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Vois illustration page 3.\u2019 and handwritten in black ink \u2018CAT.B (or D) AVD"}],"type":"label"}],"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":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"McClean died on 8 November 1904 in Brussels"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"},{"@link":{"qualifier":"after","role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-63808","uid":"adlib-agent-63808","uuid":"2ed7b47b-c05b-3fcc-879c-c3f517ea1682"},"summary_title":"Holbein, Hans, the younger"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-93853","uid":"adlib-agent-93853","uuid":"f6c72949-df13-3991-afdb-164610d10ab4"},"summary_title":"Monogrammist C. 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This attribution was confirmed by the presence of the initials CN below the title on a plaque from the Lord\u2019s Prayer decorated with the 'Deliver us from Evil' scene, acquired by the Mus\u00e9e de l\u2019\u00c9v\u00each\u00e9, Limoges, in 2007 (2007.5.2) with another plaque of the 'Give us our daily bread' scene (2007.5.1).\n\nThe scenes illustrating the lines of the prayer were inspired by a set of metalcuts by the Basel monogrammist C.V. after Holbein which appeared in Desiderio Erasmus's 'Precatio dominica in septem portiones', published by both Johann Froben and Johannes Bebel successively in Basle in 1524. The work was first published without illustrations in 1523, and was rapidly translated into modern languages. The illustrations in the Froben and Bebel editions have the inscriptions in Latin, but a set of eight prints issued separately probably a little later with inscriptions in French, signed CV, is in the British Museum (1904.0206, 64,1-8;) and seven of the set (no. 4 is missing) are in the Cabinet des Estampes, Biblioth\u00e8que nationale, Paris (EA 25c in fol., p. 57). While the iconography of all the plaques was derived from these prints, the details differ considerably, in some scenes more than others. \n\nLord's Prayer plaques were also executed probably by Jean II or III P\u00e9nicaud, and an enameller who signed 'KIP' or' KI'. 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On the foot there are six similar medallions with angels, the upper spandrels having trefoils, and the lower fleurs-de-lys, all reserved in the metal."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2121","uid":"adlib-exhibition-2121","uuid":"7173f03c-988e-33b3-8995-b9cd8995ecb5"},"summary_title":"Society of Arts Exhibition"}],"identifier":[{"accession_number":"M.26-1904","primary":true,"type":"accession number","value":"M.26-1904"},{"priref":"156397","type":"priref","value":"156397"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156397","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156397"}],"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":"Frank McClean 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The Virgin\u2019s garments and those of the Archangel and his wings, the vase, the flowers in it and those lying on the table are foiled. The outlines are drawn in black on the white preparation or on the foils. The flesh is tinted by a thin wash of pink with clusters of fine pale red lines. The counter-enamel is concealed by the frame."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"note":[{"value":"in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and black, and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper plaque decorated with polychrome enamels, silver foils, and gilding. The Virgin is seated at a table on the right with a canopied bed in the background, and a vase of lilies in the foreground.  The Archangel Gabriel holding a stem of lilies swoops down  in from the left. Gilt-metal frame"},{"value":"Rectangular, slightly convex copper plaque with arched top, enamelled over a white preparation or silver (probably) foils in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and in black, and white, and gilded. The Virgin\u2019s garments and those of the Archangel and his wings, the vase, the flowers in it and those lying on the table are foiled. The outlines are drawn in black on the white preparation or on the foils. The flesh is tinted by a thin wash of pink with clusters of fine pale red lines. The counter-enamel is concealed by the frame.                                                                                       The Virgin is seated on a yellow bench with her feet on a footstool beside a brown table covered by a turquoise cloth on which lie an open book, and scattered  flowers. She wears a dark red mantle over a blue dress with turquoise sleeves. She holds open the book with her right hand and has raised her left to her breast. Behind her there is a brown four-poster bed with turquoise valance and cover. A blue two-handled vase containing four lilies, a purple four-petalled flower,two small blue flowers, and a turquoise flower, stands to the left on the purple tiled floor, which has two brown edged steps in the foreground. The Archangel Gabriel swoops down from turquoise clouds on the left. His right arm is raised in salutation, and he holds a stem with three lilies in his left hand. He has blue and turquoise wings and wears a crimson tunic over a blue gown with a yellow sash. Below is a wall with an arched window and a door, and in the distance beyond the bed, a building with a doorway and window, all in purple. Gold  is used to define the edges of the furniture, table cover, and bed hangings, the vase and its handles, the stylized floral and other motifs on the tiles, the edges and shading on the Virgin\u2019s dress and halo, Gabriel\u2019s wings and sash, and the rays of light on the clouds. The plaque is mounted in a arched rectangular gilt metal frame with toothed outer frame on the front, and closed back with a vertically hinged support."}],"identifier":[{"accession_number":"M.42-1904","primary":true,"type":"accession number","value":"M.42-1904"},{"priref":"156428","type":"priref","value":"156428"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428"}],"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":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1605,"from":{"earliest":1605,"era":["CE"],"latest":1605,"precision":"circa","value":"1605"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"The Annunciation is described in St Luke's Gospel, verses 26-28. The Angel Gabriel visits the Virgin Mary to tell her that she has found favour with God, and will bear a son, who will be named Jesus. The lilies in Gabriel's hand, and in the vase beside the Virgin, are symbols of her purity. The overall design and details have features in common with several prints of the Annunciation by Jan Sadeler (1500-1600), Justus Sadler (1572\/83-1620), and Johannes Wierix (1549-1620). The dark, rich colouring of the enamels, partly applied over silver paillons (small pieces of leaf silver) is typical of Limoges enamels at the end of the sixteenth and during the early seventeenth century. A rectangular Annunciation attributed to Jean Limosin, and having closely comparable figures of the Angel Gabriel and the Virgin, but with a more detailed background, was on the market in Antwerp in 2024 (see Documentation).\n\nOn accession by the Fitzwilliam the plaque was unattributed. In 1911, the French scholar, Marquet de Vasselot considered that it was by Suzanne Court c. 1600, but O.M. Dalton in his Catalogue of the McClean Collection (1912) described it as in the style of Jean Limosin (c. 1580-5\u20131646), and that attribution is upheld here. The Virgin's facial characteristics are very different from those of Suzanne Court's charming female figures, the tiles in the paved floor have a pattern which appears on other enamels attributed to Jean Limosin, but differs from those in Suzanne Court's enamels, and the splayed fingers of the Virgin's hand is a characteristic of other figures by Jean Limosin, such Esther on a large dish in the Louvre decorated with  Esther and Ahasurus and signed \u2018JEHAN\/LIMOSIN\u2019. This was a feature of representations of the Virgin in many prints of the time, and could therefore have been copied by other enamellers, but it does seem to be prominent in the work of Jean Limosin.\n\nJean or Jehan Limosin was a son of Fran\u00e7ois I Limosin. He was not mentioned in the Limoges  role for the taille (a tax) in 1602, and was therefore probably not yet adult, suggesting a date around 1580-5 for his birth. His earliest recorded work, dated 1605, is an oval plaque of the Annunciation signed \u2018I. LIMOSIN\u2019, in the Walters Art Museum at Baltimore. Documents in the archives of the department of Haute-Vienne at Limoges dated in 1621, 1623 and 1627 referred to him as enameller to the King which explains his use of a fleur-de-lys between his initials. He was still working in 1635 when he was described as \u2018esmailleur\u2019 in the roll for the taille. 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The reverse has clear counter-enamel, but much of it is covered by a black substance, partly scraped away.\nThe Virgin is seated on the left holding the Christ Child on her knee. St Joseph stands to the left in profile, and an aged King with a long beard kneels in front of the Child and holds His left foot in his hand. The other two kings holding cups in their right hands stand in front of a column in the middle. One faces the front, and doffs his hat. The other, richly-dressed, has his back towards the viewer. Further to the right a retainer stands beside a horse, Behind it is another horse ridden by a man with a shield and a banner, and a third man stands gazing back towards a star with a streaming tail in the sky on the left. Below it is a castle, and another is on a hill rising up behind the retainers and horses. In the foreground to left there is a fragment of broken column, and to right a small heap of stones and a low wall Gilding is used sparingly for the halos of the Holy Family, a chain round the neck of the man doffing his hat, the star, and the lower end of a staff or sword scabbard at centre. In a gilt-metal rectangular moulded frame with a rosette in the middle of each side, and a stud in each corner."}],"identifier":[{"accession_number":"M.53-1904","primary":true,"type":"accession number","value":"M.53-1904"},{"priref":"156442","type":"priref","value":"156442"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156442","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156442"}],"inscription":[{"description":[{"value":"rectangular paper label with rounded corners, and blue edge and dotted border"}],"location":"on back","method":"hand-written","transcription":[{"value":"illegible"}],"type":"label"},{"description":[{"value":"rectangular paper label with cut corners, completely obliterated by the black substance on the back of the plaque."}],"type":"label"}],"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":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died in Brussels on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1840,"from":{"earliest":1840,"era":["CE"],"latest":1840,"precision":"circa","value":"1840"},"latest":1880,"note":[{"value":"in the style of the mid 16th century, but scientific analysis of the enamels indicated that it was made in the mid to late 19th century"}],"range":true,"to":{"earliest":1880,"era":["CE"],"latest":1880,"value":"1880"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-159102","uid":"adlib-agent-159102","uuid":"eb63d021-f963-35f4-aae7-31c18b9036af"},"summary_title":"Unidentified"}],"note":[{"value":"This Adoration of the Magi was probably based on a Flemish panel painting successively attributed to Pierre Coeck d\u2019Alost and Bernard van Orley, which in 1966 was in the collection of Am\u00e9d\u00e9e Hus at Paris, and is now in the Mus\u00e9e Rolin at Autun (inv. 2014.4.9)  In addition to the Fitzwilliam\u2019s, which was probably made in Paris c. 1850-80, there are at least six more enamel plaques derived from this painting (or possibly a print after it, although none has yet been found), all of which differ from it in showing on the right side, a man leading a horse, a man holding a pennant on a pole, and in the background a castle on a hill. This could be accounted for if the painting had since been cut down on that side. The example with the earliest provenance, said to be initialled P.M., and to have been in the Defournet collection, Paris in 1820, was sold in the Hamilton sale of 1882, and was last  recorded collection of Baron Alphonse de Rothschild (1827-1905). The others are in the Petit Palais, Paris, (ODUT01259) The Royal Museum of Scotland, Edinburgh (1948.146), the Bloomington Indiana University Art Museum (inv. no. 72.88.1), the Museo L\u00e1zaro Galdiano, Madrid (inv.no. 2223), the Hermitage, Leningrad (inv. no. F 2662), and a French private collection. The brown enamel ground on this example is similar in tone to the frame of the example in the Petit Palais.            . \n\nAfter the bequest of the plaque to the Fitzwilliam there was uncertainty as to whether it was of sixteenth- or nineteenth-century manufacture, but because of its high quality, it was included in O.M. 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XXI","page":"110","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Ref. especially pp. 129 to end; p. 135, pl. 2 for the Flemish Adoration; p. 136, pl. 3, a plaque by Master PM, unknown location; p. 136, pl. 4 attributed to Jean II Pennicaud, Paris, Petit Palais; p. 137, pl. 5, anonymous plaque in a French private collection, and p. 137, pl. 6 anonymous, Bloomington, Indiana, University Art Museum.","page":"127-37","type":"reference"},"admin":{"id":"publication-200002179","uid":"adlib-publication-200002179","uuid":"5e5a05b1-70b7-327a-b2e0-4fb6b17fba22"},"summary_title":"Deux tableaux flamands non sign\u00e9s du XVIe si\u00e8cle: Cene et Adoration des Mages"},{"@link":{"notes":"Cf. ninth day, Tuesday, 4 July 1882, p. 119, lot 973, a plaque painted in grisaille on a black ground, said to be initialled PM on the truncated portion of a capital of a column in the foreground (Leroy 1989, pl. 3), 6 in x 3 3\/4 in. in gilt metal frame M. Defournet, Paris, 1820. Alexander 10th Duke of Hamilton (?) and by descent to the 12th Duke. . Baron Alphonse de Rothschild; current location unknown","page":"119","type":"reference"},"admin":{"id":"publication-5967","uid":"adlib-publication-5967","uuid":"47692106-b892-341c-bd59-6a861a6bb97f"},"summary_title":"Catalogue of the Collection of Pictures, Works of Art, and Decorative Objects the property of His Grace the Duke of Hamilton, K.T"},{"@link":{"notes":"Cf. p. 127, lot 273, sold to G. Attenborough for \u00a31,328.5s. illustrated by engraving opposite p.129. Location unknown.","page":"127","type":"reference"},"admin":{"id":"publication-7331","uid":"adlib-publication-7331","uuid":"9a66be30-0009-31e3-ba39-02836bb1ef04"},"summary_title":"The Hamilton Palace Collection. 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The descent of the Holy Spirit inscribed below 'TON ROYAINNE VIENNE\/A NOUS'. One of a set with M.49A & C-F-1904"},{"value":"Rectangular convex copper plaque with a small hole in each corner, enamelled en grisaille with a little flesh pink, and red on a black ground, and gilded. Clear, unevenly applied counter-enamel, with a thick blob in the top right corner, and many pinholes. The Virgin is seated in the centre reading a book with groups of the disciples on either side. She wears a long cloak over her head and dress, and looks down at the book. The disciple nearest on the left is seated on an X-framed stool, and the nearest on the right is bearded and kneels. Only the heads and shoulders of the rest are shown. Above, there is a white line and black sky sem\u00e9 with red tadpole stars and with banks of clouds in the top corners. At top centre the Dove of the Holy Spirit is shown over a semi-circular red sun with straight and wavy gold rays. A white panel running across the bottomof the plaque is inscribed in black with gilding over it \u2018TON ROYAINNE VIENNE\/A NOUS\u2019 (Thy kingdom come to us) preceded by two adorsed C scrolls, and followed by two small scrolls. A gold line runs round the edge of the scene and inscription.  The reverse is inscribed in pale black with the number \u2018III\u2019. The plaque is set in an ill-fitting, rectangular, gilt-metal frame with repeating formal leaf border. The plaque is held into the frame by four bent over pins attached to the cardinal points on the reverse."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum By Frank McClean, M.A., F.R.S."}],"identifier":[{"accession_number":"M.49B-1904","primary":true,"type":"accession number","value":"M.49B-1904"},{"priref":"156436","type":"priref","value":"156436"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156436","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156436"}],"inscription":[{"description":[{"value":"preceded by two adorsed C scrolls, and followed by two small scrolls"}],"location":"on front","method":"painted in black and gold","transcription":[{"value":"TON ROYAINNE VIENNE\/A NOUS\u2019"}],"type":"inscription"},{"location":"on back","method":"painted in black","transcription":[{"value":"III"}],"type":"number"},{"description":[{"value":"almost square paper label with serrated edges, printed in blue with a beaded border; the inscription is underlined as far as the A"}],"location":"on back","method":"hand-written in black ink","transcription":[{"value":"2 (in circle) 4899 sei\/T000\/N000\/A10\/di una\/venduta separato\u2019. the 489 crossed through."}],"type":"label"}],"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":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"},{"@link":{"role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-63808","uid":"adlib-agent-63808","uuid":"2ed7b47b-c05b-3fcc-879c-c3f517ea1682"},"summary_title":"Holbein, Hans, the younger"},{"@link":{"role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-93853","uid":"adlib-agent-93853","uuid":"f6c72949-df13-3991-afdb-164610d10ab4"},"summary_title":"Monogrammist C. V."}],"note":[{"value":"This plaque was originally the third of a set of eight illustrating the Lord's Prayer of which six are in the Fitzwilliam (M.49A-F-1904). The prayer occurs in the Gospels of St Matthew, VI, 9-13 and St Luke, XI, 2-4. The first plaque shows Christ instructing his disciples how to pray (Matthew, VI, 6-7), and the others have scenes associated with the lines of the Lord's Prayer which follows (Matthew, VI, 8-13). The words are written in French at the bottom of each plaque. This scene, the 'Descent of the Holy Spririt at Pentecost' (Acts of the Apostles, 2, 1-4), illustrates the third line of the Lord\u2019s Prayer, \u2018Thy Kingdom come\u2019 (Matthew VI, 10), with the words 'a nous' (to us) added. Five more plaques of the Pentecost scene are recorded. \n\nThe scenes in the plaques were inspired by a set of metalcuts by the Basel monogrammist C.V. after Holbein which appeared in Desiderio Erasmus's 'Precatio dominica in septem portiones', published by both Johann Froben and Johannes Bebel successively in Basle in 1524. The work was first published without illustrations in 1523, and was rapidly translated into modern languages. The illustrations in the Froben and Bebel editions have the inscriptions in Latin, but a set of eight prints issued separately a little later with inscriptions in French, signed CV, is in the British Museum (1904.0206, 64,1-8;) and seven of the set (no. 4 is missing) are in the Cabinet des Estampes, Biblioth\u00e8que nationale, Paris (EA 25c in fol., p. 57). They may have been made for a French illustrated edition of Erasmus's book which was not published. While the iconography of all the plaques was derived from these prints, the details differ considerably, in some scenes more than others. The text on the plaques does not exactly follow the French text on the prints in the British Museum.\n\nTwo Lord's Prayer plaques in the Louvre were attributed to Colin Nouailher by Alfred Darcel (1867) and his attribution was upheld by J.J. Marquet de Vasselot (1919-20) and Sophie Baratte (2000). This attribution was confirmed for plaques in the same style by the presence of the initials CN below the title on a plaque from the Lord\u2019s Prayer decorated with the 'Deliver us from Evil' scene, acquired by the Mus\u00e9e de l\u2019\u00c9v\u00each\u00e9 (now Mus\u00e9e des Beaux-Arts), Limoges, in 2007 (2007.5.2) with another plaque of the 'Give us our daily bread' scene (2007.5.1). \n\nSets of Lord's Prayer plaques are also attributed to Jean II or III Penicaud, and to an enameller who signed 'KIP'. These differ considerably in style and details from Noualher's plaques and include one or two scenes which are completely different from the metalcuts after Holbein."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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An unidentified French sale in which the six plaques formed lot 289. An unidentified Italian owner or dealer before or after the sale. 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Cf. two other plaques of this subject, p. 229, no. 3, illustrated framed with the other plaques, formerly in the Chabri\u00e8res-Arles Collection, Paris; and p. 233, no. 3, formerly collections of W. Bemrose, Derby, and the Rev. E.A. Coghill, Southwell","page":"230-1","type":"reference"},"admin":{"id":"publication-200002170","uid":"adlib-publication-200002170","uuid":"06575876-e5c8-362b-93fd-a20f0679b18f"},"summary_title":"Quelques \u00e9maux de Colin Noailher et leurs mod\u00e8les grav\u00e9s"},{"@link":{"notes":"Ref. 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The Virgin kneels on the right before a wattled crib, and St Joseph holding a candle enters from the left through a doorway."},{"value":"Rectangular convex copper plaque with arched top, enamelled on a white ground in dark blue, turquoise, yellow, pink, mulberry, brown, black, grey and white, and gilded. The reverse has clear counter-enamel.The Nativity is shown in an open loggia with a timber roof supported by a column. The Christ Child lies in the centre behind a turquoise wattled fence, watched by an ox and ass behind a similar fence. Mary kneels on the right with her hands together in prayer. She has fair hair, and wears a dark blue cloak over a mulberry dress. Joseph approaches through the door of a grey building on the left, raising his cap with his right hand and carrying a candle in his left. He has grey hair and beard, a blue hat, a mulberry tunic, and yellow boots (only one visible). The foreground is turquoise and in the background there are turquoise trees. The dark blue sky is scattered with gold stars, among which is one large star with rays. There are gold lines running round the door of the building, the edges of Mary\u2019s cloak, and the edge of the candle, and the timbers of the roof are heavily gilded. \nThe plaque has carved wooden frame (A) in the form of a tabernacle with a half-figure of God the Father above the pediment with a shell-shaped niche above, and a winged cherub's head between foliated scrolls at the bottom.  A rectangle in the middle of the pediment and a horizontal line above the lower moulding are gilded."}],"identifier":[{"accession_number":"M.41 & A-1904","primary":true,"type":"accession number","value":"M.41 & A-1904"},{"priref":"156427","type":"priref","value":"156427"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156427","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156427"}],"inscription":[{"description":[{"value":"rectangular paper label with cut corners and blue border, crossed by two lines and inscribed in faded black ink"}],"location":"applied to the centre of the back","method":"printed in blue hand-written in faded black ink","transcription":[{"value":"'5430\/cod '[?] or 'cou' with a curved upward flourish\/16004' and '69'"}],"type":"label"},{"description":[{"value":"rectangular white paper label"}],"location":"on back of frame","method":"printed in black","transcription":[{"value":"BEQUEATHED BY\/FRANK MCCLEAN\/M.A.: F.R.S: F.R.A.S:\/ of Trinity College\/November MDCCCCIV"}],"type":"label"},{"location":"on back below the other label","method":"hand-written in black ink","transcription":[{"value":"Frame\/of\/Dalton\/69"}],"type":"label"}],"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":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"McClean died on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1545,"from":{"earliest":1545,"era":["CE"],"latest":1545,"precision":"circa","value":"1545"},"latest":1560,"note":[{"value":"old dating was earlier 1535-45 which seems too early"}],"range":true,"to":{"earliest":1560,"era":["CE"],"latest":1560,"value":"1560"}}],"maker":[{"@link":{"qualifier":"workshop of","role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"}],"note":[{"value":"The Reymond workshop produced large numbers of small arched rectangular plaques enamelled in polychrome or grisaille with religious subjects, including the Nativity, the Virgin and Child Enthroned, the Crucifixion,the  Piet\u00e0, St . Jerome in Penitence, and the Holy House arriving at Loreto.  Many of them would have been mounted as paxes, for use during Mass. Others may have been framed as small devotional images, sometimes hung over their owner's bedhead as 'images de chevet'. \nThe Nativity depicted on this plaque, was less common on Limoges enamels than the iconographical model showing Joseph and Mary adoring the Christ Child in front of a gabled stable. Dalton in his 1912 Catalogue of the McClean Collection identified the man entering from the left as one of the Shepherds because he is doffing his hat, but the shepherds are usually depicted as a group, so it seems more likely that he is intended to be Joseph, who is often depicted holding a candle or lantern. Positioned over the baby Christ, the flame of the candle emphasized to the viewer that he was the \u2018true Light, which lighteth every man that cometh into the world\u2019. Marquet de Vasselot in April 1911 described the plaque  as 'A late work of the atelier of Pierre Reymond'. Bernard Rackham on 20 January 1921 recorded his view that it might be an early Pierre Reymond. It probably dates between these extremes in the middle of the century.\n\nThe grouping of the figures and animals in a loggia with a coffered ceiling can be compared with three arched plaques with differing architectural details attributed to Pierre Reymond or his workshop. One in the Metropolitan Museum of Art, New York, (inv. 45.16.14), one decorated in blue grisaille, and one in normal grisaille, sold in Paris respectively in 1993 and 2016. Two small circular polychrome plaques in the Victoria and Albert Museum differ from the Fitzwilliam's in having ruined arches in the background, and one of them lacks the coffered ceiling in the loggia (inv. nos. 482-1899 and 231F-1874). 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A preacher in a canopied pulpit addresses a congregation. In the background a man and woman dine in front of a house. Below is an inscription \u2018DONNE NOVSAVIOVR DHVY\u2022NOS\/TRE PAIN COTIDIAN\u2019 (Give us today our daily bread). One of a set with M.49A, B & D-F-1904"},{"value":"Rectangular convex copper plaque with a small hole in each corner, enamelled in grisaille technique in opaque white with enlevage with a little pink, and one spot of red on a black ground, and gilded. The counter enamel is clear, and unevenly applied with thick blobs at the top and left side. On the left, a preacher stands in a canopied pulpit inscribed 'VERI\/TAS' on its side. He addresses a congregation of women seated in the middle, and men standing on the right. A woman seated on the right holds a closed book. Another in the middle holds an infant on her lap, and another with her back to the pulpit has a cloak draped around her. A partly shown figure behind them has a red jewel in his turban-like cap. Only two of the men are shown in detail. Both wear square hats and long gowns. In the background there are columns and a man and woman dining at a table in front of a house. The man offers a cup to the woman. The sky is powdered with gold, and there are four gold plants in the foreground. A white panel running across the bottom of the plaque is inscribed in black with gilding over it 'DONNE NOVSAVIOVR DHVY\\bullet NOS\/TRE PAIN COTIDIAN' (Give us today our daily bread). A gold line runs round the scene and the inscription. The reverse is inscribed in black with the Roman numeral 'V'.\nThe plaque is set in an ill-fitting, rectangular, gilt-metal frame with repeating formal leaf border. 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The first plaque shows Christ instructing his disciples how to pray (Matthew, VI, 6-7), and the others have scenes associated with the petitions of the Lord's Prayer which follows (Matthew, VI, 8-13). The words are written in French at the bottom of each plaque. This plaque illustrates the line 'Give us our daily bread' (Matthew, VI, 11). At least seven more plaques are known illustrating this line, see Documentation \n\nThe literal interpretation of the petition is represented by a couple taking a meal in the background, but the significant message of the scene is that the congregation should feed their minds and souls on the spiritual food of the Word of God expounded by the preacher. The viewers would probably have familiar with Jesus words to to Satan during his Temptation in the Wilderness, that 'Man shall not live by bread alone, but by every word that proceedeth out of the mouth of God' (Matthew IV:4), and with his words after the Feeding of the Five Thousand, 'I am the bread of life: he that cometh to me shall never hunger; and he that believes in me shall never thirst' (John VI: 35). \n\nThe scenes in this Lord's Prayer series were inspired by a set of metalcuts by the Basel monogrammist C.V. after Holbein which appeared in Desiderio Erasmus's 'Precatio dominica in septem portiones' (The Lord's Prayer in seven parts), published by both Johann Froben and Johannes Bebel successively in Basle in 1524. The work was first published without illustrations in 1523, and was rapidly translated into modern languages. The illustrations in the Froben and Bebel editions have the inscriptions in Latin, but a set of eight prints issued separately a little later with inscriptions in French, signed CV, is in the British Museum (1904.0206, 64,1-8;) and seven of the set (no. 4 is missing) are in the Cabinet des Estampes, Biblioth\u00e8que nationale, Paris (EA 25c in fol., p. 57). While the iconography of all the plaques by Colin Nouailler was derived from these metalcuts, their details differ considerably, in some scenes more than others. See Documentation. The preacher on the plaques, who unlike the one in Precatio domenica ..., wears a biretta, seems likely to have been influenced by the woodcut for the Preacher in Holbein's 'The Dance of Death', published in Lyon in 1538. \n\nThe iconography of this plaque differs greatly from the Holbein version, which presents an orthodox view of this line as a petition for everyday food together with the spiritual bread of the Eucharist and the Word of God. Possibly significantly the enameller omitted a priest administering the Eucharist in the middle of the metalcut scene. The word 'VERITAS' (Truth) on the side of the pulpit is not present in the print, nor on the other plaques of this subect. It may refer to the Latin text of St John's Gospel 17: 17, in which Christ, while praying to God for his disciples before his arrest asked 'Sanctify them through thy truth: thy word is truth'. Its presence can also be related to Erasmus's text in' Precatio dominica . . .', where he wrote  in Latin 'Your Son is the truth, and the truth of the gospel is the bread that he left us for spiritual nourishment.'  The presence of the word VERITAS therefore suggests that the patron or enameller was familiar with Erasmus' text as well as the illustrations. \n\nTwo plaques from this Lord's Prayer series in the Louvre were attributed to Colin Nouailher by Alfred Darcel (1867) and his attribution was upheld by J.J. 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Their sets include some scenes which differ completely from the Holbein\/CV prints, and their text follows the French of the prints in the British Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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St Eleonor holding a palm, in an oval medallion titled below in two panels 'SAINTE' 'ELEONOR'; raised white foliage reserved in a black ground in the spandrels"},{"value":"Rectangular copper plaque with slightly waisted sides and a hole at top centre and at bottom centre, enamelled in  blue, green, yellow, pink, flesh- pink, orange-red, stone, brown, black, and white, and gilded. The counter-enamel is cloudy dark brownish-black.\nAn oval medallion with a white border encloses a full-length seated figure of St Eleonor holding a green palm in her left hand, and resting her right hand on her breast. She has black and red jewels in her hair, and wears a red long-sleeved dress highlighted in pink, a white collar with red stripes, and a brooch at centre front, and a blue ermine-lined cloak sem\\'e9 with gold fleurs-de-lys. To her left there is a chest covered by a white cloth decorated with fleur-de-lys, on which rests a crown and sceptre. Behind her is a stone-coloured wall and a black background. The black spandrels outside the frame are decorated in raised white with stylized foliage. Two narrow white panels at the bottom of the plaque are inscribed in black,'SAINTE ELEONOR'.  Signed on the reverse in gold: 'B.TE. NOVAILHER.\/ EMAILIEVR\/A. LIMOGES'  followed by a flourish."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum By Frank McClean, M.A., F.R.S."}],"identifier":[{"accession_number":"M.47-1904","primary":true,"type":"accession number","value":"M.47-1904"},{"priref":"156433","type":"priref","value":"156433"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156433","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156433"}],"inscription":[{"location":"on front of plaque at the bottom","method":"painted in black","transcription":[{"value":"SAINTE.\u2019 \u2018ELEONOR."}],"type":"inscription"},{"description":[{"value":"the TE is raised and smaller"}],"location":"on back","method":"painted in gold","transcription":[{"value":"B.TE. NOVAILHER.\/EMAILIEVR\/A. 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She died at Amesbury on 24 June 1291, and was buried there. Her heart was taken to London to be buried in the church of the Fransiscans, the order which she particularly favoured, and had provided her spiritual advisers. Her acts of piety including the founding of a Dominican priory at Guildford, and benefactions  to the hospital of St Katharine by the Tower, and the Cistercian nunnery of Tarrant in Dorset. Her granddaughter Beatrice, who took the veil at Amesbury shortly before she did, later became Abbess of Fontevrault. The cult of St El\u00e9onore developed unofficially and she has not been canonized. \n\nThe bright colouring contrasting with a black ground is typical of mid eighteenth-century enamels, as is the raised white decoration in the corners. The reverse of the plaque has very dark brown counter-enamel which is also characteristic of eighteenth-century enamels. The plaque was probably produced by Jean-Baptiste Nouailher I, son of Pierre Nouailher (probably the elder of two brothers with the same name), and Anne Faulte, who was baptised in the Parish of Saint-Pierre en Saint-Etienne, on 26 May 1697 and died in 1775, rather than Jean-Baptiste Nouailher II (baptised 1732-1804).  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