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Between these are four crossed lozenges alternating with two spirals between curved strokes and two groups of spots between curved strokes."}],"exhibitions":[{"@link":{"catalogue":"no catalogue","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":"C.79-1961","primary":true,"type":"accession number","value":"C.79-1961"},{"priref":"79248","type":"priref","value":"79248"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/79248","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/79248"}],"inscription":[{"description":[{"value":"rectangular, a ducal crown over a gothic N and to the right 'CLUMBER\/2603'"}],"location":"on back","method":"printed in black","transcription":[{"value":"CLUMBER\/2603"}],"type":"label"},{"description":[{"value":"both o  raised"}],"location":"on the back","method":"in thick orange-yellow lustre","transcription":[{"value":"1522\/.M o .o G"}],"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.C.G. Clarke Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149875","uid":"adlib-agent-149875","uuid":"89f52d0e-b912-3dc9-8b2c-61d6aa011b16"},"summary_title":"Clarke, Louis Colville Gray"}],"date":[{"earliest":1961,"latest":1961,"value":"1961-04-27"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1522,"era":["CE"],"latest":1522,"precision":"dated","value":"1522"}],"maker":[{"@link":{"role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-160294","uid":"adlib-agent-160294","uuid":"e7481a09-8063-3b03-b6b2-04e7e9154df5"},"summary_title":"Maestro Giorgio Andreoli"}],"note":[{"value":"The arms occur on two more plates painted by the same hand, and also dated 1522. A plate painted with the Fall of Phaeton in the Hermitage, St Petersburg, and another painted with a woman holding a dagger and taunting a young man, in the Metropolitan Museum of Art, New York. They were probably decorated by the painter of a dish decorated with the Judgement of Paris, in Maestro Giorgio's workshop in Gubbio on 2 October 1520, which is in the Petit Palais, Paris."},{"value":"The subject was taken from the Roman poet Ovid's Metamorphoses, II, 708-832.  The scene could illustrate Mercury's first or second visit to Cecrops' palace to see Herse with whom he had fallen in love. On the first occasion he was met by her sister Aglaurus who declined to lead him to Herse, and demanded gold for her compliance before sending him away. On his return, Aglaurus, who had become extremely envious of Herse's good fortune in attracting a lover, barred the way to her room. Thereupon Mercury exercised his supernatural power to open the door and transformed Aglaurus into stone.The figures of Mercury and Aglauros were derived from a woodcut in 'Ovidio metamorphoseos vulgare', Venice, 1497, p. XVIIIv, or in one of the Latin or Italian editions published in 1505, 1508, 1509, 1513, and 1517."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"summary_title":"16th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-113220","uid":"adlib-term-113220","uuid":"e8b02414-1477-3046-8f2a-947e5c159b21"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"Italy"}],"summary_title":"Italy","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Umbria"}],"summary_title":"Umbria","type":"region"}]],"summary_title":"Gubbio"}]}]},"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39575","uid":"adlib-term-39575","uuid":"cdf6707a-1eeb-3622-a26b-6e54f1f8d4ab"},"summary_title":"tin-glaze"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-42861","uid":"adlib-term-42861","uuid":"5b368285-f1a8-3dcf-a5b2-637fd3c3956c"},"summary_title":"earthenware"}}],"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"26.0"},{"dimension":"Height","units":"cm","value":"2.7"}]},"multimedia":[{"@link":{"type":"reference"},"admin":{"id":"media-52749","uid":"adlib-media-52749","uuid":"0c2fbb50-d667-3a36-9a33-9ed30afddf85"},"processed":{"large":{"format":"jpeg","location":"aa\/aa19\/C_79_1961.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":760},{"dimension":"width","units":"pixels","value":732}]},"modified":1742584121408,"resizable":true,"type":"image"},"mid":{"format":"jpeg","location":"aa\/aa19\/mid_C_79_1961.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":519},{"dimension":"width","units":"pixels","value":500}]},"modified":1742584121408,"resizable":true,"type":"image"},"original":{"format":"jpeg","location":"aa\/aa19\/C_79_1961.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":760},{"dimension":"width","units":"pixels","value":732}]},"modified":1742584121408,"resizable":true,"type":"image"},"preview":{"format":"jpeg","location":"aa\/aa19\/preview_C_79_1961.jpg","location_is_relative":true,"measurements":{"dimensions":[{"dimension":"height","units":"pixels","value":260},{"dimension":"width","units":"pixels","value":250}]},"modified":1742584121408,"resizable":true,"type":"image"}},"sort":"0","type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}}],"note":[{"type":"history note","value":"Henry T. Hope, Deepdene, Surrey; his daughter, Henrietta Adela Hope, who married in 1861 the Earl of Lincoln, later 6th Duke of Newcastle-under-Lyme (1834-1979); by descent to the 7th Duke of Newcastle-under-Lyme (1864-1928); sold by Christie's, 7 July 1921, Catalogue of fine old English silver-gilt plate, Limoges enamels, old Italian majolica and porcelain, the property of his grace the Duke of Newcastle, and removed from Clumber, Worksop, lot 120; George A. Lockett; Christie's, 11 June 1942, The choice collection of objects of art and furniture formed by the late George A. Lockett Esq., lot 217; Alfred Spero (\u00a3556); from 1943, L.C.G. Clarke, Leckhampton, MA, LL.D., Cambridge (1881-1960) by whom bequeathed"}],"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. lot 120","page":"25","type":"reference"},"admin":{"id":"publication-3407","uid":"adlib-publication-3407","uuid":"19cc80c0-e6e7-3fd0-9660-ce60875a0f41"},"summary_title":"Catalogue of fine old English silver-gilt plate, Limoges enamels, old Italian majolica and porcelain, the property of His Grace the Duke of Newcastle, and removed from Clumber, Worksop"},{"@link":{"notes":"Publ. lot 217","page":"24","type":"reference"},"admin":{"id":"publication-3221","uid":"adlib-publication-3221","uuid":"d6ca23eb-f1e5-32c4-b618-396e4ae4ca33"},"summary_title":"The choice collection of objects of art and furniture formed by the late George A. Lockett Esq."},{"@link":{"notes":"Publ. pp. 127-8 & pls. 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The plate has a black ground. The central design is enamelled over a white ground in  translucent blue, turquoise, green, yellow, and mulberry enamels over silver foils, and opaque white, flesh-pink and black highlighted with gold. The cavetto has a black ground painted in gold. The rim has a black ground except for the foiled areas and the flesh areas which have a white preparation. The edge is white. The reverse is enamelled in grisaille with dark salmon-pink on a black ground painted in gold The underside of the rim has a black ground painted in gold.\nThe central design shows Joseph riding in Pharaoh's Chariot known as The Triumph of Joseph. Joseph, is seated a chariot on the right, with a crowd of Egyptians in front of him. In the background there are three buildings: on the right, a circular domed building with Corinthian columns round its circumference; in the middle, a smaller low building with a sloping roof, and on the left, a rectangular building with a triangular gable and arcaded lower storey. \"G.XLI\" is inscribed in gold on the sky. The sides are decorated with gold foliated scrolls between horizontal bands. On the rim are two different female masks wearing fabric headdresses, and two different crowned male masks, separated by vases flanked by pairs of tritons with tablets over their curly tails, with sprays of gold foliage in the spaces.\nThe reverse is enamelled en grisaille. In the centre there is a white flowerhead comprising a rosette, a broad circle and twelve petals, Around this are two dark salmon-pink masks without hair and two with hair, with drapery issuing from their mouths, confined by broad strapwork and fruit on stems. The black ground is decorated with gold arabesques, and on the rim, thee is a wreath of gold leaves and berries between gold bands. The mark \"I.C.\" is painted in black on a white circle surrounding the central rosette."}],"identifier":[{"accession_number":"M.114-1961","primary":true,"type":"accession number","value":"M.114-1961"},{"priref":"139825","type":"priref","value":"139825"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825"}],"inscription":[{"location":"on strapwork on the back","method":"painted in black enamel","transcription":[{"value":"I\u2022C"}],"type":"initial"}],"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":"Louis.C.G. 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Clarke\u2019"}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"note":[{"value":"as some of the scenes on the twelve plates with Joseph scenes were from Figures de la Bibles, they were presumably made after 1564, although the first identified with a scene from that book was no. 7 in the sequence."}],"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. This indicates that the series of plates were made after  1564\/65.These books can be viewed online in the Gallica website of the Biblioth\u00e8que nationale.\n\nThis plate is decorated with the fifth scene in the sequence. The Triumph of Joseph, described  in Genesis, Chapter 41, 43: \u2018And he [Pharaoh] made him to ride in the second chariot which he had; and they cried before him, Bow the knee: and he made him ruler over all the land of Egypt\u2019. The Biblical reference \u2018.G.XLI\u2019  is given above the scene which was copied from a woodcut illustration entitled \u2018GENESE XLI\u2019 by Bernard Salomon in Claude Paradin, 'Quadrins Historique de la Bible', Lyon, 1553 or a later edition., . (The 1558 edn is in the Cambridge University Library Keynes, E.3.4, and in the Fitzwilliam Museum Dept. of MSS and Printed Books). At least two more plates are known decorated with this subject, one with a blue ground, in the Mus\u00e9e du Louvre (see Documentation, Baratte, 2000), and one with a manganese-black ground which descended in the family of Lionel de Rothschild (1808-79) and was sold by Sotheby's London in 2003 (see Documentation).\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems possible that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms. In that year, Henry IV granted to Dominic de Vic, a distinguished soldier, administrator and diplomat (d. 1610), and his brother, M\u00e9ry, the right to add to their arms 'un \u00e9cusson d\u2019azure charg\u00e9 d\u2019une fleur de lys d\u2019or et d\u2019une bordure du m\u00eame' (a blue shield charged with a gold fleur de lys and a border of the same). \n\nThe mark \u2018I\u2022C\u2019 seems likely to have been a workshop mark used succesively by  Jehan or Jean Court dit Vigier I (d. 1592) and his son, Jean Court dit Vigier II (b. c.1575-d. between 1631-5). The issue is complicated by the presence of another Jehan\/Jean de Court who witnessed the latter's wedding in 1598, and was therefore probably a relative, and possibly an enameller, and of another enameller, Jehan\/Jean Court dit Vigier le jeune who married in 1613, and  died between 1627-31, but seems likely to have been too young to have been the decorator of the Joseph Plates. 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