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The jewels are formed by blobs of enamel over silver foil. The reverse has almost clear but cloudy and uneven counter-enamel with many pinholes"}],"note":[{"value":"multi-couche technique"}],"reference":{"@link":{"type":"reference"},"admin":{"id":"term-28662","uid":"adlib-term-28662","uuid":"dd47e505-ccda-3f2b-b576-6104109430e8"},"summary_title":"enamelling"}}]}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-108432","uid":"adlib-term-108432","uuid":"a486efc4-a304-3aa3-93bd-528fc7ebaff4"},"summary_title":"New Testament"}]},"department":{"value":"Applied Arts"},"description":[{"value":"Copper roundel decorated with polychrome enamels, and some jewelling over paillons, in circular gilt-wood frame. The Virgin sits with the Christ Child on her lap on the left in front of the gable end of a building. One king kneels to present a casket while the other two kings stand behind her."},{"value":"Circular very slightly convex copper plaque with a small hole on each side, painted in multi-couche technique in blue, greyish-blue, green, turquoise, pale yellowish-brown, mulberry, black, grey, on a white ground, with  jewelling over silver foil. The Virgin is seated on a wooden stool. She looks downwards, and holds the wide-awake infant Christ on her knee to greet one of the kings, who kneels before him holding out an open casket. A second king stands behind them in the centre, pointing to the right with his right index finger. The third more youthful king stands on the right. Behind the figures is the gable end of a rustic building, and on the right, an area of sky with a star. On the reverse, the copper is visible through the almost clear but cloudy counter-enamel with many pin holes. The plaque is mounted in a circular gilt wood frame with a border of small impressed circles round the top, and on the cavetto, a pricked repeating pattern of elliptical outlines. On accession the back was closed by brown paper, with near the top a small dark red leather suspension tab."}],"identifier":[{"accession_number":"M.39-1904","primary":true,"type":"accession number","value":"M.39-1904"},{"priref":"156425","type":"priref","value":"156425"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/156425"}],"inscription":[{"description":[{"value":"circular paper label printed in a circle in black with the collection name surrounding the lot number in black ink"}],"location":"on brown paper backing of frame","method":"printed in black and hand-written in black ink","transcription":[{"value":"MAGNIAC COLLECTION, printed, 516 in hand-written black ink"}],"type":"label"},{"description":[{"value":"rectangular with blue border forming four shallow lobes"}],"location":"on brown paper backing of frame","method":"hand-written in black ink","transcription":[{"value":"Mr Magniac."}],"type":"label"},{"location":"on brown paper backing near the top","method":"hand-written in pencil","transcription":[{"value":"528"}],"type":"inscription"}],"institutions":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"legal":{"credit_line":"Frank McClean Bequest"},"lifecycle":{"acquisition":[{"agents":[{"@link":{"type":"reference"},"admin":{"id":"agent-172414","uid":"adlib-agent-172414","uuid":"73d94f64-8c0d-30c1-9764-25b005f3ce1d"},"summary_title":"McClean, Frank"}],"date":[{"earliest":1904,"latest":1904,"value":"1904"}],"method":{"value":"bequeathed"},"note":[{"value":"Entry date: 1904"}]}],"creation":[{"date":[{"earliest":1515,"from":{"earliest":1515,"era":["CE"],"latest":1515,"precision":"circa","value":"1515"},"latest":1530,"range":true,"to":{"earliest":1530,"era":["CE"],"latest":1530,"value":"1530"}}],"maker":[{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-206155","uid":"adlib-agent-206155","uuid":"a9ea7698-b53b-3e09-9513-ad18afd0846c"},"summary_title":"P\u00e9nicaud workshop"},{"@link":{"qualifier":"possibly","role":[{"value":"production"}],"type":"reference"},"admin":{"id":"agent-207553","uid":"adlib-agent-207553","uuid":"616b8dcf-7aa2-31c9-aa9b-012c74d905a2"},"summary_title":"Master of the High Foreheads"}],"note":[{"value":"The story of the journey of three wise men from the east to find the newly-born King of the Jews is told in St Matthew\u2019s Gospel, 2, 1-12. The Adoration of the Magi depicts their arrival at Bethlehem to worship the Infant Christ and present to him gifts of gold, frankincense and myrh signifying his royalty, divinity, suffering and death.\nThe small holes on each side, now filled, indicate that the medallion may originally have been intended to be mounted as a hat badge. Busts or  figures of Saints, and small Biblical scenes were popular subjects for these badges, which were worn on the upturned brims of men's hats during the late fifteenth and first half of the sixteenth century. A portrait of Louis XII painted c. 1510-14, in the Royal Collection at Holyrood House, Edinburgh, shows the king wearing a badge decorated with three saints. Several enamelled roundels of about the same size as the Fitzwilliam's, in the Walters Art Museum, the Museum Angewandte Kunst, Vienna, the Mus\u00e9e des Arts d\u00e9coratif, Paris, and the Mus\u00e9e des Beaux-Arts, Limoges  have 'jewelled' borders which make them appear even more likely to have been used in this way.\nThis and several other small plaques of the Adoration of the Magi were derived from either the same manuscript or printed source, or from one or other of a series of more accomplished late fifteenth century plaques attributed to the Monvaerni Master, which include Joseph on the left, the Virgin seated with an alert Christ Child on her lap, a bearded king kneeling to present a rectangular casket, two others standing behind him, of whom one or both are pointing upwards or sideways with one index finger, and an open gable end of a stable in the left background. A rectangular plaque with a slightly curved top in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9, Limoges, provides an approximate date range for the earliest examples because the scene includes on the right of the Biblical group, St John presenting Jean Barton II, Bishop of Limoges, from 1484-1510. and was probably made before the death in 1497 of his uncle and predecessor, Jean I Barton.  For the other plaques attributed to the Monvaerni Master see Documentation, Marcheix, 1967. Dalton attributed the Fitzwilliam\u2019s plaque to \u2018an enameller of the school of Nardon P\u00e9nicaud, and dated it to about 1500. However, the white preparation, only slight deterioration of the blue enamel, and almost clear cloudy counter-enamel suggest that it is more likely to be closer to 1525. The treatment of the heads, and the jewelling round the edges of Mary\u2019s halo and the garments of both figures, seems close in style to those of the Virgin and Gabriel on an unattributed pax of the Annunciation in the Victoria and Albert Museum."}],"periods":[{"@link":{"type":"reference"},"admin":{"id":"term-106256","uid":"adlib-term-106256","uuid":"1bd8ad44-09c2-3c55-825a-635e463bb56b"},"summary_title":"16th Century, Early"}],"places":[{"@link":{"type":"reference"},"admin":{"id":"term-15498","uid":"adlib-term-15498","uuid":"61725bf5-360f-3837-8aab-3c90b956a537"},"hierarchies":[[{"@link":{"type":"literal"},"name":[{"value":"France"}],"summary_title":"France","type":"country"},{"@link":{"type":"literal"},"name":[{"value":"Haute Vienne"}],"summary_title":"Haute 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(known as the Colworth Collection), 5th Day, 7 July, p. 138, lot\u00a0516, sold for \u00a333.12.0 to Frank McClean, Tunbridge Wells."}],"objects":[{"@link":{"cascade":true,"type":"reference"},"admin":{"id":"object-162103","uid":"adlib-object-162103","uuid":"e05e2619-0017-38f8-982d-23070d21e91d"},"summary":{"reference":{"@link":{"impact":true,"type":"reference","workflow":true},"admin":{"id":"term-126653","uid":"adlib-term-126653","uuid":"38ec5aff-ff75-3732-b28b-2cdc948738a2"},"summary_title":"plaques in frame"}},"summary_title":"plaques in frame"}],"owners":[{"@link":{"type":"reference"},"admin":{"id":"agent-149638","uid":"adlib-agent-149638","uuid":"7376d833-d0a7-3be0-916e-9c892b7a24d8"},"summary_title":"The Fitzwilliam Museum"}],"publications":[{"@link":{"notes":"Publ. p.138, 5th day, lot 516","page":"138","type":"reference"},"admin":{"id":"publication-5925","uid":"adlib-publication-5925","uuid":"5e8330b4-b645-34d4-88b6-acecc1f61ce6"},"summary_title":"Catalogue of the Renowned Collection of Works of Art, chiefly formed by the late Hollingworth Magniac, Esq. (Known as the Colworth Collection)"},{"@link":{"notes":"Publ., p. 109, no. 63, pl. XXIII, The reference by Dalton to two circular plaques in the Ashmolean Museum, with the Ecce Homo and the Piet\u00e0, presumably the two now described as Christ as Man of Sorrows and Lamentation over the Dead Christ, does not seem to be relevant, other than that the subjects are shown in a simple manner, comparable to this plaque.","page":"109","type":"reference"},"admin":{"id":"publication-4060","uid":"adlib-publication-4060","uuid":"0f6d91a4-87ab-338c-b868-7d56c66bc250"},"summary_title":"Fitzwilliam Museum, McClean Bequest, Catalogue of the Mediaeval Ivories, Enamels, Jewellery, Gems and Miscellaneous Objects Bequeathed to the Museum by Frank McClean, M.A., F.R.S."},{"@link":{"notes":"Publ. p. 121, brief mention; the author likened it to some enamels by the Master of the High Foreheads. Cf. p. 223, no. 25.","page":"223","type":"reference"},"admin":{"id":"publication-6072","uid":"adlib-publication-6072","uuid":"16b7c8dd-a034-3641-b87a-c2f1ae0386e8"},"summary_title":"Les \u00e9maux limousins de la fin du XVe si\u00e8cle et de la premi\u00e8re partie du XVIe; \u00e9tude sur Nardon Penicaud et ses contemporains"},{"@link":{"notes":"Publ. p. 26 ill. 9a, compared with no. 10 on pp. 26-7, a circular medallion in a gilt copper frame, attributed to Nardon P\u00e9nicaud or his workshop c. 1510-20. On the left of the Holy Family is a  kneeling male figure wearing a hooded green gown, who appears to be tonsured and therefore a monk, whom the writer considers may be a donor, instead of Joseph, who is depicted on several other examples of this version of the Adoration of the Magi. The plaque has a dark bluish-grey counter enamel and the blue and manganese enamels on the front are degraded, which suggests that it is several years earlier than the Fitzwilliam's example. It has four holes in the perimeter. The size of the plaque is 6.8 cm and the frame on a covered stand 14 x 12.5 cm.","page":"26-7","type":"reference"},"admin":{"id":"publication-9084","uid":"adlib-publication-9084","uuid":"a4359251-d1f6-36ed-a382-709fba2d7769"},"summary_title":"De figuris et coloribus. Northern and Limoges Enamels (1150-1625). Email uit het Noorden en uit Limoges (1150-1625)"},{"@link":{"notes":"Cf. p. 39, colour illustration of the plaque attributed to the Monvaerni Master in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges.","page":"39","type":"reference"},"admin":{"id":"publication-6112","uid":"adlib-publication-6112","uuid":"1e8336a5-8d19-3816-89cd-2d1cd0929fd8"},"summary_title":"L'art de l'\u00e9mail \u00e0 Limoges\/Limoges, the Art of Enamel"},{"@link":{"notes":"Cf. pp. 157-8,  and  fig. 67, at the Courtauld Institute Gallery, London  where the other comparable plaques are mentioned.","page":"157-8","type":"reference"},"admin":{"id":"publication-200002162","uid":"adlib-publication-200002162","uuid":"c07b0cf3-eeb4-3880-b75f-46f426c53e45"},"summary_title":"The Painted Enamels in the Gambier-Parry Collection"},{"@link":{"notes":"Cf. pp. 24-5, no. 16, a plaque mounted as an image de chevet, atributed to 'Monvaerni', c. 1485-95","page":"24-5","type":"reference"},"admin":{"id":"publication-6021","uid":"adlib-publication-6021","uuid":"6dafbb49-bc39-3d0c-b5ad-634dbead2cf0"},"summary_title":"The Walters Art Gallery, Catalogue of the Painted Enamels of the Renaissance"},{"@link":{"notes":"Cf. p. 14, pl. 3 in the Cleveland Museum of Art, Ohio, and p. 13, pl. 2 in the Mus\u00e9e Municipal de l\u2019Ev\u00each\u00e9 at Limoges, both attributed to the Monvaerni Master","page":"14","type":"reference"},"admin":{"id":"publication-5097","uid":"adlib-publication-5097","uuid":"3f273066-5292-3611-8791-142c76030836"},"summary_title":"Maleremails aus Limoges, Der Bestand des Berliner Kunstgewerbemuseums"},{"@link":{"notes":"Cf. pp. 93-6, no. 43. Inv. no. Kgewm H. 997 Cl. Formerly in the Clemens Collection. This plaque is in a very different style from the others.","page":"93-6","type":"reference"},"admin":{"id":"publication-7040","uid":"adlib-publication-7040","uuid":"3adfdbf4-05a1-311f-88b6-d5f5c591182c"},"summary_title":"Email, Kunst, Handwerk, Industrie"},{"@link":{"notes":"Cf. p. 98, no. 61, a small Adoration plaque framed as a pax in a private collection in Belgium, has iconography comparable to the Fitzwilliam's","page":"96","type":"reference"},"admin":{"id":"publication-6082","uid":"adlib-publication-6082","uuid":"933bba5a-0cd4-3497-ace0-4e67876ceb78"},"summary_title":"\u00c9maux de Limoges XIIe-XIXe si\u00e8cle"},{"@link":{"notes":"p. 28-9, no. 9. Formerly in the M.A. Rosenberg collection, Paris, sold, 1909. Marquet de Vasselot, 1921 (op cit above), p. 224-5, no. 27.","page":"28-9","type":"reference"},"admin":{"id":"publication-7039","uid":"adlib-publication-7039","uuid":"60dd323d-f4f6-3596-ac1d-5a3dd19a0028"},"summary_title":"25 Masterpieces from the Middle Ages"},{"@link":{"notes":"Cf. p. 27, no. 3. Inv. no. \u0424 959. This arched plaque in the Hermitage, though rather crudely drawn by a very different hand, is obviously derived from the same source","page":"27","type":"reference"},"admin":{"id":"publication-6919","uid":"adlib-publication-6919","uuid":"8b4a9038-183f-3bc5-8ff1-5233cdf97dbc"},"summary_title":"Limozhskie raspisnye \u0117mali v sobranii \u0116rmitazha\/\u00c9maux peints de Limoges de la collection de l'Ermitage"},{"@link":{"notes":"Cf. p. 25 and fig. p. 24. This plaque, formerly in the Spitzer Collection, has a third king whose features are obviously African or \u2018moorish\u2019. Its style is more closely related to an arched plaque formerly in the Pringsheim and Marcel von Nemes collections attributed to Nardon Penicaud when sold by Sotheby\u2019s London in 2004, and to an unusual plaque enamelled on silver in the Wallace Collection attributed to school of Jean I Penicaud.","page":"24-5","type":"reference"},"admin":{"id":"publication-7037","uid":"adlib-publication-7037","uuid":"c3e952d4-5ea2-3163-94a8-bd744dae4e83"},"summary_title":"F\u00fchrer durch das Kunstgewerbe-Museum zu Frankfurt am Main"},{"@link":{"notes":"Cf. p. 50, no. 248, unusual in being enamelled on silver, and one of the latest in the series","page":"50","type":"reference"},"admin":{"id":"publication-6083","uid":"adlib-publication-6083","uuid":"09810329-53bf-3713-bc5b-e194f6467063"},"summary_title":"Wallace Collection, Catalogue, Objects of Art, Illustrations"},{"@link":{"notes":"Cf. p. 49, lot 52, attributed to Nardon P\u00e9nicaud, second quarter of 16th century. H. 15.6 cm. Comparable in design to the plaque in the Wallace Collection, and at Frankfurt","page":"49","type":"reference"},"admin":{"id":"publication-5348","uid":"adlib-publication-5348","uuid":"34db80a1-cc6d-38f6-8148-1107e898a8e8"},"summary_title":"European sculpture and works of art 900-1900"}],"school_or_style":[{"@link":{"type":"reference"},"admin":{"id":"term-10618","uid":"adlib-term-10618","uuid":"9ebc0ae1-8cf8-312b-832c-9cf44da02136"},"summary_title":"Renaissance"}],"subjects":[{"@link":{"relation":"object name","type":"reference"},"admin":{"id":"term-60315","uid":"adlib-term-60315","uuid":"52d046fb-0fb7-37a2-9e6b-0e8d70b980b4"},"summary_title":"stable"},{"@link":{"relation":"named event","type":"reference"},"admin":{"id":"term-106789","uid":"adlib-term-106789","uuid":"6395677b-069d-31d5-a14c-41fa44606f1b"},"summary_title":"Adoration of the Magi"},{"@link":{"type":"literal"},"name":[{"value":"stable"}],"summary_title":"stable"},{"@link":{"type":"literal"},"name":[{"value":"Adoration of the Magi"}],"summary_title":"Adoration of the Magi"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-107484","uid":"adlib-term-107484","uuid":"935e21d3-0b7f-3ca6-9987-b79c82e054fd"},"summary_title":"plaque"}},"summary_title":"plaque","title":[{"value":"The Adoration of the Magi"}],"type":{"base":"object","type":"OBJECT"}}},{"_index":"ciim","_type":"data","_id":"adlib-object-139843","_score":19.313099,"_source":{"admin":{"added":1592970577000,"created":1312637261000,"flag":"Standard Record","id":"object-139843","indexed":1755194555014,"modified":1740413092000,"processed":1755194515997,"source":"adlib","stream":"fitz-online","uid":"adlib-object-139843","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843","uuid":"0f8268ca-30d9-367c-9c75-e050953fdd0c","version":15},"agents":[{"@link":{"note":[{"value":"before 1774"}],"type":"reference"},"admin":{"id":"agent-163244","uid":"adlib-agent-163244","uuid":"e6ad7c11-8918-3100-9cdd-07e15ab49643"},"summary_title":"Walpole, Horace"},{"@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-158722","uid":"adlib-agent-158722","uuid":"1cffff36-4957-3dbb-9b48-c4d5b506440a"},"summary_title":"Paris"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-61111","uid":"adlib-agent-61111","uuid":"ea0f909c-be23-37f6-b642-bc3ac8c21293"},"summary_title":"Helen"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-154115","uid":"adlib-agent-154115","uuid":"671b9a84-ed00-3718-b0e3-b41eee5e124c"},"summary_title":"jester"},{"@link":{"relation":"person","type":"reference"},"admin":{"id":"agent-186335","uid":"adlib-agent-186335","uuid":"7bb1d606-1331-3af8-aeb2-94abbfbfa1b9"},"summary_title":"Fortuna"}],"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, turquoise-green, pale mauve, 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":"copper, enamelled in grisaille on a manganese-black ground, and gilded; the top also enamelled in turquoise-green, and the base in turquoise, and pale mauve."}],"note":[{"value":"white, turquoise-green, pale mauve, and manganese-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":"Width","units":"cm","value":"10.9"}]},"name":"Across Points"},{"measurements":{"dimensions":[{"dimension":"Width","units":"cm","value":"10"}]},"name":"Across Flat Sides"}],"content":{"motifs":[{"@link":{"type":"reference"},"admin":{"id":"term-102639","uid":"adlib-term-102639","uuid":"2c240716-c1bb-36c4-9594-b0a98f1208c2"},"summary_title":"allegory"}]},"department":{"value":"Applied Arts"},"description":[{"value":"copper enamelled in grisaille and in turquoise-green, turquoise and mauve on a black ground and gilded"},{"value":"Hexagonal with straight sides, projecting upper and lower edges, and a concave central depression in the top and base. Copper, enamelled en grisaille on a black ground, and gilded; the top also enamelled in turquoise-green, and the base in turquoise, and pale mauve.  The salt pan is decorated with a bust of a man in profile to right wearing a hat with a feather in it, and is inscribed \"IE SVIS  PARIS\" (I am Paris) in gold surrounded by two gold circles. On the flat surround there are three pairs of cornucopia with foliated terminals, containing turquoise fruits. Round the outer edge is a gold line broken at regular intervals by five oblique strokes. In the depression in the base is a head of a woman in profile to left, wearing a turquoise frontlet, a snood, and a turquoise oval cabochon over her ear. The black ground is dotted with gold, and inscribed \"LABELLE ELLENE\" (Beautiful Helen) in gold within a gold circle. On the flat area there are three white roses and three pale mauve roses linked by stems bearing either two pairs of turquoise or two pairs of green leaves, and pairs of gold tendrils. Round the outer edge is a gold line broken at regular intervals by five oblique strokes. The sides are decorated with six figures flanked by rocks and small gold plants, each with a gold inscription above. From right to left:\nFortune stepping to the right, holding the staff of a billowing pennant in her right hand, and its tail in her left; inscribed \"TOVT. FORTVNE\/LE VA\"  with an orb between the LE and VA.\nA jester steps to the left raising his right hand, and holding a jester's staff over his shoulder in his left; inscribed \"IL SEMBLE AVVILART.ABVZ.QVE.LES.  IEVLX\/DAY MER SOYENT PERDVZ\" (It seems to the old mistakenly that the games of love may be over, i.e. lost for ever or It seems to the old that enjoyment of the games of love may be lost through over indulgence).\nAn old woman in sixteenth century costume holding a walking stick in her left hand and placing her right held to her bosom; inscribed, \"QVA(N)T.DVIEV.DAYMER.  ME\/SOVVIE(N)T.LA.LARME.AVXI.EVLVLX.ME VIEN.A 70 ANS\" (When I remember the game of love a tear comes to my eyes at 70 years).\nAn old man in sixteenth century costume walking to the left, holding up his right hand and holding a walking stick in his left; inscribed \"HELAS.IESVS.VR(A)I\/DIEV:DE GRACE.E.IEV.D.YMER.FAICT.N.ENCORES A.80 .ANS (Alas, Jesus true God of Grace, I still like to do it  at 80 years).\nA middle aged woman, perhaps a nun, wearing sixteenth century costume, walking to the left, holding a gold rosary in her right hand and holding up her skirt in her left hand; inscribed \"QVANT.ON.LE ME.PRE SANTE. IELE. PRENS.EN\/ PACIANCE A. 40.ANS\" . (When someone offers I take it patiently at 40 years).\nAn middle aged man in sixteenth century costume with a turquoise jewel on each sleeve opening, walking to the left leaning on a walking stick held in his right hand, and holding his left with its thumb tucked into his belt; inscribed \"ET.MOY.TEL.QVE.IE.SVYs IL LE .FAIZ QVANT.IE.PV.A.50 ANS\"  (And me, such as I am, I do it when I can at 50 years).\nOn each of the angles there is a foliated spindle (?), and on the top of the projecting base a border of overlapping wavy lines forming a cable."}],"exhibitions":[{"@link":{"catalogue":"1725","type":"reference"},"admin":{"id":"exhibition-1754","uid":"adlib-exhibition-1754","uuid":"d50e860c-2dca-313a-9970-1b01cecbbb85"},"summary_title":"Catalogue of the Special Exhibition of Works of Art of the Medieval, Renaissance, and more Recent Periods, on loan at the South Kensington Museum, June 1862"},{"@link":{"type":"reference"},"admin":{"id":"exhibition-1077","uid":"adlib-exhibition-1077","uuid":"a9790b74-5102-3534-9d71-e4f0dc4f89f3"},"summary_title":"Tempus, The Art of Time"},{"@link":{"catalogue":"188","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.50-1904","primary":true,"type":"accession number","value":"M.50-1904"},{"priref":"139843","type":"priref","value":"139843"},{"type":"uri","uri":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843","value":"https:\/\/data.fitzmuseum.cam.ac.uk\/id\/object\/139843"}],"inscription":[{"location":"on salt pan","method":"painted in","transcription":[{"value":"IE SVIS  PARIS"}],"type":"inscription"},{"location":"on base","method":"painted in","transcription":[{"value":"LABELLE ELLENE"}],"type":"inscription"},{"description":[{"value":"an orb between the LE and VA"}],"location":"on side decorated with Fortune","method":"painted in","transcription":[{"value":"TOVT\u2022PAR\u2022FORTVNE\/LE VA"}],"type":"inscription"},{"location":"on side decorated with jester","method":"painted in","transcription":[{"value":"IL SEMBLE AVVILANT\/ PAR\u2022ABVZ\u2022QVE\u2022LES\u2022 IEVLX\/DAY MER SOYENT PERDVZ"}],"type":"inscription"},{"location":"on side with old woman with walking stick","method":"painted in","transcription":[{"value":"\u2018QVA(N)T\u2022DVIEV\u2022DAYMER\u2022 ME\/SOVVIE(N)T\u2022LA\u2022LARME\u2022AVXI\/\u2022EVLVLX\u2022ME VIEN\/\u2022A 70 ANS"}],"type":"inscription"},{"location":"on side with old man with walking stick","method":"painted in","transcription":[{"value":"HELAS\u2022IESVS\u2022VR(A)I\/DIEV:DE GRACE\u2022LE\u2022 IEV\u2022D\/AYMER\u2022FAICT\u2022ON\u2022ENCORES\/A\u202280\u2022ANS"}],"type":"inscription"},{"location":"on side with middle aged woman holding rosary","method":"painted in","transcription":[{"value":"QVANT\u2022ON\u2022LE ME\u2022PRE\/ SANTE\u2022IELE\u2022PRENS\u2022EN\/PACIANCE A\u202240\u2022ANS"}],"type":"inscription"},{"location":"on side with middle aged man","method":"painted in","transcription":[{"value":"ET\u2022MOY\u2022TEL\u2022QVE\u2022 IE\u2022SVYs\/IL LE\u2022FAIZ QVANT\u2022IE\u2022PV\/\u2022A\u202250 ANS\u2019"}],"type":"inscription"},{"description":[{"value":"part of a circular paper label with a black border"}],"location":"on rim below the depression containing Helen","method":"hand-written in pencil","transcription":[{"value":"390\u2019"}],"type":"label"},{"description":[{"value":"a very small rectangular paper label"}],"location":"stuck on top of the circular label","method":"printed in black","transcription":[{"value":"512"}],"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":1540,"from":{"earliest":1540,"era":["CE"],"latest":1540,"precision":"circa","value":"1540"},"latest":1545,"note":[{"value":"The dating is suggested by a salt dated 1542 in the Wallace Collection"}],"range":true,"to":{"earliest":1545,"era":["CE"],"latest":1545,"value":"1545"}}],"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"}],"note":[{"value":"The amorous message of this salt is related to the theme of the Ages of Man, which during the Middle Ages and Renaissance might be identified as three, four, seven, or twelve stages. The Ages of Man in decades was a late medieval development and was more common in the Low Countries and Germany.  Normally the ages of life after forty would be shown as a gradual decline towards death, but the decoration here presents a more optimistic view because the middle aged and old people express views which indicate that their interest in love-making continues. The goddess Fortuna\u2019s ability to make or marr lovers\u2019 happiness by her fickle behaviour is mentioned frequently in French literature from the late 12th century onwards, and a jester or fool was often used in 15th and 16th century art as an indication of lust or folly. The jester's statement on the salt is ambiguous, according to the interpretation of the word 'abus'. It could be read as meaning that the old are mistaken in thinking that their ability to enjoy love-making is lost, or that the ability to love is lost through excessive indulgence in love-making, a view expressed in a well known late 12th century treatise 'De Amore' by Andreas Cappellanus. Possibly the head of Helen, the beautiful wife of Menelaus, King of Sparta, and that of Paris, who precipitated the Trojan War by abducting her, represent the prime of life, but their presence could also be a reminder that unbridled passion may  lead to disaster.\n\nThere is an analogous polychrome salt in the Wallace Collection, which has similar figures and inscriptions with variant spellings but without the ages on the sides, and, on the top and bottom depressions respectively, profile busts of Pallas surrounded by cornupias, and Jupiter surrounded by stylized roses (III M 260). (1) It is inscribed, with the letter \u2018N\u2019 in gold suspended from a swag on the side of the old woman. A companion salt in the Wallace (III M.261), dated 1542, is decorated in a similar manner, but with different heads and figures. The top and base are decorated respectively with Paris and Athena with cornucopia borders. One side is decorated with Cupid blindfold, one with Venus in her chariot, and the other four with a young lady or a gentleman accompanied by an inscription. (See Documentation, Higgott, 2011) These salts suggest that the Fitzwilliam's may originally have had a pair which represented the earlier Ages of Man or Love. The figures of the middle-aged man and woman are reminiscent of two lovers on a small plaque attributed to Colin Nouailher in the Mus\u00e9e des Arts D\u00e9coratifs in Paris, (See Documentation Biron, 2011).\n\nThe Fitzwilliam\u2019s salt was attributed tentatively to Colin Nouailher by Dalton, 1912, a reasonable suggestion in view of the inscriptions, a feature of Colin Nouailher\u2019s work, and the expressions of the figures, which are similar in character to those on his few initialled works. This attribution is supported by the letter 'N' on one of the salts in the Wallace Collection. The rose border on one end of this salt was also used in Pierre Reymond's workshop and there are several hexagonal salts of this form initialled PR, but they are enamelled in a very different style. See Fitzwilliam M.4-1966, where these are mentioned. \n\nThe salts were constructed in an interesting way. X-radiography of a hexagonal salt in the  British Museum revealed that it was made in three parts. The sides were made of one piece of copper which was bent into shape and had a flap folded over on one angle. 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(according to the Wallace Collection\u2019s annotated catalogue). . . . Hollingworth Magniac (1786\u20131867, Colworth, Bedfordshire; his son, Charles Magniac(1827\u201391); \n sold Christie\u2019s, 2, 4-8 and 11-15 July 1892, Catalogue of the renowned collection of works of art chiefly formed by the late Hollingworth Magniac Esq. 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XXII","page":"110-111","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. 216, 64.21 under no. 64, pp. 210-19, two salts of the same form, with polychrome figures, of which no. 64b has analogous figures and inscriptions on the sides, but different heads on the top and base, see p. 215, pls. 64.12 to 64.19.","page":"216","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":"Publ. p. 197, Fig. 216, and p. 270, Cat. 188","page":"197, 270","type":"reference"},"admin":{"id":"publication-7751","uid":"adlib-publication-7751","uuid":"cfa79c6e-ae29-31e3-85fa-3a838db1be3c"},"summary_title":"Treasured Possessions from the Renaissance to the Enlightenment"},{"@link":{"notes":"Cf. p. 51, no. 260 with different figures","page":"51","type":"reference"},"admin":{"id":"publication-6083","uid":"adlib-publication-6083","uuid":"09810329-53bf-3713-bc5b-e194f6467063"},"summary_title":"Wallace Collection, Catalogue, Objects of Art, Illustrations"},{"@link":{"notes":"Cf. p. 15, for x-radiography of a hexagonal salt in the British Museum, 1888.0705.1, showing method of joining the three parts","page":"13-22","type":"reference"},"admin":{"id":"publication-200002564","uid":"adlib-publication-200002564","uuid":"292257b1-8817-3726-8f37-6bdaa3f7d9e1"},"summary_title":"Limoges Painted Enamels: evidence for specialist copper-smithing workshops"},{"@link":{"notes":"Cf. pp. 142-3, no. 30, a plaque from a coffer showing a man and woman in contemporary costume offering each other a rose and a heart respectively, painted in grisaille with green, turquoise, pink and gold,  dated to c. 1540-50. The salts in the Fitzwilliam Museum and the Wallace Collection are mentioned.","page":"142-3","type":"reference"},"admin":{"id":"publication-7297","uid":"adlib-publication-7297","uuid":"63470d8f-cfbe-3825-9919-c40c11c83e45"},"summary_title":"\u00c9maux peints de Limoges XVe-XVIIIe si\u00e8cles, la collection du Mus\u00e9e des Arts D\u00e9coratifs"},{"@link":{"notes":"Cf.  p. 136, fig. 12,  a mid16th century German broadside \u2018Wer Weis obs wahr ist? (Who knows whether it is true? with a jester watching amorous figures and other figures of men and women, with humorous inscriptions expressing views comparable to those on the salt","page":"125-48","type":"reference"},"admin":{"id":"publication-200002823","uid":"adlib-publication-200002823","uuid":"4d53f166-327c-3e3d-bf26-be13ff999fe3"},"summary_title":"Master E.S. and the Folly of Love"},{"@link":{"notes":"Ref. p. 41 for the author's view that 'Nimia voluptatis abundantia impedit amorem . . . .\u2019, (Excessive indulgence in pleasure hinders love)","page":"41","type":"reference"},"admin":{"id":"publication-7302","uid":"adlib-publication-7302","uuid":"a31822a4-e695-346f-a96c-92fbd79ab6b6"},"summary_title":"Andreas Capellanus on Love, edited with an English translation by P.G. Walsh"}],"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-125761","uid":"adlib-term-125761","uuid":"bce2de03-432e-3676-bb62-4a5042d2c1d3"},"summary_title":"dining"},{"@link":{"relation":"plant","type":"reference"},"admin":{"id":"term-51570","uid":"adlib-term-51570","uuid":"60c9a2b0-88e3-31c4-a903-cb3bfbb73411"},"summary_title":"rose"},{"@link":{"type":"literal"},"name":[{"value":"rose"}],"summary_title":"rose"}],"summary":{"reference":{"@link":{"type":"reference"},"admin":{"id":"term-91292","uid":"adlib-term-91292","uuid":"d8901c0c-4f46-3a5a-b7db-d7013fed9c66"},"summary_title":"salt"}},"summary_title":"salt","title":[{"value":"Hexagonal Salt"}],"type":{"base":"object","type":"OBJECT"}}}],"first_page_url":"?page=1","from":1,"last_page":1,"last_page_url":"?page=1","links":[{"url":null,"label":"&laquo; Previous","active":false},{"url":"?page=1","label":"1","active":true},{"url":null,"label":"Next &raquo;","active":false}],"next_page_url":null,"path":"","per_page":24,"prev_page_url":null,"to":2,"total":2}]