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(Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 102, no. 53","page":"102","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. 329, no. 19, illustrated Fig. 15, described as a plaque from a cross.","page":"327-30","type":"reference"},"admin":{"id":"publication-200002272","uid":"adlib-publication-200002272","uuid":"3842ccd4-91b7-316c-9845-1c9aa00b97a2"},"summary_title":"The Star Group of Champlev\u00e9 Enamels and its Connections"}],"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":"Quatrefoil Plaque: An Angel holding a Cross"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156428","_score":17.7042,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156428","indexed":1755194558280,"modified":1710938414000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156428","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428","uuid":"3f6419d2-a306-38bd-bb93-8738ec958d6a","version":9},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-83744","uid":"adlib-agent-83744","uuid":"0425c4cf-7e24-317e-91ee-38840b1cc6aa"},"summary_title":"Magniac, Hollingworth"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-153976","uid":"adlib-agent-153976","uuid":"c612678a-2dca-3bf1-9c40-28d7f22e5ab6"},"summary_title":"Angel Gabriel"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"}],"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"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-120007","uid":"adlib-term-120007","uuid":"00af7c97-d937-3d5c-a1af-d2a83fe2785b"},"summary_title":"Frank McClean"}],"component":[{"materials":[{"note":[{"value":"translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and in opaqueblack, and white"}],"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-109906","uid":"adlib-term-109906","uuid":"cbea03fb-f9ac-3c28-ab2d-d20a955a2b53"},"summary_title":"silver foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular, slightly convex copper plaque with arched top, enamelled over a white preparation or 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."}],"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. His will, made in 1631 with a codicil made on his death bed on 3 May 1646, indicated that he was more wealthy than most enamellers, and had agricultural and commercial interests apart from enamelling. He had a brother Joseph, who was also an enameller."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106607","uid":"adlib-term-106607","uuid":"61babb74-f8fd-3e53-abf6-c2c2f5dd351b"},"summary_title":"17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-147439","uid":"adlib-term-147439","uuid":"9687faa0-6080-32c6-b989-0d2828b67da4"},"summary_title":"Henry IV (1553-1610)"},{"@link":{"type":"reference"},"admin":{"id":"term-15532","uid":"adlib-term-15532","uuid":"45c8d670-040f-3ca8-98f3-297a39337fa8"},"summary_title":"Louis XIII (1610-43)"}],"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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Magniac Esq. (known as the Colworth Collection), 5th Day, 7 July, p. 138, lot 519A, sold for \u00a364.1.0 to Frank McClean, MA, FRS (1837-1904), Rusthall House, near Tunbridge Wells."}],"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,  7 July, lot 519A","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. 114, no. 70, pl. 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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. 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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. 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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. 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white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"name":"Trefoils","techniques":[{"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-29409","uid":"adlib-term-29409","uuid":"f1f4145c-3fc8-365a-9df5-c7f7131d3bc2"},"summary_title":"engraving"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Silver frame, partly gilt, with two engraved and enamelled trefoil-shaped plaques in the side wings, backed by red velvet, wood and painted metal plaques."},{"value":"When closed the frame is of five-sided gable shape with two hinged wings on one side, which open out to reveal a central traceried window with two trefoil-headed arches, under a quatrefoil in a circle, flanked by wings with single trefoil-headed arches with a smaller enamelled trefoil in a circle above. The frame is of silver, with gilt tracery inside, and on the exterior within the each section of the frame, a wooden backing covered by metal plaques painted pinkish-red, red, green, and white, and lined on the interior with red velvet. The two trefoil plaques are of silver engraved, and enamelled in translucent dark blue, green, and probably mulberry. The trefoil on the left is decorated with a beardless saint holding a palm in his right hand and probably, a large book. There may be another smaller figure or an unidentifiable object on the right. The trefoil on the right is decorated with a bearded saint holding a book in his left hand and raising his right in benediction.                                                                                                                                                 The metal cover within the silver frame has a pinkish-red ground overlaid by a darker red trellis with white spots at regular intervals, enclosing a green cross with foliated terminals. On the back the decoration does not come up to the edge, and there is a row of closely spaced pinholes along all the edges. On the left wing when closed there is a silver stud 4 cm up from the bottom, and on the other wing, a mark where another was situated."}],"identifier":[{"accession_number":"M.40-1904","primary":true,"type":"accession number","value":"M.40-1904"},{"priref":"156426","type":"priref","value":"156426"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156426","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156426"}],"inscription":[{"description":[{"value":"mainly illegible"}],"location":"on front right wing when closed","method":"hand-written in black","transcription":[{"value":"large script g followed by a or o and one or two more letters"}],"type":"inscription"},{"description":[{"value":"Circular white paper label printed in black with MAGNIAC\/ COLLECTION in a circle between concentric circles and in the middle hand-written in faded black ink\u2019\u2018337\u2019"}],"location":"on the back of the central plaque in lower left corner","method":"printed in black and hand-written in faded black ink","transcription":[{"value":"MAGNIAC\/ COLLECTION in a circle enclosing 337"}],"type":"label"},{"location":"at bottom of the back of the central plaque","method":"printed in black and hand-written in faded black ink","transcription":[{"value":"printed in black : 'BEQUEATHED BY FRANK McCLEAN\/M.A.: F.R.S: F.R.A.S: of Trinity College\/November MDCCCCIV\u2019. Hand-written above in faded black ink \u2018Dalton no. 62\u2019 and below \u2018M40 1904\u2019"}],"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":"Entry date: 1904"}]}],"creation":[{"date":[{"earliest":1300,"from":{"earliest":1300,"era":["CE"],"latest":1300,"precision":"circa","value":"1300"},"latest":1400,"range":true,"to":{"earliest":1400,"era":["CE"],"latest":1400,"value":"1400"}},{"earliest":1800,"from":{"earliest":1800,"era":["CE"],"latest":1800,"precision":"circa","value":"1800"},"latest":1900,"range":true,"to":{"earliest":1900,"era":["CE"],"latest":1900,"value":"1900"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-149652","uid":"adlib-agent-149652","uuid":"0d4f90dc-b166-3d4b-b0db-25f4118b6e98"},"summary_title":"Unknown"}],"note":[{"value":"In the Magniac Collection Catalogue the frame was dated to the 15th century, but Dalton considered it to be 14th century, and French. 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Clear counter-enamel with dark brown spots and mottled brown areas.   On the left a saddled white horse stands in profile to the right. A youth wearing a turquoise phrygian cap, a blue tunic, and yellow boots stands behind the horse, and has his right arm over the saddle. Two men stand by the horse\u2019s head holding its bridle. One, perhaps Hercules? wears a brown lion\u2019s mask, a brown tunic, and turquoise skirt . The other who has his back to the viewer, points with his right arm towards the right. He wears a turquoise helmet al antica with feather, a brown tunic with a triangular turquoise collar over a garment with blue, green and yellow sleeves, and blue and yellow tights. He has a sword, and three brown bags are suspended from beneath his tunic. An angry small boy wearing a yellow tunic runs from the right towards the horses, shaking his fist. An old woman wearing a blue dress and white cap stands behind him gesticulating. In front of her in the foreground, another man, perhaps a peasant, has his back to the viewer, and holds out both his arms out towards the left. He wears a yellow hat, a pink tunic, and ragged calf-length breeches, and has a knife in a brown sheath suspended from his waist. In the left foreground, a white dog runs towards the figures. The ground is painted with areas of pale purple and green, and there are two yellow plants in the foreground. Gold is used sparingly on the edge of the woman\u2019s cap, for the pattern on the sheath of the knife of the man standing in front of her, on the helmet and its feather on the other man, and on the edges of the horse\u2019s equipment. The plaque is mounted in a D-shaped wooden frame. covered in red velvet, with a gilt-metal inner edge on the front. The frame covers the edges of the plaque at the back."}],"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.44-1904","primary":true,"type":"accession number","value":"M.44-1904"},{"priref":"156430","type":"priref","value":"156430"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156430","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156430"}],"inscription":[{"description":[{"value":"circular paper label printed in black with \u2018.MAGNIAC\u2022 COLLECTION\u2019 between concentric circles, and inscribed \u2018247\u2019 in black ink in the middle."}],"location":"on the reverse","method":"printed in black and hand-written in black ink","transcription":[{"value":"'.MAGNIAC\u2022 COLLECTION' printed in black, '247' hand-written in black ink"}],"type":"label"},{"description":[{"value":"square paper label printed in black"}],"location":"on back","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"}],"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":1565,"from":{"earliest":1565,"latest":1565,"precision":"circa","value":"1565"},"latest":1573,"note":[{"value":"1573 is the latest date on an enamel attributed to L\u00e9onard Limosin"}],"range":true,"to":{"earliest":1573,"latest":1573,"value":"1573"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-79998","uid":"adlib-agent-79998","uuid":"8b231843-3ad1-36a8-8be1-daf567af41ae"},"summary_title":"Limosin, L\u00e9onard"}],"note":[{"value":"This plaque was attributed to Leonard Limosin and dated about 1570 by J.C. Robinson in 1862, and in the Magniac sale catalogue of 1892, where the composition was described as \u2018animated even dramatic, and the execution, though verging on coarseness is bold and spiritied; it is painted in colours on a white ground, peculiar to Leonard in his later time.\u2019 Dalton, 1912, was more cautious, remarking that it \u2018appears to be by someone influenced by his style\u2019. However, Philippe Verdier when he visited the Fitzwilliam, supported the earlier attribution to L\u00e9onard Limousin. The subject has not been identified. The lack of stirrups on the horse and the Phrygian cap worn by the man standing behind the horse, suggest that it depicts a classical rather than a contemporary subject, perhaps the departure of Hector for the Trojan War.\n\nThe thin application of translucent enamels over a white ground is a characteristic of some enamels by Limosin made in the 1560s and early 1570s  The similarities between these enamels and the Fitzwilliam's plaque support its attribution to L\u00e9onard Limosin. Horses with similarly fierce eyes, and figures with elongated tapering legs appear in a plaque of 'Theseus and the Queen of the Amazons' dated 1563 in the Mus\u00e9e national de la Renaissance at \u00c9couen. The dog, horse, and streaky colouring of the ground with small yellow plants are strongly reminiscent of those on an oval  plaque in the Louvre representing Spring, on which a man and woman on horseback ride through a landscape accompanied by a white hound. This probably formed part of a set of Seasons, of which Winter also in the Louvre, is dated 1572. A large undated plaque in the Taft Museum, Cincinnati, titled 'The Children of Mars', depicts a contemporary scene of soldiers pillaging a village, and includes a horse with a saddle and stirrups being led away by a soldier and gesticulating figures reminiscent of those on the Fitzwilliam's plaque, particularly a man shown from the back with both arms raised to the right"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125332","uid":"adlib-term-125332","uuid":"76f10b5d-9bf4-36d4-b4e3-f4df05af8260"},"summary_title":"16th Century, third 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Bedfordshire; his son, Charles Magniac; sold Christie\u2019s, 2,4-8 and 11-15 July 1892, Catalogue of the renowned collection of works of art chiefly formed by the late Hollingworth Magniac Esq. (known as the Colworth Collection, 3rd Day, 5 July, lot 247; sold for \u00a331.10.0 to Frank McClean, MA, FRS (1837-1904), Tunbridge Wells."}],"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. 50-1, no. 91","page":"50-1","type":"reference"},"admin":{"id":"publication-1784","uid":"adlib-publication-1784","uuid":"8a815b67-3d4c-3e66-a650-319e5ca61b5c"},"summary_title":"Notice of the Principal Works of Art in the Collection of Hollingworth Magniac"},{"@link":{"notes":"Publ. day 3, 5 July, p. 74, lot 247","page":"74","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. 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See also p. 72, pl. 32, Theseus meeting the Queen of the Amazons, which is a superb example of Leonard Limosin's Mannerist figures, horses, and pale colouring.","page":"87","type":"reference"},"admin":{"id":"publication-6114","uid":"adlib-publication-6114","uuid":"874a5d9f-525d-322e-acd2-702e45c4fcf0"},"summary_title":"L\u00e9onard Limosin au Mus\u00e9e du Louvre"},{"@link":{"type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. 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