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The jewels are formed by blobs of enamel over silver foil. The reverse has almost clear but cloudy and uneven counter-enamel with many pinholes"}],"note":[{"value":"multi-couche technique"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-108432","uid":"adlib-term-108432","uuid":"a486efc4-a304-3aa3-93bd-528fc7ebaff4"},"summary_title":"New Testament"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper roundel decorated with polychrome enamels, and some jewelling over paillons, in circular gilt-wood frame. The Virgin sits with the Christ Child on her lap on the left in front of the gable end of a building. One king kneels to present a casket while the other two kings stand behind her."},{"value":"Circular very slightly convex copper plaque with a small hole on each side, painted in multi-couche technique in blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, on a white ground, with  jewelling over silver foil. The Virgin is seated on a wooden stool. She looks downwards, and holds the wide-awake infant Christ on her knee to greet one of the kings, who kneels before him holding out an open casket. A second king stands behind them in the centre, pointing to the right with his right index finger. The third more youthful king stands on the right. Behind the figures is the gable end of a rustic building, and on the right, an area of sky with a star. On the reverse, the copper is visible through the almost clear but cloudy counter-enamel with many pin holes. The plaque is mounted in a circular gilt wood frame with a border of small impressed circles round the top, and on the cavetto, a pricked repeating pattern of elliptical outlines. On accession the back was closed by brown paper, with near the top a small dark red leather suspension tab."}],"identifier":[{"accession_number":"M.39-1904","primary":true,"type":"accession number","value":"M.39-1904"},{"priref":"156425","type":"priref","value":"156425"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425"}],"inscription":[{"description":[{"value":"circular paper label printed in a circle in black with the collection name surrounding the lot number in black ink"}],"location":"on brown paper backing of frame","method":"printed in black and hand-written in black ink","transcription":[{"value":"MAGNIAC COLLECTION, printed, 516 in hand-written black ink"}],"type":"label"},{"description":[{"value":"rectangular with blue border forming four shallow lobes"}],"location":"on brown paper backing of frame","method":"hand-written in black ink","transcription":[{"value":"Mr Magniac."}],"type":"label"},{"location":"on brown paper backing near the top","method":"hand-written in pencil","transcription":[{"value":"528"}],"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":"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":"Entry date: 1904"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-206155","uid":"adlib-agent-206155","uuid":"a9ea7698-b53b-3e09-9513-ad18afd0846c"},"summary_title":"P\u00e9nicaud workshop"},{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-207553","uid":"adlib-agent-207553","uuid":"616b8dcf-7aa2-31c9-aa9b-012c74d905a2"},"summary_title":"Master of the High Foreheads"}],"note":[{"value":"The story of the journey of three wise men from the east to find the newly-born King of the Jews is told in St Matthew\u2019s Gospel, 2, 1-12. The Adoration of the Magi depicts their arrival at Bethlehem to worship the Infant Christ and present to him gifts of gold, frankincense and myrh signifying his royalty, divinity, suffering and death.\nThe small holes on each side, now filled, indicate that the medallion may originally have been intended to be mounted as a hat badge. Busts or  figures of Saints, and small Biblical scenes were popular subjects for these badges, which were worn on the upturned brims of men's hats during the late fifteenth and first half of the sixteenth century. A portrait of Louis XII painted c. 1510-14, in the Royal Collection at Holyrood House, Edinburgh, shows the king wearing a badge decorated with three saints. Several enamelled roundels of about the same size as the Fitzwilliam's, in the Walters Art Museum, the Museum Angewandte Kunst, Vienna, the Mus\u00e9e des Arts d\u00e9coratif, Paris, and the Mus\u00e9e des Beaux-Arts, Limoges  have 'jewelled' borders which make them appear even more likely to have been used in this way.\nThis and several other small plaques of the Adoration of the Magi were derived from either the same manuscript or printed source, or from one or other of a series of more accomplished late fifteenth century plaques attributed to the Monvaerni Master, which include Joseph on the left, the Virgin seated with an alert Christ Child on her lap, a bearded king kneeling to present a rectangular casket, two others standing behind him, of whom one or both are pointing upwards or sideways with one index finger, and an open gable end of a stable in the left background. A rectangular plaque with a slightly curved top in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9, Limoges, provides an approximate date range for the earliest examples because the scene includes on the right of the Biblical group, St John presenting Jean Barton II, Bishop of Limoges, from 1484-1510. and was probably made before the death in 1497 of his uncle and predecessor, Jean I Barton.  For the other plaques attributed to the Monvaerni Master see Documentation, Marcheix, 1967. Dalton attributed the Fitzwilliam\u2019s plaque to \u2018an enameller of the school of Nardon P\u00e9nicaud, and dated it to about 1500. However, the white preparation, only slight deterioration of the blue enamel, and almost clear cloudy counter-enamel suggest that it is more likely to be closer to 1525. The treatment of the heads, and the jewelling round the edges of Mary\u2019s halo and the garments of both figures, seems close in style to those of the Virgin and Gabriel on an unattributed pax of the Annunciation in the Victoria and Albert Museum."}],"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-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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(known as the Colworth Collection), 5th Day, 7 July, p. 138, lot\u00a0516, sold for \u00a333.12.0 to Frank McClean, Tunbridge Wells."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-162103","uid":"adlib-object-162103","uuid":"e05e2619-0017-38f8-982d-23070d21e91d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-126653","uid":"adlib-term-126653","uuid":"38ec5aff-ff75-3732-b28b-2cdc948738a2"},"summary_title":"plaques in frame"}},"summary_title":"plaques in frame"}],"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. p.138, 5th day, lot 516","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 109, no. 63, pl. XXIII, The reference by Dalton to two circular plaques in the Ashmolean Museum, with the Ecce Homo and the Piet\u00e0, presumably the two now described as Christ as Man of Sorrows and Lamentation over the Dead Christ, does not seem to be relevant, other than that the subjects are shown in a simple manner, comparable to this plaque.","page":"109","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":"Publ. p. 121, brief mention; the author likened it to some enamels by the Master of the High Foreheads. Cf. p. 223, no. 25.","page":"223","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Publ. p. 26 ill. 9a, compared with no. 10 on pp. 26-7, a circular medallion in a gilt copper frame, attributed to Nardon P\u00e9nicaud or his workshop c. 1510-20. On the left of the Holy Family is a  kneeling male figure wearing a hooded green gown, who appears to be tonsured and therefore a monk, whom the writer considers may be a donor, instead of Joseph, who is depicted on several other examples of this version of the Adoration of the Magi. The plaque has a dark bluish-grey counter enamel and the blue and manganese enamels on the front are degraded, which suggests that it is several years earlier than the Fitzwilliam's example. It has four holes in the perimeter. The size of the plaque is 6.8 cm and the frame on a covered stand 14 x 12.5 cm.","page":"26-7","type":"reference"},"admin":{"id":"publication-9084","uid":"adlib-publication-9084","uuid":"a4359251-d1f6-36ed-a382-709fba2d7769"},"summary_title":"De figuris et coloribus. Northern and Limoges Enamels (1150-1625). Email uit het Noorden en uit Limoges (1150-1625)"},{"@link":{"notes":"Cf. p. 39, colour illustration of the plaque attributed to the Monvaerni Master in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges.","page":"39","type":"reference"},"admin":{"id":"publication-6112","uid":"adlib-publication-6112","uuid":"1e8336a5-8d19-3816-89cd-2d1cd0929fd8"},"summary_title":"L'art de l'\u00e9mail \u00e0 Limoges\/Limoges, the Art of Enamel"},{"@link":{"notes":"Cf. pp. 157-8,  and  fig. 67, at the Courtauld Institute Gallery, London  where the other comparable plaques are mentioned.","page":"157-8","type":"reference"},"admin":{"id":"publication-200002162","uid":"adlib-publication-200002162","uuid":"c07b0cf3-eeb4-3880-b75f-46f426c53e45"},"summary_title":"The Painted Enamels in the Gambier-Parry Collection"},{"@link":{"notes":"Cf. pp. 24-5, no. 16, a plaque mounted as an image de chevet, atributed to 'Monvaerni', c. 1485-95","page":"24-5","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 14, pl. 3 in the Cleveland Museum of Art, Ohio, and p. 13, pl. 2 in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges, both attributed to the Monvaerni Master","page":"14","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. pp. 93-6, no. 43. Inv. no. Kgewm H. 997 Cl. Formerly in the Clemens Collection. This plaque is in a very different style from the others.","page":"93-6","type":"reference"},"admin":{"id":"publication-7040","uid":"adlib-publication-7040","uuid":"3adfdbf4-05a1-311f-88b6-d5f5c591182c"},"summary_title":"Email, Kunst, Handwerk, Industrie"},{"@link":{"notes":"Cf. p. 98, no. 61, a small Adoration plaque framed as a pax in a private collection in Belgium, has iconography comparable to the Fitzwilliam's","page":"96","type":"reference"},"admin":{"id":"publication-6082","uid":"adlib-publication-6082","uuid":"933bba5a-0cd4-3497-ace0-4e67876ceb78"},"summary_title":"\u00c9maux de Limoges XIIe-XIXe si\u00e8cle"},{"@link":{"notes":"p. 28-9, no. 9. Formerly in the M.A. Rosenberg collection, Paris, sold, 1909. Marquet de Vasselot, 1921 (op cit above), p. 224-5, no. 27.","page":"28-9","type":"reference"},"admin":{"id":"publication-7039","uid":"adlib-publication-7039","uuid":"60dd323d-f4f6-3596-ac1d-5a3dd19a0028"},"summary_title":"25 Masterpieces from the Middle Ages"},{"@link":{"notes":"Cf. p. 27, no. 3. Inv. no. \u0424 959. This arched plaque in the Hermitage, though rather crudely drawn by a very different hand, is obviously derived from the same source","page":"27","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"notes":"Cf. p. 25 and fig. p. 24. This plaque, formerly in the Spitzer Collection, has a third king whose features are obviously African or \u2018moorish\u2019. Its style is more closely related to an arched plaque formerly in the Pringsheim and Marcel von Nemes collections attributed to Nardon Penicaud when sold by Sotheby\u2019s London in 2004, and to an unusual plaque enamelled on silver in the Wallace Collection attributed to school of Jean I Penicaud.","page":"24-5","type":"reference"},"admin":{"id":"publication-7037","uid":"adlib-publication-7037","uuid":"c3e952d4-5ea2-3163-94a8-bd744dae4e83"},"summary_title":"F\u00fchrer durch das Kunstgewerbe-Museum zu Frankfurt am Main"},{"@link":{"notes":"Cf. p. 50, no. 248, unusual in being enamelled on silver, and one of the latest in the series","page":"50","type":"reference"},"admin":{"id":"publication-6083","uid":"adlib-publication-6083","uuid":"09810329-53bf-3713-bc5b-e194f6467063"},"summary_title":"Wallace Collection, Catalogue, Objects of Art, Illustrations"},{"@link":{"notes":"Cf. p. 49, lot 52, attributed to Nardon P\u00e9nicaud, second quarter of 16th century. H. 15.6 cm. Comparable in design to the plaque in the Wallace Collection, and at Frankfurt","page":"49","type":"reference"},"admin":{"id":"publication-5348","uid":"adlib-publication-5348","uuid":"34db80a1-cc6d-38f6-8148-1107e898a8e8"},"summary_title":"European sculpture and works of art 900-1900"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-60315","uid":"adlib-term-60315","uuid":"52d046fb-0fb7-37a2-9e6b-0e8d70b980b4"},"summary_title":"stable"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-106789","uid":"adlib-term-106789","uuid":"6395677b-069d-31d5-a14c-41fa44606f1b"},"summary_title":"Adoration of the Magi"},{"@link":{"type":"literal"},"name":[{"value":"stable"}],"summary_title":"stable"},{"@link":{"type":"literal"},"name":[{"value":"Adoration of the Magi"}],"summary_title":"Adoration of the Magi"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque","title":[{"value":"The Adoration of the Magi"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-118320","_score":17.667477,"_source":{"admin":{"added":1592996941000,"created":1312637261000,"flag":"Standard Record","id":"object-118320","indexed":1755194552145,"modified":1714475184000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-118320","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320","uuid":"d09ea3a7-c421-3c3b-bba4-1406a4214002","version":14},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-206436","uid":"adlib-agent-206436","uuid":"10341dfb-bf9a-3c55-92d9-fac98761e915"},"summary_title":"Vergil"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-153079","uid":"adlib-agent-153079","uuid":"fb604d25-5210-3a08-bcf1-26e1390ef020"},"summary_title":"Aeneas"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-171295","uid":"adlib-agent-171295","uuid":"3cc16678-80f9-31c7-a29c-e4f9c143200c"},"summary_title":"Cumaen Sibyl"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-171294","uid":"adlib-agent-171294","uuid":"00bf83d7-0412-38a0-b5bd-29b94f732168"},"summary_title":"Tityus"},{"@link":{"type":"reference"},"admin":{"id":"agent-189983","uid":"adlib-agent-189983","uuid":"6e9c6647-6827-3f6d-8b58-a00d4ca58f8a"},"summary_title":"Rhadamanthus"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-202684","uid":"adlib-agent-202684","uuid":"c1bdf184-6cf4-34bf-9d99-76c0ed859ebe"},"summary_title":"Tisiphone"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"component":[{"materials":[{"note":[{"value":"translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white; clear counter enamel"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"note":[{"value":"applied with spatula and painted"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-120056","uid":"adlib-term-120056","uuid":"c8ca8cd4-96be-3fa5-9a93-736d997f3177"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-97946","uid":"adlib-term-97946","uuid":"388f10ba-526c-32ab-869a-65750eb7faac"},"summary_title":"drawing"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque","techniques":[{"description":[{"value":"copper enamelled in translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white and profusely gilded. There is a white layer under the areas enamelled in greyish-blue, white and pale red. The drawing appears black on the copper or the white preparation. The translucent colours are applied directly over the copper (clearly visible where there is loss of enamel on the edge and elsewhere under magnification). Water is represented by a thin wash of translucent greyish-blue over white with black lines to represent waves. The reverse has translucent counter-enamel, tinged here and there with green."}],"note":[{"value":"slightly convex"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28779","uid":"adlib-term-28779","uuid":"9ded0180-afed-3209-bd56-ea3a2c252893"},"summary_title":"hammering"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-137590","uid":"adlib-term-137590","uuid":"c134dd31-a6dc-39ae-94c7-cf3bd7588c32"},"summary_title":"classical literature"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome and gilded with a scene showing Aeneas and the Cumaean Sybil in the Underworld."},{"value":"Slightly convex copper plaque, enamelled in translucent greyish-blue, dark blue, green, mulberry-brown and clear appearing tan, and in semi-translucent pinkish-red, and opaque white and profusely gilded. There is a white preparation under the areas enamelled in greyish-blue, white and pale red. The drawing appears black on the copper or the white preparation. The translucent colours are applied directly over the copper (clearly visible where there is loss of enamel on the edge and elsewhere under magnification). Water is represented by a thin wash of translucent greyish-blue over the dark and white layers with enlevage to produce black wavy lines. The reverse has brownish translucent counter-enamel, tinged here and there with green.\nThe Cumaean Sybil, labelled '(SY)BILLA', and Aeneas, labelled 'ENEAS', stand in the top left corner. At top centre is a label 'I.ET.VII' beside the bell-tower of a flaming tripple-walled castle with a green many-headed Hydra guarding its gates which occupies the top left corner.Outside the walls there is a man bound to a waterwheel, and three men's heads emerging from a mill pond. On the wall above the wheel is a label inscribed 'TI.ION' (?ILION - Troy). Below Aeneas is a label inscribed 'TISIPHONE' beneath which she and another Fury holding snakes, are beating four almost nude men bound to a tree, and another man who leans forward over a devil who is stabbing two men lying on the ground. Below to the right are two men prone, one upwards and one downwards, on a bed of nails, and further to the right, three being cooked in a cauldron attended by a green devil.  In the middle, Rhadamanthus, labelled 'FASAMANI9', robed and holding a sceptre, sits on a stool, and behind him on the ground, is a seated man with his right arm raised. A gold chain divides these figures from those below. In the lower left corner, a young man is seated at a table covered by a white cloth and laid for a meal. A bird with a female head stands opposite to him on the table. In the middle three men are seated on the ground , two of them holding a jug. In the lower right corner is a label inscribed 'TITVS' over a vulture which is pecking the thorax of Tityus, who is encircled by a gold chain. Gold is used lavishly for the hair of the figures, outlining of features, and shading."}],"identifier":[{"accession_number":"M.7-1945","primary":true,"type":"accession number","value":"M.7-1945"},{"priref":"118320","type":"priref","value":"118320"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/118320"}],"inscription":[{"description":[{"value":"first two letters of name are missing"}],"location":"on front","method":"painted in black enamel","transcription":[{"value":"(SY)BILLA"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"ENEAS"}]},{"location":"on front, top centre","method":"painted in black enamel","transcription":[{"value":"I\u00b7ET\u00b7VII"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TI\u0387ION"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TISIPHONE"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"SALMONE"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"FASAMANI9"}],"type":"inscription"},{"location":"on front","method":"painted in black enamel","transcription":[{"value":"TITVS"}],"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":"Given by the Friends of the Fitzwilliam Museum"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149645","uid":"adlib-agent-149645","uuid":"10925b71-6838-30f7-a8dd-b68a2afaa14d"},"summary_title":"The Friends of the Fitzwilliam Museum"}],"date":[{"earliest":1945,"latest":1945,"value":"1945-06-15"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1527,"from":{"earliest":1527,"era":["CE"],"latest":1527,"precision":"circa","value":"1527"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-171056","uid":"adlib-agent-171056","uuid":"5b4f2761-4c57-35f4-91cc-00e9d17e118a"},"summary_title":"The Master of the Aeneid Series"}],"note":[{"value":"This is one of a series of eighty-three recorded plaques each decorated with a different scene after the woodcut illustrations to Books I to IX of the Aeneid in Sebastian Brandt's edition of Virgil's 'Opera', printed by Johann Gr\u00fcninger in Strasburg in 1502 (a copy is in the Cambridge University Library, Tb.51.61). Or, possibly, from editions with the same woodcuts published at Lyon by Jacob Saccon in 1517 and by Jean Crespin in 1529. The series was probably the earliest example of classical subjects on Limoges enamels, and was the largest group of plaques with a coherent theme derived from the same source. The subject on this plaque is from Book VI, and was copied from the woodcut which appears on fol. 274 recto of the 1502 edition. It shows Aeneas with the Cumaen Sibyl who was guiding him through the Underworld to see his father, Anchises, when they reached a point where the path divided, one branch leading to Elysium, and the other to Tartarus where various souls are being judged and tormented. For listings of the other Aeneid plaques, see Documentation. \n\nThe iconography follows Vergil's description, but Piritho\u00fcs, the King of the Lapiths (lower left corner), who was unable to move after sitting down in the Underworld, appears more like Tantalus, who was usually assigned the punishment of being surrounded by food and drink but unable to assuage his thirst or hunger. Below the city walls (top right), the figure tied to a wheel is probably Ixion who was crucified on a wheel by Zeus as punishment for attempting to rape Hera. The enameller did not follow the woodcut exactly. The entrails and liver of Tityus (lower right corner) are not shown as they are in the woodcut. The anatomy of the almost nude figures is more rounded and realistic, and the Fury, Tisiphone, wears a small crown instead of a cap. \n \nNeither the patron nor the original situation of the plaques has been discovered. It seems possible that they were set into the panelling in a collector's cabinet or study, as in the often cited \u2018cabinet des \u00e9maulx\u2019 in Catherine de Medici\u2019s, h\u00f4tel in the rue de Grenelle, Paris, where the inventory after her decease mentioned \u2018Trent neuf petit tableau d\u2019\u00e9mail de Limoges en form ovale enchassez dans le lambris au dict cabinet\u2019.\n\nThe Master of the Aeneid Plaques has remained an enigma, although some scholars have considered that he might have been Jean I P\u00e9nicaud. Very few other enamels have been attributed to him on the basis of features which occur in the Aeneid plaques, such as a distinctive way of rendering clouds. These  including a Crucifixion after Lucas van Leyden in the Victoria & Albert Museum inv. no. 2820-1926, a Crucifixion after D\u00fcrer. formerly in the Givenchy Collection (see Documention, Descheemaecker), and an Adoration of the Magi acquired by the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges in 2006, which has a leaf of silver over the entire surface beneath the enamelling."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120009","uid":"adlib-term-120009","uuid":"690a6332-cfc1-3411-a716-4dd4ec7d9a65"},"summary_title":"16th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-15528","uid":"adlib-term-15528","uuid":"e0418d83-969d-363c-8fb5-34f0fc63d26a"},"summary_title":"Fran\u00e7ois 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The reverses have clear counter-enamel."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28779","uid":"adlib-term-28779","uuid":"9ded0180-afed-3209-bd56-ea3a2c252893"},"summary_title":"hammering"}}]},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"20.2"},{"dimension":"Width","units":"cm","value":"17.2"}]},"name":"Centre Panel"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"20.2"},{"dimension":"Width","units":"cm","value":"7.8"}]},"name":"Side Panels"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, polychrome enamels, and gilding. Triptych comprising plaques of the Lamentation over the Dead Christ flanked by the Prophet Daniel and St Peter"},{"value":"Three slightly convex copper plaques with a white preparation, enamelled in blue, turquoise, green, flesh pink, mulberry, tan, brown, grey, black, and white, and gilded. The reverse has clear counter-enamel.\nThe central plaque shows the three Marys and the Virgin grieving over the dead Christ with St John standing on the right beside a tree, accompanied by an elderly bearded man, and a partly visible clean-shaven man, probably Joseph of Arimathea and Nicodemus;  on the left, behind the Marys, is a partly visible bald-headed man. In the landscape background there are rocks and a tree on the left, and on the right, on Golgotha, a man, three crosses and a ladder propped against the one vacated by Christ. The sky is scattered with stars.\nThe Virgin wears a white wimple, a blue dress and blue cloak. The Mary to the left of her is dressed in a turquoise dress and pale brown cloak. The one nearest to her on the right wears a turquoise hat and dress, and the Mary further to the right, a green swathed cap and a tan dress. St John has a blue cloak over a mulberry gown. 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. The sides of the platform have two panels carved with nude figures, flanking one carved with two foliated scrolls terminating in monster heads. The canopy has a winged putto's head in the gable, and on the sides, three panels of nude figures. Above the gable there are pairs of foliated scrolls and at the top, divided by the apex of the gable,\"15 P\"and \"R 38\"  inscribed in gold. The wall of the niche are scattered with fleur-de-lys, and level with the figure head have a cornice inscribed \"DANIEL PROFETE\"\nOn the right wing, an apostle, probably St Peter, stands in an analogous niche. He is shown in profile stepping towards the left holding a scroll inscribed \"CHRISTVS. PASSVS. EST  PRO. NOBIS.VOBIS RELINQVENS EXEMPLUN\" (sic the last letter should be M)(Christ suffered for us, leaving for you an example). He is bald-headed and bearded, and wears a a long blue gown with a turquose shawl round his shoulders. 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. The niche are scatteed with groups of four dots on the right, and ? cross-hatched on the left, and at the top have a cornice decorated with a row of circles instead of an inscription."}],"exhibitions":[{"@link":{"catalogue":"1750","type":"reference"},"admin":{"id":"exhibition-1265","uid":"adlib-exhibition-1265","uuid":"723e9b4e-5a35-3d5f-933e-29f6c9da35fe"},"summary_title":"Special Exhibition of Works of Art of the Mediaeval, Renaissance and More Recent Periods"},{"@link":{"catalogue":"148","type":"reference"},"admin":{"id":"exhibition-2003","uid":"adlib-exhibition-2003","uuid":"96abc825-e9c0-3b63-b36c-44f6245b9959"},"summary_title":"Catalogue of a Collection of European Enamels from the Earliest Date to the End of the XVII Century"},{"@link":{"catalogue":"45","type":"reference"},"admin":{"id":"exhibition-1609","uid":"adlib-exhibition-1609","uuid":"6d201037-48f1-3a69-9e4e-72551b7f32d0"},"summary_title":"Treasures from the Fitzwilliam"},{"@link":{"catalogue":"97","type":"reference"},"admin":{"id":"exhibition-1933","uid":"adlib-exhibition-1933","uuid":"d334c181-c6c3-3d54-a77d-d572588c9a30"},"summary_title":"William Beckford, 1760-1844: An Eye for the Magnificent"}],"identifier":[{"accession_number":"M.1-1926","primary":true,"type":"accession number","value":"M.1-1926"},{"priref":"131080","type":"priref","value":"131080"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/131080","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/131080"}],"inscription":[{"location":"top of left panel","method":"painted in gold","transcription":[{"value":"15  P R 38"}],"type":"initials"},{"location":"top of right panel","method":"painted in gold","transcription":[{"value":"PR"}],"type":"initials"},{"location":"on centre panel below Christ","method":"painted in gold","transcription":[{"value":"PR"}],"type":"initials"},{"location":"on left wing","method":"painted","transcription":[{"value":"DANIEL PROFETE"}],"type":"inscription"},{"location":"on left wing on scroll held by Prophet","method":"painted","transcription":[{"value":"O VOS.O(M)NES I.TRANSITIS.PERVIAM. ATENDITE.ET VIDETE. SI. EST. DOLOR.SIMI"}],"type":"inscription"},{"description":[{"value":"the last letter should be an M"}],"location":"on right wing on scroll held by Saint","method":"painted in","transcription":[{"value":"CHRISTVS. PASSVS. EST  PRO. NOBIS.VOBIS RELINQVENS EXEMPLUN"}],"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":"Bequeathed by F. Leverton Harris"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-151483","uid":"adlib-agent-151483","uuid":"26fbb332-a159-3961-80ad-ff1bd1a618c2"},"summary_title":"Harris, Frederick Leverton"}],"date":[{"earliest":1926,"latest":1926,"value":"1926-11-14"}],"method":{"value":"bequeathed"},"note":[{"value":"the testator died on 14 November 1926 and this was the date entered in the accession register, although presumably the objects in his bequest did not arrive until several weeks later. The next entry was dated 1 March 1927."}]}],"creation":[{"date":[{"earliest":1538,"era":["CE"],"latest":1538,"precision":"dated","value":"1538"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-112340","uid":"adlib-agent-112340","uuid":"a9104dd3-daf9-32ba-b083-c074b588b652"},"summary_title":"Raimondi, Marcantonio"}],"note":[{"value":"Triptychs were used as a focus for private devotions by religious and lay persons. When not in use the hinged wings could be folded over the central plaque to protect it. The exquisite execution, Raphaelesque style, and colouring of this example are characteristic of Pierre Reymond's early polychrome religious works dated in the late 1530s. 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'. This was an appropriate quotation for a wing flanking a scene from the Passion of Christ, because lessons from Lamentations were included in the tenebrae services which took place on the three days preceding Easter Sunday. The inscription on the scroll held by the other figure is from1 Peter 2,21, 'Christ suffered for us, leaving for you an example', which was equally  appropriate. It also indicates that the figure is St Peter, although he does not hold a key, his usual attribute. \n\nThe triptych was acquired by the English collector, William Beckford (1760-1844) at an unknown date before 1822, possibly on one of his visits to France. The triptych's superb quality and Raphaelesque style would have appealed to Beckford's taste for High Renaissance art, as would its deeply moving religious subject. His small but splendid collection of Limoges painted enamels included an earlier triptych attributed to Nardon P\u00e9nicaud, now in the British Museum. On Beckford's death the Fitzwilliam's triptych was inherited by his daughter, Susan Euphemia (1786-1859), who had married Alexander, 10th Duke of Hamilton (1867-1852), who, like her father, was an ardent francophile, and art collector."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120009","uid":"adlib-term-120009","uuid":"690a6332-cfc1-3411-a716-4dd4ec7d9a65"},"summary_title":"16th Century, second quarter"},{"@link":{"type":"reference"},"admin":{"id":"term-15528","uid":"adlib-term-15528","uuid":"e0418d83-969d-363c-8fb5-34f0fc63d26a"},"summary_title":"Fran\u00e7ois I"}],"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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Duchess of Hamilton, n\u00e9e Beckford  (1786\u20131859), and her husband, Alexander, 10th Duke of Hamilton (1767\u20131852); by descent to the 12th Duke of Hamilton (1845\u201395); sold Christie\u2019s, 17 June - 20 July 1882, Catalogue of the Collection of Pictures, Works of Art, and Decorative Objects the Property of His Grace the Duke of Hamilton, K.T., lot 971 (\u00a31,218); W. Wareham; John Edward Taylor (1830\u20131905); his widow, Martha (d. 1912); Christie\u2019s, 1-4 and 9-10 July 1912, Catalogue of the Renowned Collection of Works of Art . . . formed by the late John Edward Taylor, day 1, lot 142; Durlacher Bros, London; Frederick Leverton Harris (1864-1926), London."}],"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. pp. 165-6, no. 1750. Cf.  p.166, no. 1,751, a triptych of 1538 by Reymond which was made for Louise de Bourbon, Abbess of Fontevrault, lent by Baron Gustave de Rothschild.  The treatment of the figures and architectural canopies on the wings is comparable.","page":"165-6","type":"reference"},"admin":{"id":"publication-3723","uid":"adlib-publication-3723","uuid":"1c3867f1-219e-387c-82a4-3cce59de08e2"},"summary_title":"Catalogue of the Special Exhibtion of Works of Art of the Medieval, Renaissance, and more Recent Periods, on loan at the South Kensington Museum, June 1862"},{"@link":{"notes":"Publ. p. 10, where the centre panel is described as the Deposition, illustrated pl. 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on a white ground; and enamelled in blue, turquoise, green, yellow, and mulberry translucent enamels over silver foils on a black ground"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"copper decorated en grisaille and polychrome enamels and gilded. Cupid riding on a lion with the inscription 'omnia vinci amor (Love conquers all) and signed '\u2018\u2022I\u2022L\u2022\u2019; on the sides floral sprays and birds; and on the back a central landscape, surrounded by stylized floral sprays."},{"value":"Copper, raised, and decorated in three techniques: enamelling in grisaille on a black ground and gilded; enamelling in blue, green, yellow, orange-red, pale manganese\/mulberry, and black on a white ground; and enamelling in blue, turquoise, green, yellow, and mulberry translucent enamels over silver foils in a black ground, and gilded.  The hexafoil bowl has lobed sides rising from a slightly convex hexagonal base, and two small S-shaped handles on opposing sides In the middle, framed by two gold lines is a hexagonal panel executed in grisaille on a black ground of Cupid riding on a lion walking to the left. Cupid has a quiver of gold arrows slung on his back by a gold strap, and controls the lion by means of a gold leash passing through its mouth. The lion has gold toe nails and some of Cupid\u2019s  wavy hair is gold. On the left edge \u2018omnia uinci amor\u2019(Love conquers all) is inscribed in gold The initials \u2018\u2022I\u2022L\u2022\u2019 in black are inscribed in front of the lion\u2019s left rear paw. The sides have a white ground decorated with blue, pale mulberry, and red and yellow flowers on black stems with green foliage, amongst which, on three lobes, there is a fanciful bird. Round the rim is a border of black petals with vertically striated semi-circular centres.\nOn the hexagonal base framed by black and gold lines there is a landscape in which is a white house with a red roof beside a stream, with a clump of trees behind it. Four small flocks of birds fly through the opaque pale blue sky. The black sides are decorated with stylized flowers and gold foliage, amongst which, on two lobes, is a fanciful bird in translucent enamels over silver foils. The handles are black with remnants of a gold line following its S-shape."}],"identifier":[{"accession_number":"M.51-1904","primary":true,"type":"accession number","value":"M.51-1904"},{"priref":"139844","type":"priref","value":"139844"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139844","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139844"}],"inscription":[{"location":"inside in centre","method":"painted in gold","transcription":[{"value":"omnia uinci amor"}],"type":"inscription"},{"location":"inside in front of the lion\u2019s left rear paw.","method":"painted in black","transcription":[{"value":"\u2022I\u2022L\u2022"}],"type":"initials"}],"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":1650,"from":{"earliest":1650,"era":["CE"],"latest":1650,"precision":"circa","value":"1650"},"latest":1695,"range":true,"to":{"earliest":1695,"era":["CE"],"latest":1695,"value":"1695"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-76511","uid":"adlib-agent-76511","uuid":"228a38d9-7ce2-33f4-a19e-e240d6a0ac52"},"summary_title":"Laudin, Jacques I"}],"note":[{"value":"Small enamelled two-handled bowls or cups with hexafoil or circular rims became fashionable in the mid 17th century and large numbers of them have survived. Most of them are decorated on the base with a landscape, surrounded by stylized flowers and birds in translucent enamels over foils in a black ground embellished with gold foliage. Others have floral decoration on a white ground. The central medallion inside may be of a religious, classical, or other secular subjects, and the interior sides are usually decorated with polychrome flowers and birds on a white ground in either a continuous band or in panels. Many of them bear the initials \u2018.I.L.\u2019 and these have usually been attributed to Jacques Laudin I (c. 1627-95), for example by Darcel and Marquet de Vasselot, although it is possible that some of them were executed by his nephew Jacques II Laudin (c. 1663-1729). However, the decoration of the reverse of the Fitzwilliam\u2019s bowl, resembles that on other pieces attributed to Jacques I Laudin.\nCupid riding a lion, emblematic of the power of Love, accompanied by the inscription \u2018omnia vincit amor\u2019 from Virgil\u2019s Eclogues, X, 69: \u2018omnia vincit Amor: et nos cedamus Amori.\u2019 (Love conquers all; let us, too, yield to Love\u2019) was a popular one in the 17th century. A a circular image appeared with a fiercer lion, as the first plate in the earliest Dutch emblem book by Dani\u00ebl Heinsius, published untitled in 1601 but known as Quaeris quid sit amor? and titled, Emblemata amatoria, in the second edition of 1611. \nThe emblem occurs on four more hexafoil bowls: in the Fitzwilliam (M.3-1928), the Mus\u00e9e des Beaux-Arts, Limoges (101); and the Mus\u00e9e d\u2019Art et d\u2019Arch\u00e9ologie, Gu\u00e9ret (2009.0.335), and one unlocated, sold in Paris in 2004. Four more with circular rims are respectively in the the Ashmolean Museum (OA 248), the Victoria and Albert Museum (C.23-1923), the Mus\u00e9e des Beaux-Arts, Limoges (94), and the Mus\u00e9e des Beaux-Arts, Dijon (CA T 1322). The shape of another, formerly in the K\u00f6nigliche Kunstkammer Berlin, (Inv. I.G.179), but now lost is not certain, but may have been of hexafoil form as it was not described as having a footring. Several others were mentioned in 19th century French and English sales."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118735","uid":"adlib-term-118735","uuid":"1631bde8-d0c4-3507-be3b-ac03c59ba807"},"summary_title":"17th Century, second half"},{"@link":{"type":"reference"},"admin":{"id":"term-15536","uid":"adlib-term-15536","uuid":"02571f2e-a606-30c6-a49e-85d820d4a0cd"},"summary_title":"Louis XIV 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F.R.S."},{"@link":{"notes":"Ref. p. 386 for biographical details based on archival sources for Jacques Laudin I, and p. 388, for his nephew, Jacques Laudin II.","page":"386, 388","type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"},{"@link":{"type":"reference"},"admin":{"id":"publication-7141","uid":"adlib-publication-7141","uuid":"e32855a0-ee12-381a-923f-b8e47a7dd72b"},"summary_title":"Catalogue descriptif des objets d\u2019art formant le mus\u00e9e Anthelme et Edma Trimolet"},{"@link":{"notes":"Cf. Sixth Day, 12th June, p. 77, lot 795, 'A small two-handled Tazza' with Cupid riding a lion in the centre by J. Laudin, and lot 797 another with Cupid in the centre (no lion mentioned) by J. Laudin, from Hamilton Palace, both with landscapes on the base","page":"77","type":"reference"},"admin":{"id":"publication-5969","uid":"adlib-publication-5969","uuid":"55cca6d7-4f42-3fb8-a16b-a451b0de3c12"},"summary_title":"Catalogue of the Valuable Collection of Pictures, Works of Art, and Decorative Objects of Christopher Beckett Denison, Esq., Deceased, late of Upper Grosvenor Street, First Portion"},{"@link":{"notes":"Cf. p. 75, an example with similar central motif of Cupid leading a lion, in the Mus\u00e9e Municipal de l\u2019\u00c9vech\u00e9, Limoges (Inv. 101), now the Mus\u00e9e des Beaux-Arts: Formerly Durand Collection, 45.2478, given by the state 1875. A lobed bowl, initialed \u2018.I.L.\u2019 with crudely painted flowers on the interior. 4 x 12.5 cm.","page":"75","type":"reference"},"admin":{"id":"publication-6074","uid":"adlib-publication-6074","uuid":"2bfe1392-fcb2-38bc-a20d-5b5b1115f22b"},"summary_title":"Guide du Mus\u00e9e Municipal, Collection \u00c9gyptienne, \u00c9maux"},{"@link":{"notes":"Cf.  p. 158, no. 38, an example with a probably similar central motif, formerly K\u00f6nigliche Kunstkammer Berlin, Inv. I.G.179; now lost. Formerly in the Nagler Collection, acquired in 1935. : Initialled I.L. Landscape on base. H.. 4 cm. D. 14 cm. Inv. no. K 5084. The description does not state whether it was of hexafoil form or circular.","page":"158","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. p. 87, pl. 43, and pp. 263-4, no. 146, an example with Marcus Curtius in the centre surrounded by flowers on a white ground, and on the reverse, a landscape surrounded by coloured decoration on a black ground. Attributed to Jacques I Laudin, mid 17th century. The author lists other examples with different themes for the central plaque, including the Fitzwilliam's.","page":"87, 263-4","type":"reference"},"admin":{"id":"publication-6120","uid":"adlib-publication-6120","uuid":"3031603c-c1e6-3c56-aa2f-a4da4420218f"},"summary_title":"Maleremails des 16. und 17. 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Initialed PR. On the reverse, strapwork and grotesques."},{"value":"Copper enamelled on both sides in grisaille with pale greyish-pink flesh tones over a black ground, and gilded. The front has also a little red and blue enamel. Circular with a sloping rim with raised outer edge, deep sides, gently curved well and central boss.\nThe boss has an almost flat medallion bearing a beribboned shield charged with the arms, quarterly 1 and 3 chequey gules and or, and 2 and 4, azure, a hound\u2019s head, in chief, a label of three points and in base, a crescent or . This is surrounded by a raised white band decorated with black dots and continuous scalloping, a black cavetto with gold scrollwork, a band of black guilloche on a white ground, and tiny gold circles on a black band. Around this are five scenes from Genesis: the Creation of Eve, labelled \u2018I\u2019; the Fall of Man, labelled \u2018II\u2019; God admonishing Adam and Eve labelled \u2018III\u2019, initialled PR in black on the ground; the Expulsion from Paradise, labelled \u2018GENESE III\u2019; the Killing of Abel by Cain, labelled \u2018IIII\u2019. On the sides there is a repeating design of gold foliated scrolls on a black ground, and on the rim, pairs of foliated scrolls, each one terminating in a cornucopia, with a putto astride it, with sprays of gold foliage in the background.\nOn the reverse, the underside of the boss has a black ground, decorated with eight addorsed C- scrolls surrounded by scattered stars. On the back of the well there are four female terms linked by a continuous wavy drape, and holding up between them four dishes of fruit. Below each of which is a pair of affronted male and female monsters with wings and scrolling tails. Round the edge is a narrow and a broad band which rises into a small arch below the monsters. On the sides there are gold foliated scrolls on a black ground, and on the rim, foliated scrolls terminating in small monsters\u2019 heads and shells."}],"exhibitions":[{"@link":{"catalogue":"215","type":"reference"},"admin":{"id":"exhibition-3305","uid":"adlib-exhibition-3305","uuid":"534a3247-91a9-398f-abe9-7b419586f568"},"summary_title":"Feast and Fast: The Art of Food in Europe (1500-1800)"}],"identifier":[{"accession_number":"M.111-1961","primary":true,"type":"accession number","value":"M.111-1961"},{"priref":"139821","type":"priref","value":"139821"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139821"}],"inscription":[{"location":"on ground beside God admonishing Adam and Eve","method":"painted in black","transcription":[{"value":"PR"}],"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. Clarke Bequest, 1960"},"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"},"note":[{"value":"Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1555,"from":{"earliest":1555,"era":["CE"],"latest":1555,"precision":"circa","value":"1555"},"latest":1565,"note":[{"value":"Four dated  examples are known: 1557 at Waddesdon Manor, two of 1558 respectively in the Hermitage, and the Germanisches Nationalmuseum, Nuremburg, and one of 1563, in the Walters Art Gallery, Baltimore."}],"range":true,"to":{"earliest":1565,"era":["CE"],"latest":1565,"value":"1565"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-82113","uid":"adlib-agent-82113","uuid":"a9c432da-7fd3-3d18-a538-c2c7497fd5a0"},"summary_title":"Lucas van Leyden"}],"note":[{"value":"Circular basins were intended to accompany ewers, for hand washing at meals, but might also be displayed on a dressoir. Their decoration was designed to radiate inwards from the outer edge of the well towards the central boss, so that it would appear the right way up from all angles when the basin was lying flat with the ewer in situ. The biblical story of Adam and Eve and their sons, Cain and Able, told in the book of Genesis, 2-4, was well-suited for this purpose because it could be divided into a series of episodes. \n\nThe five scenes from Genesis which occupy the well of the basin were derived from a set of six engravings by Lucas van Leyden (1494-1533), dated 1529, but are not in the correct order: \nThe Creation of Eve\nThe Admonition not to eat the fruit of the Tree of Knowledge\nThe Fall of Man or Temptation \nThe Expulsion of Adam and Eve from Paradise\nThe murder of their son, Able by his older brother Cain\n\nHere, the Admonition, God\u2019s instruction to Adam and Eve not to eat the fruit from the Tree of Knowledge, appears to have been mistaken for God reprimanding them after they had done so. This, and the labelling of the scenes I, II, III, GENESE III and IIII, suggests that the painter was familiar with the woodcut illustrations by Bernard Salomon in Claude Paradin\u2019s, 'Quadrins historique de la Bible', Lyon (Jean de Tournes), 1553, 1555 or 1558 editions which have the Admonition between the Fall and the Expulsion, and use Roman numerals to identify the scenes. This is also indicated by the presence of a pilaster at the end of a wall behind Adam and Eve in the Expulsion scene, which is not present on the van Leyden print, but is present in the woodcut by Salomon. The grotesque decoration on the reverse, may also be partly derived from an ornamental print of 1528 by Lucas van Leyden featuring pairs of long-necked sphinx-like creatures with curling tails. Incidentally this shows how illustrated books and prints circulated widely and were used by craftsmen as sources for their designs.  \n\nThe story of Adam and Eve was extremely popular in the mid to late sixteenth century, and it was used on basins made in the Reymond workshop from at least 1557 until the mid 1560s. There are four initialled and dated examples by Pierre Reymond: at Waddesdon Manor Buckinghamshire, initialled  \u2018P.R\u2019 twice, and dated 1557;) in the Hermitage, St Petersburg, initialled \u2018P.R\u2019 and dated 1558 twice, and having the arms of de Mesmes on the underside of the boss; dated 1558,  in the Tucher-Schloss Museum, Nuremberg, initialled \u2018PR\u2019 and dated \u20181558\u2019 separately twice on the back of the rim which belonged to Linhard I Tucher of Nuremberg (1487-1568); and in the Walters Art Gallery, Baltimore, initialled PR and dated 1563 on which the enameller used only four of the Lucas van Leyden prints and made up the figures for the Admonition. Philippe Verdier considered that the Fitzwilliam\u2019s basin was probably earlier than the one at Baltimore. A further ewer basin, unseen, described as having \u2018grisaille scenes symbolizing  the Fall of Man with explanatory inscriptions\u2019, and initialled and dated P.R. 1570, was exhibited by D.C. Marjoribanks, MP in the exhibition held in the South Kensington Museum in 1862. There are several undated circular basins, such as two in the Los Angeles County Museum, and one formerly in the collection of Gustaaf Hamburger, sold in 2008 (see Documentation). Several of these have either lost their central boss, or have had it replaced. \n\nThe unidentified coat of arms on the Fitzwilliam\u2019s basin occurs on three small plates in the Louvre, decorated with scenes representing May, June, and September from a set of Labours of the Months (MR R 173 (formerly N 1370), MR 2436 (formerly N 1371) and MR 2435 (formerly N 1372), attributed by Baratte to Jean Court dit Vigier. However, when the Fitzwilliam's  basin was illustrated by an engraving in the journal 'L\u2019Art' in 1878, it was shown without a central boss, which seems to indicate that the arms were a later insertion (see Documentation)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125332","uid":"adlib-term-125332","uuid":"76f10b5d-9bf4-36d4-b4e3-f4df05af8260"},"summary_title":"16th Century, third quarter"}],"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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\u2018\u2018Bt by Durlacher at his sale at Christie\u2019s, by L.C.G. C.\u2019; Louis Colville Gray Clarke, MA, LL D, Leckhampton, Cambridge."}],"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. pp. 32-3, enthusiastically described and illustrated p. 24 with an engraving which shows the basin without the central coat-of-arms on the boss.","page":"24-33","type":"reference"},"admin":{"id":"publication-200002856","uid":"adlib-publication-200002856","uuid":"e62e604a-0c62-3f5d-b161-8498b9711b0d"},"summary_title":"Exposition Historique de l'Art Ancien, Les Grandes Collections au Trocadero, Collections de MM les Barons de Rothschild (suite) Emaux"},{"@link":{"notes":"Publ. pp. 32-3 and illustrated by an engraving on p. 24, when in the collection of baron Gustave de Rothschild.  The engraving shows the basin without the central coat-of-arms on the bass.","page":"24-33","type":"reference"},"admin":{"id":"publication-200002855","uid":"adlib-publication-200002855","uuid":"75329c42-0cd7-369d-9d7e-994fea2ba4f9"},"summary_title":"Pierre Reymond, Emailleur \u00e0 Limoges"},{"@link":{"notes":"Publ. p. 10, lot 74","page":"10","type":"reference"},"admin":{"id":"publication-3368","uid":"adlib-publication-3368","uuid":"25bf3f5d-bed3-3ace-8564-2a821cb84557"},"summary_title":"Catalogue of objects of art, porcelain and faience and fine French tapestry, the property of Sir Philip Sassoon Bart, MP, CMG and the Countess of Rocksavage of 25 Park Lane"},{"@link":{"notes":"Publ. p. 12, lot 32, illustrated opposite","page":"12","type":"reference"},"admin":{"id":"publication-6168","uid":"adlib-publication-6168","uuid":"6bc3976d-c874-3198-bc49-5521d852b034"},"summary_title":"Catalogue of Italian maiolica bronzes and objects of art, French and Italian furniture of the Renaissance, tapestry and textiles sold by order of George Durlacher Esq."},{"@link":{"notes":"Publ. p. 185, fig. 6.6, front and back illustrated, p. 252, cat. 215","page":"185, 252","type":"reference"},"admin":{"id":"publication-8743","uid":"adlib-publication-8743","uuid":"a86a8f73-aae5-372c-930d-aa215bd02c9b"},"summary_title":"Feast & Fast. 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For the sources of the scenes,  p. 32, 1 (1) the Creation; p. 33 1 (2) the First prohibition, p. 34 1 (3) the Fall of Man, p. 35 1 (4) the Expulsion and p. 36 1 (5) Cain killing Abel.","page":"32-6","type":"reference"},"admin":{"id":"publication-6185","uid":"adlib-publication-6185","uuid":"155e644a-2ff4-301e-91a8-4ad523c75b26"},"summary_title":"The New Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts 1450-1700"},{"@link":{"notes":"Cf. pp. 244-8, no. 141, initialled by Pierre Reymond, and dated 1563. It has the second and third scenes in different order from the Fitzwilliam's dish. The author lists the other examples, and illustrates the ewer and basin dated 1558 made for L. Tucher, now in the Germanisches Nationalmuseum, Nuremberg, p. 247, figure 25.","page":"244-8","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 15 and pls. 31 front, and 32, initialled PR twice an dated 1558; reverse, bearing the arms of de Mesmes. The second and third scenes are in different order from the Fitzwilliam's basin. From the Pourtal\u00e8s-Gorgier and Basilewsky collections. In v. F 288","page":"15","type":"reference"},"admin":{"id":"publication-6186","uid":"adlib-publication-6186","uuid":"d285f449-3ec3-39f8-be77-cd185ea3fe64"},"summary_title":"Painted Enamels of Limoges. 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It has the second and third scenes in correct order, but Eve has back to viewer, and the arms of de Mesmes on the underside of the boss (but did not in the late 19th century). Cf. also pp. 99-103,  no. 11, initialled P.R. and dated c. 1558.  (inv. 48.2.19 from the W.R. Hearst Collection), d. 47.6 cm. On p. 101, fig. 22 and 23 are illustrations of Luca van Leyden's God admonishing Adam and Eve (The First Prohibition) and The Fall of Man, respectively.","page":"99-107","type":"reference"},"admin":{"id":"publication-6187","uid":"adlib-publication-6187","uuid":"d9b56215-1ae8-34ec-b9f5-72f704ccc214"},"summary_title":"The Painted Enamels of Limoges. A Catalogue of the Collection of the Los Angeles County Museum of Art"},{"@link":{"notes":"Cf. p. 23, note 22 and p. 25, pl. 16, a basin with the scenes in the usual order, and following the print of the Admonition closely, in the collection of the Dukes of Saxe-Gotha at Schloss Friedenstein, which was first recorded in an inventory of 1764.  Pl. 16 shows the basin without a central boss.","page":"23. 25","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. p. 25, pl. 16, a basin lacking its central boss, in the Kunstsammlungen Schloss Friedenstein, Gotha, which has the scene of the First Prohibition or Admonition before the Temptation or Fall.","page":"25","type":"reference"},"admin":{"id":"publication-6120","uid":"adlib-publication-6120","uuid":"3031603c-c1e6-3c56-aa2f-a4da4420218f"},"summary_title":"Maleremails des 16. und 17. 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