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Joseph of Arimathea has a turquoise turban, and blue gown, and Nicodemus a blue hat and a turquoise jacket with a collar. The man on the left is dressed in a blue coat with a collar. In the foreground there are three turquoise plants on the green ground. Gold is used for the hair of Christ, two Marys and St John, to outline the edges of some of the garments, and ADD   \nOn the left wing, the prophet Daniel stands on a hexagonal platform in a niche below an ornate canopy. He faces front, with his head in profile to the right, and holds a scroll inscribed in black,\"O VOS.O(M)NES I.TRANSITIS.PERVIAM. ATENDITE.ET VIDETE. SI. EST. DOLOR.SIMI\" (sic, the ending should be SICUT DOLOR MEUS) (O all of you who travel by the road, wait and see if there is such sorrow). He is bearded, and wears a greyish-turquoise turban, a gown of the same colour, and a blue cloak. The platform, niche, and canopy are tan with gilded details. 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The front of the platform is decorated with two panels carved with nude figures flanking one carved with a pair of foliated cornucopia. The gable of the canopy has a reclining putto, and on the sides below are two panels carved with reclining figures flanking one with two putti supporting a shield inscribed \"Ihs\". Above there are pairs of foliated scrolls and in the top corners \"P\" and \"R\" in gold. 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The figures and architectural canopies on the wings are similar to those on a triptych with a central plaque of the Virgin and Child with Saints which he made for Louis de Bourbon (1495-1575), Abbess of Fontevrault in the same year, 1538, and is now in the Minneapolis Museum of Art (inv. 88.53). \n\nThe Lamentation was not described in the Gospels but was assumed to have taken place after Christ's body had been removed from the Cross, and before it was taken away for burial. The composition of the centre panel closely follows the engraving by Marcantonio Raimondi after Raphael of the 'Three Marys Lamenting the Dead Christ', although the enameller made some alterations to the heads of the man on the extreme left and the two Marys on either side of the Virgin. The inscription held by the Prophet Daniel is taken from the Lamentations of Jeremiah 1, 12, which if complete would read 'O all uou who travel by the road, wait and see if there is any sorrow like my sorrow'. 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The longitudinal grain is also visible as fine straight bands of lines on the underside.\n\nJo Dillon, 2023-11-10"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-40149","uid":"adlib-term-40149","uuid":"89c91a11-c946-3355-a7f0-e9d757f7a1d5"},"summary_title":"ivory"}}],"name":"Handle Head"},{"materials":[{"note":[{"value":"most of the decanter. Including the cover, foot, handle, spout and stopper, and the mounts on the body"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39748","uid":"adlib-term-39748","uuid":"23143f70-5ef2-3666-bf4f-f459a86566dd"},"summary_title":"silver alloy"}}],"name":"Mounts"},{"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"10.7"},{"dimension":"Diameter","units":"in","value":"4\u00bc"}]},"name":"Foot"},{"name":"Cameos","techniques":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-98865","uid":"adlib-term-98865","uuid":"aeb90103-2708-3cdf-abc1-219c45a070e9"},"summary_title":"carving"}}]},{"name":"Ivory","techniques":[{"note":[{"value":"carved"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-98865","uid":"adlib-term-98865","uuid":"aeb90103-2708-3cdf-abc1-219c45a070e9"},"summary_title":"carving"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Green glass, mounted in silver set with malachite, semi-precious stone, cloisonn\u00e9 enamels, coral cameos, intaglios, classical coins, ivory and rock crystal"},{"value":"Dark green blown glass body, mounted in silver with applied and engraved ornament, set with malachite panels, semi-precious stone, cloisonn\u00e9 enamels, two 17th century coral cameos each of a nymph's head, one of Cupid holding a basket, and another of Cupid holding a garland, a Roman first century AD nicolo intaglio of a sleeping hound, a Sassanian 5th or 6th century cornelian intaglio of a personal device and six silver-mounted ancient coins; on the neck, a Thracian silver drachm, struck at Byzantion (c. 340-320 BC) and a Roman silver siliqua of Julian II (361-363), possibly struck at the mint in Arles, France; on the body, a Byzantine gold lightweight solidus of Justinian (527-565)m a Byzantine electrum histamenon nomisma of Nicephorus III (1078-81), a Roman silver argentus of Constntine I (307-337) issued during his time as Caesar, dating from 305-307 and struck at the mint in Trier, Germany, and a Byzantine gold histamenon nomisma of Basil II (976-1025). The hinged cover with a Chinese rock crystal Buddhist lion surrounded by leafy foliage (two pieces missing) and a silver palisade, surmounted by a hoop with silver bell, the underside of the cover with an agate, surrounded by silver foliage. The cast silver handle is in the form of a winged lion with a carved elephant-ivory head, and the spout is cast in the form of an antelope's head with emerald eye, with a silver stopper attached by a chain. The foot is engraved with a hedgehog, a frog, a mouse, and a wren with a worm in its beak, and the 'signature' 'I WREN' for Jenny Wren. The partly obscured inscription on the neck reads: WILLIELMUS BURGES ME FIERI FECIT ANNO DI MDCCCLXV EX HONS ECCL[ESI]AE CONSTANTINOPOLITANAE"}],"exhibitions":[{"@link":{"catalogue":"B88","type":"reference"},"admin":{"id":"exhibition-1072","uid":"adlib-exhibition-1072","uuid":"5f0c5c3b-ca10-352c-8c84-8027304959ff"},"summary_title":"Victorian and Edwardian Decorative Art - The Handley-Read Collection"},{"@link":{"catalogue":"27","type":"reference"},"admin":{"id":"exhibition-1073","uid":"adlib-exhibition-1073","uuid":"f43edd64-7a49-3683-8104-172db5930ae6"},"summary_title":"Fantastic Illustration and Design in Britain 1850-1930"},{"@link":{"catalogue":"20","type":"reference"},"admin":{"id":"exhibition-1207","uid":"adlib-exhibition-1207","uuid":"fc88069a-7bd3-3bf5-9d37-a633e8e3ac6e"},"summary_title":"Morris & Company in Cambridge"},{"@link":{"catalogue":"C46","type":"reference"},"admin":{"id":"exhibition-1883","uid":"adlib-exhibition-1883","uuid":"042fd36d-549c-34b9-a660-ff3f90dd07f7"},"summary_title":"The Strange Genius of William Burges"},{"@link":{"catalogue":"29","type":"reference"},"admin":{"id":"exhibition-166","uid":"adlib-exhibition-166","uuid":"a08b2214-9d39-3c26-84d6-07a71c509bf2"},"summary_title":"Foundations for the Future"},{"@link":{"catalogue":"3","type":"reference"},"admin":{"id":"exhibition-3287","uid":"adlib-exhibition-3287","uuid":"c4b6d853-3af1-3cdf-a094-3732a4a70ee2"},"summary_title":"Designers and Jewellery 1850-1940: Jewellery and Metalwork from The Fitzwilliam Museum"}],"identifier":[{"accession_number":"M.16-1972","primary":true,"type":"accession number","value":"M.16-1972"},{"priref":"99083","type":"priref","value":"99083"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/99083","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/99083"}],"inscription":[{"location":"on the foot","method":"engraved","transcription":[{"value":"I WREN"}],"type":"inscription"},{"location":"on neck","method":"engraved","transcription":[{"value":"WILLIELMUS BURGES ME FIERI FECIT ANNO DI MDCCLXV EX HONS ECCL[ESI]AE CONSTANTINOPOLITANAE"}],"type":"inscription"},{"location":"on mount on front and on foot","method":"struck","transcription":[{"value":"JM"}],"type":"maker's mark"},{"description":[{"value":"lion passant"}],"location":"on mount on front and on foot","method":"struck","type":"hallmark"},{"description":[{"value":"leopard's head"}],"location":"on mount","method":"struck","type":"hallmark"},{"location":"on mount on front and on foot","method":"struck","transcription":[{"value":"k"}],"type":"hallmark"},{"description":[{"value":"monarch's head"}],"location":"on mount on front and on foot","method":"struck","type":"hallmark"},{"location":"on hoop over finial","method":"struck","transcription":[{"value":"GA"}],"type":"maker's mark"},{"description":[{"value":"lion passant"}],"location":"on hoop over finial","method":"struck","type":"hallmark"},{"description":[{"value":"monarch's head"}],"location":"on hoop over finial","method":"struck","type":"hallmark"}],"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":"Purchased with the Perceval Fund and with the Regional Fund administered by the Victoria & Albert Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-160896","uid":"adlib-agent-160896","uuid":"aa4bcbab-38fb-3dab-91d8-364175df2ec3"},"summary_title":"Handley-Read Estate"}],"date":[{"earliest":1972,"latest":1972,"value":"1972-10-19"}],"method":{"value":"bought"},"note":[{"value":"Entry date: 1972-10-19"}]}],"creation":[{"date":[{"earliest":1865,"from":{"earliest":1865,"era":["CE"],"latest":1865,"value":"1865"},"latest":1866,"note":[{"value":"the mounts bear the date letter for 1865-66; the Chinese rock crystal Buddhist lion on the cover is 18th century; the coral cameos are 17th century. 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His eclectic taste, love of vivid colouring, and super-abundant inventive powers brought forth a stream of idosyncratic designs for buildings and domestic objects.  He took inspiration from myriad places, cultures and sources, which resulted in an eclectic and fantastical style that he applied to all of his designs. He designed this complex decanter for use in his own home, where it complemented the brightly coloured interiors and painted furniture that he had commissioned from artists such as Rossetti and Burne-Jones. \n\nThis decanter demonstrates his flair for combining disparate elements to create an aesthetically satisfying whole. Burges had already conceived the design in 1858, when a similar vessel was shown with several pieces of metalwork in a watercolour serving as the frontispiece of his Orf\u00e8vrerie Domestique (RIBA Drawings collection). On the 10th, 11th and 12th sheets of this, there are further drawings for the decanter, the last of which is dated 1864. It was made in 1865 as were two variants: one made for Burges himself, now in the Cecil Higgins Art Gallery, Bedford; the other made for James Nicholson, and now in the Victoria and Albert Museum (see Documentation). The decoration of the mounts is reminiscent of early medieval crucifixes studded with re-used Roman cameos, intaglios, and uncut gemstones. The foliage applied to the body is also medieval in inspiration, as are the animals humorously engraved on the foot. The inscription indicates that Burges paid for the decanter from the fees which he had received for his prize-winning design of 1856 and later modifications to it, for the Crimea Memorial Church in Constantinople. 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