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Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"}],"type":{"base":"publication"}},{"current_page":1,"data":[{"_index":"ciim","_type":"data","_id":"adlib-object-139826","_score":16.59986,"_source":{"admin":{"added":1592999766000,"created":1312637261000,"flag":"Standard Record","id":"object-139826","indexed":1747160557257,"modified":1730835776000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-139826","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826","uuid":"2161a683-841c-3ebb-ad57-f0bb7ae8697c","version":11},"agents":[{"@link":{"note":[{"value":"Baron James de Rothschild (1792-1868), Paris"}],"type":"reference"},"admin":{"id":"agent-207863","uid":"adlib-agent-207863","uuid":"d865ee7e-3e31-3ccf-bd4d-f4ee11e387b0"},"summary_title":"Rothschild, James"},{"@link":{"note":[{"value":"Baron Gustave de Rothschild (1829-1911), Paris"}],"type":"reference"},"admin":{"id":"agent-179479","uid":"adlib-agent-179479","uuid":"bcd7b9cc-879f-37ac-90a7-2097d525fb8b"},"summary_title":"Rothschild, Gustave de, Baron"},{"@link":{"note":[{"value":"Walter S. 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Signed \"I.C.\" in black on white strapwork below one of the torches."},{"value":"Circular copper plate with slightly raised applied edge, narrow sloping rim, shallow curved sides (cavetto), and almost flat centre. On the reverse, there are a series of irregularly placed small holes in the enamel at the junction of the rim and well. The plate has a manganese-black ground. The polychrome design in the well is enamelled over a white layer in translucent bright blue, turquoise, green, yellow, mulberry, and red, with silver foils under the costume and carpet, and in black, opaque white and flesh pink, enhanced by gilding. The reverse is painted in grisaille with flesh pink, and gilding. The well is decorated with Joseph reconciled to his brothers embracing Benjamin. The action takes place in a townscape with on the right, a tower with a buttress; in the middle an arcade with a domed circular building behind it, and on the left a building with a balcony over the doorway. In the foreground there is a blue pavement with tiles decorated in gold with a circular motifs and stylized flower heads. Joseph stands on the right embracing one of his brothers, probably Benjamin, the other ten kneel in the centre. A purple greyhound crouches in the foreground. On the left, Pharaoh sits or stands on a balcony with a red rug hanging from it, and below there are two small standing figures in a doorway and two more approaching them The sky is inscribed in gold \"G.XLV.\" The sides are decorated with gold foliated scrolls with two narrow bold bands below. Above, a band of copper is visible through the enamel. The rim is decorated with two different female masks with draped fabric headdresses, and two different male masks with large ears and earrings, separated by pairs of tritons with tablets on their tails flanking turquoise two-handled vases, with sprays of gold foliage in the background and a very narrow gold band next to the white rim.\nThe reverse is painted in grisaille and flesh-pink with three terms and three flaming torches linked by scrolling strapwork on a black ground decorated with gold ara\\'acbesques and scrolls. On the rim between pairs of gold bands there is a wreath of gold laurel leaves and berries. On the strapwork are the initials '\"I.C\""}],"exhibitions":[{"@link":{"catalogue":"2568","type":"reference"},"admin":{"id":"exhibition-2249","uid":"adlib-exhibition-2249","uuid":"547b6a0d-a51d-3449-bcac-f9bc675d6f4b"},"summary_title":"Mus\u00e9e r\u00e9trospectif"},{"@link":{"catalogue":"3060 one of four plates","type":"reference"},"admin":{"id":"exhibition-2250","uid":"adlib-exhibition-2250","uuid":"84fa0414-bb62-3cb1-bc3b-7b3c7527322b"},"summary_title":"Exposition Universelle de 1867"}],"identifier":[{"accession_number":"M.115A-1961","primary":true,"type":"accession number","value":"M.115A-1961"},{"priref":"139826","type":"priref","value":"139826"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139826"}],"inscription":[{"location":"on front in sky","method":"painted in gold","transcription":[{"value":".G.XLV."}],"type":"inscription"},{"location":"on back on white strapwork below one of the torches","method":"painted in black","transcription":[{"value":".I .C."}],"type":"initials"},{"description":[{"value":"rectangular with cut corners, printed in black with a line border"}],"location":"on back","method":"printed in black and hand-written in black ink","transcription":[{"value":"UNION\/ CENTRALE with between the words in black ink 124\/2787"}],"type":"label"},{"description":[{"value":"circular paper label"}],"location":"on back","method":"printed in blue and hand-written in pencil","transcription":[{"value":"11\/4"}],"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. 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 Clarke died on 13 December 1960"}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"note":[{"value":"the date is presumably after 1564 when 'Figures de la Bible' was published; there is a lack of dated examples of late 16th century polychrome enamelling over paillons, but it is generally regarded as coming into fashion after c. 1575\/80 and continuing into the seventeenth century"}],"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. These books can be viewed online in the Gallica website of the Biblioth\u00e8que nationale.\n\nThis plate is decorated with the last scene in the series which occurs in Genesis 45. Joseph is shown with his brothers, rejoicing and weeping over them, and is embracing one, probably Benjamin, as mentioned in the Bible story. The scene was copied  from the woodcut titled \u2018GENESE XLV\u2019.by Bernard Salomon in Claude Paradin\u2019s, Quadrins Historique de la Bible, Lyon, 1553, or a later edition. However, the tower on the right, with its arched buttress, was taken from Pierre Eskrich's woodcut in Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . .' (Guillaume Roville), Lyons, 1564 or 1565. In Quadrins historiques ... , the previous scene shows Joseph enthroned revealing his identity to the brothers, but the scene on the plate has usually been described as if it were that.  At least two more and possibly further plates decorated with this subject are known: a 20 cm plate also initialled I.C. on the back, was in the Rev. A.H.S. Barwell\u2019s bequest to the British Museum  (1913,1220.59), and another, 19.8 cm in diameter bequeathed by William G. Mather to the Cleveland Museum of Art, Ohio (1951.326), possibly the plate decorated with this subject formerly in the Marlborough, Spitzer, and J.E. Taylor Collections. Although this plate was in the same collection as M.115B-1961 in the nineteenth century, it is unlikely to have been from the same set originally, because it has a different ground colour.\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems possible that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms. \n\nThe initials \u2018I\u2022C\u2019 occur on a great many enamels made during the second half of the 16th and early 17th century. It therefore seems likely to have been a workshop mark used succesively by  members of the Court family. These were Jehan or Jean Court dit Vigier I (d. 1592) and his son, Jean Court dit Vigier II (b. c.1575-d. between 1631-5);  and a relative, Jehan Court le jeune who married in 1613, and  died between 1627-31, may also have used the mark, but was probably too young to have decorated the 'Joseph Plates'. (See Documentation, Beyssi-Cassan, 2006)"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-132649","uid":"adlib-term-132649","uuid":"059150e1-460a-3bf6-947f-a61ea03afc79"},"summary_title":"Henry III of France"},{"@link":{"type":"reference"},"admin":{"id":"term-132648","uid":"adlib-term-132648","uuid":"1c7f979e-d0e3-379b-8d64-a83e1fef8ced"},"summary_title":"Henry IV of France"}],"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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property of Sir Philip Sassoon, BT., M.P., C.M.G., and the Countess of Rocksavage of 25 Park Lane, p. 8, part of lot 63; Durlacher Bros.; Walter S. Burns, Esq.,, North Mymms Park, Herts; Mrs Walter Burns; sold Christie's, 28 June 1935, Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs. Walter Burns (from the Collection of the late Walter S. Burns, Esq.) p. 5, lot 11, part III. Louis C.G. Clarke, MA, LL.D. 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Palais de l\u2019Industrie, Mus\u00e9e R\u00e9trospectif. Catalogue des objets d\u2019art et de curiosit\u00e9 expos\u00e9s au Mus\u00e9e R\u00e9trospectif ouvert au Palais de l\u2019Industrie en 1865"},{"@link":{"notes":"Publ. p. 8, part of lot 63","page":"8","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":{"type":"reference"},"admin":{"id":"publication-7027","uid":"adlib-publication-7027","uuid":"dedd6fca-e6f1-3dc8-981d-826b32b77670"},"summary_title":"Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs. Walter Burns (from the Collection of the late Walter S. Burns, Esq."},{"@link":{"type":"reference"},"admin":{"id":"publication-200003208","uid":"adlib-publication-200003208","uuid":"a080bc54-7f92-3d57-af8d-e44304d0a9af"},"summary_title":"L\u2019histoire de Joseph sur des assiettes en \u00e9mail peint de Limoges par l\u2019atelier portant la marque de fabrique \u201cI.C."},{"@link":{"notes":"Ref. p. 317 for a discussion of the problem of the identity of the master's signing ICDV, IC, or IDC. Cf. pp. 350-7, six plates from a story of Joseph set, signed by IC, and dated c. 1600, none of which have backs resembling this one. In the 18th century these plates belonged to the duc de Brissac, Louis-Hercule-Timol\u00e9on (1734-1792) and were seized for the state in 1793. A seventh plate has a different provenance.","page":"317, 350-7","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. pp. 378-80, nos. 5 , 6 and 7, for biographical details of the Court family.","page":"378-80","type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"},{"@link":{"notes":"Ref. pp. 130-3 and 291-3 for the illustrations to Quadrins historique de la Bible; for Pierre Eskrich, see pp. 38-44","page":"130-3, 291-3","type":"reference"},"admin":{"id":"publication-7342","uid":"adlib-publication-7342","uuid":"d9fb0bb5-2b35-34f7-88f4-b60331f55697"},"summary_title":"Bernard Salomon Illustrateur Lyonnais"},{"@link":{"notes":"Ref. p. 468 for the provenance of lot 145 in the John Edward Taylor sale at Christie\u2019s, 1 July and following days, 1912, p. 45, a plate decorated with Joseph discovering himself to his brethren","page":"468","type":"reference"},"admin":{"id":"publication-200002824","uid":"adlib-publication-200002824","uuid":"0feb9efe-2e7f-3bbb-8305-d3f21eec9b2c"},"summary_title":"Chronique de l\u2019orf\u00e8vrerie et de l\u2019\u00e9maillerie anciennes de Limoges en 1912"},{"@link":{"type":"reference"},"admin":{"id":"publication-7009","uid":"adlib-publication-7009","uuid":"e8db0a18-1d96-398c-9fe2-2e0762ce7a6c"},"summary_title":"Catalogue Raisonn\u00e9: or, a List of the Pictures in Blenheim Palace; with Occasional Remarks and Illustrative Notes, Part I and Part II"},{"@link":{"type":"reference"},"admin":{"id":"publication-6194","uid":"adlib-publication-6194","uuid":"7d8edc6b-459b-3eb8-84c9-8b43101b820c"},"summary_title":"Catalogue of the Special Loan Exhibition of Enamels on Metal held at the South Kensington Museum London in 1874"},{"@link":{"type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"},{"@link":{"notes":"Ref. Sir Philip preferred French decorative art of the 18th centurfy to the Renaissance objects, such as maiolica and Limoges enamels which had been collected by his grandfather, Baron Gustave de Rothschild in Paris.","page":"151-70","type":"reference"},"admin":{"id":"publication-200003308","uid":"adlib-publication-200003308","uuid":"cd2bb49e-c01c-386e-b0e0-d4d005c862a4"},"summary_title":"Sir Philip Sassoon at 25 Park Lane: the collection of an early twentieth-century connoisseur and aesthete"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"},{"@link":{"type":"reference"},"admin":{"id":"term-10600","uid":"adlib-term-10600","uuid":"02211e31-dcc2-3d71-afd8-d51e21c5dc5f"},"summary_title":"Mannerism"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-147477","uid":"adlib-term-147477","uuid":"ad3110c9-f76d-3f40-90dd-d4d7ac660a6f"},"summary_title":"reconciliation"},{"@link":{"relation":"animal","type":"reference"},"admin":{"id":"term-106792","uid":"adlib-term-106792","uuid":"9dad6dce-12d1-35e5-82ba-35b95d0e469a"},"summary_title":"hound"},{"@link":{"relation":"place type","type":"reference"},"admin":{"id":"term-125821","uid":"adlib-term-125821","uuid":"daf77491-f1b0-3ddb-8f3a-381adc6b40d4"},"summary_title":"townscape"},{"@link":{"relation":"place name","type":"reference"},"admin":{"id":"term-107870","uid":"adlib-term-107870","uuid":"4e6e7a6c-6076-3260-bc72-1404368e4f3a"},"summary_title":"Egypt"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-147476","uid":"adlib-term-147476","uuid":"1f5ce61e-b64e-33dd-9659-9da9c21cb49c"},"summary_title":"Joseph is reconciled with his brothers in Egypt"},{"@link":{"type":"literal"},"name":[{"value":"hound"}],"summary_title":"hound"},{"@link":{"type":"literal"},"name":[{"value":"townscape"}],"summary_title":"townscape"},{"@link":{"type":"literal"},"name":[{"value":"Egypt"}],"summary_title":"Egypt"},{"@link":{"type":"literal"},"name":[{"value":"Joseph is reconciled with his brothers in Egypt"}],"summary_title":"Joseph is reconciled with his brothers in Egypt"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate","techniques":[{"description":[{"value":"Copper with series of irregularly placed small holes in the enamel at the junction of the rim and well. The plate has a dark mulberry-brown (manganese) ground appearing black. The polychrome design in the well is enamelled over a white layer in translucent bright blue, turquoise, green, yellow, mulberrym and red, with silver foils under the costume and carpet, and in black, opaque white and flesh pink, enhanced by gilding. The reverse is painted in grisaille with flesh pink, and gilding"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"title":[{"value":"Joseph reconciled to his brothers embraces Benjamin"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156453","_score":16.59986,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156453","indexed":1747160606084,"modified":1714475184000,"processed":1747159409017,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156453","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","uuid":"35669590-727e-3743-bf39-a50421cd6c98","version":10},"agents":[{"@link":{"note":[{"value":"proprietor of a furnishing showroom and restoration workshop, trading from 1881 under the name Amad\u00e9e Joubert & Son at the Pheasantry, 152 King\u2019s Road, Chelsea. F\u00e9lix probably became its head after the partnership between Henri Charles Ren\u00e9 Joubert and Jules Joubert was dissolved in 1898. After 1914 the showroom closed, and until F\u00e9lix Joubert\u2019s retirement in 1932, the business concentrated on restoration work. He was an extraordinarily versatile and gifted craftsman, who was referred to by J. H. Duveen as the \u2018Chelsea Wizard\u2019. He collected and restored armour and weapons, and also practiced as a sculptor, decorative painter, cabinetmaker, and designer."}],"type":"reference"},"admin":{"id":"agent-207549","uid":"adlib-agent-207549","uuid":"150c3ca3-e7da-3905-999f-0a5eac1aac8b"},"summary_title":"Joubert, Felix (1872\u20131953)"},{"@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-149696","uid":"adlib-agent-149696","uuid":"c1d7b5bf-63d4-3ba4-a080-9810b80bf16c"},"summary_title":"Christ"},{"@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"},{"@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-115872","uid":"adlib-term-115872","uuid":"6da1c0ff-a799-3023-9ff4-fe88fbdd54e2"},"summary_title":"Leonard D. Cunliffe"}],"component":[{"materials":[{"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  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-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, mauve, a little red,  black and white and gilded. The drawing appears black on the white preparation. The circular jewels are foiled. The surface is slightly rippled and almost mat.The counter-enamel is not visible."}],"note":[{"value":"blue, green, yellow, brownish-mulbery, mauve, a little red,  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-107470","uid":"adlib-term-107470","uuid":"f6217ee1-61ca-3c57-92a1-dd13e97bc77c"},"summary_title":"gilt-metal"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"12.6"},{"dimension":"Width","units":"cm","value":"10.1"}]},"name":"Frame"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39588","uid":"adlib-term-39588","uuid":"b17ff981-06b2-30a2-b9a9-b514fe84a191"},"summary_title":"copper"}}],"name":"Plaque"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, decorated with polychrome enamels, foiled 'jewels', and gilding"},{"value":"Rectangular, almost flat copper plaque with arched top, the white preparation enamelled in blue, green, yellow, brownish-mulbery, pale purple, a little red,  black and white and gilded. The drawing appears black through the white preparation. The flesh is white over black with a pale mauve wash applied over parts of the faces and limbs.The circular jewels are foiled with presumed silver paillons. The surface is slightly rippled and almost mat.The counter-enamel is not visible.\nThe Virgin Mary is seated in the centre, looking down at the dead Christ who lies across her knees with his right arm hanging down, and his left extended but only partly visible. The Virgin\u2019s  right hand is raised, and she supports Christ\u2019s right shoulder with her left hand. Christ\u2019s left hand is held by Mary Magdalen, who stands on the right holding a jar of ointment in her right hand. St John stands on the left looking towards the others. Both he and the Magdalene are shown three-quarter view with their heads in profile.\nChrist wears a green head band and a brown cloth round his loins. The Virgin has a mulbery halo with gold rays and eight alternately green and blue jewels. She wears a dark blue cloak over a mulbery gown. Mary Magdalene has waist-length pale brown and gold wavy hair, and wears a green turban-like cap, and a pale purple cloak over a green dress. St John has shoulder-length golden hair, and a green halo with six alternately mulberry and blue jewels. wears a mulberry gown and has a pale blue cloth over his right arm. All have white flesh shaded in grey.\nBehind the figures is a niche with a trefoil arch rising from cylindrical columns with carved capitals and bases. The columns are blue and have three jewels on their capitals and two on their bases. The trefoil arch has a jewel on a trefoil on the two angles. The words \u2018O(insert a large n)  OVO AVER\u2019 are inscribed in gold on the wall of the niche. The lower part is scattered with gold dots over a black ground. The area within the trefoil arch is blue.\nThe plaque is set into a gilt-metal frame with a wire rope edge on the front partly covered by teeth folded over from the back which hold it in place. The frame covers the reverse completely and has  a vertically hinged prop, pierced by two groups of three holes. It is inscribed in black on the left B\/55\/L.D.C, and on the right 'igi' underlined, and lower down '615' on a tabula ansata with 'Ic.' (dot above I) above and below"}],"identifier":[{"accession_number":"M.7-1938","primary":true,"type":"accession number","value":"M.7-1938"},{"priref":"156453","type":"priref","value":"156453"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156453"}],"inscription":[{"description":[{"value":"underlined"}],"location":"on back at top right","method":"hand-written, probably in black Indian ink","transcription":[{"value":"igi"}],"type":"inscription"},{"description":[{"value":"possibly with a V in front of the first Ic."}],"location":"half-way down the right of the back","method":"hand-written, probably in black Indian ink","transcription":[{"value":"'615' on  a tabula ansata inscribed with \u2018Ic.\u2019 (dot above I) above and \u2018Ic.\u2019 below"}],"type":"inscription"},{"location":"on left side of back","method":"hand-written in black","transcription":[{"value":"B\/55\/L.D.C"}],"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":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"},"note":[{"value":"Provenance from information in list of objects selected by the Fitzwilliam from Mr Cunliffe\u2019s collection."}]}],"creation":[{"date":[{"earliest":1500,"era":["CE"],"latest":1500,"note":[{"value":"When acquired, the plaque was dated to c. 1480, but it probably dates from around 1500. Its authenticity has been doubted but the degree of damage to its edges suggests that it is probably genuine, but heavily restored."}],"precision":"circa","value":"1500"}],"maker":[{"@link":{"qualifier":"probably workshop of","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-88154","uid":"adlib-agent-88154","uuid":"fb2f6872-99ae-3003-8dd4-953d30c3a7dc"},"summary_title":"Master of the Orl\u00e9ans Triptych"}],"note":[{"value":"Plaques of this arched form were sometimes used as paxes, but few have retained their handle. Others were set into small free-standing frames, or were framed and hung at the head of the owner\u2019s bed, as an image de chevet."},{"value":"The composition is closely related to a Piet\u00e0 in the Hermitage, St Petersburg, which has a similar iconography but with a tau Cross and landscape in the background, and was attributed to the Master of the Orleans Triptych by Marquet Vasselot. (see Documentation). It differs from the Fitzwilliam\u2019s in three other iconographical details: the Magdelene has a jewelled halo, St John is shown three-quarter face instead of in profile, and there is a flower near the lower left corner. Another plaque in the Hermitage has analogous icongraphy and was alsoformerly attributed to the Master of the Orleans triptych. (see Documentation, Rapp\u00e9 and Boulkina, 2005). A plaque of this subject, presumably deriving from a shared source, but much more naively delineated, and with the group in a room with an ogee arch above is in the Louvre, OA 4011 (see Documentation, Baratte, 2000). All four plaques have a Mary Magdalene who wears a turban-like cap, fashionable in the mid to late 15th century, which distinguishes them from another series of plaques on which she it hatless and vaseless. She also appears in this way on the right wing of a triptych by the Master of the Orleans Triptych in the Hermitage (F 275), and in the Crucifixion forming the central panel of the triptych attributed to the workshop of Nardon P\u00e9nicaud at Bourges. This type of headdress went out of fashion by the early sixteenth century but continued to be worn by Mary Magdalene in works of art in which she was not depicted with her hair hanging loosely about her shoulders."},{"value":"The unidentified enameller known as the Master of the Orl\u00e9ans Triptych was named by J.J. 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M. Joubert, probably F\u00e9lix Joubert (1872\u20131953), The Pheasantry, 152 King\u2019s Road, Chelsea, London, from whom purchased probably on 17 November 1930 for \u00a350 by Leonard. D. Cunliffe (1860\u20131937); bequeathed by him."}],"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.  p. 88, and p. 249, no. 60, ill. pl. XXI in the Hermitage, St Petersburg, which the author attributes to the workshop of the Master of the Orl\u00e9ans Triptych. Formerly in the Basilewsky collection. Rectangular with rounded top. 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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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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. 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Clear, uneven counter-enamel with several blobs on the right side."}],"note":[{"value":"in white, pink, red, and black"}],"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":"12"},{"dimension":"Width","units":"cm","value":"9.5"}]},"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"13"},{"dimension":"Width","units":"cm","value":"10.5"}]},"name":"Frame"}],"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 enamelled en grisaille with pink and red, and gilded. Job admonished by his wife and tempted by Satan with the inscription \u2018ET NOVS INDVIS POINT\/EN TENTATION\u2019 (And lead us not into temptation). One of a set of plaques with M.49A-D & F-1904."},{"value":"Rectangular convex copper plaque with a hole in each corner, enamelled en grisaille with a little pink, and red, on a black ground, and gilded. Clear, uneven counter-enamel with several blobs on the right side. Job sits on ashes, menaced from behind by Satan, and admonished by his wife who stands in front of him on the right. Job faces to his left with his head turned to his right, He is bearded, and naked apart from a white cloth over his knees. His body is covered with red boils.. Satan holds a blazing red switch, and behind him is a furnace spouting flames. Job\u2019s wife wears sixteenth-century costume and has her back to the vewer. God appears in a semi-circle of clouds in the top right corner. Gold lines run round the edges of the garments. Running across the bottom of the plaque is a white panel inscribed in black with gold over it, \u2018ET NOVS INDVIS POINT\/EN TENTATION\u2019 (And lead us not into temptation) followed by two curved gold lines. A gold line runs round the edge of scene and the inscription. The reverse is inscribed in black with the number \u2018VII\u2019. The plaque is set in an ill-fitting, rectangular, gilt-metal frame with repeating formal leaf border. The plaque is held into the frame by four bent over pins attached to the cardinal points on the reverse."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum By Frank McClean, M.A., F.R.S."}],"identifier":[{"accession_number":"M.49E-1904","primary":true,"type":"accession number","value":"M.49E-1904"},{"priref":"156439","type":"priref","value":"156439"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156439","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156439"}],"inscription":[{"location":"on front at bottom","method":"painted in black and gold","transcription":[{"value":"ET NOVS INDVIS POINT\/EN TENTATION\u2019"}],"type":"inscription"},{"description":[{"value":"Roman seven"}],"location":"on back","method":"painted in black","transcription":[{"value":"VII"}],"type":"number"},{"description":[{"value":"almost square label with a serrated edge and blue printed beaded border; underlined as far as 401"}],"location":"on back","method":"hand-written in black ink","transcription":[{"value":"4899\/sar (5\/T000\/N000\/401\/di una\/venduta separat . ."}],"type":"label"},{"description":[{"value":"a strip cut out of a sale catalogue"}],"location":"on back","method":"printed in black","transcription":[{"value":"289 SIX PLAQUES en \u00e9mail de Pierre Remond, repr\u00e9sentant des sc\u00e8nes de pri\u00e8res avec inscriptions au bas en vieux fran\u00e7ais. Petit collection tres rare et digne d\u2019un mus\u00e9e. Vois illustration page 3.\u2019 and handwritten in black ink \u2018CAT.B (or D) AVD"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"McClean died on 8 November 1904 in Brussels"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"},{"@link":{"qualifier":"after","role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-63808","uid":"adlib-agent-63808","uuid":"2ed7b47b-c05b-3fcc-879c-c3f517ea1682"},"summary_title":"Holbein, Hans, the younger"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-93853","uid":"adlib-agent-93853","uuid":"f6c72949-df13-3991-afdb-164610d10ab4"},"summary_title":"Monogrammist C. V."}],"note":[{"value":"This plaque was originally the seventh in a series of eight panels illustrating the Lord's Prayer, of which six are in the Fitzwilliam (M.49A-F-1904). The first plaque shows 'Christ instructing the Disciples how to pray', the others have scenes associated with the Lord's Prayer which follows. The words are written in French below each scene. This plaque illustrates \u2018 Lead us not into temptation\u2019 (Matthew VI, 13). It shows a Job sitting in despair among ashes after Satan has afflicted him with boils from top to toe in order to tempt him to speak ungratefully of God. (Job, 2, 7-8).There are at least three other recorded plaques of this subject, see Documentation\n\nTwo plaques from the series decorated in the same style in the Louvre were attributed to Colin Nouailher by Alfred Darcel (1867) and this was upheld by J.J. Marquet de Vasselot (1919-20) and Sophie Baratte (2000). This attribution was confirmed by the presence of the initials CN below the title on a plaque from the Lord\u2019s Prayer decorated with the 'Deliver us from Evil' scene, acquired by the Mus\u00e9e de l\u2019\u00c9v\u00each\u00e9, Limoges, in 2007 (2007.5.2) with another plaque of the 'Give us our daily bread' scene (2007.5.1).\n\nThe scenes illustrating the lines of the prayer were inspired by a set of metalcuts by the Basel monogrammist C.V. after Holbein which appeared in Desiderio Erasmus's 'Precatio dominica in septem portiones', published by both Johann Froben and Johannes Bebel successively in Basle in 1524. The work was first published without illustrations in 1523, and was rapidly translated into modern languages. The illustrations in the Froben and Bebel editions have the inscriptions in Latin, but a set of eight prints issued separately probably a little later with inscriptions in French, signed CV, is in the British Museum (1904.0206, 64,1-8;) and seven of the set (no. 4 is missing) are in the Cabinet des Estampes, Biblioth\u00e8que nationale, Paris (EA 25c in fol., p. 57). While the iconography of all the plaques was derived from these prints, the details differ considerably, in some scenes more than others. \n\nLord's Prayer plaques were also executed probably by Jean II or III P\u00e9nicaud, and an enameller who signed 'KIP' or' KI'. These are in very different styles from the Nouailher plaques and include some scenes which were not based on the Holbein\/CV illustrations."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Clarke"}],"component":[{"materials":[{"note":[{"value":"probably"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39778","uid":"adlib-term-39778","uuid":"8bd60ed6-968d-3faf-8ad5-b4e4ee9bb245"},"summary_title":"silver"}}],"name":"Foils"},{"materials":[{"note":[{"value":"translucent blue, turquoise, green, yellow, and mulberry; flesh pink, opaque white, grey and black"}],"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":[{"note":[{"value":"translucent blue, turquoise, green, yellow, and mulberry; flesh pink, opaque white, grey and black"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled in polychrome and gilded with the Triumph of Joseph'; reverse enamelled en grisaille and gilded with masks, strapwork and arabesques, and initialled \"I.C\""},{"value":"Circular copper plate with slightly raised edge, narrow rim, and shallow well with curved sides. The plate has a black ground. The central design is enamelled over a white ground in  translucent blue, turquoise, green, yellow, and mulberry enamels over silver foils, and opaque white, flesh-pink and black highlighted with gold. The cavetto has a black ground painted in gold. The rim has a black ground except for the foiled areas and the flesh areas which have a white preparation. The edge is white. The reverse is enamelled in grisaille with dark salmon-pink on a black ground painted in gold The underside of the rim has a black ground painted in gold.\nThe central design shows Joseph riding in Pharaoh's Chariot known as The Triumph of Joseph. Joseph, is seated a chariot on the right, with a crowd of Egyptians in front of him. In the background there are three buildings: on the right, a circular domed building with Corinthian columns round its circumference; in the middle, a smaller low building with a sloping roof, and on the left, a rectangular building with a triangular gable and arcaded lower storey. \"G.XLI\" is inscribed in gold on the sky. The sides are decorated with gold foliated scrolls between horizontal bands. On the rim are two different female masks wearing fabric headdresses, and two different crowned male masks, separated by vases flanked by pairs of tritons with tablets over their curly tails, with sprays of gold foliage in the spaces.\nThe reverse is enamelled en grisaille. In the centre there is a white flowerhead comprising a rosette, a broad circle and twelve petals, Around this are two dark salmon-pink masks without hair and two with hair, with drapery issuing from their mouths, confined by broad strapwork and fruit on stems. The black ground is decorated with gold arabesques, and on the rim, thee is a wreath of gold leaves and berries between gold bands. The mark \"I.C.\" is painted in black on a white circle surrounding the central rosette."}],"identifier":[{"accession_number":"M.114-1961","primary":true,"type":"accession number","value":"M.114-1961"},{"priref":"139825","type":"priref","value":"139825"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139825"}],"inscription":[{"location":"on strapwork on the back","method":"painted in black enamel","transcription":[{"value":"I\u2022C"}],"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":1960,"latest":1960,"value":"1960"}],"method":{"value":"bequeathed"},"note":[{"value":"There is no doubt that this plate was the one in the Duke of Newcastle, and Lockett collections because the Museum\u2019s copy of Christie\u2019s catalogue of the former\u2019s sale on 7 July 1921 is inscribed alongside lot 110, \u2018Lockett Sale\/1942\/now property of L.C.G. Clarke\u2019"}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"note":[{"value":"as some of the scenes on the twelve plates with Joseph scenes were from Figures de la Bibles, they were presumably made after 1564, although the first identified with a scene from that book was no. 7 in the sequence."}],"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. This indicates that the series of plates were made after  1564\/65.These books can be viewed online in the Gallica website of the Biblioth\u00e8que nationale.\n\nThis plate is decorated with the fifth scene in the sequence. The Triumph of Joseph, described  in Genesis, Chapter 41, 43: \u2018And he [Pharaoh] made him to ride in the second chariot which he had; and they cried before him, Bow the knee: and he made him ruler over all the land of Egypt\u2019. The Biblical reference \u2018.G.XLI\u2019  is given above the scene which was copied from a woodcut illustration entitled \u2018GENESE XLI\u2019 by Bernard Salomon in Claude Paradin, 'Quadrins Historique de la Bible', Lyon, 1553 or a later edition., . (The 1558 edn is in the Cambridge University Library Keynes, E.3.4, and in the Fitzwilliam Museum Dept. of MSS and Printed Books). At least two more plates are known decorated with this subject, one with a blue ground, in the Mus\u00e9e du Louvre (see Documentation, Baratte, 2000), and one with a manganese-black ground which descended in the family of Lionel de Rothschild (1808-79) and was sold by Sotheby's London in 2003 (see Documentation).\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems possible that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms. In that year, Henry IV granted to Dominic de Vic, a distinguished soldier, administrator and diplomat (d. 1610), and his brother, M\u00e9ry, the right to add to their arms 'un \u00e9cusson d\u2019azure charg\u00e9 d\u2019une fleur de lys d\u2019or et d\u2019une bordure du m\u00eame' (a blue shield charged with a gold fleur de lys and a border of the same). \n\nThe mark \u2018I\u2022C\u2019 seems likely to have been a workshop mark used succesively by  Jehan or Jean Court dit Vigier I (d. 1592) and his son, Jean Court dit Vigier II (b. c.1575-d. between 1631-5). The issue is complicated by the presence of another Jehan\/Jean de Court who witnessed the latter's wedding in 1598, and was therefore probably a relative, and possibly an enameller, and of another enameller, Jehan\/Jean Court dit Vigier le jeune who married in 1613, and  died between 1627-31, but seems likely to have been too young to have been the decorator of the Joseph Plates. (See Documentation, Beyssi-Cassan, 2006)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-132649","uid":"adlib-term-132649","uuid":"059150e1-460a-3bf6-947f-a61ea03afc79"},"summary_title":"Henry III of France"},{"@link":{"type":"reference"},"admin":{"id":"term-132648","uid":"adlib-term-132648","uuid":"1c7f979e-d0e3-379b-8d64-a83e1fef8ced"},"summary_title":"Henry IV of France"}],"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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Hope (d. 1887); her daughter Henrietta Adele Hope (1843-1913), 6th Duchess of Newcastle; her son, Henry Pelham Archibald Douglas Pelham-Clinton (1864-1928), 7th Duke of Newcastle Christie\u2019s, 7 July 1921, Catalogue of fine old English silver-gilt plate, Limoges enamels, old Italian majolica and porcelain, the property of his grace the Duke of Newcastle, and removed from Clumber, Worksop, p. 19, lot 110, illustrated; sold for \u00a3780. George A. Lockett; sold Christie\u2019s, 12 June 1942, The Choice Collection of objects of Art and Furniture formed by the late George A. Lockett, Esq., p. 22, lot 203, illustrated; Mallett & Sons, London; purchased in September 1942 by Louis C.G. Clarke, MA, Cambridge."}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139826","uid":"adlib-object-139826","uuid":"2161a683-841c-3ebb-ad57-f0bb7ae8697c"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-156461","uid":"adlib-object-156461","uuid":"a5821ff5-0e9f-3506-b562-6073ee63e047"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"}],"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. 19, lot 110. Cf. lot 111 a plate decorated with Pharoah's Dream is now in the Herzog  Anton-Ulrich Museum, Braunschweig.","page":"19","type":"reference"},"admin":{"id":"publication-3407","uid":"adlib-publication-3407","uuid":"19cc80c0-e6e7-3fd0-9660-ce60875a0f41"},"summary_title":"Catalogue of fine old English silver-gilt plate, Limoges enamels, old Italian majolica and porcelain, the property of His Grace the Duke of Newcastle, and removed from Clumber, Worksop"},{"@link":{"notes":"Publ. p. 22, lot 203, illustrated","page":"22","type":"reference"},"admin":{"id":"publication-3221","uid":"adlib-publication-3221","uuid":"d6ca23eb-f1e5-32c4-b618-396e4ae4ca33"},"summary_title":"The choice collection of objects of art and furniture formed by the late George A. Lockett Esq."},{"@link":{"notes":"Publ. p. 161, fig. 15, and Table of Plates, no. 5.2. Higgott and Poole, provide the most detailed description of the 'Joseph plates' with a list of the known examples.","page":"161","type":"reference"},"admin":{"id":"publication-200003208","uid":"adlib-publication-200003208","uuid":"a080bc54-7f92-3d57-af8d-e44304d0a9af"},"summary_title":"L\u2019histoire de Joseph sur des assiettes en \u00e9mail peint de Limoges par l\u2019atelier portant la marque de fabrique \u201cI.C."},{"@link":{"notes":"Cf. p. 355, N 1359, a plate decorated with this subject on a blue ground, differing in details of the figures, and having clouds above, and with a different design on the reverse, very close to the Fitzwilliam Museum's plate C.115-1961 and similarly initialled '.I.C'. The execution of this plate is superior to the Fitzwilliam's particularly in the gilded details. Cf. p. 331, R315, a grisaille dish, with a similar design of masks and thick strapwork on the reverse, also initialled .I.C on the front.","page":"355","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. pp. 26-9, lot 15, part III, a comparable plate, one of a group of seven plates which had belonged to Lionel de Rothschild (1808-79) and his son Nathaniel Rothschild, 1st Lord Rothschild (1840-1915) They descended to Nathaniel Charles Rothschild (1877-1923) and to Victor, 3rd Lord Rothschild (1910-90), and were for a time on loan at Waddesdon Manor.","page":"26-9","type":"reference"},"admin":{"id":"publication-6195","uid":"adlib-publication-6195","uuid":"f4eed033-ca63-353d-b9ef-ac0aaf092f02"},"summary_title":"Treasures from the Rothschild Collection"},{"@link":{"notes":"Ref. pp. 13-33 and 291-3 for Quadrins historique de la Bible; for Pierre Eskrich see pp. 38-44","page":"130-33 and 291-3","type":"reference"},"admin":{"id":"publication-7342","uid":"adlib-publication-7342","uuid":"d9fb0bb5-2b35-34f7-88f4-b60331f55697"},"summary_title":"Bernard Salomon Illustrateur Lyonnais"},{"@link":{"notes":"Ref. p. 311 for a list of Joseph subjects on plates. The Fitzwilliam's Triumph of Joseph is listed as E.3. Cf. pp. 302-06, no. 80, Joseph storing Grain and pp. 307-10, Joseph taken to Prison. The author dates these to c. 1575-1600.","page":"p. 311","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"},{"@link":{"type":"reference"},"admin":{"id":"term-10600","uid":"adlib-term-10600","uuid":"02211e31-dcc2-3d71-afd8-d51e21c5dc5f"},"summary_title":"Mannerism"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-120387","uid":"adlib-term-120387","uuid":"94d60187-0df2-31f4-b2e2-03ad2656fc88"},"summary_title":"Triumph of Joseph"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-107505","uid":"adlib-term-107505","uuid":"c3d7bf9c-773c-34aa-80e1-8d38aa516639"},"summary_title":"chariot"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-125812","uid":"adlib-term-125812","uuid":"e8032ba6-fb44-3ca2-85f5-12d79793ce2a"},"summary_title":"The Triumph of Joseph"},{"@link":{"type":"literal"},"name":[{"value":"chariot"}],"summary_title":"chariot"},{"@link":{"type":"literal"},"name":[{"value":"The Triumph of Joseph"}],"summary_title":"The Triumph of Joseph"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate","techniques":[{"description":[{"value":"copper, enamelled in polychrome and grisaille, and gilded. The design in the well is outlined in black and executed in translucent blue, turquoise, green, yellow, and mulberry enamels over silver foils, and flesh pink, opaque white, grey and black enamels over a white preparation, highlighted with gold. The cavetto has a black ground painted in gold. The rim has a black ground except for the foiled areas and the flesh areas which have a white preparation. The edge is white. The reverse is enamelled in grisaille with dark salmon-pink, on a black ground painted in gold The underside of the rim has a black ground painted in gold."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"title":[{"value":"The Triumph of Joseph"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156428","_score":16.59986,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156428","indexed":1755194558280,"modified":1710938414000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156428","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428","uuid":"3f6419d2-a306-38bd-bb93-8738ec958d6a","version":9},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-83744","uid":"adlib-agent-83744","uuid":"0425c4cf-7e24-317e-91ee-38840b1cc6aa"},"summary_title":"Magniac, Hollingworth"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-153976","uid":"adlib-agent-153976","uuid":"c612678a-2dca-3bf1-9c40-28d7f22e5ab6"},"summary_title":"Angel Gabriel"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154123","uid":"adlib-agent-154123","uuid":"2fef3fa1-e550-35f4-b4de-2ced0eb2272a"},"summary_title":"Virgin Mary"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"collection":[{"@link":{"type":"reference"},"admin":{"id":"term-120007","uid":"adlib-term-120007","uuid":"00af7c97-d937-3d5c-a1af-d2a83fe2785b"},"summary_title":"Frank McClean"}],"component":[{"materials":[{"note":[{"value":"translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and in opaqueblack, and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-109906","uid":"adlib-term-109906","uuid":"cbea03fb-f9ac-3c28-ab2d-d20a955a2b53"},"summary_title":"silver foil"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular, slightly convex copper plaque with arched top, enamelled over a white preparation or foils in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and in black, and white, and gilded. The Virgin\u2019s garments and those of the Archangel and his wings, the vase, the flowers in it and those lying on the table are foiled. The outlines are drawn in black on the white preparation or on the foils. The flesh is tinted by a thin wash of pink with clusters of fine pale red lines. The counter-enamel is concealed by the frame."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"note":[{"value":"in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and black, and white"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106226","uid":"adlib-term-106226","uuid":"194567f2-2bcd-3446-ae31-652386611815"},"summary_title":"painting"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper plaque decorated with polychrome enamels, silver foils, and gilding. The Virgin is seated at a table on the right with a canopied bed in the background, and a vase of lilies in the foreground.  The Archangel Gabriel holding a stem of lilies swoops down  in from the left. Gilt-metal frame"},{"value":"Rectangular, slightly convex copper plaque with arched top, enamelled over a white preparation or silver (probably) foils in translucent blue, turquoise, yellow, pale red, dark red, mulberry, purple, and brown, and in black, and white, and gilded. The Virgin\u2019s garments and those of the Archangel and his wings, the vase, the flowers in it and those lying on the table are foiled. The outlines are drawn in black on the white preparation or on the foils. The flesh is tinted by a thin wash of pink with clusters of fine pale red lines. The counter-enamel is concealed by the frame.                                                                                       The Virgin is seated on a yellow bench with her feet on a footstool beside a brown table covered by a turquoise cloth on which lie an open book, and scattered  flowers. She wears a dark red mantle over a blue dress with turquoise sleeves. She holds open the book with her right hand and has raised her left to her breast. Behind her there is a brown four-poster bed with turquoise valance and cover. A blue two-handled vase containing four lilies, a purple four-petalled flower,two small blue flowers, and a turquoise flower, stands to the left on the purple tiled floor, which has two brown edged steps in the foreground. The Archangel Gabriel swoops down from turquoise clouds on the left. His right arm is raised in salutation, and he holds a stem with three lilies in his left hand. He has blue and turquoise wings and wears a crimson tunic over a blue gown with a yellow sash. Below is a wall with an arched window and a door, and in the distance beyond the bed, a building with a doorway and window, all in purple. Gold  is used to define the edges of the furniture, table cover, and bed hangings, the vase and its handles, the stylized floral and other motifs on the tiles, the edges and shading on the Virgin\u2019s dress and halo, Gabriel\u2019s wings and sash, and the rays of light on the clouds. The plaque is mounted in a arched rectangular gilt metal frame with toothed outer frame on the front, and closed back with a vertically hinged support."}],"identifier":[{"accession_number":"M.42-1904","primary":true,"type":"accession number","value":"M.42-1904"},{"priref":"156428","type":"priref","value":"156428"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156428"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1605,"from":{"earliest":1605,"era":["CE"],"latest":1605,"precision":"circa","value":"1605"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-179447","uid":"adlib-agent-179447","uuid":"e5d8ff65-d64f-33a8-bc21-4d0dbc106ae8"},"summary_title":"Limosin, Jean"}],"note":[{"value":"The Annunciation is described in St Luke's Gospel, verses 26-28. The Angel Gabriel visits the Virgin Mary to tell her that she has found favour with God, and will bear a son, who will be named Jesus. The lilies in Gabriel's hand, and in the vase beside the Virgin, are symbols of her purity. The overall design and details have features in common with several prints of the Annunciation by Jan Sadeler (1500-1600), Justus Sadler (1572\/83-1620), and Johannes Wierix (1549-1620). The dark, rich colouring of the enamels, partly applied over silver paillons (small pieces of leaf silver) is typical of Limoges enamels at the end of the sixteenth and during the early seventeenth century. A rectangular Annunciation attributed to Jean Limosin, and having closely comparable figures of the Angel Gabriel and the Virgin, but with a more detailed background, was on the market in Antwerp in 2024 (see Documentation).\n\nOn accession by the Fitzwilliam the plaque was unattributed. In 1911, the French scholar, Marquet de Vasselot considered that it was by Suzanne Court c. 1600, but O.M. Dalton in his Catalogue of the McClean Collection (1912) described it as in the style of Jean Limosin (c. 1580-5\u20131646), and that attribution is upheld here. The Virgin's facial characteristics are very different from those of Suzanne Court's charming female figures, the tiles in the paved floor have a pattern which appears on other enamels attributed to Jean Limosin, but differs from those in Suzanne Court's enamels, and the splayed fingers of the Virgin's hand is a characteristic of other figures by Jean Limosin, such Esther on a large dish in the Louvre decorated with  Esther and Ahasurus and signed \u2018JEHAN\/LIMOSIN\u2019. This was a feature of representations of the Virgin in many prints of the time, and could therefore have been copied by other enamellers, but it does seem to be prominent in the work of Jean Limosin.\n\nJean or Jehan Limosin was a son of Fran\u00e7ois I Limosin. He was not mentioned in the Limoges  role for the taille (a tax) in 1602, and was therefore probably not yet adult, suggesting a date around 1580-5 for his birth. His earliest recorded work, dated 1605, is an oval plaque of the Annunciation signed \u2018I. LIMOSIN\u2019, in the Walters Art Museum at Baltimore. Documents in the archives of the department of Haute-Vienne at Limoges dated in 1621, 1623 and 1627 referred to him as enameller to the King which explains his use of a fleur-de-lys between his initials. He was still working in 1635 when he was described as \u2018esmailleur\u2019 in the roll for the taille. His will, made in 1631 with a codicil made on his death bed on 3 May 1646, indicated that he was more wealthy than most enamellers, and had agricultural and commercial interests apart from enamelling. He had a brother Joseph, who was also an enameller."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106607","uid":"adlib-term-106607","uuid":"61babb74-f8fd-3e53-abf6-c2c2f5dd351b"},"summary_title":"17th Century, Early"},{"@link":{"type":"reference"},"admin":{"id":"term-147439","uid":"adlib-term-147439","uuid":"9687faa0-6080-32c6-b989-0d2828b67da4"},"summary_title":"Henry IV (1553-1610)"},{"@link":{"type":"reference"},"admin":{"id":"term-15532","uid":"adlib-term-15532","uuid":"45c8d670-040f-3ca8-98f3-297a39337fa8"},"summary_title":"Louis XIII (1610-43)"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Magniac Esq. (known as the Colworth Collection), 5th Day, 7 July, p. 138, lot 519A, sold for \u00a364.1.0 to Frank McClean, MA, FRS (1837-1904), Rusthall House, near Tunbridge Wells."}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p. 138, 5th day,  7 July, lot 519A","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 114, no. 70, pl. 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The reverse has clear counter-enamel appearing pinkish-red from the copper beneath, and having several black spots and larger black area.\nGilt-metal frame set with ruby and yellow pastes, and a plaque enamelled in red and gilded"}],"note":[{"value":"blue, turquoise, yellow, flesh pink, mulberry, pale brown, 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":[{"note":[{"value":"possibly brass"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107470","uid":"adlib-term-107470","uuid":"f6217ee1-61ca-3c57-92a1-dd13e97bc77c"},"summary_title":"gilt-metal"}}],"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"13.7"},{"dimension":"Width","units":"cm","value":"7.9"}]},"name":"Frame"},{"materials":[{"note":[{"value":"red"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}},{"note":[{"value":"yellow and ruby paste stones"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-115066","uid":"adlib-term-115066","uuid":"7195a194-0f9c-399f-b87a-17e6ee18a2f0"},"summary_title":"paste"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-39593","uid":"adlib-term-39593","uuid":"e3e2a3f8-2433-3f63-9bcf-e776644d312d"},"summary_title":"gold"}}],"name":"Frame Decoration"},{"materials":[{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-106692","uid":"adlib-term-106692","uuid":"ed7baa11-5901-3307-81b6-77370e40ebb4"},"summary_title":"wood"}}],"name":"Back Of Frame"},{"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":"7.7"},{"dimension":"Width","units":"cm","value":"6.2"}]},"name":"Plaque"}],"department":{"value":"Applied Arts"},"description":[{"value":"Copper decorated in polychrome enamels and gilt. 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The nude Christ Child is fair-haired, and leans against his mother, grasping her cloak in his left hand.The pale brown throne has nude figures carved on the fronts of its arms, and a lozenge and formal leaf sprays in the end panels of its sides. The apsidal canopy is carved with a shell, coloured turquoise. On either side are standing angels with turquoise wings and white robes.  The angel on the viewer\u2019s right is playing a gold flute, and the one on the left holds his vertically in front of him. The blue sky behind them is scattered with gold stars, which are barely visible on the right side. The ground in front of the throne is turquoise.\n\nThe rectangular gilt-metal (brass?) frame has a central pediment surmounted by a vase and flanked by red paste gems. The pediment is set with a circular plaque enamelled in translucent red and painted in gold with a central quatrefoil flower surrounded by four foliated scrolls.. Below it the word AVE (Hail) is engraved with double lines. On each end of the top of the frame there is a matching vase. The oval aperture for the plaque is flanked at the top by two claw-set, clear table cut yellowish pastes, and at the bottom by two pale ruby pastes. There are three holes between them on each side. The plaque is held in position on the reverse by folded teeth. 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By the early sixteenth century thrones of this type were being depicted by French artists, and by about 1520 the church of Saint-Pierre-du-Queyroix in Limoges had a stained glass window of the Coronation of the Virgin, in which God the Father and Christ sit on a similar throne while crowning the kneeling Virgin. \n\nThere are at least eight closely comparable Limoges polychrome enamel plaques of this subject, each differing from the other in small details, such as the position of the Christ Child on the Virgin's knees, the details of her head and head covering, and the position of the angels. Of these two are signed PR for Pierre Reymond but not all appear to be by his hand. Three more plaques have no angels, but either candlesticks or large scrolls on the arms of the throne. Some of them were probably mounted as in pax frames, while others could have been mounted as small devotional pictures. The frame on this example was probably fitted to it in the second half of the nineteenth century. Ramon spectroscopy undertaken in December 2007 confirmed that the yellowish and ruby 'gems' set into the frame were glass pastes."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, 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OA 4010, the angels supporting the Holy House on a plaque of the arrival of the Virgin and the Holy House at Loretto, attributed to Pierre Reymond. Another plaque of this subject is in the Mus\u00e9e d'Agesci, Niort, inv. 914.1.129. Cf. the hair and features of the angels on both plaques.","page":"190","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":{"type":"reference"},"admin":{"id":"publication-6134","uid":"adlib-publication-6134","uuid":"3d06ffd8-a9da-35c3-bc4c-83598bb4afe7"},"summary_title":"Catalogue of the well-known collection of Works of Art of the Classic, Mediaeval and Renaissance Times, formed by Sir Thomas Gibson Carmichael Bart, of Castle Craig, N.B"},{"@link":{"notes":"Cf. Vol. II, \u2018Les Emaux Peintes\u2019 with note by Claudius Popelin,  p. 34, no. 47, a circular plaque illustrated by line drawing, and, closer in design to the Fitzwilliam's p. 53, no. 111 an oval plaque attributed to Pierre Reymond.","page":"34","type":"reference"},"admin":{"id":"publication-6135","uid":"adlib-publication-6135","uuid":"cc146046-f404-3060-80d3-e86167038ec4"},"summary_title":"La Collection Spitzer-  Antiquit\u00e9 - Moyen-Age - Renaissance"},{"@link":{"notes":"Cf. p. 362, no. 185, a mosaic of 1496 by David Ghirlandaio (1452-1525) depicting the Virgin and Child Enthroned with Angels, given by the Florentine Republic to Jean de Ganay who became First President of the Parlement of Paris in 1505 and Chancellor of France in 1508. On his death in 1512 the mosaic was erected in his funerary chapel in Saint-Merri in Paris. It is now in the Mus\u00e9e national de la Renaissance, at \u00c9couen. ECl 1536. The throne does not have projecting arms, but it illustrates the Italian influence on this iconography.","page":"362","type":"reference"},"admin":{"id":"publication-8959","uid":"adlib-publication-8959","uuid":"17f8ebc7-ffae-3124-a240-da7d8f89e0bd"},"summary_title":"France 1500 entre Moyen Age et Renaissance"},{"@link":{"notes":"Cf. p. 208, fig. 183. A stained glass window installed c. 1510-20 in Saint-Pierre-du-Queyroix at Limoges showing the Coronation of the Virgin at the top, in which God the Father and Christ sit in a double throne with shell niche and projecting arms while crowning the kneeling Virgin before them. 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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. 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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 Art of Food in Europe 1500-1800"},{"@link":{"notes":"Ref. Lucius Apuleius (b. 125 AD) told the story of Psyche in The Golden Ass, Books 4-6. The wedding feast is described in Book 6, 25.","page":"71-106","type":"reference"},"admin":{"id":"publication-6648","uid":"adlib-publication-6648","uuid":"dbcdded9-55c1-3d05-93de-3d7b4b393213"},"summary_title":"The Golden Ass or Metamorphoses"},{"@link":{"notes":"Ref. pp. 138-9, for a discussion of the popularity of story of Psyche in France, the publication of French translations, and its occurrence in other forms of decorative art, such as tapestry","page":"138-9","type":"reference"},"admin":{"id":"publication-6187","uid":"adlib-publication-6187","uuid":"d9b56215-1ae8-34ec-b9f5-72f704ccc214"},"summary_title":"The Painted Enamels of Limoges. 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The reverse has a reclining river god taken from the Judgement of Paris by Marcantonio Raimondi, instead of Jupiter with an Eagle on the Fitzwilliam's dish.","page":"270-2","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. 277-8, N.1341, a dish decorated with the Wedding Feast of Psyche, without Ganymede on the left, signed \u2018P CORTEYS\u2019 and dated \u20181560\u2019 in the front border, and with a reclining river god on the back similar to the one on the Walters Art Gallery's dish.","page":"277-8","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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Catalogue entries 33 and 34 on pp. 140-1 are not comparable to the dish under discussion.","page":"124-6, 127-33, 134-9","type":"reference"},"admin":{"id":"publication-6142","uid":"adlib-publication-6142","uuid":"517e6c62-56b3-3ca3-8314-d7e94fafb6e2"},"summary_title":"La Rencontre des H\u00e9ros, Regards crois\u00e9es sur les \u00e9maux peints de la Renaissance appartenant aux collections du Petit Palais, Mus\u00e9e des Beaux-Arts de la ville de Paris et du Mus\u00e9e municipal de L'\u00c9v\u00each\u00e9 de Limoges"},{"@link":{"notes":"Ref. for Pierre Courteys","page":"388-90","type":"reference"},"admin":{"id":"publication-200003291","uid":"adlib-publication-200003291","uuid":"4cd77166-30d1-3ba8-8396-2f8d415e08b3"},"summary_title":"Un compl\u00e9ment \u00e0 la biographie de Pierre Courteys"},{"@link":{"type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur 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A preacher in a canopied pulpit addresses a congregation. In the background a man and woman dine in front of a house. Below is an inscription \u2018DONNE NOVSAVIOVR DHVY\u2022NOS\/TRE PAIN COTIDIAN\u2019 (Give us today our daily bread). One of a set with M.49A, B & D-F-1904"},{"value":"Rectangular convex copper plaque with a small hole in each corner, enamelled in grisaille technique in opaque white with enlevage with a little pink, and one spot of red on a black ground, and gilded. The counter enamel is clear, and unevenly applied with thick blobs at the top and left side. On the left, a preacher stands in a canopied pulpit inscribed 'VERI\/TAS' on its side. He addresses a congregation of women seated in the middle, and men standing on the right. A woman seated on the right holds a closed book. Another in the middle holds an infant on her lap, and another with her back to the pulpit has a cloak draped around her. A partly shown figure behind them has a red jewel in his turban-like cap. Only two of the men are shown in detail. Both wear square hats and long gowns. In the background there are columns and a man and woman dining at a table in front of a house. The man offers a cup to the woman. The sky is powdered with gold, and there are four gold plants in the foreground. A white panel running across the bottom of the plaque is inscribed in black with gilding over it 'DONNE NOVSAVIOVR DHVY\\bullet NOS\/TRE PAIN COTIDIAN' (Give us today our daily bread). A gold line runs round the scene and the inscription. The reverse is inscribed in black with the Roman numeral 'V'.\nThe plaque is set in an ill-fitting, rectangular, gilt-metal frame with repeating formal leaf border. The plaque is held into the frame by four bent over pins attached to the cardinal points on the reverse."}],"exhibitions":[{"@link":{"catalogue":"224","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":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum By Frank McClean, M.A., F.R.S."}],"identifier":[{"accession_number":"M.49C-1904","primary":true,"type":"accession number","value":"M.49C-1904"},{"priref":"156437","type":"priref","value":"156437"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156437","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156437"}],"inscription":[{"location":"on front","method":"painted in black and gold","transcription":[{"value":"DONNE NOVSAVIOVR DHVY\u2022NOS\/TRE PAIN COTIDIAN\u2019"}],"type":"inscription"},{"description":[{"value":"Roman five"}],"location":"on back","method":"painted in black","transcription":[{"value":"V"}],"type":"number"},{"description":[{"value":"almost square label with two serrated edges, and blue printed beaded border; text underlined as far as the H"}],"location":"on back","method":"hand-written in black ink","transcription":[{"value":"3) 4899 sei\/T000\/N000\/H 10 di una\/venduta separato ...\u2019."}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died on 8 November 1904"}]}],"creation":[{"date":[{"earliest":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1550,"range":true,"to":{"earliest":1550,"era":["CE"],"latest":1550,"value":"1550"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"},{"@link":{"qualifier":"after","role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-63808","uid":"adlib-agent-63808","uuid":"2ed7b47b-c05b-3fcc-879c-c3f517ea1682"},"summary_title":"Holbein, Hans, the younger"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-93819","uid":"adlib-agent-93819","uuid":"08bff0de-c601-3f77-b0ac-fe18f53ce404"},"summary_title":"Monogrammist C V B"}],"note":[{"value":"This plaque was originally the fifth of a set of eight illustrating the Lord's Prayer of which six are in the Fitzwilliam (M.49A-F-1904). The first plaque shows Christ instructing his disciples how to pray (Matthew, VI, 6-7), and the others have scenes associated with the petitions of the Lord's Prayer which follows (Matthew, VI, 8-13). The words are written in French at the bottom of each plaque. This plaque illustrates the line 'Give us our daily bread' (Matthew, VI, 11). At least seven more plaques are known illustrating this line, see Documentation \n\nThe literal interpretation of the petition is represented by a couple taking a meal in the background, but the significant message of the scene is that the congregation should feed their minds and souls on the spiritual food of the Word of God expounded by the preacher. The viewers would probably have familiar with Jesus words to to Satan during his Temptation in the Wilderness, that 'Man shall not live by bread alone, but by every word that proceedeth out of the mouth of God' (Matthew IV:4), and with his words after the Feeding of the Five Thousand, 'I am the bread of life: he that cometh to me shall never hunger; and he that believes in me shall never thirst' (John VI: 35). \n\nThe scenes in this Lord's Prayer series were inspired by a set of metalcuts by the Basel monogrammist C.V. after Holbein which appeared in Desiderio Erasmus's 'Precatio dominica in septem portiones' (The Lord's Prayer in seven parts), published by both Johann Froben and Johannes Bebel successively in Basle in 1524. The work was first published without illustrations in 1523, and was rapidly translated into modern languages. The illustrations in the Froben and Bebel editions have the inscriptions in Latin, but a set of eight prints issued separately a little later with inscriptions in French, signed CV, is in the British Museum (1904.0206, 64,1-8;) and seven of the set (no. 4 is missing) are in the Cabinet des Estampes, Biblioth\u00e8que nationale, Paris (EA 25c in fol., p. 57). While the iconography of all the plaques by Colin Nouailler was derived from these metalcuts, their details differ considerably, in some scenes more than others. See Documentation. The preacher on the plaques, who unlike the one in Precatio domenica ..., wears a biretta, seems likely to have been influenced by the woodcut for the Preacher in Holbein's 'The Dance of Death', published in Lyon in 1538. \n\nThe iconography of this plaque differs greatly from the Holbein version, which presents an orthodox view of this line as a petition for everyday food together with the spiritual bread of the Eucharist and the Word of God. Possibly significantly the enameller omitted a priest administering the Eucharist in the middle of the metalcut scene. The word 'VERITAS' (Truth) on the side of the pulpit is not present in the print, nor on the other plaques of this subect. It may refer to the Latin text of St John's Gospel 17: 17, in which Christ, while praying to God for his disciples before his arrest asked 'Sanctify them through thy truth: thy word is truth'. Its presence can also be related to Erasmus's text in' Precatio dominica . . .', where he wrote  in Latin 'Your Son is the truth, and the truth of the gospel is the bread that he left us for spiritual nourishment.'  The presence of the word VERITAS therefore suggests that the patron or enameller was familiar with Erasmus' text as well as the illustrations. \n\nTwo plaques from this Lord's Prayer series in the Louvre were attributed to Colin Nouailher by Alfred Darcel (1867) and his attribution was upheld by J.J. Marquet de Vasselot (1919-20) and Sophie Baratte (2000). This attribution was confirmed for plaques in the same style by the presence of the initials CN below the title on a plaque from the Lord\u2019s Prayer decorated with the 'Deliver us from Evil' scene, acquired by the Mus\u00e9e de l\u2019\u00c9v\u00each\u00e9, (now the Mus\u00e9e des Beaux-Arts), Limoges, in 2007 (2007.5.2) with another plaque of the 'Give us our daily bread' scene (2007.5.1). Sets of plaques illustrating the Lord's Prayer were also executed by at two more Limoges enamellers: one signing himself KIP or KI; and the other probably Jean II or III P\u00e9nicaud. Their sets include some scenes which differ completely from the Holbein\/CV prints, and their text follows the French of the prints in the British Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Or, although smaller, G.H. Morland; sold Christie's, 10 May 1866, one of six plaques in gilt-metal frames in lot 437. An unidentified French sale in which the six plaques formed lot 289. An unidentified Italian owner or dealer before or after the sale. Frank McClean, MA, FRS (1837-1904), Tunbridge Wells; bequeathed by him."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156436","uid":"adlib-object-156436","uuid":"be846ed0-3d5d-35a7-9e1d-9caa50238288"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156435","uid":"adlib-object-156435","uuid":"6351a77b-d5f9-3f74-8fb0-82fa55ee758f"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156438","uid":"adlib-object-156438","uuid":"6f5d2df2-fd58-3c26-a778-f4bf0695323a"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156439","uid":"adlib-object-156439","uuid":"75f8f71d-2c8f-30d8-a48f-f5510e03f42f"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156440","uid":"adlib-object-156440","uuid":"8783ea79-cad6-352d-b68c-4b9086c04d3e"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"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. 112, no. 67","page":"112","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. pp. 230-1, no. 5. Cf. p. 229, no. 5 formerly in the Chabri\u00e8res-Arles Collection, Paris, illustrated framed with the other plaques in the series; p. 231, no. 5, in the Louvre; p. 233, no. 5 formerly in the collections of W. Bemrose, Derby, and the Rev. E.A. Coghill, Southwell","page":"230-1","type":"reference"},"admin":{"id":"publication-200002170","uid":"adlib-publication-200002170","uuid":"06575876-e5c8-362b-93fd-a20f0679b18f"},"summary_title":"Quelques \u00e9maux de Colin Noailher et leurs mod\u00e8les grav\u00e9s"},{"@link":{"notes":"Publ. text pp. 191-2, illustrated p. 191, fig. 6.16, and p. 252, cat. 224.","page":"p. 191, 252","type":"reference"},"admin":{"id":"publication-8743","uid":"adlib-publication-8743","uuid":"a86a8f73-aae5-372c-930d-aa215bd02c9b"},"summary_title":"Feast & Fast. 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A Complete Facsimile of the Original 1538 Edition of Les simulachres & historiees faces de la mort"},{"@link":{"notes":"Cf. p. 69, no. MR 2617 (other no. N.1336) with inscription in panel at top centre, formerly in the collection of Chevalier Edme-Antone Durand, acquired by the Louvre in 1852.","page":"69","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. pp. 296-99, a set of all eight Lord's Prayer plaques by Colin Nouailher, mounted in a wooden frame as a triptych, with above, at centre, an arched plaque of the Crucifixion with the Virgin and St John, probably from the workshop of Pierre Reymond. These plaques, like the Fitzwilliam's, have the inscriptions at the bottom. Purchased at Christie's, 4 July 2000, lot 22 (attributed to Pierre Reymond). Mus\u00e9e municipal de l\u2019Ev\u00each\u00e9, inv. no. 2000.10.1","page":"296-99","type":"reference"},"admin":{"id":"publication-200002664","uid":"adlib-publication-200002664","uuid":"b15e6464-77a8-34fa-9ad7-9bbbcd063ed8"},"summary_title":"Les acquisitions du Mus\u00e9e municipal de l\u2019Ev\u00each\u00e9 - mus\u00e9e de l\u2019Email de Limoges"},{"@link":{"notes":"Cf. p. 4, another plaque of this subject,  a preacher, with inscription  DONNE + NOVS+AVIOVR+\/DHVI+BISTRE+PAIN+\/ +COTIDIAN+ (Give us this day our Daily Bread) below the scene and 'V' on the back; with large chip in top right and lower left corner, and inscription at the bottom; area of gold sky. Accompanied by another plaque inscribed MAIS.DELIVRE.NOVS.\/.DU. MALIN.AMEN.\/.CN' . Purchased by Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges in 2007.","page":"4","type":"reference"},"admin":{"id":"publication-6136","uid":"adlib-publication-6136","uuid":"91a54493-ae80-3454-9624-e1a6a3a47029"},"summary_title":"Works of Art, Newsletter"},{"@link":{"notes":"Cf. pp. 298-9, illustrated p. 297, fig. 10, the plaque sold by Bernard Descheemaeker, acquired by the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges in 2007, inv. 2007.5.1, with the other plaque of the 'Deliver us from Evil' scene inv. 2007.5.2 which is initialled CN below the title, and 'VIII; on the back.","page":"297-9","type":"reference"},"admin":{"id":"publication-200002402","uid":"adlib-publication-200002402","uuid":"ad98cb72-1d1d-338c-883d-4f5668b1e141"},"summary_title":"Les acquisitions du Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9 de Limoges en 2007"}],"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":"activity","type":"reference"},"admin":{"id":"term-108537","uid":"adlib-term-108537","uuid":"be68fb7e-acab-3b0f-b721-17da4528057d"},"summary_title":"preaching"},{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-47742","uid":"adlib-term-47742","uuid":"7e0fdcca-1b0e-3803-906e-69370b5cf169"},"summary_title":"pulpit"},{"@link":{"relation":"people","type":"reference"},"admin":{"id":"term-147450","uid":"adlib-term-147450","uuid":"5b605e9d-fbee-3f1b-b9a4-8f96b8e0eb62"},"summary_title":"congregation"},{"@link":{"relation":"activity","type":"reference"},"admin":{"id":"term-125761","uid":"adlib-term-125761","uuid":"bce2de03-432e-3676-bb62-4a5042d2c1d3"},"summary_title":"dining"},{"@link":{"type":"literal"},"name":[{"value":"preaching"}],"summary_title":"preaching"},{"@link":{"type":"literal"},"name":[{"value":"pulpit"}],"summary_title":"pulpit"},{"@link":{"type":"literal"},"name":[{"value":"congregation"}],"summary_title":"congregation"},{"@link":{"type":"literal"},"name":[{"value":"dining"}],"summary_title":"dining"}],"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 Lord's Prayer V: A Preacher giving a Sermon"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156458","_score":15.69196,"_source":{"admin":{"added":1592964914000,"created":1312637261000,"flag":"Standard Record","id":"object-156458","indexed":1765994446969,"modified":1765984703000,"processed":1765994444890,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156458","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156458","uuid":"a0946f4b-fde1-3287-848b-c60b6d2f7172","version":15},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-179448","uid":"adlib-agent-179448","uuid":"2f9707da-e89b-3501-a115-e62baaf6b7ae"},"summary_title":"Fountaine, Andrew IV"},{"@link":{"note":[{"value":"Martin Colnaghi (1821-1908) was a nephew of Dominic Charles Colnaghi (1790\u20131879). 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Clarke, and of his elder sister, Mrs Dendy Marshall, who donated two Limoges enamels, and several pieces of lace to the Fitzwilliam in 1954."}],"type":"reference"},"admin":{"id":"agent-179456","uid":"adlib-agent-179456","uuid":"9b692350-6f66-36f2-a448-08610bee7624"},"summary_title":"Clarke, Stephenson"},{"@link":{"note":[{"value":"Born Adela Rose Clarke (1872\/3-1955), Mrs Marshall was the daughter of an immensely wealthy coal factor, Stephenson Clarke (1824-91), who had inherited the shipping firm, Stephenson Clarke & Co. from his father, and lived at West Hoathly, Sussex, and Croyden Lodge, Surrey. Mrs Marshall was the widow of the railway historian, Chapman Dendy Marshall (1872\u20131945), of Chinthurst Lodge, Wonersh, near Guildford. Her younger  brother, Louis Colville Grey Clarke (1881-1960), was Curator of the Cambridge University Museum of Archaeology and Anthropology, 1922-37, and Director of the Fitzwilliam Museum, 1937-1946. See a letter from her about the two Passion plaques  (M.3 and M.4-1954) which she had inherited from her father, written to his successor, Carl Winter, Fitzwilliam Museum Archives, 00345."}],"type":"reference"},"admin":{"id":"agent-169195","uid":"adlib-agent-169195","uuid":"d3a5738f-cc77-3a50-84bf-79659d5eb388"},"summary_title":"Marshall, Dendy, Mrs"},{"@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-179457","uid":"adlib-agent-179457","uuid":"6a898a2d-3230-3e44-a5e6-0c3f5c494407"},"summary_title":"moneylender"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"component":[{"materials":[{"note":[{"value":"dark mulberry-brown appearing black, white, pale pink; clear counter-enamel"}],"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 very convex copper plaque, enamelled en grisaille and with pale pink on a black ground, and gilded. 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The reverse has cloudy, and bubbly translucent counter-enamel with many pin holes of different sizes, and red oxydization spots."}],"note":[{"value":"dark mulberry-brown appearing black, white, pale pink"}],"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":"copper, enamelled in grisaille with Christ driving the Moneylenders from the Temple, and gilded. Signed \u2018M.D.\u2019 with a dot inside the D."},{"value":"Rectangular very convex copper plaque, enamelled in grisaille and with pale pink on a black ground, and gilded. The black appears dark mulberry-brown round the edges. The technique of enlevage was used to model the figures. The reverse has cloudy, and bubbly translucent counter-enamel with many pin holes of different sizes, and red oxidization spots.                                 \nThe action takes place inside the temple. On the left is a doorway with a horizontal architrave, and on the right, an archway with a circular window above it. To left of centre there is a row of receding cylindrical columns and to the right on the wall, a sconce with a lighted candle. Christ stands in front of the columns, whielding a twisted rope in his right hand to drive the money lenders away. His back is turned to the viewer and he looks down towards a money lender who lies on his back on the ground at his feet, with an upturned stool table, a bag of money and a heap of gold coins beside him. Two men flee towards the arch on the right, in which are three other men, and a priest who is looking towards the action. On the left is an upturned stool, a man holding a sacrificial sheep, and three partly visible figures, one a woman, standing beside the doorway. Above the circular window there is a tabella ansata bearing the initials \u2018M.D.\u2019 with a dot inside the D. The gilding is restricted to the heap of coins, Christ\u2019s aureole, the candle flame, and a line round the edge of the scene."}],"identifier":[{"accession_number":"M.4-1954","primary":true,"type":"accession number","value":"M.4-1954"},{"priref":"156458","type":"priref","value":"156458"},{"source":"Fountaine Collection","type":"old object number","value":"af 7"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156458","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156458"}],"inscription":[{"description":[{"value":"Rectangular label printed with \u20187\u2019 in black"}],"location":"on back","method":"printed in black","transcription":[{"value":"7"}],"type":"label"},{"description":[{"value":"af (the label) 7"}],"location":"on back flanking the label","method":"incised","transcription":[{"value":"af           7"}],"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 Mrs Dendy Marshall"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-169195","uid":"adlib-agent-169195","uuid":"d3a5738f-cc77-3a50-84bf-79659d5eb388"},"summary_title":"Marshall, Dendy, Mrs"}],"date":[{"earliest":1954,"latest":1954,"value":"1954-10-21"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1550,"from":{"earliest":1550,"latest":1550,"precision":"circa","value":"1550"},"latest":1575,"range":true,"to":{"earliest":1575,"latest":1575,"value":"1575"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-178519","uid":"adlib-agent-178519","uuid":"f09950f9-7d77-35d4-aa99-ed0820ccdd27"},"summary_title":"Ydieux, Martial"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-39996","uid":"adlib-agent-39996","uuid":"0109fd57-0cc2-3304-9d79-0f4bb8846434"},"summary_title":"D\u00fcrer, Albrecht"}],"note":[{"value":"The event depicted, Christ driving the Money-changers from the Temple, is described in the Gospel of St John 2, 13-16. On arriving at Jerusalem before the Passover, Jesus entered the temple and found it full of money changers and vendors of sacrificial animals. Incensed, he made a scourge and drove them out, upsetting their tables and money, and saying to the dove sellers \u201cTake these things hence; make not my Father\u2019s house a house of merchandise.\u201d \n\nThe enameller, Martial Ydeux (active from the late 1540s to about 1570)  was one of the finest exponents of the grisaille technique, who seems to have worked mainly on plaques. His best work is extraordinarily refined and expressive, with soft gradations of grey to white on a manganese-black ground producing painterly sfumato effects. Other plaques, also signed, have more obvious hatching and cross-hatching in the manner of an engraving, executed by enlevage through the pale upper layer to reveal the darker toned enamel below, as on the Fitzwilliam's M.3-1954, where it is particularly pronounced.\n\nThis scene was enamelled after one of the thirty-seven woodcuts in the series known as the  'Small Passion' by Albrecht D\u00fcrer (1471\u20131528), executed between 1509 and publication in book form in 1511, or a copy after it. The subject is not one which would stand alone well, and the plaque is therefore likely to have been part of a Passion group, which, depending on its numbers, could have been framed as an altarpiece, as polychrome Passion plaques were, or as a smaller triptych or panel for devotional use. However, no large groups of grisaille Passion plaques have survived from this period in their original frame. The most extensive group attributed to Martial Ydeux comprises ten larger plaques in the Louvre, three of which are signed in the same way as the Fitzwilliam's plaque, M.3-1954: \u2018M\u00b7D\u00b7\u2019 with I inside the D. There are several Passion plaques by Ydeux of about the same size as the Fitzwilliam's, including 'Christ washing St Peter\u2019s Feet' (Louvre OA 4004), and 'Christ before Pilate' in the British Museum (Inv. 1913,1220.75), which could be from the same set, and can be seen on these museums' websites."}],"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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Ware, Palissy Ware, Nevers Ware, Limoges Enamels . . . Removed from Narford Hall, Norfolk, second day, p. 34, lot 260; M. Colnaghi (\u00a397.13.0 with lot 259). Stephenson Clarke (1824-91), Croydon Lodge, Surrey; his daughter, Mrs Dendy Marshall (n\u00e9e Adela Rose Clarke, 1872\/3\u20131955)."}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same artist"}],"type":"reference"},"admin":{"id":"object-156457","uid":"adlib-object-156457","uuid":"0449fc26-c6a5-3cd3-9e77-068ded5ef20f"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"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. 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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. Lawrence, FSA (1819-91); Christie\u2019s, 4-6 May 1892, 2nd day, second part of lot 168; Frank McClean, MA, FRS (1837\u20131904) ; bequeathed by him"}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same provenance"}],"type":"reference"},"admin":{"id":"object-156432","uid":"adlib-object-156432","uuid":"5e825690-10f0-33ed-a6e0-2dbb0eb47e3d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"role":[{"value":"same provenance"}],"type":"reference"},"admin":{"id":"object-156433","uid":"adlib-object-156433","uuid":"0ecb3b55-d3a0-33c1-a6f4-76b1f6a362f7"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"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. 115, no. 74. 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. His brother, Pierre, came of age c. 1690.","page":"400","type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"},{"@link":{"notes":"Cf. pp. 222-24, nos. 70-72, plaques respectively of Saint Simon, Saint Bernard and Saint Charles Borromeo, in grisaille with flesh tones, and gilding, signed .P.Nouailher\/emailleur\/a Limoges on the reverse, the first in gold, the other two in black.","page":"222-224","type":"reference"},"admin":{"id":"publication-6142","uid":"adlib-publication-6142","uuid":"517e6c62-56b3-3ca3-8314-d7e94fafb6e2"},"summary_title":"La Rencontre des H\u00e9ros, Regards crois\u00e9es sur les \u00e9maux peints de la Renaissance appartenant aux collections du Petit Palais, Mus\u00e9e des Beaux-Arts de la ville de Paris et du Mus\u00e9e municipal de L'\u00c9v\u00each\u00e9 de Limoges"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10624","uid":"adlib-term-10624","uuid":"c882b99a-0b49-320e-8d8a-fd72a34d8848"},"summary_title":"Baroque"}],"subjects":[{"@link":{"type":"reference"},"admin":{"id":"term-108497","uid":"adlib-term-108497","uuid":"d7af9098-e473-3df9-bca4-26e80dc51d7d"},"summary_title":"giving"},{"@link":{"type":"reference"},"admin":{"id":"term-22417","uid":"adlib-term-22417","uuid":"92d0e672-9125-3660-9c7a-3fb880baccb0"},"summary_title":"charity"},{"@link":{"type":"literal"},"name":[{"value":"giving"}],"summary_title":"giving"}],"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":"St Elizabeth giving Alms to a Beggar"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156457","_score":15.69196,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156457","indexed":1765994447522,"modified":1753185109000,"processed":1765994444890,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156457","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156457","uuid":"0449fc26-c6a5-3cd3-9e77-068ded5ef20f","version":10},"agents":[{"@link":{"note":[{"value":"Andrew Fountaine IV (1808-73) inherited Narford Hall, ,Norfolk, and its collections from his father, Andrew Fountaine III (1770-1835)."}],"type":"reference"},"admin":{"id":"agent-179448","uid":"adlib-agent-179448","uuid":"2f9707da-e89b-3501-a115-e62baaf6b7ae"},"summary_title":"Fountaine, Andrew IV"},{"@link":{"note":[{"value":"Martin Colnaghi (1821\u20131908), nephew of Dominic Charles Colnaghi (1790\u20131879), was the proprietor of the London art dealer, Colnaghi. He was the buyer of at least fourteen lots at the Fountaine sale in 1884, see Documentation, Westgarth, 2009, p. 82."}],"type":"reference"},"admin":{"id":"agent-207345","uid":"adlib-agent-207345","uuid":"925c7eed-c75b-3d64-98ae-b64cdfb1752e"},"summary_title":"Colnaghi, Martin"},{"@link":{"note":[{"value":"Stephenson Clarke (1824-1891) inherited the shipping firm, Stephenson Clarke Shipping Ltd, from his father in 1849, and also built up a highly remunerative coal distribution business. See Obituary in the 'Croydon Advertiser and East Surrey Reporter', 4 April 1891. Father of the Fitzwilliam's Director 1937-46, Louis C.G. Clarke."}],"type":"reference"},"admin":{"id":"agent-179456","uid":"adlib-agent-179456","uuid":"9b692350-6f66-36f2-a448-08610bee7624"},"summary_title":"Clarke, Stephenson"},{"@link":{"note":[{"value":"Born Adela Rose Clarke (1872\/3-1955), Mrs Marshall was was the daughter of an immensely wealthy coal factor, Stephenson Clarke (1824-91), who had inherited the shipping firm, Stephenson Clarke & Co. from his father, and lived at West Hoathly, Sussex, and Croyden Lodge, Surrey. Mrs Marshall was the widow of the railway historian, Chapman Dendy Marshall (1872\u20131945), of Chinthurst Lodge, Wonersh, near Guildford. Her younger  brother, Louis Colville Grey Clarke (1881-1960), was Curator of the Cambridge University Museum of Archaeology and Anthropology, 1922-37, and Director of the Fitzwilliam Museum, 1937-1946. See a letter from her about the two Passion plaques  (M.3 and M.4-1954) written to his successor, Carl Winter, Fitzwilliam Museum Archives, 00345."}],"type":"reference"},"admin":{"id":"agent-169195","uid":"adlib-agent-169195","uuid":"d3a5738f-cc77-3a50-84bf-79659d5eb388"},"summary_title":"Marshall, Dendy, Mrs"},{"@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-160581","uid":"adlib-agent-160581","uuid":"2982d843-ac50-316d-8268-b6acf83cc0d2"},"summary_title":"Disciples"}],"categories":[{"@link":{"type":"reference"},"admin":{"id":"term-107563","uid":"adlib-term-107563","uuid":"38dcd825-1de1-3222-82c6-15a95729b5ff"},"summary_title":"enamels"},{"@link":{"type":"reference"},"admin":{"id":"term-125750","uid":"adlib-term-125750","uuid":"2b10ac09-63c3-34ed-87d5-487058c1c344"},"summary_title":"Limoges painted enamels"}],"component":[{"materials":[{"note":[{"value":"white, dark mulberry-brown appearing black, pale pink; clear counter enamel"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-32638","uid":"adlib-term-32638","uuid":"97b8d1a5-7b8f-3a2a-a275-7d001aeaae2b"},"summary_title":"enamel"}}],"name":"Decoration","techniques":[{"description":[{"value":"rectangular very convex copper plaque enamelled in grisaille and with pale pink on a black ground, and gilded. The black appears dark mulberry-brown round the edges.The technique of enlevage was used to model the figures. The reverse has cloudy, and bubbly translucent counter-enamel with many pin holes of different sizes, and red oxydization spots"}],"note":[{"value":"white, dark mulberry-brown appearing black, pale pink; clear counter enamel"}],"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-115831","uid":"adlib-term-115831","uuid":"6eb9297e-cdbe-300e-8a0a-37765a9807a2"},"summary_title":"enlevage"}},{"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"}],"department":{"value":"Applied Arts"},"description":[{"value":"rectangular copper plaque enamelled en grisaille with the Last Supper, signed M.D. with a dot inside the D."},{"value":"Rectangular, almost flat, copper plaque, enamelled in grisaille and with a little pale pink enamel on a black ground, and gilded. The ground appears very dark brownish-mulberry on the outer edges, The reverse has clear unevenly applied counter- enamel tinged with brownish-mulberry.\nA white fringed canopy runs across the top beneath which Christ and the twelve disciples are seated round a table on which are five manchets of bread, an animal on oval dish, a knife, a roll, and beaker. Two of the disciples seated on a bench on the left have their backs to the viewer, as does another on the right, whose moneybag identifies him as Judas. Behind him in the foreground is a ovoid ewer with a scroll handle. Behind Christ there is a black hanging scatted with gold dots and edged by gold lines. Gold is also used for Christ\u2019s aureole and the halos of the disciples. Initialled in gold beside the ewer in the right foreground \u2018.M.D .\u2019 with an I inside the  D."}],"identifier":[{"accession_number":"M.3-1954","primary":true,"type":"accession number","value":"M.3-1954"},{"priref":"156457","type":"priref","value":"156457"},{"source":"Fountaine Collection","type":"old object number","value":"af 6"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156457","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156457"}],"inscription":[{"location":"on front to left of ewer in right foreground","method":"painted in gold","transcription":[{"value":".M.D .\u2019 (dot inside D)"}],"type":"initials"},{"description":[{"value":"small square paper label printed with a \u20186\u2019."}],"location":"on the back","method":"printed in black","transcription":[{"value":"6"}],"type":"label"},{"location":"on back on either side of the paper label","method":"scratched","transcription":[{"value":"'af 'and '6'"}],"type":"inscription"},{"description":[{"value":"elongated octagonal label  of  thin card"}],"location":"loose in the object's file","method":"hand-written in","transcription":[{"value":"Pair of Limoges enamel plaques.\/From Fountaine and Stephenson Clarke collections. Signed\/ M.D. therefore not later than 1540 or 1550."}],"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":"Given by Mrs Dendy Marshall"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-169195","uid":"adlib-agent-169195","uuid":"d3a5738f-cc77-3a50-84bf-79659d5eb388"},"summary_title":"Marshall, Dendy, Mrs"}],"date":[{"earliest":1954,"latest":1954,"value":"1954-10-21"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1550,"from":{"earliest":1550,"latest":1550,"precision":"circa","value":"1550"},"latest":1570,"range":true,"to":{"earliest":1570,"latest":1570,"value":"1570"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-178519","uid":"adlib-agent-178519","uuid":"f09950f9-7d77-35d4-aa99-ed0820ccdd27"},"summary_title":"Ydieux, Martial"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-39996","uid":"adlib-agent-39996","uuid":"0109fd57-0cc2-3304-9d79-0f4bb8846434"},"summary_title":"D\u00fcrer, Albrecht"}],"note":[{"value":"This plaque would have formed part of a series depicting the Passion of Christ which traditionally began with Christ\u2019s entry into Jerusalem on Palm Sunday and ended with his Entombment, but was frequently continued to the Resurrection, or Ascension. The Last Supper, Christ\u2019s final Passover meal with his disciples at which he instituted the Eucharist or Holy Communion, is described in three of the Gospels - Matthew 26, 20-30; Mark 14, 17-26, and Luke 22,14-38 - and is briefly mentioned in St John 13, 1-3.\n\nThe source of the design was 'The Last Supper' in Albrecht D\u00fcrer\u2019s thirty-seven woodcuts known as the Small Passion, executed in 1509\u00ac-10, and published in book form with a Latin text in Nuremberg in1511. The enameller followed the print closely, including the prominent hatching, but exchanged a sturdy flagon in the right foreground for an elegant pseudo-classical ewer, and omitted a small covered pot on the table. The plaque was probably part of series of Passion plaques, which, depending on its numbers, could have been framed as an altarpiece, as some polychrome Passion plaques were, or as a smaller triptych or panel for devotional use. However, no large groups of grisaille Passion plaques have survived from this period in their original frame.The most extensive group attributed to Martial Ydeux comprises ten larger plaques in the Louvre, three of which are signed in the same way as this one.\n\nThe enameller, Martial Ydeux (active from the late 1540s to about 1570)  was one of the finest exponents of the grisaille technique, who seems to have worked mainly on plaques. His best work is extraordinarily refined and expressive, with soft gradations of grey to white on a manganese-black ground producing painterly sfumato effects. Other signed plaques, including this one, have more obvious hatching and cross-hatching in the manner of an engraving, executed by enlevage with a needle through the pale upper layer to reveal the darker toned enamel below. Similar differences in execution are present between the Louvre\u2019s plaques of 'Christ washing St Peter\u2019s Feet' and the' Nailing of Christ to the Cross' both initialled MD enclosing I.(Inv. OA 4004 and OA 970)."}],"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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Ware, Palissy Ware, Nevers Ware, Limoges Enamels . . . Removed from Narford Hall, Norfolk, second day, p. 34, lot 259; Martin Colnaghi (\u00a397.13.0 with lot 260). Stephenson Clarke (1824-91), Croydon Lodge, West Sussex; his daughter, Mrs Dendy Marshall (n\u00e9e Adela Rose Clarke (1872\/73\u20131955), Wondersh, near Guildford, Surrey."}],"objects":[{"@link":{"cascade":true,"note":[{"value":"also same donor"}],"role":[{"value":"same artist"}],"type":"reference"},"admin":{"id":"object-156458","uid":"adlib-object-156458","uuid":"a0946f4b-fde1-3287-848b-c60b6d2f7172"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"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. Second day, p. 34, lot 259","page":"34","type":"reference"},"admin":{"id":"publication-3211","uid":"adlib-publication-3211","uuid":"fed40c31-3ea0-30bf-83ed-c01c57ecab80"},"summary_title":"Catalogue of the celebrated Fountaine collection of majolika, Henry II ware, Palissy ware, Nevers ware, Limoges enamels, carvings in ivory, hone stone and rock crystal, Greek and Roman coins, ancient armour &c. &c., removed from Narford Hall, Norfolk"},{"@link":{"notes":"Ref. p. 119, no. 24 (119), c. 1508-09, the Last Supper from the woodcut Small Passion","page":"119","type":"reference"},"admin":{"id":"publication-6167","uid":"adlib-publication-6167","uuid":"c93f7702-15df-3797-9af5-c7fd4ed9f558"},"summary_title":"Illustrated Bartsch 10 Formerly Volume 7 (Part 1) Sixteenth Century German Artists Albrecht D\u00fcrer"},{"@link":{"notes":"Ref. pp. 442-3, on p. 443,1835 inventory, nos. 22-6, 'Four square pieces from Albert Dura (sic) The passions of our Saviour like the woodcut compleat in 36 plates\u2019. These seem likely to be the Fitzwilliam's two plaques and two which formed the next two lots, 261-2 in the Fountaine sale bought by a different buyer.","page":"435-47","type":"reference"},"admin":{"id":"publication-200001086","uid":"adlib-publication-200001086","uuid":"508c33f0-935b-3dda-bc6b-02d7f8119b1b"},"summary_title":"The Fountaine collection of maiolica"},{"@link":{"notes":"Ref. for identification the enameller Martial Ydeux","page":"60-3","type":"reference"},"admin":{"id":"publication-200003290","uid":"adlib-publication-200003290","uuid":"cbf9c31d-af44-368d-8d68-2eb5156d4552"},"summary_title":"Br\u00e8ve hypoth\u00e8se concernant un \u00e9nigmatique \u00e9mailleur : M.D. PAPE"},{"@link":{"notes":"Cf. p. 115, OA 4004 and OA 970 respectively 'Christ washing St Peter\u2019s Feet' and the 'Nailing of Christ to the Cross' for comparison. See also the ten larger plaques, by Martin Ydeux, pp. 116-120, OA 11134-43.","page":"115","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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and enamelled in blue, turquoise, green, yellow, and mulberry translucent enamels over silver foils on a black ground"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]}],"department":{"value":"Applied Arts"},"description":[{"value":"copper decorated en grisaille and polychrome enamels and gilded. Cupid riding on a lion with the inscription 'omnia vinci amor (Love conquers all) and signed '\u2018\u2022I\u2022L\u2022\u2019; on the sides floral sprays and birds; and on the back a central landscape, surrounded by stylized floral sprays."},{"value":"Copper, raised, and decorated in three techniques: enamelling in grisaille on a black ground and gilded; enamelling in blue, green, yellow, orange-red, pale manganese\/mulberry, and black on a white ground; and enamelling in blue, turquoise, green, yellow, and mulberry translucent enamels over silver foils in a black ground, and gilded.  The hexafoil bowl has lobed sides rising from a slightly convex hexagonal base, and two small S-shaped handles on opposing sides In the middle, framed by two gold lines is a hexagonal panel executed in grisaille on a black ground of Cupid riding on a lion walking to the left. Cupid has a quiver of gold arrows slung on his back by a gold strap, and controls the lion by means of a gold leash passing through its mouth. The lion has gold toe nails and some of Cupid\u2019s  wavy hair is gold. On the left edge \u2018omnia uinci amor\u2019(Love conquers all) is inscribed in gold The initials \u2018\u2022I\u2022L\u2022\u2019 in black are inscribed in front of the lion\u2019s left rear paw. The sides have a white ground decorated with blue, pale mulberry, and red and yellow flowers on black stems with green foliage, amongst which, on three lobes, there is a fanciful bird. Round the rim is a border of black petals with vertically striated semi-circular centres.\nOn the hexagonal base framed by black and gold lines there is a landscape in which is a white house with a red roof beside a stream, with a clump of trees behind it. Four small flocks of birds fly through the opaque pale blue sky. The black sides are decorated with stylized flowers and gold foliage, amongst which, on two lobes, is a fanciful bird in translucent enamels over silver foils. The handles are black with remnants of a gold line following its S-shape."}],"identifier":[{"accession_number":"M.51-1904","primary":true,"type":"accession number","value":"M.51-1904"},{"priref":"139844","type":"priref","value":"139844"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139844","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139844"}],"inscription":[{"location":"inside in centre","method":"painted in gold","transcription":[{"value":"omnia uinci amor"}],"type":"inscription"},{"location":"inside in front of the lion\u2019s left rear paw.","method":"painted in black","transcription":[{"value":"\u2022I\u2022L\u2022"}],"type":"initials"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1650,"from":{"earliest":1650,"era":["CE"],"latest":1650,"precision":"circa","value":"1650"},"latest":1695,"range":true,"to":{"earliest":1695,"era":["CE"],"latest":1695,"value":"1695"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-76511","uid":"adlib-agent-76511","uuid":"228a38d9-7ce2-33f4-a19e-e240d6a0ac52"},"summary_title":"Laudin, Jacques I"}],"note":[{"value":"Small enamelled two-handled bowls or cups with hexafoil or circular rims became fashionable in the mid 17th century and large numbers of them have survived. Most of them are decorated on the base with a landscape, surrounded by stylized flowers and birds in translucent enamels over foils in a black ground embellished with gold foliage. Others have floral decoration on a white ground. The central medallion inside may be of a religious, classical, or other secular subjects, and the interior sides are usually decorated with polychrome flowers and birds on a white ground in either a continuous band or in panels. Many of them bear the initials \u2018.I.L.\u2019 and these have usually been attributed to Jacques Laudin I (c. 1627-95), for example by Darcel and Marquet de Vasselot, although it is possible that some of them were executed by his nephew Jacques II Laudin (c. 1663-1729). However, the decoration of the reverse of the Fitzwilliam\u2019s bowl, resembles that on other pieces attributed to Jacques I Laudin.\nCupid riding a lion, emblematic of the power of Love, accompanied by the inscription \u2018omnia vincit amor\u2019 from Virgil\u2019s Eclogues, X, 69: \u2018omnia vincit Amor: et nos cedamus Amori.\u2019 (Love conquers all; let us, too, yield to Love\u2019) was a popular one in the 17th century. A a circular image appeared with a fiercer lion, as the first plate in the earliest Dutch emblem book by Dani\u00ebl Heinsius, published untitled in 1601 but known as Quaeris quid sit amor? and titled, Emblemata amatoria, in the second edition of 1611. \nThe emblem occurs on four more hexafoil bowls: in the Fitzwilliam (M.3-1928), the Mus\u00e9e des Beaux-Arts, Limoges (101); and the Mus\u00e9e d\u2019Art et d\u2019Arch\u00e9ologie, Gu\u00e9ret (2009.0.335), and one unlocated, sold in Paris in 2004. Four more with circular rims are respectively in the the Ashmolean Museum (OA 248), the Victoria and Albert Museum (C.23-1923), the Mus\u00e9e des Beaux-Arts, Limoges (94), and the Mus\u00e9e des Beaux-Arts, Dijon (CA T 1322). The shape of another, formerly in the K\u00f6nigliche Kunstkammer Berlin, (Inv. I.G.179), but now lost is not certain, but may have been of hexafoil form as it was not described as having a footring. 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Sixth Day, 12th June, p. 77, lot 795, 'A small two-handled Tazza' with Cupid riding a lion in the centre by J. Laudin, and lot 797 another with Cupid in the centre (no lion mentioned) by J. Laudin, from Hamilton Palace, both with landscapes on the base","page":"77","type":"reference"},"admin":{"id":"publication-5969","uid":"adlib-publication-5969","uuid":"55cca6d7-4f42-3fb8-a16b-a451b0de3c12"},"summary_title":"Catalogue of the Valuable Collection of Pictures, Works of Art, and Decorative Objects of Christopher Beckett Denison, Esq., Deceased, late of Upper Grosvenor Street, First Portion"},{"@link":{"notes":"Cf. p. 75, an example with similar central motif of Cupid leading a lion, in the Mus\u00e9e Municipal de l\u2019\u00c9vech\u00e9, Limoges (Inv. 101), now the Mus\u00e9e des Beaux-Arts: Formerly Durand Collection, 45.2478, given by the state 1875. A lobed bowl, initialed \u2018.I.L.\u2019 with crudely painted flowers on the interior. 4 x 12.5 cm.","page":"75","type":"reference"},"admin":{"id":"publication-6074","uid":"adlib-publication-6074","uuid":"2bfe1392-fcb2-38bc-a20d-5b5b1115f22b"},"summary_title":"Guide du Mus\u00e9e Municipal, Collection \u00c9gyptienne, \u00c9maux"},{"@link":{"notes":"Cf.  p. 158, no. 38, an example with a probably similar central motif, formerly K\u00f6nigliche Kunstkammer Berlin, Inv. I.G.179; now lost. Formerly in the Nagler Collection, acquired in 1935. : Initialled I.L. Landscape on base. H.. 4 cm. D. 14 cm. Inv. no. K 5084. The description does not state whether it was of hexafoil form or circular.","page":"158","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. p. 87, pl. 43, and pp. 263-4, no. 146, an example with Marcus Curtius in the centre surrounded by flowers on a white ground, and on the reverse, a landscape surrounded by coloured decoration on a black ground. Attributed to Jacques I Laudin, mid 17th century. 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See descriptions for individual panels: M.49A-1904, M.49B-1904, M.49C-1904, M.49D-1904, M.49E-1904, M.49F-1904."}],"identifier":[{"accession_number":"M.49A-F-1904","primary":true,"type":"accession number","value":"M.49A-F-1904"},{"priref":"157273","type":"priref","value":"157273"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/157273","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/157273"}],"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":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1545,"range":true,"to":{"earliest":1545,"era":["CE"],"latest":1545,"precision":"circa","value":"1545"}}],"maker":[{"@link":{"role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"},{"@link":{"qualifier":"after","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-63808","uid":"adlib-agent-63808","uuid":"2ed7b47b-c05b-3fcc-879c-c3f517ea1682"},"summary_title":"Holbein, Hans, the younger"},{"@link":{"role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-93853","uid":"adlib-agent-93853","uuid":"f6c72949-df13-3991-afdb-164610d10ab4"},"summary_title":"Monogrammist C. 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The reverse has clear counter-enamel."}],"note":[{"value":"pale greyish-blue, pale bluish-green, pale mulberry, flesh pink, pale straw-yellow, red, 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-107707","uid":"adlib-term-107707","uuid":"cbae1ed2-5069-35db-a029-700dc23ada11"},"summary_title":"Christian religion"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper, enamelled and gilt."},{"value":"Rectangular slightly convex copper plaque with arched top, enamelled in pale greyish-blue, pale bluish-green, pale mulberry, flesh pink, pale straw-yellow, red, black, and white enamels, and gilded. The outlines are in black. The reverse has clear counter-enamel.\nChrist hangs on a gold Cross with  \u2018INRI\u2019 written in gold on a white panel over it. He wears a green crown of thorns and a white drape which is being blown out on either side by the wind. Blood pours from the wounds in his head, hands, feet, and side. At the base of the cross there is a white skull with black eye sockets. On the left the Virgin stands with her hands together in prayer, looking away from the Cross. She wears a white wimple, and a pale blue mantle over a mulberry dress. St John stands on the right holding a bluish-green book with both hands, and looking towards the Virgin. He has pale straw-coloured hair, and wears a white mantle over a mulberry gown. The ground is bluish-green. The black background has a gold sun on the left of the Cross and a moon on the right, and below its arms is sem\u00e9 with shooting stars (tadpole-like shapes). A narrow gold band runs round the curved edge, and within it is a line broken at intervals by four oblique strokes."}],"identifier":[{"accession_number":"MAR.M.252-1912","primary":true,"type":"accession number","value":"MAR.M.252-1912"},{"priref":"156447","type":"priref","value":"156447"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156447","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156447"}],"inscription":[{"location":"on label at top of Cross","method":"hand-written in gold","transcription":[{"value":"INRI"}],"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":"C.B. 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They also commemorated the poignant moment when the dying Christ commended his mother to the care of the unnamed disciple whom he loved, usually identified as the young St John, the only disciple recorded as a witness to the Crucifixion (John, 19 25-27). The initials INRI on a label at the top of the cross are an abbreviation of Iesus Nazarenus Rex Iudaeorum, the Latin version of a title, made also in Hebrew and Greek, which according to the Gospel was written by Pilate to be placed on the Cross (John 19, 19-20). Small enamelled plaques of this arched form were made for insertion into paxes which were kissed by the congregation during Mass, or were mounted as devotional images. The workshop of Pierre Reymond produced many of these small plaques with different subjects including the the Nativity (Fitzwilliam, M.41-1904), Virgin and Child Enthroned (Fitzwilliam, MAR.M.251-1912). the Piet\u00e0, St Jerome kneeling in Penitence, St John the Baptist, and St Francis of Assisi.\n\nBy the mid sixteenth-century there were many prints and book illustrations of the Crucifixion with the Virgin and St John, which could have served as a model for the enameller, and a specific source has not been identified. One possibility is a print by Martin Schongauer, although the figures are not identifical. (Bartsch, VI (Part 1), p. 129, no. 23; Illustrated Bartsch 8, formerly volume 6 (Part 1), Early German Artists, ed. Jane C.  Hutchison, New York, 1980, p. 237, no. 23.)\n\nApart from the presence of a skull below the Cross, the scene closely resembles a grisaille plaque attributed tentatively to Pierre Reymond, situated in a triptych above a set of enamelled plaques illustrating the Lord's Prayer by his contemporary, Colin Nouailher, in the Mus\u00e9e des Beaux-Arts, Limoges (Inv. 2000.10.1)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, 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G. Clarke"}],"component":[{"materials":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque white, and black"}],"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-125824","uid":"adlib-term-125824","uuid":"4b9c6839-6345-3262-8a42-294f538950b0"},"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":[{"note":[{"value":"dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque white, and black"}],"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"}}]}],"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, decorated with polychrome enamels over paillons and gilded; the reverse enamelled in grisaille and gilded, with terms, torches, and strapwork, initialled \".I.C.\""},{"value":"Circular with slightly raised applied edge, narrow sloping rim, shallow curved sides and centre. Round the junction of the rim and well on the back there are a series of holes in the enamel left by supports during firing.The plate has a dark blue ground. The design in the well is enamelled over a white layer in dark blue, translucent blue, turquoise, green, yellow, red, mulberry, and brown with silver foils (paillons) under the costume, and in black, opaque white, flesh-pink, and opaque white, enhanced with gilding. The sides are decorated in gold over the dark blue ground. The motifs on the rim are executed in translucent enamels over foils and in flesh-pink, white and grey over a white ground, reserved in a dark blue ground with gilt ornament. The reverse is enamelled  in grisaille and with flesh pink, and gilding. \nThe well is decorated with Joseph's brother's showing Jacob that their money has been returned to them in their sacks of grain. The action takes place out of doors, with two buildings in the background to right, a landscape with a stream on the left, and a path and two bushes in the foreground. A woman holding a baby in her arms and another woman stand on the right with a small sack in front of them. Benjamin stands beside his father, Jacob, who is seated in a chair. To the left, there is a sack lying sideways on the ground, and two more upright, which are being searched by two of the brothers. Six more of them stand behind them, one raising his arms in a gesture of surprise. In the sky above, in gold, is \".G.XLII\"  with below it, gold rays streaming down towards Benjamin. The sides are decorated with gold foliated scrolls on a dark blue ground, and on the rim, two different male and two different female masks, separated by tritons with tablets over their scrolling tails flanking jewels, with gold foliated sprays on a black ground. The edge is white.\nThe reverse is  painted in grisaille and flesh pink with two female terms and one male [?] term and three torches without flames linked by strapwork. The dark blue ground is decorated with gold sprays and foliate scrolls. On the rim there is a wreath of gold leaves and berries between pairs of gold bands. On the back, \"I.C\" in black on white strapwork below one of the torches."}],"exhibitions":[{"@link":{"catalogue":"2569","type":"reference"},"admin":{"id":"exhibition-2249","uid":"adlib-exhibition-2249","uuid":"547b6a0d-a51d-3449-bcac-f9bc675d6f4b"},"summary_title":"Mus\u00e9e r\u00e9trospectif"},{"@link":{"catalogue":"3060, one of four plates","type":"reference"},"admin":{"id":"exhibition-2250","uid":"adlib-exhibition-2250","uuid":"84fa0414-bb62-3cb1-bc3b-7b3c7527322b"},"summary_title":"Exposition Universelle de 1867"}],"identifier":[{"accession_number":"M.115B-1961","primary":true,"type":"accession number","value":"M.115B-1961"},{"priref":"156461","type":"priref","value":"156461"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156461"}],"inscription":[{"location":"on front in sky","method":"painted in gold","transcription":[{"value":".G.XLII"}],"type":"inscription"},{"location":"on back on white strapwork below one of the torches","method":"painted in black","transcription":[{"value":".I . C."}],"type":"initials"},{"description":[{"value":"rectangular paper label with cut corners"}],"location":"on back of rim","method":"printed in black and hand-written in faded black ink","transcription":[{"value":"UNION\/CENTRALE\u2019 printed in black, with between the words in faded black ink, 124\/2788"}],"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. 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":"The typed inventory of Louis Clarke\u2019s house, Leckhampton made by Sotheby's in October 1948, bears a handwritten note that this and C.115A-1961 were \u2018Formerly in Coll. of Gustave Rothschild\u2019 which was inherited by Sir Philip Sassoon and the Countess of Rocksavage.  The Museum\u2019s copy of the Christie\u2019s catalogue of their sale held on 26 November 1919 bears a note below lot 63, a set of four plates. \u2018Two of these now in Mallet bequest to Ashmolean, the other two to L.C. G.C\u2019 (indistinctly)."}]}],"creation":[{"date":[{"earliest":1585,"from":{"earliest":1585,"era":["CE"],"latest":1585,"precision":"circa","value":"1585"},"latest":1600,"range":true,"to":{"earliest":1600,"era":["CE"],"latest":1600,"value":"1600"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"qualifier":"possibly","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-186766","uid":"adlib-agent-186766","uuid":"9842ea2f-a073-3f9e-a28e-a1ca7001b3df"},"summary_title":"Court dit Vigier, Jean II"}],"note":[{"value":"The Biblical story of Joseph told in Genesis, was a common theme for the decoration of domestic objects in France in the second half of the 16th century. Limoges enamellers decorated caskets, ewers, dishes, and small plates with Joseph scenes. Although no complete sets are known, this plate was probably one of a set of twelve each decorated with a different event in the story, beginning when Joseph was already the slave of Potifar in Egypt, and extending from his rejection of the enticements of Potiphar\u2019s wife (Genesis 39.7) to his reconciliation with his brothers (Genesis 45.14-16). Ten of the scenes were closely based on Bernard Salomon's woodcut illustrations to Claude Paradin\u2019s 'Quadrins historiques de la Bible', first published by Jean de Tournes in Lyon in 1553. An augmented edition appeared in 1555, reprinted in 1558 and 1560, and another augmented edition in 1583. Each page had the biblical reference at the top, a woodcut, and an explanatory verse below. Another work of the same type, Guillaume Gu\u00e9roult\u2019s 'Figures de la Bible illustr\u00e9es de huictains francoys . . . (Guillaume Roville), Lyons, 1564 (2nd edn, 1565), with illustrations by Pierre Vase\/Eskrich was used for the 7th and 10th plates in the series, and the 12th has aspects from the woodcuts in both publications. These books can be seen online in the website Gallica of the Biblioth\u00e8que nationale. The story of Joseph was also recounted at length by the Jewish historian, Flavius Josephus (c. 37 BC - after 100 AD), in his Antiquities of the Jews, Book II, II\u2013VII. This work was widely read in sixteenth-century France, and the Lyon edition of 1562, 'l\u2019Histoire de Fl. Josephe, Sacrificateur Hebrieu', translated by Fran\u00e7ois Bourgoing, and printed by Jean Temporal for Jean de Tournes, illustrates the part of Joseph\u2019s story which appears on the Limoges plates with Salomon\u2019s twelve woodcuts for those scenes, but without the biblical reference. It is therefore possible that the enameller could have used that rather than 'Quadrins historique de la Bible'. \n\nThis subject, the ninth in the sequence, was taken from the Book of Genesis 42  Joseph\u2019s brothers returned home to their father Jacob, having left Simeon behind in Egypt as a hostage. When they unpacked their sacks of grain, they discover that their money has been returned to them in their sacks.  The scene was after the woodcut titled GENESE XLII\u2019 by Bernard Salomon in Claude Paradin\u2019s, Quadrins Historique de la Bible, Lyon (Jean de Tournes), 1553 or a later edition. The plate was misidentified in the catalogue of the 1865 Mus\u00e9e retorspectif as Joseph selling corn to his brothers, and later as the Betrayal of Benjamin, and as the Finding of the Cup in Benjamin's Sack, which occur later in the story.Another plate decorated with this subject formerly belonged to Baron Ferdinand Anselm de Rothschild (1839-98), and is part of the Waddesdon Bequest in the British Museum (WB34) (see Documentation)\n\nThe plate has a blue ground, like those in a part set of six plates in the Louvre, which were acquired in 1794 having been seized for the state in 1793 from the collection of Louis-Hercule-Timol\u00e9on, duc de Brissac (1734-1792) then in the h\u00f4tel Talleyrand-P\u00e9ricord. The plates in that group however, are a little larger than this plate, 20.2 cm in diameter, and have different border designs on the rim, so although this subject is missing from that set (if it originally had twelve plates), the plate seems unlikely to have been part of it.\n\nThe overall appearance of these plates, the border on the fronts,  and the style of grisaille decoration on the reverses, is comparable to a set of plates decorated with scenes from the Life of the Virgin signed' I.C.' . These have the de Vic arms below on the rims, probably for M\u00e9ry de Vic (d. 1622), who had been resident in Limoges as intendant during 1588 and 1589, while on a mission to restore order in the region for Henry III, and after his assassination in August 1589, had transferred his allegiance to Henry IV. It seems likely that the plates were made about that time, and if not, before 1603 when a change was made to the de Vic arms.\n\nThe initials \u2018'I\u2022C.\u2019 occur on a great many Limoges enamels made during the second half of the 16th and early seventeenth century. The plate therefore seems likely to have been a workshop mark used successively by members of the Court family. These were Jehan\/Jean Court dit Vigier I (d. 1592), whose earliest known signed work was dated 1555, and his son, Jean Court dit Vigier II (b. c.1575; d. between 1631-5); a Jehan\/Jean de Court who witnessed the latter's wedding in 1598, and was therefore probably a relative (if he were an enameller which is not certain), and a related enameller, Jehan\/Jean Court dit Vigier le jeune who married in 1613, and  died between 1627-31. (See Documentation, Beyssi-Cassan, 2006)."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-126849","uid":"adlib-term-126849","uuid":"12adb53f-3133-3826-9950-cb457b8a568d"},"summary_title":"16th Century, Late-17th 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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Clarke, MA, LL.D., Leckhampton, Cambridge."}],"objects":[{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139825","uid":"adlib-object-139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"role":[{"value":"same type"}],"type":"reference"},"admin":{"id":"object-139826","uid":"adlib-object-139826","uuid":"2161a683-841c-3ebb-ad57-f0bb7ae8697c"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-139825","uid":"adlib-object-139825","uuid":"5137a070-788b-3e5c-a053-2a914d03ecdb"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate"}],"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. 225, no. 2569, as Joseph selling corn to his brothers and incorrectly as lent by Baron Alphonse de Rothschild instead of Baron James de Rothschild.","page":"225","type":"reference"},"admin":{"id":"publication-8967","uid":"adlib-publication-8967","uuid":"58e5940f-3893-32da-bdc1-20dee5f88c70"},"summary_title":"Exposition de 1865. Palais de l\u2019Industrie, Mus\u00e9e R\u00e9trospectif. Catalogue des objets d\u2019art et de curiosit\u00e9 expos\u00e9s au Mus\u00e9e R\u00e9trospectif ouvert au Palais de l\u2019Industrie en 1865"},{"@link":{"notes":"Publ. p. 8, part of lot 63.","page":"8","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":{"type":"reference"},"admin":{"id":"publication-7027","uid":"adlib-publication-7027","uuid":"dedd6fca-e6f1-3dc8-981d-826b32b77670"},"summary_title":"Catalogue of highly important enamels, faience and majolica and works of art, the property of Mrs. Walter Burns (from the Collection of the late Walter S. Burns, Esq."},{"@link":{"notes":"Publ. p. 136-7, p. 156, fig. 5, p. 170, fig. 34, and Table of Plates, 9.1.","page":"136-7","type":"reference"},"admin":{"id":"publication-200003208","uid":"adlib-publication-200003208","uuid":"a080bc54-7f92-3d57-af8d-e44304d0a9af"},"summary_title":"L\u2019histoire de Joseph sur des assiettes en \u00e9mail peint de Limoges par l\u2019atelier portant la marque de fabrique \u201cI.C."},{"@link":{"type":"reference"},"admin":{"id":"publication-6647","uid":"adlib-publication-6647","uuid":"10f62349-c65f-3fee-a7e2-796d58c9e42c"},"summary_title":"Quadrins Historique de la Bible"},{"@link":{"type":"reference"},"admin":{"id":"publication-7342","uid":"adlib-publication-7342","uuid":"d9fb0bb5-2b35-34f7-88f4-b60331f55697"},"summary_title":"Bernard Salomon Illustrateur Lyonnais"},{"@link":{"notes":"Cf. pp. 350-7, N 1355-1360, a set of six plates with blue grounds and scenes from the life of Joseph of which N.1359 has a comparable design on the back of herms and strapwork. This group lack the subject on the Fitzwilliam's plate, but it is doubtful if it could have belonged to that set because the plates are a little larger, 20.2 cm. Baratte dated the plates c. 1600.","page":"350-7","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. p. 19, no. 34, and pl. 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Hubert de Givenchy"},{"@link":{"notes":"Ref. pp. 378-80, nos. 5 , 6 and 7, for biographical information for the Court dit Vigier family","page":"378-80","type":"reference"},"admin":{"id":"publication-6116","uid":"adlib-publication-6116","uuid":"bbff1ced-945e-3b6f-8556-b6eedf278dea"},"summary_title":"Le m\u00e9tier d\u2019\u00e9mailleur \u00e0 Limoges, XVIe-XVIIe si\u00e8cle"},{"@link":{"notes":"Cf. p. 228-9, lot 533, the plate from the Givenchy Collection, attributed to Jean Court, c. 1600.","page":"228-9","type":"reference"},"admin":{"id":"publication-6431","uid":"adlib-publication-6431","uuid":"33b5e1a9-43d8-3747-bc67-a541758ebd9e"},"summary_title":"Collection Yves Saint Laurent et Pierre Berg\u00e9, Sculptures, Objets d'Art, Art d'Asie, Arch\u00e9ologie et Mobilier"},{"@link":{"notes":"Ref. p. 311, for a list of plates with Joseph subjects. The Fitzwilliam's plate with its old title, The Finding of Silver in Benjamin's Sack is listed as M.1. For two other subjects, see pp. 302-06, no. 80, Joseph Storing Grain, and pp. 307-10, no. 81, Joseph Taken Prisoner. The author dates these from 1675-1600.","page":"311","type":"reference"},"admin":{"id":"publication-7299","uid":"adlib-publication-7299","uuid":"6f4a68e9-f500-30d4-b9dd-88b93e40816a"},"summary_title":"The Wallace Collection, Catalogue of Glass and Limoges Painted Enamels"},{"@link":{"notes":"Ref. Sir Philip Sassoon preferred French eighteenth-century art to the Renaissance objects, such as maiolica and Limoges enamels which had appealed to his grandfather, Baron Gustave de Rothschild (d. 1911) in Paris.","page":"151-70","type":"reference"},"admin":{"id":"publication-200003308","uid":"adlib-publication-200003308","uuid":"cd2bb49e-c01c-386e-b0e0-d4d005c862a4"},"summary_title":"Sir Philip Sassoon at 25 Park Lane: the collection of an early twentieth-century connoisseur and aesthete"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"},{"@link":{"type":"reference"},"admin":{"id":"term-10600","uid":"adlib-term-10600","uuid":"02211e31-dcc2-3d71-afd8-d51e21c5dc5f"},"summary_title":"Mannerism"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-76645","uid":"adlib-term-76645","uuid":"958ceb8e-13a9-3ead-997f-4efff80521db"},"summary_title":"sack"},{"@link":{"relation":"animal","type":"reference"},"admin":{"id":"term-106792","uid":"adlib-term-106792","uuid":"9dad6dce-12d1-35e5-82ba-35b95d0e469a"},"summary_title":"hound"},{"@link":{"relation":"activity","type":"reference"},"admin":{"id":"term-108427","uid":"adlib-term-108427","uuid":"0b4ca4e3-9619-3d47-a7d7-b73bb5d87b0d"},"summary_title":"finding"},{"@link":{"type":"literal"},"name":[{"value":"sack"}],"summary_title":"sack"},{"@link":{"type":"literal"},"name":[{"value":"hound"}],"summary_title":"hound"},{"@link":{"type":"literal"},"name":[{"value":"finding"}],"summary_title":"finding"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-34935","uid":"adlib-term-34935","uuid":"b6750733-fe79-33fc-b39a-c296fcd223b4"},"summary_title":"plate"}},"summary_title":"plate","techniques":[{"description":[{"value":"the well has a partly foiled and partly white ground, decorated with dark blue, translucent blue, turquoise, green, yellow, red, and mulberry, flesh-pink, brown, grey, opaque white, and black enamels, and gold. The sides are decorated in gold on a dark blue ground. The motifs on the rim are executed in translucent enamels over foils and in flesh-pink, white and grey over a white ground, reserved in a dark blue ground with gilt ornament. The reverse has a dark blue ground, painted in grisaille and with flesh pink, and gold. Round the junction of the rim and well on the back there are a series of holes in the enamel."}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28810","uid":"adlib-term-28810","uuid":"c6a00cef-33f7-3107-8666-d791bd49707c"},"summary_title":"raising (metal forming process)"}}],"title":[{"value":"Joseph's brothers find their money returned to them in their sacks"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156438","_score":15.69196,"_source":{"admin":{"added":1592970669000,"created":1312637261000,"flag":"Standard Record","id":"object-156438","indexed":1755194559075,"modified":1714468129000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156438","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156438","uuid":"6f5d2df2-fd58-3c26-a778-f4bf0695323a","version":10},"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-179399","uid":"adlib-agent-179399","uuid":"4fd93613-7a56-38a3-9cad-c34afdab0c7e"},"summary_title":"gaoller"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-150856","uid":"adlib-agent-150856","uuid":"51caf9a6-3709-33ce-a561-5b2ce8a0f482"},"summary_title":"prisoner"}],"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":"white, pink, and black"}],"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 convex copper plaque with a hole in each corner, enamelled en grisaille with a little flesh pink on a black ground, and gilded. Clear counter-enamel unevenly applied with blobs in the top right quarter, and on the lower edge. A large red area of copper in that quarter."}],"note":[{"value":"white, pink, and black"}],"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":"12"},{"dimension":"Width","units":"cm","value":"9.6"}]},"name":"Plaque"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"13"},{"dimension":"Width","units":"cm","value":"10.6"}]},"name":"Frame"}],"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 enamelled en grisailled with a little pink on a black ground, and gilded. Christ visiting the prisoners. Inscribed below T\u2022NO9\u2022PAIDONE\u2022.NOZ\u2022 FFESES\u2022 AINSY\/ E\u2022 NOVS\u2022 PARDONOS\u2022A. CEVLX\u2022\/Q\/ NOVS\u2022 ONT\u2022 OFFENSE\u2019 (And pardon our offences as we pardon them that offend us). One of a set wth M.49A-C, E & F-1904"},{"value":"Rectangular convex copper plaque with a hole in each corner, enamelled en grisaille with a little flesh pink on a black ground, and gilded. Clear counter-enamel unevenly applied with blobs in the top right quarter, and on the lower edge. A large red area of copper in that quarter. Two prisoners are seated side by side in front of a wall in which there is a barred arched window. Thier legs and arms are in stocks Christ enters from a doorway on the right. He has a gold aurole, and is bearded, long-haired, and bare-footed. He wears a long gown with a cloak over it. His arms are held out towards the prisoners. A gaoler with his back to the viewer, is unlocking the prisoner on the left. The gaoler wears a cap with a feather in it, a tunic, trunk hose and shoes. The edges of Christ\u2019s robes and the gaoler\u2019s clothes are outlined in gold. A white panel running across the bottom of the panel, is inscribed in black with gold over it, T\u2022NO9\u2022PAIDONE\u2022.NOZ\u2022 FFESES\u2022 AINSY\/ E\u2022 NOVS\u2022 PARDONOS\u2022A. CEVLX\u2022 Q\/NOVS\u2022ONT\u2022OFFENSE\u2019 (And pardon our offences as we pardon them that offend us). A gold line runs round the scene and the inscription. The reverse is inscribed in black with the number \u2018VI\u2019. ADD line over Q and N and O in PARDONOS\nThe plaque is set in an ill-fitting, rectangular, gilt-metal frame with repeating formal leaf border. The plaque is held into the frame by four bent over pins attached to the cardinal points on the reverse."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum By Frank McClean, M.A., F.R.S."}],"identifier":[{"accession_number":"M.49D-1904","primary":true,"type":"accession number","value":"M.49D-1904"},{"priref":"156438","type":"priref","value":"156438"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156438","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156438"}],"inscription":[{"location":"on front","method":"painted in black and gold","transcription":[{"value":"ET\u2022NO9\u2022PAIDONE\u2022.NOZ\u2022OFFESES\u2022AINSY\/ VE\u2022NOVS\u2022PARDONOS\u2022A. CEVLX\u2022Q\/NOVS\u2022ONT\u2022OFFENSE\u2019"}],"type":"inscription"},{"description":[{"value":"Roman six"}],"location":"on back","method":"painted in black","transcription":[{"value":"VI"}],"type":"number"},{"description":[{"value":"almost square label with serrated edges, printed in blue with a beaded border; text underlined as far as di"}],"location":"on back","method":"hand-written in black ink","transcription":[{"value":"4899 s(4\/T000\/N000\/A10\/di una\/venduta separato"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Frank McClean died on 8 November 1904 in Brussels"}]}],"creation":[{"date":[{"earliest":1530,"from":{"earliest":1530,"era":["CE"],"latest":1530,"precision":"circa","value":"1530"},"latest":1560,"range":true,"to":{"earliest":1560,"era":["CE"],"latest":1560,"value":"1560"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-99908","uid":"adlib-agent-99908","uuid":"376e1128-04f6-3812-88a6-e4928cb7732d"},"summary_title":"Nouailher, Colin"},{"@link":{"qualifier":"after","role":[{"value":"designer"}],"type":"reference"},"admin":{"id":"agent-63808","uid":"adlib-agent-63808","uuid":"2ed7b47b-c05b-3fcc-879c-c3f517ea1682"},"summary_title":"Holbein, Hans, the younger"},{"@link":{"qualifier":"after","role":[{"value":"printmaker"}],"type":"reference"},"admin":{"id":"agent-93853","uid":"adlib-agent-93853","uuid":"f6c72949-df13-3991-afdb-164610d10ab4"},"summary_title":"Monogrammist C. V."}],"note":[{"value":"This plaque was originally the sixth of a set of eight representing the Lord's Prayer, of which six are in the Fitzwilliam (M.49A-F-1904). The first plaque shows 'Christ instructing his disciples how to pray', and the others, have scenes associated with the lines of the Lord's Prayer. The words are written below in French. This plaque, the sixth in the sequence, represents the line \u2018Forgive us our trespasses as we forgive them that trespass against us\u2019 (Matthew VI, 12). The subject, 'Christ delivering prisoners from captivity' is a reference to the words 'to bring out the prisoners from the prison and them sit in darkness out of the prison house' in Isaiah, 42.6-7. Three more plaques decorated with this subject have been recorded, see Documentation.\n\nThe scenes illustrating the lines of the prayer in were inspired by a set of metalcuts by the Basel monogrammist C.V. after Holbein which appeared in Desiderio Erasmus's 'Precatio dominica in septem portiones', published by both Johann Froben and Johannes Bebel successively in Basle in 1524. The work was first published without illustrations in 1523, and was rapidly translated into modern languages. The illustrations in the Froben and Bebel editions have the inscriptions in Latin, but a set of eight prints issued separately probably a little later with inscriptions in French, signed CV, is in the British Museum (1904.0206, 64,1-8;) and seven of the set (no. 4 is missing) are in the Cabinet des Estampes, Biblioth\u00e8que nationale, Paris (EA 25c in fol., p. 57). Possibly they were intended to be used in a French illustrated edition which was never published. While the iconography of all the plaques was derived from these prints, the details of the figures and settings differ, in some scenes more than others. \n\nTwo plaques enamelled in the same style in the Louvre were attributed to Colin Nouailher by Alfred Darcel (1867)and his attribution was upheld by J.J. Marquet de Vasselot (1919-20) and Sophie Baratte (2000). This attribution was confirmed by the presence of the initials CN below the title on a plaque from the Lord\u2019s Prayer decorated with the 'Deliver us from Evil' scene, acquired by the Mus\u00e9e de l\u2019\u00c9v\u00each\u00e9 (now Mus\u00e9e des Beaux-Arts), Limoges, in 2007 (2007.5.2) with another plaque of the 'Give us our daily bread' scene (2007.5.1). \n\nLord's Prayer plaques were also executed probably by Jean II or III P\u00e9nicaud, and an enameller who signed 'KIP' or' KI'. These are in very different styles from the Nouailher plaques and include some scenes which were not based on the Holbein\/CV illustrations."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-110475","uid":"adlib-term-110475","uuid":"223ae6a7-2f91-3314-ae3c-da3233ae47dc"},"summary_title":"16th Century, Mid"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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Or, although smaller, G.H. Morland; sold Christie's, 10 May 1866, one of six plaques in gilt-metal frames in lot 437. An unidentified French sale in which the six plaques formed lot 289. An unidentified Italian owner or dealer before or after the sale. Frank McClean, MA, FRS (1837-1904), Rusthall House, near Tunbridge Wells."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156436","uid":"adlib-object-156436","uuid":"be846ed0-3d5d-35a7-9e1d-9caa50238288"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156435","uid":"adlib-object-156435","uuid":"6351a77b-d5f9-3f74-8fb0-82fa55ee758f"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156437","uid":"adlib-object-156437","uuid":"b54901a7-9a74-3ae3-a38c-9a43b179d5b2"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156439","uid":"adlib-object-156439","uuid":"75f8f71d-2c8f-30d8-a48f-f5510e03f42f"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"},{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-156440","uid":"adlib-object-156440","uuid":"8783ea79-cad6-352d-b68c-4b9086c04d3e"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque"}],"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. 112, no. 67","page":"112","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":{"type":"reference"},"admin":{"id":"publication-200002170","uid":"adlib-publication-200002170","uuid":"06575876-e5c8-362b-93fd-a20f0679b18f"},"summary_title":"Quelques \u00e9maux de Colin Noailher et leurs mod\u00e8les grav\u00e9s"},{"@link":{"notes":"Ref. p. 244 for the source of the designs for this series of Lord's Prayer plaques","page":"244","type":"reference"},"admin":{"id":"publication-200002171","uid":"adlib-publication-200002171","uuid":"a8c2f19e-5c1e-3d49-8f24-ab741ecd8bc7"},"summary_title":"Holbein\u2019s Thatigkeit f\u00fcr Baseler Verleger"},{"@link":{"notes":"Ref. pp. 288-9-, no. 436 for the illustrated editions of Prectatio dominica in septem portiones","page":"288-90","type":"reference"},"admin":{"id":"publication-7080","uid":"adlib-publication-7080","uuid":"36d387ec-0109-3ca5-8194-f63ec1767c0a"},"summary_title":"Oberrheinische buchillustration 2. Basler Buchillustration 1500 bis 1545"},{"@link":{"type":"reference"},"admin":{"id":"publication-6076","uid":"adlib-publication-6076","uuid":"068a21f1-ace1-3495-956a-8069df651c67"},"summary_title":"Hollstein\u2019s German Engravings, Etchings and Woodcuts 1400-1700, vol. XLIX"},{"@link":{"notes":"Cf. p. 69, MR 2617, Give us our daily bread, illustrated by a preacher preaching to a group of men and woman, and OA96 Lead us not into Temptation illustrated by the Temptation of Job, both attributed to Colin Nouailher.","page":"69","type":"reference"},"admin":{"id":"publication-6073","uid":"adlib-publication-6073","uuid":"273632b3-da99-366e-9c3b-efd466467b8e"},"summary_title":"Les \u00e9maux peints de Limoges. Mus\u00e9e du Louvre, D\u00e9partement des objets d'art"},{"@link":{"notes":"Cf. pp. 296-9, a set of all eight Lord's Prayer plaques by Colin Nouailher, in a wooden triptych frame, with above at top centre, an arched plaque of the Crucifixion with the Virgin and St John, probably from the workshop of Pierre Reymond. Purchased at Christie's, 4 July 2000, lot 22, attributed to Pierre Reymond. These plaques, like the Fitzwilliam's have the inscriptions at the bottom. Mus\u00e9e municipal de l\u2019Ev\u00each\u00e9, inv. no. 2000.10.1","page":"296-9","type":"reference"},"admin":{"id":"publication-200002664","uid":"adlib-publication-200002664","uuid":"b15e6464-77a8-34fa-9ad7-9bbbcd063ed8"},"summary_title":"Les acquisitions du Mus\u00e9e municipal de l\u2019Ev\u00each\u00e9 - mus\u00e9e de l\u2019Email de Limoges"}],"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":"place type","type":"reference"},"admin":{"id":"term-61538","uid":"adlib-term-61538","uuid":"eae2a5ab-4b51-32a8-8bca-57ea932168d1"},"summary_title":"prison"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-130071","uid":"adlib-term-130071","uuid":"2dd835a7-ed4b-352e-bd34-4c6c11ce042a"},"summary_title":"Christ freeing the prisoners"},{"@link":{"type":"literal"},"name":[{"value":"prison"}],"summary_title":"prison"},{"@link":{"type":"literal"},"name":[{"value":"Christ freeing the prisoners"}],"summary_title":"Christ freeing the prisoners"}],"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 Lord's Prayer VI: Christ freeing the Prisoners"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-156452","_score":15.69196,"_source":{"admin":{"added":1592999776000,"created":1312637261000,"flag":"Standard Record","id":"object-156452","indexed":1755194581649,"modified":1745931831000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-156452","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156452","uuid":"a4b81b7c-24e3-3ec9-9274-e9c54c138e2f","version":11},"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-153140","uid":"adlib-agent-153140","uuid":"f5bf2584-5b68-39cb-ae7a-96c84bb52a36"},"summary_title":"de Pass, Alfred A."},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-149992","uid":"adlib-agent-149992","uuid":"2fc34d64-f566-35ce-9ad4-98939c8fb978"},"summary_title":"God"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-410","uid":"adlib-agent-410","uuid":"e4a0126f-5620-36a5-86f3-fc0eef3d6fd0"},"summary_title":"Adam"}],"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-125340","uid":"adlib-term-125340","uuid":"ac22192a-8b69-31e0-929a-4edbdf48a9e7"},"summary_title":"Alfred A. de Pass"}],"component":[{"materials":[{"note":[{"value":"pink, white, black"}],"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":[{"note":[{"value":"pink, white, black"}],"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-115831","uid":"adlib-term-115831","uuid":"6eb9297e-cdbe-300e-8a0a-37765a9807a2"},"summary_title":"enlevage"}},{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28681","uid":"adlib-term-28681","uuid":"c1f659e2-1209-31cf-8ff4-154e11452559"},"summary_title":"gilding"}}]},{"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"10.5"}]},"name":"Foot Of Cup"},{"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"17.5"}]},"name":"Rim Of Cup"},{"measurements":{"dimensions":[{"dimension":"Diameter","units":"cm","value":"19.5"}]},"name":"Rim Of Cover"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"15.5"}]},"name":"Cup"}],"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, enamelled en grisaille and gilded"},{"value":"Copper, enamelled in grisaille with flesh pink on a black ground, appearing very dark manganese-brown at the edges. The hemispherical bowl of the cup is supported on a vase-shaped knop on top of a bell-shaped circular foot. The low domed cover has a flange round the edge, and a raised central area with a replacement finial in the form of a horizontal silver (?) male mask. This is held in position on the underside by a lump of red sealing wax.                                                                                                    The interior of the cup is decorated with the Creation of Adam, surrounded by a broad border of gold arabesques on a black ground. God stands on the right. He is bearded and crowned and wears a voluminous long gown. He extends his left hand towards the nude figure of Adam lying on the ground to the left.  In the landscape background there are hills and a lake with three sea monsters in it; trees on either side behind the figures; and between them, many animals, including oxen, a pelican, a lion, a camel, a goat, a rabbit, and a cat stalking a mouse, and, on the right of God, a stag and a hind.  The underside of the bowl is decorated with a radiating design of  four grotesque masks, curling strapwork, swags and beading. The initials '.I.C.' are painted below one mask on the strapwork. Round the rim there is an egg and tongue border. The vase-shaped knop is decorated with three female masks and serrated  swags, with a white band above, and on the foot, is a battle scene al antica, with nude warriors on foot and on horseback. The outer edges of the foot and rim are white.                                                                                                      \nThe cover (a replacement) is decorated on the exterior with a central flowerhead surrounded by four leonine masks on curling strapwork, around which is a continuous procession of revelling putti wearing vine wreaths in their hair. One is seated in a chariot, the next holds a ewer, two walk together behind another accompanied by a goat, two skip along behind a trumpet player, the next holds a large jar above his head, the next sits holding a vine branch and the last carries a basket of grapes above his head. The scene is encircled by a border of bound laurel, and on the flange, remnants of a gilded border, no longer legible. The underside is decorated with a radiating design of four winged putto's heads linked by swags over strapwork surrounded by gilt arabesques, and remnants of a gilded guilloche border."}],"identifier":[{"accession_number":"M.31 & A-1933","primary":true,"type":"accession number","value":"M.31 & A-1933"},{"priref":"156452","type":"priref","value":"156452"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156452","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156452"}],"inscription":[{"location":"on underside of bowl of cup on strapwork","method":"painted in black","transcription":[{"value":".I.C."}],"type":"initials"},{"description":[{"value":"narrow rectangular white paper label"}],"location":"on underside of cover","method":"printed in black","transcription":[{"value":"1240"}],"type":"label"},{"description":[{"value":"probably an f crossed or af and further to the right, 8"}],"location":"on rim of cover","method":"scratched","transcription":[{"value":"af joined or f      8"}],"type":"initial"},{"description":[{"value":"rectangular paper label with serrated ends and bottom edge, where there is a red printed line; the date is written sideways to the other words"}],"location":"on underside of foot of cup","method":"hand-written in faded black ink","transcription":[{"value":"Limoges\/enamel\/by Jean\/Courtrey\/signed I.C\/16 cent"}],"type":"label"},{"description":[{"value":"oval paper label printed with the words inside an oval black border line"}],"location":"on underside of base of cup","method":"printed in black and hand-written in black ink","transcription":[{"value":"FITZWILLIAM MUSEUM\/GIVEN BY\/ALFRED a. DE PASS\/1933 printed and 31 hand-written"}],"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":"Given by Alfred A. de Pass in memory of his son Crispin (d. 1918)"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-153140","uid":"adlib-agent-153140","uuid":"f5bf2584-5b68-39cb-ae7a-96c84bb52a36"},"summary_title":"de Pass, Alfred A."}],"date":[{"earliest":1933,"latest":1933,"value":"1933"}],"method":{"value":"given"}}],"creation":[{"date":[{"earliest":1570,"from":{"earliest":1570,"era":["CE"],"latest":1570,"precision":"circa","value":"1570"},"latest":1580,"note":[{"value":"The cover is probably c. 1550-60"}],"range":true,"to":{"earliest":1580,"era":["CE"],"latest":1580,"precision":"before","value":"1580"}}],"maker":[{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-180599","uid":"adlib-agent-180599","uuid":"01cc9b0b-f6a4-3faa-b356-ba4da3ba8987"},"summary_title":"Court dit Vigier, Jean I"},{"@link":{"role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-114217","uid":"adlib-agent-114217","uuid":"d84e37de-af7e-3317-8a55-c97eb4e99bcc"},"summary_title":"Reymond, Pierre"},{"@link":{"qualifier":"possibly","role":[{"value":"enameller"}],"type":"reference"},"admin":{"id":"agent-207580","uid":"adlib-agent-207580","uuid":"17d0e298-cbf2-3343-a544-282d89f7cea3"},"summary_title":"P\u00e9nicaud, Jean III"}],"note":[{"value":"Standing cups with tall stems and wide shallow bowls were an Italian form of drinking vessel for wine which was being made in silver in north west Europe by the early 1530s. Known as tazze in Italy, the were described as coupes or coupes-tasses in France. Some of them were provided with covers, and the larger examples may have been used as stands for sweetmeats rather than for drinking. The earliest Limoges enamel examples, date from the mid 1530s. Substantial numbers were produced there after 1540 in the workshops of L\u00e9onard Limosin, Pierre Reymond, and Pierre Courteys. The earliest fully signed by Jean Court dit Vigier is dated 1555, and a year later he signed another bearing the arms of Mary Stuart, Queen of Scots, who was to marry the Dauphin in 1558. After this most of the marked cups from his workshop were initialled 'I.C.', and some scholars consider that not all of them were enamelled by the same hand. \n\nMost of the cups were decorated inside the bowl with a scene from classical mythology or the Old Testament, and the outside of the covers with processions of deities or putti, scenes from the story of Adam and Eve, or medallions enclosing  profile heads. The scene on the interior of this example was based on Bernard Saloman\u2019s woodcut illustration of the 'Creation of Adam' in Claude Paradin's 'Quadrins historique de la bible', Lyon 1553 or later editions of 1555 or 1560, but differs from it in several details. The introduction of hares in the background suggests that the enameller was also influenced by Etienne Delaune\u2019s 'Creation of the World' and 'Creation of Adam' in which hares are depicted. These formed part of a series of prints of the story of Adam and Eve which were published in 1569, and also occur on the exterior of the covers of several tazze with the Creation of Adam or the Temptation in the bowl, indicating that they date from about 1570 or later. For example, a pair of cups in the Green Vaults at Dresden (Inv. III, 15 and 16), which are initialled I.C. and attributed to Jean Court. It therefore seems likely that the original cover of the Fitzwilliam's example was decorated in the same way, and that the cup  was made after about 1570 rather than in the late 1550s. The stem and foot have been joined to the bowl, and appear to be by a different maker, possibly Jean III P\u00e9nicaud or Pierre P\u00e9nicaud.\nThe present cover, probably enamelled a few years earlier by Pierre Reymond, bears an incised mark which indicates that it had been in the Fountaine Collection in Norfolk, and with a different cup, decorated inside with the Judgement of Solomon,  formed lot 128 when that collection was sold by Christie's in 1884. It was bought by the Hon. W.F.B. Massey-Mainwaring, and in 1888 was among over 2,900 objects lent by him and his wife to the Bethnal Green Museum. At some point, possibly before the loan, the cup was paired with a different cover, and in 1904 when part of the collection was sold, the cover formed lot 81 and the cup with its different cover formed lot 82. The cover was bought by the London dealer, Litchfield, and at an unknown date was acquired by Alfred A. De Pass, who gave it to the Fitzwilliam in 1933. 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Clear counter-enamel with dark brown spots and mottled brown areas.   On the left a saddled white horse stands in profile to the right. A youth wearing a turquoise phrygian cap, a blue tunic, and yellow boots stands behind the horse, and has his right arm over the saddle. Two men stand by the horse\u2019s head holding its bridle. One, perhaps Hercules? wears a brown lion\u2019s mask, a brown tunic, and turquoise skirt . The other who has his back to the viewer, points with his right arm towards the right. He wears a turquoise helmet al antica with feather, a brown tunic with a triangular turquoise collar over a garment with blue, green and yellow sleeves, and blue and yellow tights. He has a sword, and three brown bags are suspended from beneath his tunic. An angry small boy wearing a yellow tunic runs from the right towards the horses, shaking his fist. An old woman wearing a blue dress and white cap stands behind him gesticulating. In front of her in the foreground, another man, perhaps a peasant, has his back to the viewer, and holds out both his arms out towards the left. He wears a yellow hat, a pink tunic, and ragged calf-length breeches, and has a knife in a brown sheath suspended from his waist. In the left foreground, a white dog runs towards the figures. The ground is painted with areas of pale purple and green, and there are two yellow plants in the foreground. Gold is used sparingly on the edge of the woman\u2019s cap, for the pattern on the sheath of the knife of the man standing in front of her, on the helmet and its feather on the other man, and on the edges of the horse\u2019s equipment. The plaque is mounted in a D-shaped wooden frame. covered in red velvet, with a gilt-metal inner edge on the front. The frame covers the edges of the plaque at the back."}],"exhibitions":[{"@link":{"type":"reference"},"admin":{"id":"exhibition-2107","uid":"adlib-exhibition-2107","uuid":"07086265-735b-3fd0-90c6-7b1c4f93cb94"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum By Frank McClean, M.A., F.R.S."}],"identifier":[{"accession_number":"M.44-1904","primary":true,"type":"accession number","value":"M.44-1904"},{"priref":"156430","type":"priref","value":"156430"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156430","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156430"}],"inscription":[{"description":[{"value":"circular paper label printed in black with \u2018.MAGNIAC\u2022 COLLECTION\u2019 between concentric circles, and inscribed \u2018247\u2019 in black ink in the middle."}],"location":"on the reverse","method":"printed in black and hand-written in black ink","transcription":[{"value":"'.MAGNIAC\u2022 COLLECTION' printed in black, '247' hand-written in black ink"}],"type":"label"},{"description":[{"value":"square paper label printed in black"}],"location":"on back","method":"printed in black","transcription":[{"value":"BEQUEATHED BY\/FRANK McCLEAN\/M.A. F.R.S.: F.R.A.S:\/of Trinity College\/November MDCCCCIV"}],"type":"label"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1565,"from":{"earliest":1565,"latest":1565,"precision":"circa","value":"1565"},"latest":1573,"note":[{"value":"1573 is the latest date on an enamel attributed to L\u00e9onard Limosin"}],"range":true,"to":{"earliest":1573,"latest":1573,"value":"1573"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-79998","uid":"adlib-agent-79998","uuid":"8b231843-3ad1-36a8-8be1-daf567af41ae"},"summary_title":"Limosin, L\u00e9onard"}],"note":[{"value":"This plaque was attributed to Leonard Limosin and dated about 1570 by J.C. Robinson in 1862, and in the Magniac sale catalogue of 1892, where the composition was described as \u2018animated even dramatic, and the execution, though verging on coarseness is bold and spiritied; it is painted in colours on a white ground, peculiar to Leonard in his later time.\u2019 Dalton, 1912, was more cautious, remarking that it \u2018appears to be by someone influenced by his style\u2019. However, Philippe Verdier when he visited the Fitzwilliam, supported the earlier attribution to L\u00e9onard Limousin. The subject has not been identified. The lack of stirrups on the horse and the Phrygian cap worn by the man standing behind the horse, suggest that it depicts a classical rather than a contemporary subject, perhaps the departure of Hector for the Trojan War.\n\nThe thin application of translucent enamels over a white ground is a characteristic of some enamels by Limosin made in the 1560s and early 1570s  The similarities between these enamels and the Fitzwilliam's plaque support its attribution to L\u00e9onard Limosin. Horses with similarly fierce eyes, and figures with elongated tapering legs appear in a plaque of 'Theseus and the Queen of the Amazons' dated 1563 in the Mus\u00e9e national de la Renaissance at \u00c9couen. The dog, horse, and streaky colouring of the ground with small yellow plants are strongly reminiscent of those on an oval  plaque in the Louvre representing Spring, on which a man and woman on horseback ride through a landscape accompanied by a white hound. This probably formed part of a set of Seasons, of which Winter also in the Louvre, is dated 1572. A large undated plaque in the Taft Museum, Cincinnati, titled 'The Children of Mars', depicts a contemporary scene of soldiers pillaging a village, and includes a horse with a saddle and stirrups being led away by a soldier and gesticulating figures reminiscent of those on the Fitzwilliam's plaque, particularly a man shown from the back with both arms raised to the right"}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-125332","uid":"adlib-term-125332","uuid":"76f10b5d-9bf4-36d4-b4e3-f4df05af8260"},"summary_title":"16th Century, third 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The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh .The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas."}],"note":[{"value":"translucent blue, green, turquoise, brownish-yellow, and mulberry;  pinkish-white, red, white, and black"}],"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"},{"measurements":{"dimensions":[{"dimension":"Height","units":"cm","value":"10.1"},{"dimension":"Width","units":"cm","value":"7.2"}]},"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":"Mirror enclosed in a gilt-metal frame with on the exterior a copper plaque decorated with polychrome enamels, partly over foils, and gilded. Jupiter in the form of Diana and Callisto in a landscape."},{"value":"Elongated octagonal slightly convex copper plaque, decorated in polychrome enamels over foils and and gilded. The central oval medallion has a white ground, decorated in translucent blue, green, turquoise, brownish-yellow, and mulberry enamels over foils, and in pinkish-red, and white enamels for the flesh. The border has a black ground, with motifs in translucent enamels over foils. Gilding, brownish in places, has been applied for outlines or details over both areas. The plaque is mounted in an octagonal gilt-metal frame hinged to another octagonal gilt-metal frame with an egg and dart border enclosing an octagonal bevelled mirror. At the top there is a foliated suspension loop with a ring through it, and another ring through that. decorated in polychrome enamels over foils and and gilded.\nWithin a horizonal oval medallion Jupiter in the form of Diana embraces Callisto in a landscape. The former wears a mulberry gown with a blue tunic and a blue scarf which billows out behind her. Callisto wears a blue dress which reveals her right leg. Both have wavy brownish-yellow hair drawn back from their brows. A gold bow and a quiver lie on the grass in the foreground. In the background to the right there is a tree on a mound, and to the left, a house beside a tree. The sky is blue. Above and below the panel there is a bird with blue, and mulberry plumage, flanked by green, mulbery or blue foiled flowers, reserved in a black ground decorated with delicate gold tendrils."}],"exhibitions":[{"@link":{"catalogue":"125","type":"reference"},"admin":{"id":"exhibition-2376","uid":"adlib-exhibition-2376","uuid":"3e2208a0-ad25-3b64-b03f-cb63aa00fd02"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"}],"identifier":[{"accession_number":"M.11-1938","primary":true,"type":"accession number","value":"M.11-1938"},{"priref":"139824","type":"priref","value":"139824"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139824"}],"inscription":[{"description":[{"value":"circular paper label; C looks rather like an L"}],"location":"on back of enamel plaque","method":"hand-written in faded black ink","transcription":[{"value":"B\/1\/L.D.C."}],"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":"L.D. Cunliffe Bequest, 1937"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-149807","uid":"adlib-agent-149807","uuid":"e699d770-0f16-32bf-b0b1-da62f9118c29"},"summary_title":"Cunliffe, Leonard Daneham"}],"date":[{"earliest":1938,"latest":1938,"value":"1938-02-15"}],"method":{"value":"bequeathed"}}],"creation":[{"date":[{"earliest":1600,"from":{"earliest":1600,"era":["CE"],"latest":1600,"precision":"circa","value":"1600"},"latest":1625,"range":true,"to":{"earliest":1625,"era":["CE"],"latest":1625,"value":"1625"}}],"maker":[{"@link":{"qualifier":"probably","role":[{"value":"maker"}],"type":"reference"},"admin":{"id":"agent-179445","uid":"adlib-agent-179445","uuid":"354c0b9b-f4b7-324d-9187-afb7d4d7d4c6"},"summary_title":"Limosin, Fran\u00e7ois I"},{"@link":{"qualifier":"perhaps","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":"Portable mirrors in silver or gilt-metal frames backed by Limoges plaques survive in large numbers. They have octagonal or oval frames with a suspension loop at the top, and are decorated in polychrome enamels, partly over paillons (silver foil), usually with a central medallion surrounded by a border of stylized flowers and birds reserved in a dark manganese-black ground overlaid by gold foliage or rinceaux. There are several formats for these borders. Others have a mythological scene or figures with ornamental surrounds which cover the whole plaque. None of the recorded examples are dated, but on stylistic grounds their manufacture probably extended from the late 1590s to the 1620s.. The only closely datable examples have comparable borders around bust portraits of Louis XIII, or of Anne of Austria, probably made at the time of their marriage in 1615 (See Documentation, Baratte, 2000, and Sotheby's, 19 November, 2007, lot 26). Comparable motifs occur on a rectangular plaque with a portrait of the King apparently some ten years older in the Wallace Collection, which bears the initials IL separated by a fleur de lis, for Jean Limosin (c. 1580-1646).\n\nOvid tells the story of Jupiter\u2019s deception of Callisto by appearing to her as Diana, and then ravishing her, in Metamorphoses 2, 420-531. Associated with a mirror it might serve as a warning to the owner to beware of deceitful suitors. The figures on the plaque was probably derived from Bernard Salomon\u2019s woodcut illustration of 'Caliston de\u00e7ue par Jupiter' in  La Metamorphose d\u2019Ovide figuree, Lyon (Jean de Tournes), 1557, or the later editions of 1564 or 1583, and might also have been influenced by an engraving by  Antonio Tempesta  (1555-1630) in Metamorphoseon sive transformationum ovidianarum . . Amsterdam, 1606, pl. 13, which has the direction of the figures transposed.  A plaque for a mirror decorated with the same figures is in the Hermitage, St Petersburg. (see Documentation).  Another decorated with an earlier moment in the story, Jupiter in the form of Diana appearing to Callisto is in the Victoria and Albert Museum (8421-1863), and one with a later incident, Diana and her companions bathing with Callisto sitting apart because of her loss of virginity is in the Mus\u00e9e municipal de l\u2019\u00c9v\u00each\u00e9, Limoges.\n\nThis plaque has been attributed probably to Fran\u00e7ois I Limosin on account of stylistic resemblance to an oval plaque in the Mus\u00e9e du Louvre, which is initialled FL (see Documentation, Baratte, 2000).  It is also closely comparable to three octagonal mirrors attributed to Jean I (or II) Limosin, and one attributed either to him or Fran\u00e7ois Limosin in the James A. de Rothschild collection at Waddesdon Manor (see Documentation, Marcheix, 1977) These are decorated with mythological subjects and have similar flowers and birds reserved in the black background around the scene. 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