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Painted in dark blue, light blue, green, yellow, orange, and brownish-red. Shape approximately 67 but shallower. Circular with shallow, concave sides, which have warped in firing, standing on a solid base. Caesar's Horse, from a Triumph of Caesar. On the left are two nude musicians, with bells round their ankles, holding aloft, and blowing, double pipes. Behind them is a hound with bells on its collar, and a harness round its belly. Caesar's horse follows, its right foreleg raised; its harness and blanket with lettered border are bedecked with bells, and it has a unicorn's horn attached to its forehead. A youth holding a branch with a globe on its tip is mounted on its back and a monkey sits behind him. In the foreground there is a stony track and grass, and an 'H'. The background is dark blue and the rim yellow. The back is dated in the middle in blue, '1514' over the alchemical sign for tin, within three narrow concentric circles. Beyond the base there are three narrow, one broad and three narrow concentric circles, repeated nearer to the rim. 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The dish has been attributed to Jacopo on the grounds of similarities to a dish decorated with an equestrian Judith with the Head of Holofernes, signed 'Japo in chaffagguolo' which is in the Victoria and Albert Museum. Jacopo di Stefano di Filippo died in 1576, and questions have been raised as to whether he and the painter of the dishes was the same man. It is also possible that the dish was made in Montelupo."},{"value":"The source for this scene was one of a set of twelve large woodcuts forming a Triumph of Caesar by Jacob Argentoratensis (Jacob of Strasbourg) to designs by Benedetto Bordon, published in Venice in 1504. The Triumph follows Appian's account of Scipio's entry into Rome at the end of the Second Punic War but details relating to Caesar were incorporated. His horse, for example, was based on Suetonius' description of it as having 'feet that were almost human; for its hoofs were cloven in such a way as to look like toes'. The maiolica painter followed the woodcut closely, including this feature, but omitted the small nude boy behind the horse. Each section of the Triumph is labelled with a letter from A to L, hence the 'H' below the scene. The next section, labelled 'I', occurs on a dish in the Victoria and Albert Museum, also dated 1514, but in Roman numerals. Prints of scenes from the 'Passion of Christ' by Jacob of Strasbourg were also used as sources of designs by maiolica painters, for example. a large dish decorated with the Flagellation  within a border of grotesques in the Hermitage, St Petersburg."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-110780","uid":"adlib-term-110780","uuid":"17d4199b-8038-380b-b5df-ce198a1dc5db"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"}]],"summary_title":"Cafaggiolo"},{"@link":{"type":"reference"},"admin":{"id":"term-113219","uid":"adlib-term-113219","uuid":"166f4ea1-bd03-3f2e-bc7c-ce2145959ec5"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"}]],"summary_title":"Montelupo"}]}]},"materials":[{"note":[{"value":"buff"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39575","uid":"adlib-term-39575","uuid":"cdf6707a-1eeb-3622-a26b-6e54f1f8d4ab"},"summary_title":"tin-glaze"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"5.2"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-17667","uid":"adlib-media-17667","uuid":"45bcb9d2-eb25-3571-9bc7-7537bb58abd2"},"processed":{"large":{"format":"jpeg","location":"aa\/aa19\/C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":757},{"dimension":"width","units":"pixels","value":760}]},"modified":1742581231393,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa19\/mid_C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":498},{"dimension":"width","units":"pixels","value":500}]},"modified":1742581231393,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa19\/C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":757},{"dimension":"width","units":"pixels","value":760}]},"modified":1742581231393,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa19\/preview_C_86_1927.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":249},{"dimension":"width","units":"pixels","value":250}]},"modified":1742581231393,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-90855","uid":"adlib-term-90855","uuid":"b48207ec-774d-3e3e-8ab3-536996bc5dac"},"summary_title":"dish"},"type":"object name"},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42865","uid":"adlib-term-42865","uuid":"92be1d50-bb1c-3472-950f-b140ee6cdde9"},"summary_title":"maiolica"},"type":"category"}],"note":[{"type":"history note","value":"Auguste Ricard de Montferrande; sold Christie's, 14-16 November 1859, Catalogue of the very extensive and valuable collection of majolica ware, the property of that well-known amateur, Monsieur Auguste Ricard de Montferrand of St Petersburgh . . .; p. 18, lot 283 (\u00a393.9); Alexander Barker; Sir Francis Cook, Bt.;Wyndham F. Cook; Humphrey Wyndham Cook; sold Christie's, 7 July 1925, Catalogue of an important collection of objects of art of the Middle Ages and Renaissance, the property of Humphrey W. Cook, Esq., and removed from 8 Cadogan Square, S.W., being a portion of the celebrated collection formed by the late Sir Francis Cook, Bart., p. 9, lot 21; The Right  Hon. F. Leverton Harris."}],"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":"Publ. 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Similar young women appear in paintings by Pinturicchio (1454-1513) such as in the' Visitation' in the Borgia apartments of the Vatican, but Deruta maiolica painters were more likely to have seen or had access to drawings after local works in nearby Perugia. It was a popular prototype for the decoration of large dishes decorated with busts or half-length figures of women, known today as bella donna dishes. These are thought to have been presented to women by their betrothed or husband, and a few examples show a couple together. At least thirty-five examples based on the same prototype are known, the majority showing the girl facing to the left, and a few to the right, as here, and in the Cleveland Museum of Art, Ohio (1951.327), the Metropolitan Museum of Art, New York (1953.225.87), and the Chigi-Saraceni collection, Siena (FAC.Inv. no. 61). There are no dated examples decorated with similar designs, but it seems probable that this slender, chaste ideal of womanhood con\u00actinued to be represented by Deruta painters until at least the 1520s. \n\nMany of these dishes have a scrolling ribbon or label behind the girl, bearing a name followed by Bella or another adjective, or have a proverb, saying, or quotation from the bible or literature. The inscription on this dish was taken from Petrarch's, Le Rime, XXIII, 31, `La vita el fin e 'l di loda la sera' ' (Life by its end, day by the evening, is praised). Variants of this line occur on dishes with the same girl in the the Metropolitan Museum of Art, New York  (94.4.320), and the Mus\u00e9e National de la Renais\u00acsance, \u00c9couen (E.C1.2430), and on a dish decora\u00acted with a different girl, in the Museo Nazionale di Ravenna.\n\nThe dishes had a wide variety of border patterns. 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The authors note 'This is the only case in which the source of the legend on belle has been identified.' The book was edited by Mann, Nicholas and Syson, Luke.","page":"145, 152","type":"reference"},"admin":{"id":"publication-200000989","uid":"adlib-publication-200000989","uuid":"51da1066-fdce-3067-a0d4-7a0aaa2f135e"},"summary_title":"When is a portrait not a portrait,? Belle Donne on Maiolica and the Renaissance Praise of Local Beauties"},{"@link":{"notes":"Ref. For the inscription on the scroll","page":"26","type":"reference"},"admin":{"id":"publication-3039","uid":"adlib-publication-3039","uuid":"ebecdd55-fb60-378f-af2b-fb84d4f45892"},"summary_title":"Le Rime"},{"@link":{"notes":"Ref. For a translation of the inscription on the scroll.","page":"60","type":"reference"},"admin":{"id":"publication-3040","uid":"adlib-publication-3040","uuid":"a1f32e33-9c74-3112-aec9-2939ba1855b9"},"summary_title":"Petrarch's Lyric Poems, The Rime sparse and other Lyrics"},{"@link":{"notes":"Ref. For sources of designs on Deruta maiolica. See especially, p. 30, fig. 11, The Visitation by Pinturicchio in the Borgia apartments of the Vatican.","page":"25-57","type":"reference"},"admin":{"id":"publication-200000990","uid":"adlib-publication-200000990","uuid":"83e461c6-3315-3ef8-aa39-d54f88469112"},"summary_title":"Fonti iconografiche e stilistiche della decorazione nella maiolica rinascimentale"},{"@link":{"notes":"Cf. pp. 164-66, no. 29, a dish with a similar girl facing to the right with a scroll in front of her inscribed 'DIAMANTE BELLA'. The unusual border comprises almond-shaped motifs alternating witha slanting bulbous floral motif resembling a spinning top.","page":"164-66","type":"reference"},"admin":{"id":"publication-3381","uid":"adlib-publication-3381","uuid":"36d2d285-968d-3211-9f4b-18c2552c65d1"},"summary_title":"Monte dei Paschi di Siena, Collezione Chigi Saracini, 5, Maioliche Italiane"},{"@link":{"notes":"Publ. p. 110, no. 23. Cf. p. 108, no. 21, dish with similar girl facing to left, in the National Gallery of Art, Washington, inv. 1942.9.322; p. 109, no. 22, another with girl facing to left in the Mus\u00e9e de la Renaissance, Ecouen, inv. Cluny, 2430; p. 111, no. 24 another with girl facing to left, without a scroll, in the V. & A., inv. C.2172-1910. . See p. 106, Perugino's Eritrean Sybil in the sala dell'Udienza, Collegio del Cambio, Perugia. Ref. for Deruta maiolica.","page":"110","type":"reference"},"admin":{"id":"publication-4837","uid":"adlib-publication-4837","uuid":"8a5d258d-09cf-35d0-a64a-b1bca54fa905"},"summary_title":"La ceramica umbra al tempo di Perugino"},{"@link":{"notes":"Publ. p. 32, no. 5,  and cf. p. 33, a copy by contemporary Deruta potter, Fernando Calzolari.","page":"32","type":"reference"},"admin":{"id":"publication-6388","uid":"adlib-publication-6388","uuid":"1f1298ea-c28b-3905-ad2b-fa59db7d742c"},"summary_title":"Fati di Ceramica nelle Marche dal Trecento al Novecento"},{"@link":{"notes":"Publ. p. 182, Figure 4.13. See pp. 179-82, 4.2.5. Prototype Five: Women Who Bear God in Their Minds: The Sibyls and Allegorical Figures from the Collegio del Cambio.  See pp. 180-2, note 65 for 36 known examples of Deruta dishes with images of women based on the Eritrean Sibyl.","page":"179-82","type":"reference"},"admin":{"id":"publication-9107","uid":"adlib-publication-9107","uuid":"f6eb9f5b-29cf-3b09-b6ca-bae2334d6e73"},"summary_title":"Ideal Brides: Deruta Bella Donna Plates 1500-1550. Courtship, Marriage and Decorative Art in Renaissance Italy"},{"@link":{"notes":"Cf. Vol. I, pp. 158, nos. 475-8, vol. II, pl.75, nos. 475-8. On all the dishes, the girl faces to the left, and, with the exception of no. 477, has an inscription on a scroll in front of her.","page":"158","type":"reference"},"admin":{"id":"publication-1571","uid":"adlib-publication-1571","uuid":"4e0f6f47-bf3a-3285-8417-f9bff14edde2"},"summary_title":"Victoria and Albert Museum, Catalogue of Italian Maiolica"},{"@link":{"notes":"Cf. p. 83, no. 59, a dish with the same inscription ending with ISCHU [RA], accompanying a different young woman. Inv. no. 1855. 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E 2110.","page":"162","type":"reference"},"admin":{"id":"publication-400002306","uid":"adlib-publication-400002306","uuid":"fd430150-18ab-30e6-9438-eb2a24c2f1c0"},"summary_title":"Kataloge des Kunstgewerbemuseums der Stadt K\u00f6ln, II, Majolika"},{"@link":{"notes":"Cf. pp. 242-3, no. 83, a dish painted with a similar girl facing to left, and the same quotation without the final X. inv. no. 94.4.320","page":"242-3","type":"reference"},"admin":{"id":"publication-8274","uid":"adlib-publication-8274","uuid":"7be4693f-9344-330a-8733-2ca7558ee846"},"summary_title":"Maiolica: Italian Renaissance Ceramics in the Metropolitan Museum of Art"},{"@link":{"notes":"Cf. pp. 106-07, no, 40, a dish with the same girl facing to the left; fig. 17 shows the head of a Sibyl from the fresco in the Sala dell'Udienza, Collegio del Cambio, Perugia. Inscription on ribbon OFACIES.OCUVLIS. INSIDIOSA.MEIS (O face that is an ambush for my eyes) from Ovid's Heroides, XV.","page":"106-07","type":"reference"},"admin":{"id":"publication-8571","uid":"adlib-publication-8571","uuid":"1c526257-c1d6-33b1-a279-b3248fce0bcc"},"summary_title":"The Golden Age of Maiolica-Painting. Catalogue of a Private Collection"}],"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-90855","uid":"adlib-term-90855","uuid":"b48207ec-774d-3e3e-8ab3-536996bc5dac"},"summary_title":"dish"}},"summary_title":"dish","techniques":[{"description":[{"value":"earthenware, the front is tin-glazed; the reverse has thick, opaque, dark yellow lead-glaze. 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