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The jewels are formed by blobs of enamel over silver foil. The reverse has almost clear but cloudy and uneven counter-enamel with many pinholes"}],"note":[{"value":"multi-couche technique"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-108432","uid":"adlib-term-108432","uuid":"a486efc4-a304-3aa3-93bd-528fc7ebaff4"},"summary_title":"New Testament"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper roundel decorated with polychrome enamels, and some jewelling over paillons, in circular gilt-wood frame. The Virgin sits with the Christ Child on her lap on the left in front of the gable end of a building. One king kneels to present a casket while the other two kings stand behind her."},{"value":"Circular very slightly convex copper plaque with a small hole on each side, painted in multi-couche technique in blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, on a white ground, with  jewelling over silver foil. The Virgin is seated on a wooden stool. She looks downwards, and holds the wide-awake infant Christ on her knee to greet one of the kings, who kneels before him holding out an open casket. A second king stands behind them in the centre, pointing to the right with his right index finger. The third more youthful king stands on the right. Behind the figures is the gable end of a rustic building, and on the right, an area of sky with a star. On the reverse, the copper is visible through the almost clear but cloudy counter-enamel with many pin holes. The plaque is mounted in a circular gilt wood frame with a border of small impressed circles round the top, and on the cavetto, a pricked repeating pattern of elliptical outlines. On accession the back was closed by brown paper, with near the top a small dark red leather suspension tab."}],"identifier":[{"accession_number":"M.39-1904","primary":true,"type":"accession number","value":"M.39-1904"},{"priref":"156425","type":"priref","value":"156425"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425"}],"inscription":[{"description":[{"value":"circular paper label printed in a circle in black with the collection name surrounding the lot number in black ink"}],"location":"on brown paper backing of frame","method":"printed in black and hand-written in black ink","transcription":[{"value":"MAGNIAC COLLECTION, printed, 516 in hand-written black ink"}],"type":"label"},{"description":[{"value":"rectangular with blue border forming four shallow lobes"}],"location":"on brown paper backing of frame","method":"hand-written in black ink","transcription":[{"value":"Mr Magniac."}],"type":"label"},{"location":"on brown paper backing near the top","method":"hand-written in pencil","transcription":[{"value":"528"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Entry date: 1904"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-206155","uid":"adlib-agent-206155","uuid":"a9ea7698-b53b-3e09-9513-ad18afd0846c"},"summary_title":"P\u00e9nicaud workshop"},{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-207553","uid":"adlib-agent-207553","uuid":"616b8dcf-7aa2-31c9-aa9b-012c74d905a2"},"summary_title":"Master of the High Foreheads"}],"note":[{"value":"The story of the journey of three wise men from the east to find the newly-born King of the Jews is told in St Matthew\u2019s Gospel, 2, 1-12. The Adoration of the Magi depicts their arrival at Bethlehem to worship the Infant Christ and present to him gifts of gold, frankincense and myrh signifying his royalty, divinity, suffering and death.\nThe small holes on each side, now filled, indicate that the medallion may originally have been intended to be mounted as a hat badge. Busts or  figures of Saints, and small Biblical scenes were popular subjects for these badges, which were worn on the upturned brims of men's hats during the late fifteenth and first half of the sixteenth century. A portrait of Louis XII painted c. 1510-14, in the Royal Collection at Holyrood House, Edinburgh, shows the king wearing a badge decorated with three saints. Several enamelled roundels of about the same size as the Fitzwilliam's, in the Walters Art Museum, the Museum Angewandte Kunst, Vienna, the Mus\u00e9e des Arts d\u00e9coratif, Paris, and the Mus\u00e9e des Beaux-Arts, Limoges  have 'jewelled' borders which make them appear even more likely to have been used in this way.\nThis and several other small plaques of the Adoration of the Magi were derived from either the same manuscript or printed source, or from one or other of a series of more accomplished late fifteenth century plaques attributed to the Monvaerni Master, which include Joseph on the left, the Virgin seated with an alert Christ Child on her lap, a bearded king kneeling to present a rectangular casket, two others standing behind him, of whom one or both are pointing upwards or sideways with one index finger, and an open gable end of a stable in the left background. A rectangular plaque with a slightly curved top in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9, Limoges, provides an approximate date range for the earliest examples because the scene includes on the right of the Biblical group, St John presenting Jean Barton II, Bishop of Limoges, from 1484-1510. and was probably made before the death in 1497 of his uncle and predecessor, Jean I Barton.  For the other plaques attributed to the Monvaerni Master see Documentation, Marcheix, 1967. Dalton attributed the Fitzwilliam\u2019s plaque to \u2018an enameller of the school of Nardon P\u00e9nicaud, and dated it to about 1500. However, the white preparation, only slight deterioration of the blue enamel, and almost clear cloudy counter-enamel suggest that it is more likely to be closer to 1525. The treatment of the heads, and the jewelling round the edges of Mary\u2019s halo and the garments of both figures, seems close in style to those of the Virgin and Gabriel on an unattributed pax of the Annunciation in the Victoria and Albert Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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(known as the Colworth Collection), 5th Day, 7 July, p. 138, lot\u00a0516, sold for \u00a333.12.0 to Frank McClean, Tunbridge Wells."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-162103","uid":"adlib-object-162103","uuid":"e05e2619-0017-38f8-982d-23070d21e91d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-126653","uid":"adlib-term-126653","uuid":"38ec5aff-ff75-3732-b28b-2cdc948738a2"},"summary_title":"plaques in frame"}},"summary_title":"plaques in frame"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p.138, 5th day, lot 516","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 109, no. 63, pl. XXIII, The reference by Dalton to two circular plaques in the Ashmolean Museum, with the Ecce Homo and the Piet\u00e0, presumably the two now described as Christ as Man of Sorrows and Lamentation over the Dead Christ, does not seem to be relevant, other than that the subjects are shown in a simple manner, comparable to this plaque.","page":"109","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Publ. p. 121, brief mention; the author likened it to some enamels by the Master of the High Foreheads. Cf. p. 223, no. 25.","page":"223","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Publ. p. 26 ill. 9a, compared with no. 10 on pp. 26-7, a circular medallion in a gilt copper frame, attributed to Nardon P\u00e9nicaud or his workshop c. 1510-20. On the left of the Holy Family is a  kneeling male figure wearing a hooded green gown, who appears to be tonsured and therefore a monk, whom the writer considers may be a donor, instead of Joseph, who is depicted on several other examples of this version of the Adoration of the Magi. The plaque has a dark bluish-grey counter enamel and the blue and manganese enamels on the front are degraded, which suggests that it is several years earlier than the Fitzwilliam's example. It has four holes in the perimeter. The size of the plaque is 6.8 cm and the frame on a covered stand 14 x 12.5 cm.","page":"26-7","type":"reference"},"admin":{"id":"publication-9084","uid":"adlib-publication-9084","uuid":"a4359251-d1f6-36ed-a382-709fba2d7769"},"summary_title":"De figuris et coloribus. Northern and Limoges Enamels (1150-1625). Email uit het Noorden en uit Limoges (1150-1625)"},{"@link":{"notes":"Cf. p. 39, colour illustration of the plaque attributed to the Monvaerni Master in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges.","page":"39","type":"reference"},"admin":{"id":"publication-6112","uid":"adlib-publication-6112","uuid":"1e8336a5-8d19-3816-89cd-2d1cd0929fd8"},"summary_title":"L'art de l'\u00e9mail \u00e0 Limoges\/Limoges, the Art of Enamel"},{"@link":{"notes":"Cf. pp. 157-8,  and  fig. 67, at the Courtauld Institute Gallery, London  where the other comparable plaques are mentioned.","page":"157-8","type":"reference"},"admin":{"id":"publication-200002162","uid":"adlib-publication-200002162","uuid":"c07b0cf3-eeb4-3880-b75f-46f426c53e45"},"summary_title":"The Painted Enamels in the Gambier-Parry Collection"},{"@link":{"notes":"Cf. pp. 24-5, no. 16, a plaque mounted as an image de chevet, atributed to 'Monvaerni', c. 1485-95","page":"24-5","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 14, pl. 3 in the Cleveland Museum of Art, Ohio, and p. 13, pl. 2 in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges, both attributed to the Monvaerni Master","page":"14","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. pp. 93-6, no. 43. 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Aurora and Cephalus on one side, and Venus and Adonis on the other; gilt metal frame with suspension ring at top and bottom."},{"value":"Circular convex copper plaque, painted on both sides in blue, green, turquoise, yellow, flesh pink, pink, red, brown, grey, black, and white enamels, and gilded. Gilt brass (?) mount with a circular ring hinged to it at the top and bottom.\nOn the front, Aurora stands on the left holding out her arms towards Cephalus who is accompanied by two hounds, and walks to the right looking back towards her. She wears a pink dress with a wind-blown blue drape. He wears a blue cuirass with yellow pteruges over a short white skirt, a pink cloak, and gold sandals, and carries a gold spear in his left hand. Both figures have pale grey hair, ruddy cheeks, and red toe nails. The hounds are white with red details, and gold collars. On the right is the trunk of a tree and there is a smaller tree in the left background. The ground is shaded in green, grey, and black, with small gold plants and highlights. The sky is black. Gold dots and lines enhance the edges of the garments, and there are dots on the foliage of the trees. Initialled in gold at bottom centre of the convex side, NL joined\nOn the reverse: On the left Venus and Adonis are seated on a grassy bank beneath three trees. She wears a pink dress held up by shoulder straps. He has a yellow tunic and blue boots. Further to the right is a white hound with red details and a gold collar, and in the right background, a stream or lake, and a wood.  The sky is black. The folds of the garments are dotted in gold, and there are vertical rows of small dashes on the tree trunks and groups of dots on the foliage of the smaller trees."}],"identifier":[{"accession_number":"MAR.M.254-1912","primary":true,"type":"accession number","value":"MAR.M.254-1912"},{"priref":"156449","type":"priref","value":"156449"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156449","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156449"}],"inscription":[{"location":"at bottom centre of the convex side","method":"painted in gold","transcription":[{"value":"NL joined"}],"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":"C.B. 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The enameller omitted a hound on the left of plate 96.\n\nThe initials NL joined were used by Nicolas I Laudin (1628\u201398), but because of his infirmity in later life, this plaque is more likely to have been executed by his son No\u00ebl  (c. 1660\u20131727), who also signed NL."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-118735","uid":"adlib-term-118735","uuid":"1631bde8-d0c4-3507-be3b-ac03c59ba807"},"summary_title":"17th Century, second 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