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Vol. II, p. 82, no. 7. This volume provides a Corpus of all the located examples of this type of enamelling. Cf. p. 82, no. 6, an example in the Louvre (R 283); p, 81, no. 5, an example in the Hermitage (F1545)","page":"82","type":"reference"},"admin":{"id":"publication-8619","uid":"adlib-publication-8619","uuid":"63f26cd0-64fc-369b-b85a-425ffcc076b1"},"summary_title":"I Rami smaltati detti Veneziani del Rinascinmento italiano. Les Cuivres \u00e9maill\u00e9s dits V\u00e9nitiens de la Renaissance italienne, 2 vols"},{"@link":{"notes":"Cf. objects decorated in a similar technique: pp. 4-6, no. 3, a bowl and cover, and pp. 6-7, no. 4, a candlestick, and pp. 6-7 a reliquary, and p. 8, no. 6 the body of a globular vase, the first dated late 15th century and the others c. 1500","page":"6-7","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. 13, lot 15, a dish with a comparable design (but possibly not identical in shape), 19.7 cm in diameter. Estimate \u00a37-10,000; fetched \u00a3","page":"13","type":"reference"},"admin":{"id":"publication-2192","uid":"adlib-publication-2192","uuid":"10d8557f-f1ca-3bc5-806b-e0314d4e7b30"},"summary_title":"Important European Sculpture and Works of Art"},{"@link":{"notes":"Ref. This article provides the results of scientific analyses of the enamel (glass) on this group of vessels, and that of Venetian, Tuscan, and other Italian glass of the period, and concludes that they are unlikely to have been made in Venice, but possibly in Tuscany","page":"233-54","type":"reference"},"admin":{"id":"publication-200003192","uid":"adlib-publication-200003192","uuid":"7b01a833-b04f-38fd-91a7-d3d6c1f2f4c6"},"summary_title":"The So-called Venetian Enamelled Copper Artworks of the italian Renaissance: the Technology and Provenance of the Enamels - an Analytical approach"},{"@link":{"notes":"Ref. Vol. I of book. The author suggests revising the attribution of this group of enamels to Florence from Venice, on the basis of various points which he discusses","page":"55-69","type":"reference"},"admin":{"id":"publication-200003193","uid":"adlib-publication-200003193","uuid":"434f2749-6b77-3f94-a53c-972735bc114d"},"summary_title":"Venetian Enamels: The Case for Florence"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-125345","uid":"adlib-term-125345","uuid":"044a81eb-350e-3229-9e5e-72ab4fb784aa"},"summary_title":"bowl with broad rim"}},"summary_title":"bowl with broad rim","techniques":[{"description":[{"value":"copper, enamelled in dark blue, dark green, turquoise, red, and white, and gilded"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156445","_score":17.557577,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156445","indexed":1747246367457,"modified":1714475167000,"processed":1747245848890,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156445","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445","uuid":"300d158e-d47f-3e37-abe4-0a5592423f8f","version":9},"agents":[{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-160327","uid":"adlib-agent-160327","uuid":"75a35321-4b64-3679-afc3-9010efe3a6f7"},"summary_title":"Joseph of Arimathea"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-98990","uid":"adlib-agent-98990","uuid":"6114d175-af1f-3d54-9624-600ff6924a26"},"summary_title":"Nicodemus"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-152235","uid":"adlib-agent-152235","uuid":"abbfd154-1b29-395b-915a-fc47cace0fad"},"summary_title":"Mary Magdalene"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-107444","uid":"adlib-term-107444","uuid":"571df7cf-e062-3968-ae5e-bec9d5a82f92"},"summary_title":"C. 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Gilt-metal frame"},{"value":"Thick, narrow rectangular copper plaque, enamelled in dark blue, turquoise, green, yellow, flesh pink, red, mulberry, pale brown, black, grey, and white, and gilded.A very thin wash of red produces flesh pink.The jewels and flower centres are foiled in silver (?).The reverse has dark brown counter- enamel.\nJoseph of Aramathea stands on a ladder with his right arm over the tau Cross and round the body of Christ which he lowers into the arms of Nicodemus who stands on the right. On the left of the Cross, the Virgin Mary has sunk to her knees, and holds her hands together in prayer. Mary Magdalene (?) kneels beside her with her right arm around her shoulders. A skull and a bone lie at the foot of the Cross. The foreground on each side is scattered with jewelled flowers, and the sky is scattered with stars.\nJoseph of Aramathea is balding and bearded. He wears a short mulberry gown over a garment with long yellow sleeves, and blue boots. Christ wears a crown of thorns and a white loin cloth. His white body is tinged with pink and blood trickles from his brow, hands, side, and feet. Nicodemus has a short beard, and a yellow hat with a jewel on its upturned brim. He wears a dark blue and mulberry tunic with jewelling round the neckline, green tights and brown boots with jewelled tops. The Virgin wears a dark blue mantle over a white wimple and mulberry dress. Mary Magdalene has a turquoise jewelled cap over her pale brown hair. She wears a dark blue cloak over a mulberry dress. The skull and bone are white and grey, and the flowers have white dotted petals around yellow and blue foiled centres.\nThe rectangular gilt-metal frame,  has two applied twisted stems with leaf terminals at the top and bottom and five on each the side."}],"identifier":[{"accession_number":"MAR.M.250-1912","primary":true,"type":"accession number","value":"MAR.M.250-1912"},{"priref":"156445","type":"priref","value":"156445"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156445"}],"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":"C.B. Marlay Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149674","uid":"adlib-agent-149674","uuid":"de1bf9dd-2091-39ca-85f6-41e736f6e32b"},"summary_title":"Marlay, Charles Brinsley"}],"date":[{"earliest":1912,"latest":1912,"value":"1912"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1520,"from":{"earliest":1520,"era":["CE"],"latest":1520,"precision":"circa","value":"1520"},"latest":1525,"note":[{"value":"the very dark counter enamel indicates a date before about 1530"}],"range":true,"to":{"earliest":1525,"era":["CE"],"latest":1525,"value":"1525"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"workshop"}],"type":"reference"},"admin":{"id":"agent-105577","uid":"adlib-agent-105577","uuid":"0760ccbc-1239-3a7f-9ad2-4b95d7f1dece"},"summary_title":"Penicaud, Nardon"}],"note":[{"value":"The role of Joseph of Arimathea in the removal of Christ\u2019s body from the Cross and its subsequent burial is described in all the Gospels, but it is only in St John (20.38-40) that Nicodemus is mentioned as his helper. The skull and bone at the foot of the Cross are a reference to name of the site of the Crucifixion, Golgotha, the place of the skull, and to the tradition that the Cross was erected over the grave of Adam.\nLimoges plaques of the Deposition were often paired with Christ carrying the Cross as wings of triptychs with the Crucifixion in the centre. Plaques with closely comparable iconography form the right wing of triptychs in the Walters Art Gallery, Baltimore, the Mus\u00e9e du Louvre, Paris, and the Frick Collection, New York. All three triptychs have been attributed to the Penicaud workshop, usually to Nardon, or to a collaboration between Nardon and Jean I Penicaud, but Baratte (2000) preferred to attribute the Louvre\u2019s example to Jean I Penicaud and to date it as late as 1530, rather than in the early 1520s.  The Louvre\u2019s plaque differs from the other two in having four bones instead of one, and in having the skull on the right of the base of the Cross instead of on the left. The central panel of the Walters' and Louvre\u2019s triptychs was derived from a woodcut illustration to a book of hours printed in Paris in 1505, and re-used in Antwerp in 1525, which explains the discepancy beween the style of the costume and the suggested date range. This Deposition also occurs in reverse on the left wing of a triptych attributed to Nardon P\u00e9nicaud in the Museum des Arts d\u00e9coratifs, in the H\u00f4tel Lallemant at Bourges."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-124749","uid":"adlib-term-124749","uuid":"3cb14eef-9414-324c-8abb-f4e5e0d52ff1"},"summary_title":"16th Century, 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(1831-1912) by whom bequeathed"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Cf. pp. 272- 3, no. 105, and pl. XXXIV, left wing of triptych in the Mus\u00e9e de Bourges, attributed to the workshop of Nardon P\u00e9nicaud","page":"282=3","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":"Cf. pp. 46-50, no. 26, a triptych with a similar right wing, attributed to Nardon Penicaud, c. 1520-25, but Verdier surmised that there would at that period have been \u2018constant cooperation between the aging Nardon and his brother, Jean I P\u00e9nicaud'. He considered that it was this Triptych which was the prototype for the others, and mentions two more, in the Louvre, and in the Frick Collection","page":"46-50","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. pp. 42-6, no. 18.4.8, a triptych with a comparable Deposition on the right wing, which lacks the skull and bone 26.7 x 9.5 cm. Verdier envisaged Jean I Penicaud assisting an aging Nardon on this plaque","page":"42-6","type":"reference"},"admin":{"id":"publication-200002180","uid":"adlib-publication-200002180","uuid":"a2294bc4-cc14-3e0f-9aab-728d1027c94e"},"summary_title":"Limoges Painted Enamels, Sixteenth and Seventeenth Centuries"},{"@link":{"notes":"Cf. p. 45, OA 9947, attributed to Jean I Penicaud. This is less close in style to the Fitzwilliam's Deposition than the ones in the Walters Art Gallery and Frick Collection","page":"45","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"}],"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":{"type":"reference"},"admin":{"id":"term-102735","uid":"adlib-term-102735","uuid":"9ffebc71-0d53-3435-b13f-9ab850955082"},"summary_title":"prayer"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-108538","uid":"adlib-term-108538","uuid":"795ce314-a9bb-3fcc-9c39-4b671ec72fc3"},"summary_title":"cross"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-107336","uid":"adlib-term-107336","uuid":"bc93742f-8916-3829-bfef-6ffba0378959"},"summary_title":"skull"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-32149","uid":"adlib-term-32149","uuid":"8d0a972c-4bee-31ec-9bee-976d7cc14d21"},"summary_title":"bone"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-106795","uid":"adlib-term-106795","uuid":"619c7689-2029-3c57-b0e2-12f5b54bedb8"},"summary_title":"flower"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-101708","uid":"adlib-term-101708","uuid":"0643f36c-67b5-3a64-9347-56657ea44489"},"summary_title":"deposition"},{"@link":{"type":"literal"},"name":[{"value":"cross"}],"summary_title":"cross"},{"@link":{"type":"literal"},"name":[{"value":"skull"}],"summary_title":"skull"},{"@link":{"type":"literal"},"name":[{"value":"bone"}],"summary_title":"bone"},{"@link":{"type":"literal"},"name":[{"value":"flower"}],"summary_title":"flower"},{"@link":{"type":"literal"},"name":[{"value":"deposition"}],"summary_title":"deposition"}],"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 Deposition"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156428","_score":17.557577,"_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. 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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. XXIII, described as 'In the style of Jean I Limosin'","page":"114","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":"Cf. pp. 338-40, an Annunciation attributed to Susanne de Court with some closely comparable features, where other Annuncation's are mentioned; and pp. 352-3, no. 188 (44.346) an Annunciation by Jean Limosin, dated 1605, which seems less like the Fitzwilliam's plaque.","page":"338-40","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. pp. 386-7, no. 25, an Annunciation signed SVSANNE COVRT.F.","page":"386-7","type":"reference"},"admin":{"id":"publication-200002174","uid":"adlib-publication-200002174","uuid":"2f2f438b-3a67-356e-ab29-5b60caca190c"},"summary_title":"Limoges and other painted Enamels"},{"@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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On the front, the Wedding of Psyche with a border of masks and strapwork on the rim. On the back, Jupiter astride an eagle surrounded by male and female masks, strapwork and bunches of fruit, with guilloche ornament and strapwork on the underside of the rim. Signed 'P. COVRTEYS' on the front, and dated '1560' on the back."},{"value":"Copper, enamelled in opaque white in  grisaille  technique and with pale salmon and darker salmon pink flesh tones, and a little red over a black background, with dotting, scrolls, sprays and other embellishments in gold. Oval with a narrow rim, shallow curved sides and uneven centre. The well  is decorated with the Wedding Feast of Cupid and Psyche. Six gods, alternately male and female are seated behind a table, including Jupiter on the left, and in front of the table on the right, Venus and Hercules are seen from the back, with below them on a cloud, the signature 'P. COVRTEYS' inscribed in black and gold. To their left Cupid emerges from under the table, holding up the cloth and gazing at Venus. Standing on the extreme left is Ganymede pouring out water into a cistern in which a ewer is standing. Behind the table above the guests there are three winged Horae scattering flowers.  On the rim there are four long-eared masks linked by strapwork. The edge is white.\nOn the middle of the reverse, is Jupiter astride an eagle within an oval guilloche frame, surrounded by two large male masks on right and left, and two smaller female masks above and below, linked by strapwork and bunches of fruit. On the rim, there is guilloche ornament broken at the cardinal points by a strap, one dated \"1560\" and at intervals between them by four oval cabochon motifs."}],"exhibitions":[{"@link":{"catalogue":"23","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)"},{"@link":{"catalogue":"49","type":"reference"},"admin":{"id":"exhibition-2243","uid":"adlib-exhibition-2243","uuid":"2b58f1c5-23f1-3819-9d8d-1735bb74dc43"},"summary_title":"The Tale of Cupid and Psyche, Myth in Art from Antiquity to Canova"}],"identifier":[{"accession_number":"M.116-1961","primary":true,"type":"accession number","value":"M.116-1961"},{"priref":"156462","type":"priref","value":"156462"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156462","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156462"}],"inscription":[{"location":"on front on right below Venus and Hercules","method":"painted in black and over that in gold","transcription":[{"value":"P. COVRTEYS"}],"type":"signature"},{"location":"on rim on back on strapwork","method":"painted in black","transcription":[{"value":"1560"}],"type":"date"}],"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":"Louis C.G. Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1560,"era":["CE"],"latest":1560,"note":[{"value":"Fran\u00e7ois II of France reigned 1559-60 and was succeeded on 5 December by his brother, Charles IX"}],"precision":"dated","value":"1560"}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-31093","uid":"adlib-agent-31093","uuid":"9bc7962d-b314-3768-8723-f79c848ca3ea"},"summary_title":"Courteys, Pierre I"}],"note":[{"value":"The story of Psyche was told by Lucius Apuleius (c. 125- c. 175 CE) as a story within a story in Books 4 to 6 of Metamorphoses, also known as The Golden Ass. The Feast of the Gods or Wedding Feast of Cupid and Psyche, is described in Book 6, 25. The event takes place after Psyche, having suffered many trials, has finally been reunited with her lover, Cupid, and at the latter\u2019s request, has been raised by Jupiter to the status of an immortal with the assent of the other gods. \n\nThe enameller, Pierre Courteys, based his design on an engraving by the Master of the Die after Raphael. The use of this print as a design source by Limoges enamellers seems to have been far less common than another of the same subject, which was the penultimate print in a series of thirty-two with verses illustrating the Fable of Psyche by Agostino Veneziano and the Master of the Die after Michiel Coxie (1497-1592). Three more dated oval dishes after the print by the Master of the Die by Pierre Courteys are known: signed P. CORTEYS and dated 1554 in the Walters Art Gallery; signed and dated P. CORTEYES 1560 in the Louvre; and signed P. COVRTEYES MAF (joined) and dated 1567 in the Walters Art Gallery. He also produced small plates decorated with scenes from the story. 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The outlines are executed in black, and the flesh areas are hatched and cross-hatched in grey and black, and stippled in pinkish-red. The counter-enamel is transparent"}],"note":[{"value":"translucent, blue, green, mulberry and purple enamels and yellowish-brown, pinkish-red, grey, black and white"}],"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"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-110523","uid":"adlib-term-110523","uuid":"d1291b77-5525-36c4-9cec-9f651a7a76a9"},"summary_title":"bible"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, polychrome enamels and gold. A a half-length figure of the Virgin holding the Christ Child to her breast, against a black ground strewn with gold stars, titled 'S.MARIA', and initialled 'I L' with an ill-defined fleur-de-lys or cross between the letters"},{"value":"Rectangular, convex copper plaque with a small circular hole in each corner, decorated with translucent, blue, green, mulberry and purple enamels, and yellowish-brown, pinkish-red, grey, black and white enamels, and gilded. The outlines are executed in black, and the flesh areas are hatched and cross-hatched in grey and black, and stippled in pinkish-red. The counter-enamel is transparent.\nA half-length figure of the Virgin holding the Christ Child to her breast with her right hand and helping him to feed with her left. The Virgin has a blue and purple headdress over her brownish-yellow hair, and wears a purple and mulberry gown with long blue sleeves, and a blue cloak. The Christ Child wears a white napkin. There are small gold plants on the green ground below, and the black ground above is scattered with gold stars around the large striated halo of the Virgin. At the bottom below a gold lines, is a horizontal black band inscribed 'S.MARIA\u2019 between stylized plant sprays, and on the extreme right the initials \u2018I L\u2019 with an ill-defined fleur-de-lys or cross between them, all in gold. A narrow gold line runs round the outer edge of the plaque."}],"identifier":[{"accession_number":"MAR.M.255-1912","primary":true,"type":"accession number","value":"MAR.M.255-1912"},{"priref":"156450","type":"priref","value":"156450"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156450","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156450"}],"inscription":[{"location":"on front at the bottom","method":"painted in","transcription":[{"value":"S.MARIA"}],"type":"inscription"},{"description":[{"value":"with an ill-defined fleur-de-lys or cross between letters"}],"location":"on front in lower right corner","method":"painted in gold","transcription":[{"value":"\u2018I L"}],"type":"initials"},{"description":[{"value":"circular paper label inscribed  in faded black ink"}],"location":"on back","method":"hand-written in faded black ink","transcription":[{"value":"Jean\/Laudin\/MARLAY\/1912"}],"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":"C.B. Marlay Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149674","uid":"adlib-agent-149674","uuid":"de1bf9dd-2091-39ca-85f6-41e736f6e32b"},"summary_title":"Marlay, Charles Brinsley"}],"date":[{"earliest":1912,"latest":1912,"value":"1912"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1605,"from":{"earliest":1605,"era":["CE"],"latest":1605,"precision":"circa","value":"1605"},"latest":1635,"range":true,"to":{"earliest":1635,"era":["CE"],"latest":1635,"value":"1635"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"The earlier attribution of this plaque to Jean Laudin was probably made in error for Jacques Laudin I or II who signed with the initials \u2018.I.L.\u2019, but without a fleur-de-lys or cross between the letters. The latter version is associated with Jean or Jehan Limosin (c. 1580; d. 1646) and after 1615 with his workshop. It may also have been used by his brother Joseph Limosin."},{"value":"The image of the Virgin breast-feeding the Infant Christ (Virgo lactens) was copied from a print etched and engraved by Annibale Carracci (1560-1609) in about 1585-7.  A similar image occurs on a plaque with arched top, attributed to Jean Limosin  in the Victoria and Albert Museum (2804-1856), which has rather more prominent hatched shading and no title at the bottom. The rectangular format is comparable to plaques of the Virgin and Child in the Mus\u00e9e des Arts d\u00e9coratifs, Paris, and St Catherine of Alexandria in the Walters Art Gallery, Baltimore, which has a star-strewn background and S CATHARINA in gold on a horizontal panel at the bottom followed by the artist\u2019s initials with a clear fleur-de-lys between them. (See Documentation) An unsigned plaque of St Agnes, similarly titled, and of the same size as the Fitzwilliam\u2019s, was with Bernard Descheemaeker Works of Art, in Antwerp in 2009.\n\nJean or Jehan Limosin I was one of several sons of Fran\u00e7ois Limosin ( c. 1550- c.1606). His older brother, Leonard, and younger brother, Joseph were also enamellers. He was not mentioned in the roll for the taille in 1602 which suggests that he was too young to be included, and therefore probably born about 1580. He married Anne Chambinaud, probably about 1605. They appear to have lived in the parental home until 1615 when Leonard and Jean divided their inheritance. Jean received all the enamels and enamelling equipment and moved out into a nearby house which belonged to his mother-in-law, while L\u00e9onard remained in the parental home. Documents in the archives of the department of Haute-Vienne at Limoges dated in 1621, 1623 and 1627 referred to Jean as enameller to the King. which explains his use of a fleur-de-lys between his initials when he signed enamels, but this may have been used as a workshop mark after 1615. It was also used by their relative L\u00e9onard Limosin (1560\/65-1635). Jean's brother Joseph probably worked with him, and it is difficult to distinguish between their enamels. Jean was still working in 1635 when he was described as \u2018esmailleur\u2019 in the roll for the taille. He died in 1646."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120934","uid":"adlib-term-120934","uuid":"496713df-6049-3b52-8f44-d503e3b75109"},"summary_title":"17th Century, first 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Inv. Gr 21.","page":"184-5","type":"reference"},"admin":{"id":"publication-7297","uid":"adlib-publication-7297","uuid":"63470d8f-cfbe-3825-9919-c40c11c83e45"},"summary_title":"\u00c9maux peints de Limoges XVe-XVIIIe si\u00e8cles, la collection du Mus\u00e9e des Arts D\u00e9coratifs"},{"@link":{"notes":"Ref. For the remaining polychrome plates of a set probably of twelve, attributed to the workshop of Jean Limosin. Cf. p. 49, fig. 22 an oval dish decorated with Esther and Ahasurus signed JEHAN LIMOSIN, in the Louvre inv. N 1389.  For a revised account of the known biography of Jean Limosin and his brothers, see p. 48. This is based on documentary evidence, recorded by Yvonne Beysi-Cassan for these enamellers in her book published in 2006.","page":"41-54","type":"reference"},"admin":{"id":"publication-200003343","uid":"adlib-publication-200003343","uuid":"b356d896-e67c-3216-98c6-8e44eb5dc611"},"summary_title":"Four Plates from an Early 17th-Century Limoges Enamel Roman Emperors on Horseback Series"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-102735","uid":"adlib-term-102735","uuid":"9ffebc71-0d53-3435-b13f-9ab850955082"},"summary_title":"prayer"},{"@link":{"relation":"activity","type":"reference"},"admin":{"id":"term-126444","uid":"adlib-term-126444","uuid":"af42cfad-09fe-30ec-920f-1e7b4629ef05"},"summary_title":"breast feeding"},{"@link":{"type":"literal"},"name":[{"value":"breast feeding"}],"summary_title":"breast feeding"}],"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":"Virgin nursing the Christ Child"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156425","_score":16.761652,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156425","indexed":1747160991625,"modified":1746531005000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156425","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425","uuid":"13892eaf-8b0c-3b73-8972-f70954a719f7","version":13},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-83744","uid":"adlib-agent-83744","uuid":"0425c4cf-7e24-317e-91ee-38840b1cc6aa"},"summary_title":"Magniac, Hollingworth"},{"@link":{"type":"reference"},"admin":{"id":"agent-184882","uid":"adlib-agent-184882","uuid":"5a191c26-9b11-32a0-ac1e-1aa0e219ccb2"},"summary_title":"Magniac, Charles"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-8649","uid":"adlib-agent-8649","uuid":"b3d510e7-0636-3578-92af-db3b410163da"},"summary_title":"Joseph"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-206156","uid":"adlib-agent-206156","uuid":"d425647e-16ae-3a71-8400-d3789e551438"},"summary_title":"magus"}],"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":"blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, 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"}}],"name":"Decoration"},{"measurements":{"dimensions":[{"dimension":"Depth","units":"mm","value":"3"},{"dimension":"Diameter","units":"cm","value":"6.3"}]},"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"9.3"}]},"name":"Frame"},{"name":"Surface","techniques":[{"description":[{"value":"circular, very slightly convex copper plaque, pierced by small holes at 3 and 9 o'clock, enamelled over a white preparation in blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, and white, and gilded. 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-156434","_score":16.761652,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156434","indexed":1765994447488,"modified":1711382013000,"processed":1765994444851,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156434","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156434","uuid":"6b4848b6-c84d-3682-90b5-0185bd230b80","version":8},"agents":[{"@link":{"note":[{"value":"Edwin Henry Lawrence (1819-91), a nephew of the painter, Sir Thomas Lawrence, RA, was a successful stockbroker, who lived at 84 Holland Park, London. He was elected a Fellow of the Society of Antiquaries in 1866, and is chiefly remembered for his collection of Ancient Egyptian and Cypriote antiquities."}],"type":"reference"},"admin":{"id":"agent-184634","uid":"adlib-agent-184634","uuid":"82f1e852-9d66-3b68-a3ed-389e6a0579f0"},"summary_title":"Lawrence, Edwin Henry"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-179391","uid":"adlib-agent-179391","uuid":"fda96380-058b-3b9f-ba30-bddc94a12bb8"},"summary_title":"Saint Elizabeth"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149856","uid":"adlib-agent-149856","uuid":"46245875-5597-353d-bb62-d85f9cb71b88"},"summary_title":"beggar"}],"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":"blue, green, pink, red, brown, mulberry, grey, black, and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"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 a small hole at top centre and at bottom centre. The left side curves inwards slightly; enamelled in blue, green, pink, red, brown, mulberry, grey, black, and white, and gilded. The counter-enamel is clear but appears uneven dark red."}],"note":[{"value":"blue, green, pink, red, brown, mulberry, grey, black, and white enamels"}],"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"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"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":"rectangular copper plaque painted in polychrome enamels and gilded. St Elizabeth giving alms to a beggar, titled below 'SANCTA.ELISABETHA'; white relief foliage and gold foliage on a black ground in the spandrels."},{"value":"Rectangular, slightly convex copper plaque with a small hole at top centre and at bottom centre, and an inward curve to the left side, enamelled in blue, green, pink, red, brown, mulberry, grey, black, and white, and gilded. The counter-enamel is clear but appears uneven dark red.  An oval medallion with a white and gold frame encloses a three-quarter length figure of St Elisabeth giving alms to a beggar. The Saint has a gold crown which forms part of her halo. Her dark brown hair has a centre parting and is ornamented on her left side with three rows of white pearls. Over a pleated mulberry dress, she wears a dark blue cloak with a green lining, and an ermine collar. The folds of the fabric are highlighted by small gold dashes. In her left hand she holds a gold sceptre terminating in a fleur-de-lys, and with her right is about to place a coin into the hat of a beggar approaching from her right. Only the upper part of his body is shown. His right arm is outstretched holding his hat, and his left hand is close to his chest. He wears a mulberry tunic, and a white and red cloth wound round his head. Behind him is a column and a green curtain. Both figures have red fingernails and shading on their hands. The spandrels outside the frame have a black ground decorated with gold foliage, and white foliage in relief. Across the bottom of the plaque is a narrow white label inscribed in black \u2018: SANCTA \u2022 ELISABETHA\u2019. On the back in black, \u2018P. Novailher\/esmaillieur\/A Limoges\u2019"}],"identifier":[{"accession_number":"M.48-1904","primary":true,"type":"accession number","value":"M.48-1904"},{"priref":"156434","type":"priref","value":"156434"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156434","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156434"}],"inscription":[{"location":"on front of plaque at bottom","method":"painted in black enamel","transcription":[{"value":"SANCTA.ELISABETHA"}],"type":"inscription"},{"location":"on back","method":"painted in black enamel","transcription":[{"value":"P. Novailher\/esmaillieur\/A Limoges"}],"type":"signature"},{"location":"on back near the top","method":"hand-written in black","transcription":[{"value":"Pi ?\/S\/1\/ [1 raised over horizontal line]"}],"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":"Frank McClean died in Brussels on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1690,"from":{"earliest":1690,"era":["CE"],"latest":1690,"precision":"circa","value":"1690"},"latest":1710,"note":[{"value":"previously dated c. 1700-40 but the colouring suggests that it could have been made before 1710 and not as late as1740"}],"range":true,"to":{"earliest":1710,"era":["CE"],"latest":1710,"value":"1710"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-207865","uid":"adlib-agent-207865","uuid":"e75ee0ce-7ba2-3cf9-8517-cf4a83dcc4a1"},"summary_title":"Nouailher, Pierre, l'aisn\u00e9"},{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-207866","uid":"adlib-agent-207866","uuid":"26e43dd7-2eb1-3b71-9ccc-57d1ed72af94"},"summary_title":"Nouailher, Pierre, II"}],"note":[{"value":"St Elizabeth of Hungary was born in 1207, traditionally at S\u00e0rospatak. At the age of fourteen she married Ludwig IV, Landgrave of Thuringia with whom she lived happily until he embarked on the Sixth Crusade, and died at Otranto in Italy in 1227. Elizabeth refused to remarry, and moved to Marburg, where she may have become a tertiary of the Fransiscan order. She founded a hospital, and continued the charitable good works for which she had become famous during her marriage. She died in 1531, and was canonized in 1235 by Gregory IX, and made patroness of the Third Order of St Francis.. Her bones were translated to the church of St Elizabeth at Marburg, which became a pilgrimage centre. In 1539 the Lutheran Landgrave Philip of Hesse had her bones removed to an unknown situation to prevent superstitious practices. She became a popular saint, and depictions of her giving alms occur on plaques, holy water stoups, and reliquary frames (frames with several small relics mounted within them)\n\nRectangular plaques decorated with oval portrait medallions and spandels decorated in relief with stylized foliage, usually in white with gilding on a black ground came into fashion in the second half of the seventeenth century and continued into the early eighteenth. Relief decoration is also found on two-handled bowls, candlesticks, ewers, and purse plaques."},{"value":"This plaque was probably made by Pierre Nouaillier, l'aisn\u00e9 (c. 1657-1717), or his younger brother, Pierre II Nouailher (1665-after 1743). The format and style is similar to others with portraits of Christ, the Virgin, or Saints usually attributed to Pierre II Nouailher, and the signature on the back is similar to that on the reverse of a plaque of St Simon, in the Mus\u00e9e des Beaux-Arts, Limoges.  His treatment of the facial features, and the halos with wavy rays alternating with groups of shorter straight rays was distinctive, and can be seen on many other plaques. The quality seems inferior to enamels attributed to Pierre I Nouailher, such as the  bowl of a cup signed  'P. NOVALHER. ESMAILLEIVR\u2019 in the Walters Art Gallery, or three two-handled cups in the Louvre. But the dark colouring suggests that it was made before about 1720, as the colouring of painted enamels became brighter and paler towards the middle of the century."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-120948","uid":"adlib-term-120948","uuid":"709dd310-07e3-34e8-9f19-225896efdf8c"},"summary_title":"17th Century, Late-18th 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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Edwin H. 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Not 247 in Magniac sale as stated by Dalton.","page":"115","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Ref. pp. 155-6, for Saint Elizabeth","page":"155-6","type":"reference"},"admin":{"id":"publication-4997","uid":"adlib-publication-4997","uuid":"ba4ddd50-47c1-39de-a05b-b52317cb4138"},"summary_title":"The Oxford Dictionary of Saints"},{"@link":{"notes":"Cf.  p. 348-9, no. 186, the bowl of cup attributed to Pierre I","page":"348-0","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. 415, no. MR 2634 (other inv. N. 1421) the Virgin and Child with similar signature except for no s in 'esmailleur'. The treatment of the eyes, which Baratte singles out as characteristic of this enameller are comparable to those of the saint on the Fitzwilliam's plaque. Cf. also pp. 412-4, nos. MR 4269,  MR 2468 and MR 2451, attributed to Pierre I.","page":"415","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":"Ref. p. 400 for the dates of Pierre Nouailher, l\u2019ain\u00e9 (I), c. 1657 to 28 September 1717. 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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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Round the edge of the foot there is a continuous spray of foliage, a row of scallops and a row of flowerheads all in gold."}],"identifier":[{"accession_number":"M.25 & A-1904","primary":true,"type":"accession number","value":"M.25 & A-1904"},{"priref":"119204","type":"priref","value":"119204"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/119204","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/119204"}],"inscription":[{"description":[{"value":"circular paper label"}],"location":"on underside of foot","method":"hand-written in faded black ink","transcription":[{"value":"N.1.187\/Cup & Cover of\/Venetian Enamel\/of the 15 or 16 century\/Bought at Florence\/by C. 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Redfern; W. Bateman and T. Bateman, Lomberdale House, Youlgrave, Derbyshire; sold Sotheby, Wilkson & Hodge,  14 April 1893, The Bateman Heirlooms. Catalogue of the First Portion of the Valuable and Important Collection of Works of Art & Antiquity, formed by the late W. Bateman, Esq., & T. Bateman, Esq. Of Lomberdale House, Youlgrave, Co. Derby, p. 6, lot 22; sold to Frank McClean for \u00a361."}],"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. 6, lot 22; sold for \u00a361 to Frank McClean","page":"6","type":"reference"},"admin":{"id":"publication-3743","uid":"adlib-publication-3743","uuid":"4c11f232-2a31-367a-b5cd-90aecdb8530d"},"summary_title":"The Bateman Heirlooms"},{"@link":{"notes":"Publ. p. 116, no. 75, dated 16th century. 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slightly 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 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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Translucent counter-enamel tinged with green."}],"note":[{"value":"white, brownish-black in grisaille technique"}],"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"}}]},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"4.3"},{"dimension":"Length","units":"cm","value":"7"}]},"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"5.4"},{"dimension":"Length","units":"cm","value":"8.1"}]},"name":"Frame"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-1111","uid":"adlib-term-1111","uuid":"46c949dd-f376-3538-878f-397baee5be09"},"summary_title":"mythology"}]},"department":{"value":"Applied Arts"},"description":[{"value":"copper enamelledin  grisaille and gilded. Diomides seated and holding the Palladium, a ball on a column, two women and an old man about to sacrifice a bull beside an altar."},{"value":"Rectangular and slightly convex copper plaque enamelled in grisaille on a black ground, and gilded. The translucent counter-enamel is tinged with green.\nDiomides seated holding the Palladium before a group sacrificing a bull. On the left, Diomedes, nude, sits in profile to right on a drapery which passes over his left arm which is held out in front of him, supporting a gold winged figure of the Palladium. Further to the right is a column with a ball on top, a clad female figure with a quiver, holding her arms up to the right, another female figure, and an old man facing to the left with a bull, partly concealed behind an altar. A gold line runs round the edge.\nNarrow rectangular frame with on the back, a toothed inner edge which holds the plaque in position, and, at top centre, a ring and a circular loop for suspension. The front has a blue-black ground decorated on the front in gold with a repeating pattern of formal flowerheads and foliage."}],"identifier":[{"accession_number":"M.117-1961","primary":true,"type":"accession number","value":"M.117-1961"},{"priref":"156463","type":"priref","value":"156463"},{"source":"Beit Collection","type":"old object number","value":"451"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156463","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156463"}],"inscription":[{"location":"on back","method":"painted in red","transcription":[{"value":"451"}],"type":"number"},{"description":[{"value":"circular tie on tag inscribed on one side with name of collection and on the other with sale catalogue reference"}],"location":"attached","method":"hand-written","transcription":[{"value":"Beit Coll.\u2019, and, Christies\/7oct.1948\/lot\/24.2\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":"Louis.C.G. 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There are several different accounts of how this was achieved, and of the later fate of the Palladium. In classical literature the Palladium was described as in the form of a warrior with feet together, holding a spear, a shield, and in the other hand a spindle and distaff. But here the enameller has represented it as an elegant winged figure reminiscent of a Victory.\n\nThe scene was constructed from two unrelated images, both probably taken from Renaissance bronze plaquettes. Godsell (see Documentation) identified the two sources of the design. The group on the right is after a rare bronze plaquette, of a Sacrifice of a Bull by Valerio Belli (e.g. Staatliche Museen, Berlin, A.N.1161, Inv. 1293), and the seated Diomedes is probably after an anonymous  plaquette, after an Antique gem of Ulysses standing before Diomedes with a Palladium (e.g. NG Washington A 315.38B), but it might also have been derived from one of several gems, plaquettes, and medals which display only the figure of Diomedes holding the Palladium. The figure was not copied exactly, the enameller altered the position of the legs.\n\nHe was named the Master of the  Mars and Venus Plaque after a plaque in the Victoria and Albert Museum which illustrates the characteristics of his style. All his enamels are small plaques, and those which have been identified are in the monochrome palette described as grisaille. One of the features of his designs, illustrated by the Fitzwilliam's plaque, is that the figures are arranged more or less in a horizontal line, as if they were a sculptural frieze."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"},{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-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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4, second part of lot 24; Copper & Adams, London; Louis C.G. Clarke MA, LL.D. (1881-1960), 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. pl. 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He owned a houses in Park Lane,  Port Lympne, Kent and Trent Park, Cockfosters, north London."}],"type":"reference"},"admin":{"id":"agent-179459","uid":"adlib-agent-179459","uuid":"2566bf7f-b118-35af-8c23-4cc23995bb4b"},"summary_title":"Sassoon, Philip, Sir"},{"@link":{"type":"reference"},"admin":{"id":"agent-179458","uid":"adlib-agent-179458","uuid":"d77ef210-8e40-3c66-885e-359cad2b3525"},"summary_title":"Durlacher, George"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-410","uid":"adlib-agent-410","uuid":"e4a0126f-5620-36a5-86f3-fc0eef3d6fd0"},"summary_title":"Adam"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149828","uid":"adlib-agent-149828","uuid":"c267f1be-fe9c-3ff7-aaea-fda5900bebea"},"summary_title":"Eve"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149826","uid":"adlib-agent-149826","uuid":"f906a265-7c36-3124-b8b1-413d93c6c0a7"},"summary_title":"Cain"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149825","uid":"adlib-agent-149825","uuid":"453c874c-87ca-307b-a09e-98aecf29d67f"},"summary_title":"Abel"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149992","uid":"adlib-agent-149992","uuid":"2fc34d64-f566-35ce-9ad4-98939c8fb978"},"summary_title":"God"}],"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-117089","uid":"adlib-term-117089","uuid":"70d59fbc-64f7-304e-a336-bf6d65a433a8"},"summary_title":"Louis C. 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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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title","value":"Limoges enamel basin, by Pierre Reymond (detail)"}]},"type":{"base":"media","type":"image"}}],"name":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-89303","uid":"adlib-term-89303","uuid":"7012fd66-769f-33c8-bb38-d805db27c8c9"},"summary_title":"basin"}},{"value":"ewer basin"}],"note":[{"type":"history note","value":"Baron Gustave de Rothschild (1829-1911); Sir Philip Sassoon, Bt., MP, CMG and the Countess of Rocksavage; Christie\u2019s, 26-27 November, 1919, Catalogue of objets of art, porcelain & faience and fine French tapestry, the property of Sir Philip Sassoon, Bart, M.P., C.M.G., and of the Countess of Rocksavage, p. 10, lot 74; George Durlacher; Christie\u2019s, 6-7 April 1938, Catalogue of Italian maiolica bronzes & objects of art, French and Italian furniture of the Renaissance, tapestry and textiles sold by order of George Durlacher Esq., p.\u00a012, lot 32, illustrated opposite; the Fitzwilliam\u2019s copy of the Catalogue is inscribed \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. The Art of Food in Europe 1500-1800"},{"@link":{"notes":"Ref. For the source of the scenes, p. 131, no. 1 (339), Creation of Eve; p. 132, no. 2 (339), God admonishing Adam and Eve; p. 133, no. 3 (340), The Fall of Man; p. 134, no. 4 (340), The Expulsion from Paradise; p. 135, no. 5 (340), and Cain slaying Abel.","page":"131-5","type":"reference"},"admin":{"id":"publication-6184","uid":"adlib-publication-6184","uuid":"26381161-6750-3ce2-92dd-d0916d46831c"},"summary_title":"Illustrated Bartsch, 12 Formerly Volume 7 (Part 3) Hans Baldung Grien, Hans Springklee, Lucas van Leyden"},{"@link":{"notes":"Ref. 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. XV & XVI Centuries, The State Ermitage Collection"},{"@link":{"type":"reference"},"admin":{"id":"publication-6117","uid":"adlib-publication-6117","uuid":"11dbf863-8759-3f10-b7ae-107ffcf6fd4d"},"summary_title":"\u00c9maux limousins du Mus\u00e9e national de l'Ermitage de Saint-P\u00e9tersbourg"},{"@link":{"notes":"Cf.  pp. 144-7, no. 54, the basin mentioned in Dobroklonskaya 1969 and Limoges, 2004.","page":"144-7","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. pp. 105-07, no. 12, unsigned, but attributed to Pierre Reymond, and dated c.1560. (Inv. 47,2,17 from the W.R. Hearst Collection), d. 46.7 cm. 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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