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Painted in blue, green, yellow, orange, beige, brown, manganese, black, and a little white high-lighting. Shape 64. Circular with narrow rim, and wide, shallow well.  The Contest between the Muses and the Pierides. The nine daughters of Pierus stand on the right separated by a stream from the Muses, led by Callipte who holds a harp. Above, a group of nymphs, gods and goddesses, including Apollo and Minerva, serve as judges. In the landscape background there are stunted trees on hills, and on the right, a coastline with buildings and distant mountains. The edge is yellow. The back is inscribed in the middle in blue, 'Ausae Cum Musjs Committere proelja\/Voce Victae nunc Volitant jmmitantes\/omnia pjcae\/Fatto jn Urbino in Botega de Mo (o raised)\/Guido da Casteldurante' (Having dared to have contests with the Muses and defeated by voice, they now fly away as magpies imitating everything). 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Orazio Fontana , Guido da Urbino's son, can be excluded because the painting on the front, and the handwriting on the back are far superior to those on a dish decorated with this subject which bore his monogram, which was formerly in the Schlossmuseum, Berlin but was destroyed during World War II.  Bernard Rackham in 1940 considered that it might have been painted by Camillo Fontana, and in 1987 J.V.G. Mallet proposed Camillo Gatti as a likely executant. Another dish decorated with this subject in the same workshop was formerly in the collection at the H\u00f4tel Lambert, Paris, sold at Sotheby's Paris on 11 October 2022. It is inscribed with the subject, the date, 1539, and 'In Botega de Mo Guido\/de CaSteldurati' (In the workshop of Maestro Guido of Casteldurante). See Documentation."},{"value":"The literary souce for the story of Muses and the Pierides was the Roman poet Ovid's Metamorphoses, Book V, 294-678. The nine daughters of Pierus, King of Emathia, overconfident of their musical talent, challenged the Muses to a singing contest.  After all the contestants had performed, the adjudicating nymphs declared the Muses the winners. The Pierides unwisely clamoured against their decision, and as punishment for their presumption and rudeness were transformed into chattering magpies."},{"value":"The source of the design was an engraving by G.G. Caraglio after 'The Contest between the Muses and the Pierides' by Rosso Fiorentino (1494-1540), probably the painting now in the Louvre in Paris (inv. 595: MR 69 dated to c. 1523-27. The inscription on the back of the dish was taken from the bottom of the print where it appears in capitals, AUSAE CUM MUSIS COMMITTERE PROELIA VOCE VICTAE NUNC VOLITANT IMMITANTES OMNIA PICAE. 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Painted in blue, green, yellow, orange, stone, brown, manganese-purple, black, and white. Shape approximately 64 with plain rim.  Circular with almost flat rim, and wide shallow well; warped in firing. Apollo slaying the Sons of Niobe. Apollo stands on the left, firing his bow towards the stampeding horses of the sons of Niobe, five of whom are wholly or partly visible. Behind Apollo is the head of an old man. Further back to left there is a group of trees on either side of a rock, and to right, the citadel of Cadmus and two trees. In the distance there is a landscape with a mountain. A black band and a wider yellow band encircle the outer edge. The back is inscribed in the middle in blue: `Febbo saetto li ffillole de\/Niobbe  .548' (Phoebus shoots the sons of\/Niobe)."}],"exhibitions":[{"@link":{"catalogue":"L 16","type":"reference"},"admin":{"id":"exhibition-1063","uid":"adlib-exhibition-1063","uuid":"1a541998-d08e-3c65-bb7a-ca795691d998"},"summary_title":"All for Art: The Ricketts & Shannon Collection"},{"@link":{"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":"EC.3-1937","primary":true,"type":"accession number","value":"EC.3-1937"},{"priref":"47189","type":"priref","value":"47189"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47189","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/47189"}],"inscription":[{"location":"on the back","method":"painted","transcription":[{"value":"Febbo saetto li ffillole de\/Niobbe  .548"}]}],"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":"The Ricketts and Shannon Collection. Bequeathed by Charles Shannon, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-125314","uid":"adlib-agent-125314","uuid":"c27a15ba-35cf-3c55-9176-aa32086d25b3"},"summary_title":"Shannon, Charles Haslewood"}],"date":[{"earliest":1937,"latest":1937,"value":"1937"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1548,"era":["CE"],"latest":1548,"precision":"dated","value":"1548"}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-159063","uid":"adlib-agent-159063","uuid":"1dc3cb8a-b7b0-3c75-a079-309c61b3396b"},"summary_title":"Guido di Merlino"},{"@link":{"qualifier":"after","role":[{"value":"painter"}],"type":"reference"},"admin":{"id":"agent-109052","uid":"adlib-agent-109052","uuid":"cc803171-8b1b-3dfa-a94d-7e69c0b54f48"},"summary_title":"Polidoro da Caravaggio (Polidoro Caldara)"},{"@link":{"qualifier":"after","role":[{"value":"painter"}],"type":"reference"},"admin":{"id":"agent-53046","uid":"adlib-agent-53046","uuid":"a4e23248-58e0-3e54-a55a-ee6e0560418a"},"summary_title":"Giulio Romano (Giulio Pippi)"}],"note":[{"value":"On the right of the dish the painter has substituted a semi-clad male figure for the clad female figure in the original. It was probably inspired by a man astride a fallen horse in Giulio Romano's fresco of the 'Battle of the Milvian Bridge' in the Sala di Costantino in the Vatican, although the position of the figure has been reversed and the arms raised to approximate with the pose of the woman in the frieze. There does not appears to have been a print of the fresco when the dish was made so the man must have been derived from a drawing. The engraving with that title by Giulio Bonasone, dated 1544, depicts a different battle scene."},{"value":"The design was derived from the facade of the Palazzo Milesi, via della Maschera d'Oro, Rome, which Polidoro da Caravaggio (1492-1543) completed before the Sack of Rome in 1527.  It was the most celebrated of his facades and was the last of those listed by Vasari. The facade has deteriorated so that only the faintest shadows of its former splendour remain. But the whole scheme can be seen in Enrico Maccari's 'Graffiti e chiaroscuri esistenti nell'esterno delle case di Roma', undated but published in 1876. The frieze illustrating the story of Niobe ran from left to right along the facade above the doorways and below the first-floor windows.  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