case for Florence"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-125345","uid":"adlib-term-125345","uuid":"044a81eb-350e-3229-9e5e-72ab4fb784aa"},"summary_title":"bowl with broad rim"}},"summary_title":"bowl with broad rim","techniques":[{"description":[{"value":"copper, enamelled in dark blue, dark green, turquoise, red, and white, and gilded"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"type":{"base":"object","type":"OBJECT"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"« Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next »","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":6,"total":6}]